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Characters Michele, a barge-owner (age 50) — baritone Luigi, longshoreman (age 20) — tenor 'Tinca' ('tench'), longshoreman (age 35) — tenor 'Talpa' ('mole'), longshoreman (age 55) — bass Giorgetta, Michele's wife (age 25) — soprano La Frugola ('the rummager'), Talpa's wife (age 50) — mezzo-soprano A Song Seller — tenor Longshoremen, Midinettes - Chorus Two Lovers — soprano, tenor An Organ Grinder. Place: A barge on the Seine in Paris. Time: 1910. A bend in the Seine where Michele's barge is moored. A gangplank connects the barge to the quay. The Seine stretches away into the distance. In the background the outline of old Paris and the mighty bulk of Notre Dame stand out against the red sky. Also in the background, on the right, are the tenements which line the river and tall leafy plane trees. The barge is just like the usual vessels which ply the Seine. The wheel can be seen projecting above the cabin, which is neat and freshly painted, with small green windows, the chimney and the flat roof, which serves as a sort of terrace. On it are some pots filled with geraniums. Clothes are hanging out to dry on a line. Above the cabin door is a birdcage with canaries in it. It is sunset. There is a horse and cart on the bank with sacks of cement piled up against it; the stevedores come up from the hold with heavy sacks on their backs and carry them to the cart. Michele is sitting motionless at the wheel, watching the sunset. His pipe has gone out. Giorgetta is busy with various chores: she takes down some of the washing from the line, fills a pail from the river and waters her flowers; she cleans the birdcage. Car horns and tugs’sirens are heard. GIORGETTA Oh Michele, Michele? Aren’t you tired of dazzling your eyes in the sunset? Is it such a marvellous sight? MICHELE Certainly! GIORGETTA I can see that: the white smoke has stopped coming from your pipe. MICHELE (referring to the stevedores) Have they finished down there? GIORGETTA Do you want me to go down? MICHELE No, stay, I’ll go myself. GIORGETTA They’ve worked so hard! Like they promised, the hold will be empty, and we can load up tomorrow. STEVEDORES Ho! Heave ho! GIORGETTA We should reward them for their hard work: a good glass of something! MICHELE Well of course. You think of everything, you’ve a heart of gold! STEVEDORES Ho! Heave ho! One more turn! If we work slowly the boat will stay moored and Margot will go off with someone else. MICHELE Take them something to drink. GIORGETTA They’re coming to the end, it will strengthen them. MICHELE My wine will quench their thirst and refresh them. STEVEDORES Ho! Heave ho! One more turn! Don’t get tired, boatman; afterwards you can rest, and Margot will be happy. MICHELE (going towards Giorgetta affectionately) And haven’t you thought about me? GIORGETTA (moving away a little) About you? What? MICHELE (putting his arm around her) I’ve given up wine; but, although my pipe has gone out, my passion hasn’t. STEVEDORES Ho! Heave ho! One more turn! Now the hold has been emptied, the long day has ended and Margot will love you. MICHELE A kiss, my love... (He kisses her: Giorgetta gives him her cheek and not her lips to kiss. Michele goes off towards the hold and goes down into it.) LUIGI (crossing from the bank on to the barge) We’re choking, patronne! GIORGETTA I thought so. I’ve got what’s wanted. Just taste this wine! (She goes into the cabin.) TENCH (coming out of the hold with a load on his back) Damned sacks! Rotten world! Hurry up, Mole! We’re off to eat! MOLE (coming up from the hold with a load on his back) Stop hurrying! Don’t aggravate me! Oh, this sack is breaking my back! (shaking his head and wiping off the sweat with the back of his hand) God, it’s hot! Hey, Luigi, another round. LUIGI Here’s the round! Lads, we’re drinking! Here, all of you, quick! Quick! hurry! We’ll get the energy to finish from the wine! (They all surround Giorgetta who passes round the glasses.) GIORGETTA How oddly he talks! But certainly, wine for everybody! Here, Mole! Tench! Here, take it! MOLE We drink to your health! Raise your glasses! I drink! Cheers! As much happiness as the pleasure it brings! GIORGETTA Some more? MOLE It won’t be turned down! (Giorgetta refills Mole’s glass.) GIORGETTA (to the others) Bring up your glasses! LUIGI (pointing out an organ-grinder passing along the bank) Look at the barrel-organ there. It’s come at the right time. TENCH I drown my sorrows in this wine. I drink to the boss! Cheers! (to Giorgetta, who fills his glass again) Thanks, thanks. My one and only pleasure is found at the bottom of a glass. LUIGI (to the organ-grinder) Hey there, Maestro! Come here. (to his mates) Wait till you hear what an artist he is. GIORGETTA (to Luigi) There's only one sort of music I understand; dance-music. TENCH (coming forward) But of course! I'm always at your command, and best foot forward. GIORGETTA Ho! I'll keep you to your word. TENCH I'm dancing with the patronne! (Tench and Giorgetta dance. Luigi and Mole block their ears because of the out-of-tune organ. Tench cannot keep in step with Giorgetta.) LUIGI The music and the dancing are well matched! (to Tench) It looks as if you're scrubbing the floor. GIORGETTA Ouch! You've stepped on my foot! LUIGI (pushing Tench out of the way and taking his place) GO on, leave off, I’m here. (Luigi and Giorgetta dance; she abandons herself in his arms.) MOLE Lads, it’s the boss. (Michele appears from the hold. The dancing stops. Luigi signals to the organ-grinder to stop playing and gives him a coin. The organ-grinder goes off. Luigi and the other stevedores go down into the hold while Michele comes up to Giorgetta. She tidies her hair.) GIORGETTA (to Michele) Well, what do you think? Will we leave next week? MICHELE We’ll see. GIORGETTA Will Mole and Tench be staying? MICHELE Luigi will stay too. GIORGETTA YOU didn’t think so yesterday. MICHELE Well, I do today. GIORGETTA Why? A SONG-PEDLAR Who will buy the latest song? MICHELE Because I don’t want him to die of starvation. GIORGETTA He always gets by. MICHELE I know, he does, it’s true... THE SONG-PEDLAR Who will buy it? MICHELE ...and that’s why he doesn’t finish anything. GIORGETTA You never know with you who is doing well and who isn’t. THE SONG-PEDLAR Who will buy it? MICHELE I keep the ones who work. (A distant tug’s siren is heard.) GIORGETTA Already the evening is falling. Oh, such a red September sunset, a shiver of autumn! Isn’t it like a huge orange, the sun going down on the Seine? Look at Ferret over there! THE SONG-PEDLAR Who will buy it, with words and music? GIORGETTA Do you see her? She’s looking for her husband and won’t leave him in peace. MICHELE It’s only right; he drinks too much. GIORGETTA Don’t you know that she’s Jealous? (gazing quizzically at Michele) Oh, you’re in a bad mood, my husband. What’s wrong? What are you looking at? And why are you silent? THE SONG-PEDLAR Who will buy the latest song? (The song-pedlar comes into view on the road on the other side of the Seine, followed by a man carrying a little harp slung across his back. Some dressmakers are coming out of a dress shop and they surround him.) DRESSMAKERS Oh, good! Yes, yes! (The harpist sits down on a little portable stool and gets ready to play.) MICHELE Have I ever made scenes? GIORGETTA I know, you don’t beat me. THE SONG-PEDLAR Springtime, springtime, look no more for the two lovers... MICHELE What? Would you like me to? GIORGETTA Yes, sometimes instead of your silence I’d prefer to be bruised and beaten! THE SONG-PEDLAR ...there in the shadows of the evening. (Michele, without replying, goes back on to the barge, and starts to inspect a mooring-rope.) Springtime, springtime! She who lived for love died for love. That’s the story of Miml. (The girls buy the song-sheet.) GIORGETTA (having followed Michele) At least tell me what’s wrong. MICHELE Nothing, nothing. THE SONG-PEDLAR Knowing while she waits that she’s dying, counting the days, hour by hour, with the beats of her heart... GIORGETTA When we’re in Paris I feel happy. MICHELE Of course. GIORGETTA Why? THE SONG-PEDLAR ...counting the days, hour by hour. But the lover did not return, and Miml’s heart stopped beating. (The song-pedlar goes off, followed by the harpist; the girls, reading from the song-sheets they have bought, crowd together and leave, repeating the last lines of the song.) DRESSMAKERS Counting the days, hour by hour. But the lover did not return, and Mimì’s heart, lara, lara, lara, stopped beating. (Ferret has appeared on the bank, and crosses the gang plank on to the barge. On her shoulders she has an old bag stuffed with all sorts of things she has collected.) FERRET Oh, the great lovers, good evening! GIORGETTA Oh, good evening, Ferret. (Michele greets Ferret with a nod then goes off into the cabin.) FERRET Has my man finished work? This morning he could take no more with the pain in his back. I was really upset. But I cured it myself with a good massage, and his back drank up my rum! (She throws her bag on to the ground and rummages in it, pulling out various objects.) Oh, look, Giorgetta: a brand-new comb! if you want it I’ll give it to you. It’s the best thing I’ve picked up all day. GIORGETTA (taking the comb) They’re right to call you “Ferret”: you ransacked every corner and your bag is full. FERRET If you knew what curious things are contained in this bag! Look, look! This is for you, this aigrette. Laces and velvets, rags and Jars. Mixed up in here are strange objects, odd relics, the evidence of a thousand love stories. Joy and anguish I collect in here with no distinction between rich and poor. GIORGETTA And in that paper bag? FERRET Ox-heart for Corporal, my tawny-coloured tabby cat, with his funny look, there’s no cat like him. GIORGETTA Your tabby eat is spoilt. FERRET He deserves it! You should see him! He’s the most beautiful eat, my greatest romance. When my Mole is out, he keeps me company, and together we run our love affair with no spite and no Jealousy. Would you like to know his philosophy? Purr, purr, purr: better to be master in a hovel than a servant in a palaee. Purr, purr, purr, purr, purr: better to feed yourself on two slices of heart than waste away your own in love. MOLE (coming up from the hold, followed by Luigi) Ho! Look at my old woman! What were you talking about? FERRET I was talking to Giorgetta about our tabby eat. (A distant car horn is heard.) MICHELE (coming out of his cabin) Oh, Luigi, tomorrow we’ll be loading iron. Will you come and give us a hand? LUIGI I’ll come, patron. (Tench comes up from the hold, followed by the other stevedores who go off along the bank, having said goodnight to Michele.) TENCH Goodnight, everyone. MOLE (to Tench) Are you in such a hurry? FERRET Are you running off to get drunk? Oh, if I were your wife! TENCH What would you do? FERRET I would torment you until you stopped spending the night out drinking. Aren’t you ashamed? TENCH No, no, no! Wine is good for you! It drowns thoughts of rebellion: for if I drink I don’t think, and if I think I don’t laugh. Hal ha! ha! ha! (He walks away, laughing scornfully, while Michele goes down into the hold.) LUIGI (stopping Tench) You’re quite right; it’s better not to think, head down and bend your back. For us life is worth nothing any more, and every happiness turns to misery. Sacks on your backs and bow your head to the ground! If you look up, watch out for the whip. You earn your bread with the sweat of your brow, and a moment of love is snatched in secret. It is snatched between pain and fear, which cloud the most heavenly ecstasy. Everything is obstructed, everything is stolen from us, in the morning the day is already dark. You’re quite right; it’s better not to think, head down and bend your back! TENCH Follow my example: drink! GIORGETTA That’s enough! TENCH I’ll say no more. Till tomorrow, lads, and take care! (He walks away and disappears along the bank.) MOLE (to Ferret) Shall we go too? I’m tired out. FERRET Oh, when shall we ever be able to buy a cottage of our own? There we’ll rest. GIORGETTA That’s your obsession, the countryside. FERRET I’ve been dreaming of a cottage with a tiny little garden. Four walls, quite snug, and two pine trees for shade. My old man stretched out in the sun, Corporal at my feet, and waiting like that for death, which cures all ills. GIORGETTA My dream is quite different! I was born in the suburbs, and only the Paris air excites me, it excites and nourishes me. If Michele would one day leave this weary nomadic life! That’s no life in there between the bed and the stove. You should have seen my room, once! FERRET Where did you live? GIORGETTA Don’t you know? LUIGI Belleville! GIORGETTA Luigi knows it. LUIGI I was born there too. GIORGETTA He’s like me, he’s like me, it’s in his blood. LUIGI You can’t come away. GIORGETTA You need to have felt it. Belleville is our homeland, our world. We can’t live on the water. You need to put your feet on the pavement. There is a house, there are your friends, happy meetings and great friendliness. LUIGI Everyone knows everyone. It's all one family. GIORGETTA In the morning there's work waiting. In the evening, coming home in a crowd. The shops are lit up with lights and appealing things, cabs are crossing paths, Sundays are noisy. Little trips for two to the Bois de Boulogne. Open-air dances, flirting, loving. It's hard to say what it is, this longing, this strange nostalgia. GIORGETTA, LUIGI But whoever leaves the suburbs wants to come back, and if he comes back, he won't be able to leave. Over there is Paris calling to us, its thousand happy voices telling of its eternal enchantment. FERRET Now I understand you; life is different here. MOLE Should we go and eat? (to Luigi) What do you say? LUIGI I’m staying, I’ve got to talk to the boss. MOLE In that case, till tomorrow. FERRET Old friends, good night. (She goes off arm-in-arm with Mole.) FERRET, MOLE I’ve been dreaming of a cottage with a tiny little garden. Four walls, quite snug and two pine trees for shade. My old man stretched out in the sun, Corporal at my feet, and waiting like that for death, which cures all ills. (Distant voices are heard singing.) GIORGETTA Oh, Luigi! Luigi! (Luigi comes up to Giorgetta but she stops him with a gesture.) Watch out, he may come up in a moment. Stay far over there. LUIGI Then why do you make my suffering worse? And why do you call me for nothing? GIORGETTA I shiver all over if I think of last night, of the passion in your kisses! LUIGI You know what was in those kisses. GIORGETTA Yes, my darling, my darling, but be quiet. LUIGI What mad fear has come over you? GIORGETTA If he discovers us, he’ll kill us! LUIGI I prefer death to the fate which keeps you bound! GIORGETTA Oh, if we were alone, far away. LUIGI And always together. GIORGETTA And always in love. Tell me you won’t fail me. LUIGI (about to run to her) Never! GIORGETTA Watch out! (Michele appears from the hold.) MICHELE (to Luigi) What? Haven’t you gone? LUIGI Patron, I’ve been waiting because I wanted to have a word with you: firstly to thank you for keeping me on; then I wanted to ask you if you could take me to Rouen and drop me off there. MICHELE At Rouen? Are you mad? Things are depressed there, you would be worse off. LUIGI Okay. I’ll stay then. (Michele goes off towards the cabin.) GIORGETTA (to Michele) Where are you going? MICHELE To get the lanterns ready. LUIGI Goodnight, patron. MICHELE Good night. (He goes into the cabin.) GIORGETTA Tell me; why did you ask him to drop you in Rouen? LUIGI Because I cannot share you with him. GIORGETTA You’re right; it’s torture. I’m gripped by it too, I feel it too, a lot stronger than you, this chain. You’re right; it’s torture, torment, pain; but when you take me the reward is great. LUIGI We seem to be stealing something from life. GIORGETTA The pleasure is more intense! LUIGI This is the happiness snatched between pain and fear. GIORGETTA In an anxious embrace. LUIGI Between stifled cries, and endless kisses. GIORGETTA And muffled words. LUIGI And endless kisses. GIORGETTA Vows and promises... LUIGI ...for us to be alone. GIORGETTA Alone, far, far away. LUIGI Quite alone, far away from the world. (startled) Is it him? GIORGETTA No, not yet. Tell me you'll come back later. LUIGI Yes, in an hour's time. GIORGETTA Listen: the same as yesterday I'll leave the gangplank. I'm the one who takes it away. DO you have your plimsolls? LUIGI Yes. Will you give the same signal? GIORGETTA Yes, the lighted match. How it flickered at the end of my arm, the little flame. I seemed to be lighting a star, the flame of our love, a star that will not set. LUIGI I want your mouth, I want your arms. GIORGETTA SO you feel it too, the madness of desire? LUIGI The madness of Jealousy! I’d like to hold you close as my own. I don’t want to take any more, to bear another man touching you, and, to hide from everyone your divine body, I swear to you, I swear that I am not afraid to twist the knife and from drops of blood to fashion you a Jewel. (Giorgetta pushes Luigi away and he runs off quickly.) GIORGETTA HOW hard it is to be happy! (Michele comes from the cabin, carrying the lighted lanterns.) MICHELE Why don’t you go to bed? GIORGETTA What about you? MICHELE NO, not yet. GIORGETTA I think you were right to keep him on. MICHELE Who? GIORGETTA Luigi. MICHELE Perhaps I was wrong. Two men will be enough: there’s not much work. GIORGETTA You could get rid of Tench - he’s always drinking. MICHELE He gets drunk to drown his sorrows. His wife is a whore! He drinks so as not to kill her. (Giorgetta appears disturbed and nervous.) What’s wrong? GIORGETTA It’s all these stories which are of no interest to me. MICHELE (going towards Giorgetta with emotion) Why, why don’t you love me any more? Why? GIORGETTA You’re wrong, I do love you. You are good and honest. Now let’s go to sleep. MICHELE You don’t sleep. GIORGETTA You know why I don’t sleep. And then, I’m suffocated inside there. I can’t take it, I can’t take it! MICHELE The evenings now are so cool. And last year, there in that dark den there were three of us, our little boy’s cradle was there. GIORGETTA Our little boy! Be quiet, be quiet! MICHELE You would stretch out your hand and rock him gently, slowly, and then you would fall asleep on my arm. GIORGETTA I beg you, Michele, don’t talk about it. MICHELE They were evenings like these. If a breeze was blowing I would gather you together under the cloak as If In an embrace. I can feel your blonde heads on my shoulders. I can feel your mouths close to my mouth. I was so happy! Oh, so happy! Now that he’s no longer here my grey haIr seems lIke an Insult to your youth. GIORGETTA Oh, I beg you, Michele, don’t talk about It. Oh, no! MICHELE Oh, It seems like an Insult to your youth. GIORGETTA No, calm yourself, MIchele. I’m tIred, I can hardly stand up, come on. MICHELE But you can’t sleep! You know that you mustn’t sleep. GIORGETTA Why do you say that? MICHELE I don’t know. But I do know that you haven’t slept for a long time. (He tries to pull Giorgetta close to him.) Stay close by me. Don’t you remember other nights, other skies and other moons? Why do you close your heart? Remember the hours that used to fly past on this barge, borne away on the tide? GIORGETTA Don’t remember. Today it’s gloomy. MICHELE Oh, come back, come back to those days, come back and be mine, when you used to love me, and you would look for me passionately and kiss me. When you used to love me. Stay close by me! The night is beautiful! GIORGETTA What do you expect! People get older! I’m not the same any more. You’ve changed too. You don’t trust me, but why? MICHELE I don’t know myself. (A distant church clock chimes the hours.) GIORGETTA Goodnight, Michele. I’m faint with tiredness. MICHELE Well, on you go; I’ll Join you later. (Giorgetta goes into the cabin.) Slut! (Michele hangs out the red, green and white lanterns in their places on the barge. Meanwhile the shadows of two lovers pass by on the street.) TENOR A mouth like a fresh rose... SOPRANO And kisses of dew... TENOR Oh scented lips... SOPRANO ...oh scented evening... There is the moon... TENOR ...the moon that is spying on us... SOPRANO ...till tomorrow, beloved! TENOR ...tomorrow, my darling! SOPRANO Till tomorrow, beloved! TENOR Tomorrow, my darling! (From barracks in the distance a bugle calls “lights out”. Slowly and cautiously Michele goes towards the cabin, and listens closely.) MICHELE Nothing!...Silence! (creeping up to the cabin and squinting inside) She’s there. She hasn’t undressed, she’s not sleeping. She’s waiting. For whom? What is she waiting for? Who? Who? Perhaps it’s for me to go to sleep. Who has changed her? What hateful shadow has come down between us? Who has ensnared her? Mole? - Too old. Tench perhaps? No, no, he doesn’t think - he drinks. So who then? Luigi? No, if Just this evening he wanted to leave, and he asked me to drop him off in Rouen. So who then? Who then? Who can it be? To penetrate the darkness! To see, and to crush him like this, in my hands! And shout: it’s you, it’s you! And shout: it’s you, it’s you! Your livid face used to smile at my torment! It’s you! It’s you! come, come, come! Share this chain with me. Join your fate to mine. Down together into the deepest whirlpool. Share this chain with me. Join your fate to mine. Peace is found in death! (Worn out, he slumps to the ground. It is totally dark. He takes his pipe out of his pocket and lights it. After a few moments, Luigi, who has been waiting on the bank for the signal, runs across the gangplank and jumps on to the barge. Michele sees the shadow, starts, then lies in wait. He recognises Luigi, then suddenly pounces and grabs him by the throat.) I’ve got you! LUIGI Oh God! I’m caught! MICHELE NO screaming! What did you come for? Did you want your mistress? LUIGI It’s not true! MICHELE You’re lying! Admit it, admit it! LUIGI It’s not true! MICHELE Did you want your mistress? LUIGI (pulling out a knife) Ah, by God! MICHELE (grabbing Luigi’s arm and forcing him to drop the knife) Drop the knife! You won’t escape me, scum! Jailbird! Worm! You wanted to go down to Rouen, didn’t you? You’ll get there, dead, in the river. LUIGI Murderer, murderer! MICHELE Admit that you love her. Admit it, admit it! LUIGI Get off, get off, get off me! MICHELE No, villain, villains! If you confess, I’ll let you go. LUIGI Yes. MICHELE Say it again, say it again! LUIGI Yes, I love her. MICHELE Say it again, say it again! LUIGI I love her. MICHELE Say it again! LUIGI I love her. MICHELE Again. LUIGI I love her. Ah! (Luigi’s body, twisted in death, remains clinging to Michele.) GIORGETTA (from the cabin) Michele! Michele! (She opens the door of the cabin.) I’m scared, Michele. (Hearing Giorgetta’s voice, Michele quickly wraps Luigi’s body, which is still clinging to him, under his cloak, and sits down. Slowly Giorgetta comes up to Michele, looking around her nervously.) MICHELE I was quite right; you were not to sleep. GIORGETTA I’m sorry that I hurt you. MICHELE It’s nothing, your nerves. GIORGETTA Yes, that’s it, you’re right. Say that you forgive me. Don’t you want me close by you any more? MICHELE Where? Under my cloak? GIORGETTA Yes, close, close, yes. You once told me: “We all carry a cloak that conceals sometimes happiness, sometimes sorrow.” MICHELE Sometimes a crime. Come under my cloak! Come! Come! GIORGETTA (Michele rises frighteningly: he opens the cloak and Luigi’s body rolls out up to Giorgetta’s feet; he grabs Giorgetta, drags her over and presses her against the face of her dead lover.) Ah! End of Opera Characters Sister Angelica — soprano The Princess, her aunt — contralto The Abbess — mezzo-soprano The Sister Monitor — mezzo-soprano The Mistress of the novices — mezzo-soprano Sister Genevieve — soprano Sister Osmina — soprano Sister Dolcina — soprano The nursing sister (sick nurse sister) — mezzo-soprano The alms sisters — sopranos A novice — soprano The lay sisters — soprano and mezzo-soprano Offstage chorus of women, children, and men The action takes place in a convent in the latter part of the Seventeenth Century. At the back, beyond the right-hand arches, is the cemetery; beyond the left-hand arches is the garden. In the centre are cypresses, a cross, herbs and flowers. At the back, on the left, between yellow water-iris plants is a fountain, whose spray falls into an earthenware basin. A sunset in springtime. A ray of sunlight falls on the spray from the fountain. The stage is empty. The sisters are in the chapel, singing. CHORUS (offstage) Hail Mary, full of grace, the Lord is with thee. (Two lay sisters are late. They cross the scene, pause for a moment to listen to the bird-song from the cypresses, then they go into the chapel.) Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. (Sister Angelica is also late. She enters from the right and goes towards the chapel. She opens the door and does the penance for latecomers, which the lay sisters omitted to do: she kneels down and kisses the ground, then closes the door behind her.) Holy Mary, pray for us sinners. SISTER ANGELICA (offstage) Pray for us sinners, now and at the hour of our death. CHORUS Pray for us sinners, now and at the hour of our death. Amen. (The sisters come out of the chapel two by two. The abbess stops in front of the cross and the nuns bow to her as they pass. The abbess blesses them and, when all the sisters have gone past, she withdraws. The nuns do not disperse yet, but stay together, making a semi-circle of little groups. The sister monitor comes into the middle.) SISTER MONITOR (to the two lay sisters) Sisters in humility, you failed to keep quindene; as did Sister Angelica; she, however, did full penance. You sisters, on the other hand, sinned unthinkingly, and you have lost one day of quindene! ONE LAY SISTER I admit the fault and call for a heavy punishment, and the stricter it is, the more I shall thank you, sister in humility. (She waits to hear her penance.) MISTRESS OF THE NOVICES (explaining to the novices) Whoever arrives late for choir must kneel and kiss the ground. SISTER MONITOR (to the lay sisters) You will say to yourselves twenty times the prayer for the afflicted, for slaves and for those who are in mortal sin. ONE LAY SISTER With Joy and zeal! BOTH LAY SISTERS Christ the Lord, Loving Bridegroom, I wish only to please you, Loving Bridegroom, now and at the hour of my death. Amen. (They go off, contrite, under the right-hand arches.) SISTER MONITOR (to Sister Lucilla, handing her spinning materials) Sister Lucilla, to work. Be on your way, and keep silent. (Sister Lucilla goes off to spin thread.) MISTRESS OF THE NOVICES (to the two novices) Because this evening at choir she laughed and made others laugh. SISTER MONITOR (to Sister Osmina) You, Sister Osmina, you kept two scarlet roses hidden in your sleeves in chapel. SISTER OSMINA That’s not true! SISTER MONITOR Sister, go to your cell. (Sister Osmina shrugs her shoulders.) Don’t be slow! The Virgin is watching you! (Sister Osmina leaves; all eyes are upon her, and follow her as she goes under the arches and disappears into her cell.) SIX SISTERS Queen of Virgins, pray for her. (Sister Osmina slams her cell door shut.) SISTER MONITOR And now, sisters In joy, since It please the Lord, and to be able to return more joyfully to labour for the love of him, have some recreation! THE SISTERS Amen! (The sisters’ white figures scatter around the cloister and beyond the arches. Sister Angelica hoes the earth and waters the herbs and flowers.) SISTER GENOVIEFFA Oh sisters, sisters, I want to tell you that a ray of sunlight has come within the convent walls! Look where it is falling, there among the greenery! The sunlight is on the water-irises! The three evenings of the golden fountain are beginning! THE SISTERS That’s right: shortly we’ll see the water turn gold. ONE SISTER And for two more evenings. THE SISTERS It’s May! It’s May! It’s the lovely smile of Our Lady coming on that sunbeam. Queen of mercy, thank you, thank you. A NOVICE Mother, I ask permission to speak. MISTRESS OF THE NOVICES To praise the holy and beautiful always. THE NOVICE What is the special grace of the Virgin that is delighting the sisters? MISTRESS OF THE NOVICES A radiant sign of God’s goodness! For only three evenings in the year when we leave choir, God lets us see the sun falling on the fountain and turning it gold. THE NOVICE And on the other evenings? MISTRESS OF THE NOVICES Either we leave too early and the sun is still high or too late, and the sun has set. THE SISTERS Another year has passed! Another year has gone by! And one sister is missing. (A sad silence falls on the cloister; the sisters are absorbed in silent prayer, and seem to evoke an image of the sister who is no longer there.) SISTER GENOVIEFFA Oh sisters in holy works, when the spray is gleaming, when the spray has turned gold, wouldn’t it be good to take a pail of golden water to Bianca Rosa’s grave? THE SISTERS Yes, our sister who is resting would surely wish it. SISTER ANGELICA Desires are the flowers of the living, they do not blossom in the land of the dead, because the Virgin Mother gives her help and in her benevolence freely anticipates desire: before a desire can blossom the Mother of Mothers has granted it. Oh sister, death is life more beautiful! SISTER MONITOR Not even when we are alive can we have desires. SISTER GENOVIEFFA If they are slight and pure, why not? Do you not have a desire? SISTER MONITOR Not I! ONE SISTER Nor I! ANOTHER SISTER Not I! A NOVICE Not I! SISTER GENOVIEFFA I do, I confess it. (looking up) My gentle Lord, you know that before, in the world, I was a shepherdess. For five years I haven’t seen a little lamb; Lord, will it displease you if I say that I desire to see one little lamb, to be able to stroke it, to touch its damp nose and hear it bleat? if it is a sin, I offer you my Miserere mei. Forgive me, Lord, You who are the Lamb of God. SISTER DOLCINA I have a desire too! THE SISTERS Sister, we know what your desires are! Something nice to eat! Some tasty fruit! Greed is a serious sin! She’s greedy! She’s greedy! (Sister Dolcina looks upset and chastened.) SISTER GENOVIEFFA (together with some other sisters, approaching Sister Angelica) Sister Angelica, what about you? Do you have desires? SISTER ANGELICA (turning towards the group) Me? No, sister, no. (Sister Angelica turns back to her flowers. The sisters group together on the opposite side and mutter.) THE SISTERS May Jesus forgive her, she has told a lie! She has told a lie! A NOVICE Why? THE SISTERS We know that she has a great desire! She would like some word of her family. She has been in the convent more than seven years, with no news. And she appears resigned, but she is so troubled. (moving further away from Sister Angelica) In the world she was very rich; the abbess said so. She was a lady! A lady! A lady! A princess! They wanted her to enter, seemingly as a punishment. Why? Why? Who knows? Well? Well? (The group breaks up.) INFIRMARY SISTER (running up) Sister Angelica, listen! SISTER ANGELICA Oh, Infirmary sister, what has happened? Tell me! INFIRMARY SISTER Out In the garden there, Sister Chiara was pruning the roses on the trellis; suddenly a swarm of wasps came out and stung her right on her face! Now she’s in her cell, moaning. Oh sister, soothe her pain. THE SISTERS Poor thing! Poor thing! SISTER ANGELICA Wait, I have a herb and a flower. (She searches quickly among the herbs and flowers.) INFIRMARY SISTER Sister Angelica always has a good recipe made from flowers; she always finds some blessed herb to soothe pain. SISTER ANGELICA (to the infirmary sister, handing her a herb) Here, this is spurge; bathe the inflammation with the milk from it; (giving her another herb) and make a potion with this. Tell Sister Chiara that it will be very bitter, but it will do her good. And tell her, too, that wasp stings are small discomforts, and not to complain, because complaining increases the distress. INFIRMARY SISTER I shall tell her. Thank you, sister, thank you. SISTER ANGELICA I am here to serve. (Two almoner sisters enter from the left, leading a little donkey laden with goods.) ALMONER SISTERS Mary be praised! THE SISTERS For ever! (The sisters surround the donkey, while the almoner sisters unload the goods and pass them to the sister cellarer.) ALMONER SISTERS A good collection this evening, sister cellarer! FIRST ALMONER SISTER A skin of oil. SISTER DOLCINA Oh! Good! SECOND ALMONER SISTER Hazelnuts, six strings. FIRST ALMONER SISTER A little basket of walnuts. SISTER DOLCINA Good with salt and bread! SISTER MONITOR (reproving her) Sister! FIRST ALMONER SISTER Here’s flour! And here’s a small cheese, still seeping milk, as good as a cake; and a bag of lentils, some eggs, butter and that’s all. THE SISTERS A good collection this evening, sister cellarer! (The second almoner sister leads the donkey away.) FIRST ALMONER SISTER (to Sister Dolcina) For you, sister glutton... SISTER DOLCINA A little bunch of currants! Will you take some, sisters! THE SISTERS Thank you! Thank you! ONE SISTER Oh, if I take a berry, it will torture her! SISTER DOLCINA No, take some! THE SISTERS Thank you! Thank you! (They group together on the right eating the currants amid gentle laughter.) FIRST ALMONER SISTER Who came into the visiting room this evening? THE SISTERS No one. No one. Why? FIRST ALMONER SISTER A splendid carriage has stopped outside the main gate. SISTER ANGELICA (turning to the almoner sister, suddenly gripped by anxiety) What did you say, sister? There’s a carriage outside? A grand one? Grand? Grand? FIRST ALMONER SISTER A noble family’s. It must be waiting for someone who has come into the convent, and perhaps in a moment the bell of the visiting room will ring. SISTER ANGELICA Oh, tell me sister, what was the carriage like? Did it have a coat of arms? An ivory crest? And inside was it covered in deep blue silk embroidered with silver? FIRST ALMONER SISTER I don’t know, sister, I don’t know; I only saw a carriage, it was lovely! THE SISTERS (looking at Sister Angelica with curiosity) She’s turned white. Now she’s quite crimson! Poor thing! She’s upset! She’s upset! Poor thing! She’s hoping that they’re from her family! (A bell rings. The sisters come running up from all sides.) Someone’s coming to the visiting room! A visitor is coming! For whom? For whom? For whom? For whom can it be? ONE SISTER If only it were for me! If only it were my cousin bringing good lavender seed. ANOTHER SISTER For me! If only it were my mother bringing us the white doves. (Sister Genovieffa comes up to the group, pointing out Sister Angelica with pity.) SISTER ANGELICA (looking up to heaven) Oh Mother elect, read what is in my heart. Smile to the Saviour for me. SISTER GENOVIEFFA (to Sister Angelica) Oh sister in love, we pray to the Star of Stars that this visitor will be for you. SISTER ANGELICA Good sister, thank you, thank you. (The abbess enters.) THE ABBESS Sister Angelical (The abbess makes a sign to the sisters to leave; as they go, they see that the fountain has turned gold, and, taking a little pail of water, they go off towards the cemetery and disappear.) SISTER ANGELICA Mother, Mother, speakl Who is it? Who is it? Mother, speak I have been waiting for seven years, waiting for a word, for a letter. I have offered everything up to the Virgin in total expiation. THE ABBESS Offer up your present anguish to her as well. (Sister Angelica, drained, drops slowly to her knees and calms herself.) THE SISTERS (from the cemetery) Lord, grant her eternal rest, and let perpetual light shine upon her. May she rest in peace. Amen. Amen. SISTER ANGELICA Mother, I am calm and humble. THE ABBESS Your aunt, the Princess, has come to see you. SISTER ANGELICA Ah! THE ABBESS Obedience and necessity inform what is said in the visiting room. Every word is heard by the Holy Virgin. SISTER ANGELICA Let the Virgin hear me. Amen. (The abbess walks towards the visiting room door. Sister Angelica gets up and goes to the archway of the visiting room. Sister porter opens the door then waits at the side. We are now in the visiting room. A dark and severe figure passes in front of the abbess and sister porter. She carries herself with natural aristocratic dignity: it is the princess. She enters, walking slowly and leaning on an ebony stick. She comes to a halt and glances coldly at her niece, betraying no emotion. Seeing her aunt, Sister Angelica is gripped by emotion, but she restrains herself, since the figures of the abbess and sister porter can still be made out in the shadows. The doors close behind the two nuns. Sister Angelica, emotional and nearly fainting, goes up to her aunt, but the princess holds out her left hand, indicating that she will only allow her hand to be kissed. Sister Angelica takes the hand to her lips and then falls to her knees as her aunt sits down. Sister Angelica never takes her eyes off the old woman's face: she gazes at her pleadingly and pitifully. Her aunt, on the other hand, looks deliberately straight ahead.) THE PRINCESS Prince Gualtiero, your father, Princess Clara, your mother, when they approached death twenty years ago, (She breaks off to cross herself.) they entrusted their children to me with the entire family estate. I was to divide it when I decided it was convenient, and in total fairness. This is what I have done. Here is the document. You may peruse it, discuss it, sign it. SISTER ANGELICA I stand before you after seven years. Let this holy place inspire you. It is a place of mercy, a place of pity. THE PRINCESS Of penance. I have to inform you of the reason why I have come to this division. Your sister Anna Viola is to be married. SISTER ANGELICA Married! Little Anna Viola married? My little sister? Oh, oh, it’s seven years! Seven years have passed! Oh, oh! Oh my little blonde sister, about to marry, oh my little sister, may you be happy! And whose ring will she wear? THE PRINCESS Someone who for love has pardoned the sin with which you stained our white crest. SISTER ANGELICA My mother’s sister, you are unrelenting! THE PRINCESS What are you saying? And what can you be thinking? Unrelenting! Unrelenting! Do you invoke your mother against me? Against me! Do you invoke your mother against me? Often, in the evening, there in our chapel, I reflect. In the silence of those reflections it seems that my spirit leaves me to meet with your mother’s in mysterious, supernatural dialogue. How distressing it is, how distressing it is to hear the dead lamenting and weeping! When the mystical ecstasy disappears I retain one single word for you: Atone! Atone! Offer my Justice up to the Virgin. SISTER ANGELICA I have offered everything up to the Virgin, yes everything. But there is one sacrifice I cannot make; to the gentle Mother of Mothers I cannot offer to forget my son! My son! My son, my son! My son! The baby that was taken away from me! My son, whom I have seen and kissed only once! My baby! My baby far away! This is the word that I have called out for seven years! Tell me about him! How is he, how is my son? What is his sweet face like? What are his eyes like? Tell me about him, about my son! Tell me about him! (The princess is silent.) Why are you silent? Why, why? Another moment of this silence and you will be damned for eternity! The Virgin is listening to us and She will Judge you! THE PRINCESS Two years ago he was struck by a cruel disease. Everything was done to save him. SISTER ANGELICA He’s dead? Everything was done to save him. Ah! (Sister Angelica suddenly falls to the ground. Her aunt gets up to help her, thinking she has fainted, but, noticing Angelica's sobbing, she stops herself. She turns towards a holy picture on the wall and with both hands leaning on the stick, bows her head and prays in silence. There is now the half-light of evening in the visiting room. Sister porter comes in carrying an oil-lamp which she puts down on the table. The princess turns and speaks softly to sister porter. The sister leaves, then returns with the abbess. She brings in a small table, a pen and ink. Hearing the two sisters come in, Sister Angelica turns round, understands and in silence drags herself to the table and signs the document. The two sisters leave. The princess takes the paper and goes towards her niece, but Sister Angelica draws back. The princess then goes to the door and taps with her stick. Sister porter opens the door, enters, and taking the lamp, walks out ahead of the princess who follows her. At the threshold she turns to glance at her niece, then she leaves and disappears. Sister porter closes the door. Evening has fallen; in the cemetery the sisters are lighting candles at the graves.) Without your mother, my baby, you died. Your lips, without my kisses, faded and grew cold, cold, oh my baby, and you closed your lovely eyes. Not able to cuddle me, you crossed your little hands on your chest. And you died without knowing how much your mother here loved you. Now that you are an angel in heaven, now you can see your mother. You can come down through the firmament and I can feel you hovering round me. You’re here, you’re here, you kiss and caress me. Oh, tell me, when shall l see you in heaven? When shall I kiss you? Oh, sweet end to all my sadness! When shall I ascend into heaven to you? When may I die? When may I die, may I die? Tell your mother, lovely baby, with a tiny twinkling of a star. Speak to me, speak to me, my love, my love, my love! (The sisters, coming from the cemetery, approach Sister Angelica and surround her.) SISTER GENOVIEFFA Sister, oh good sister, the Virgin has answered your prayer. THE SISTERS You must be happy, sister, the Virgin has given her grace. SISTER ANGELICA Grace has come down from heaven, already I am utterly on fire with it, it is glowing, glowing. Sisters, now I can see the goal. THE SISTERS Amen. SISTER ANGELICA Sisters, I am happy, I am happy! Let us sing! Now there is singing in heaven. Let us praise the Holy Virgin! THE SISTERS Let us sing! Now there is singing in heaven. Amen. (The signal of the clappers is heard in the background. The sisters go off to their cells; each opens the door of her cell, goes in and closes the door behind her.) Let us praise the Holy Virgin! Let us praise the Holy Virgin! SISTER ANGELICA Ah, let us praise her! THE SISTERS Amen. SISTER ANGELICA (from her ceil) Grace has come down from heaven. (Night has fallen. Above the chapel the stars have come out, and moonlight is falling on the cypresses. Sister Angelica comes from her cell, holding an earthenware bowl. Putting it down, she collects some stones and builds a little stove with them. She gathers twigs and branches, bundles them together and puts them in between the stones. She goes to the fountain and fills the bowl with water, then with a flint lights the fire and puts the bowl in place to boil. She goes gathering herbs and flowers.) “Sister Angelica always has a good recipe made with flowers.” My friendly flowers, who keep drops of poison in your tiny breasts, oh, I have lavished so much care on you. Now you reward me. Through you, my flowers, I shall die. (She turns to face the cells.) Farewell, good sisters, farewell, farewell! I am leaving you for ever. My son has called me. In the light of a star his smile appeared to me, he said: “Mummy, come to Paradise!” Farewell! Farewell! Farewell, little chapel! I prayed so much in you. You kindly accepted prayers and tears. Holy grace has come down to me! I am dying for him and I shall see him again in heaven. Ah! (She embraces the cross, kisses it and, bending down, takes the bowl and drinks the poison; then she leans against a cypress tree and drops the bowl. The clouds cover the moon and the scene turns dark. Her act of suicide brings her back to reality.) Oh, I am damned! I have killed myself, I have killed myself! I am dying, I am dying in mortal sin! (She drops to her knees in despair.) O Mother of God, Mother of God, save me, save me. For the love of my son! CHOIR (offstage, in the distance) Queen of virgins, hail, Mary! SISTER ANGELICA I’ve gone mad! CHOIR Mother most chaste, hail, Mary! SISTER ANGELICA Do not let me die in damnation! CHOIR Queen of peace, hail, Mary! SISTER ANGELICA Give me a sign of grace, give me a sign of grace, Mother of God! Mother of God! Save me! (The miracle begins. The little chapel is flooded with light. The door opens slowly to reveal the church filled with angels.) CHOIR Oh glorious among virgins, exalted amid the stars. He who created you, when small, was fed with the milk of your breast. SISTER ANGELICA Oh Mother of God, save me! A mother begs you, a mother beseeches you! Oh Mother of God, save me! CHOIR What unhappy Eve destroyed, you restore with the fruit of your womb. So that poor sinners may rise to the stars you open the gates of heaven. Glorious among virgins, hail, Mary! (The Queen of solace appears in the doorway, and in front of her, a blond child, all in white. The Virgin directs the little boy towards his dying mother.) SISTER ANGELICA Ah! CHOIR Queen of virgins! SISTER ANGELICA Ah! CHOIR Faithful Virgin! Holy Mary! Glorious among virgins! Hail, Mary! (The child takes a first step.) Mother most pure! Hail, Mary! (The child takes a second step.) Tower of David! Hail, Mary! (The child takes a third step. Sister Angelica falls back gently and dies. The miracle continues to glow.) End of Opera Characters Gianni Schicchi (age 50) — baritone Lauretta, his daughter (age 21) — soprano Zita, cousin of Buoso Donati (age 60) — contralto Rinuccio, Zita's nephew (age 24) — tenor Gherardo, Buoso's nephew (age 40) — tenor Nella, Gherardo's wife (age 34) — soprano Gherardino, their son (age 7) — soprano or treble Betto di Signa, Buoso's brother-in-law, poor and shabbily dressed, of uncertain age — bass Simone, cousin of Buoso (age 70) — bass Marco, Simone's son (age 45) — baritone La Ciesca, Marco's wife (age 38) — mezzo-soprano Maestro Spinelloccio, a doctor — bass Ser Amantio di Nicolao, a notary — baritone Pinellino, a cobbler — bass Guccio, a dyer — bass Place: Florence Time: 1299. The action takes place in Florence in 1299. The scene is Buoso Donati’s bedroom. The main door is on the left; beyond it are the landing and the staircase. Glass doors lead out on to a terrace with a wooden railing which runs round the house. On the left, through a large window at the back, Arnolfo’s tower can be seen. At the right hand wall is a small stairway leading to a gallery with a cabinet and a doorway. Under the stairs is another small door. The bed is at the back, on the right; there are four candlesticks round it, each with a lit candle. In front of the bed is a candelabra with three unlit candles. The drapes round the bed are slightly open and behind them can be seen a red blanket covering a body. Buoso’s relatives are on their knees praying, round the bed. Gherardino is sitting on the floor beside the wall on the left. He has his back turned to the relatives and is amusing himself playing marbles. It is nine o’clock in the morning and sunlight merges with the candlelight. Buoso’s relatives are muttering a prayer, while Marco, old Zita and Ciesca are wailing with grief. ZITA Poor Buoso! SIMONE Poor cousin! RINUCCIO Poor uncle! CIESCA, MARCO Oh, Buoso! NELLA, GHERARDO Buoso! BETTO Oh brother-in-law! Oh bro- (Gherardino pushes a chair over, and the relatives, on the pretext of hushing him, direct their displeasure at Betto.) ALL Sh! GHERARDO I’ll be weeping for days and days! (to Gherardino who is tugging at his clothes and whispering something in his ear) Sh! NELLA Days? For months! (to Gherardino) Sh! CIESCA Months? For years and years! ZITA I’ll be mourning you all my life! CIESCA, MARCO Poor Buoso! ZITA (pushing Gherardino away) Gherardo, take him away! (Gherardo gets up, grabs his son by the arm and jerks him out of the door on the left.) ZITA, CIESCA, RINUCCIO, MARCO, SIMONE Oh, Buoso, Buoso, all our lives we shall be mourning your passing. CIESCA We’ll be mourning... RINUCCIO We’ll be mourning. ZITA Buoso, Buoso! CIESCA ...all our lives. (They all start to pray again, except Betto and Nella who are whispering to each other.) NELLA What? Really? BETTO That’s what they say in Signa. RINUCCIO (to Nella) What do they say In Signa? NELLA They say that... (She whispers to Rinuccio.) RINUCCIO What?! BETTO That’s what they say in Signa. CIESCA (to Betto) What do they say in Signa? BETTO They say that... (He whispers to Ciesca.) CIESCA No!? Marco, do you hear what they say in Signa? They say that... (She whispers to Marco.) MARCO Eh?! ZITA Well, may we all know... BETTO That's what they say In Slgna. ZITA ...what the devil do they say In Slgna? BETTO There are rumours, bits of gossip. They were saying yesterday evening round at Cisti the baker's: “If Buoso pops off, it will be manna for the monks. They'll be saying: Tummy, it's Christmas!” And someone else said: “Yes, yes, yes, in his will he's left everything to a monastery.” SIMONE What?! Who says so? BETTO That's what they say in Signa. SIMONE Is that what they say in Signa??? THE OTHERS That’s what they say in Signa. (The relatives stay on their knees, but with no thought of praying now. They look at each other, shocked.) GHERARDO Oh Simone? CIESCA Simone? ZITA What do you say - you’re the oldest. MARCO You’ve also been mayor of Fucecchio. ZITA What do you think? MARCO What do you think? SIMONE (after pondering for a moment) If the will is in the hands of a lawyer, who knows? Perhaps we’ll be unlucky! But if he has left it in this room, unlucky monks, but hope for us. THE OTHERS Unlucky monks, but hope for US. (They all spring up suddenly.) RINUCCIO (to himself) Oh Lauretta, my love, let’s put our hopes on my uncle’s will! (A frantic hunt beings. Betto catches sight of a silver salver with a silver knife and pair of scissors on top. He stretches out his hand cautiously to snatch the things on the salver, but a false alarm from Simone interrupts him.) SIMONE Ah! (They all turn round; Betto pretends to be looking elsewhere. Simone looks more closely at a document.) No. It’s not it. (The search beings again; Betto snatches the scissors and knife, slips them into his sleeve and drops them into his pocket. Now he tries to steal the salver; he stretches out his hand, but a false alarm from Zita makes everyone turn round.) ZITA Ah! (poking her head into the cabinet) No. it isn’t there. (The search beings again, more frenzied than before. The exasperated relatives no longer know where to look; they fling everything in the room into the air; they rummage through drawers, cupboards, cabinets and under the bed. Documents and papers fly through the air. Rinuccio has gone up to the cabinet at the top of the stairs and manages to open it.) MARCO Where can it be? SIMONE, BETTO NO, it isn’t there! RINUCCIO We’re saved! We’re saved! Buoso Donati’s will. (They all run up with arms outstretched to seize the will, but Rinuccio keeps the roll of parchment in his left hand and holds out his right hand to fend off the onslaught of the relatives.) Aunt, I’m the one who found it! in return, tell me: if uncle, poor uncle, has left me well-off, if we’ll all be rich soon, on a happy day like this, would you consent to my marrying Lauretta, Sohioohi’s daughter? My inheritance will seem sweeter if I oan marry her on May Day. BETTO Oh yes! GHERARDO Oh yes! CIESCA, MARCO, SIMONE Oh yes! NELLA, GHERARDO There’s time to disouss it later. RINUCCIO I oould marry her on May Day. GHERARDO, MARCO Quick, give us the will! CIESCA Can’t you see that we’re all on edge? RINUCCIO (giving the will to Zita) Aunt! ZITA If everything goes as we hope it will, marry who you like, even the devil’s daughter! RINUCCIO Oh, uncle loved me very much, he’s sure to have left me with my pockets full! (to Gherardino, who has come back into the room) Run over to Gianni Schicchi’s and tell him to come here with Lauretta: Buoso’s nephew Rinuccio is expecting him. (giving him two coins) Here are two popolinos: buy yourself some sweets. (Gherardino runs off. Zita goes to the table and sits down at it: the relatives follow and surround her. Zita looks for the scissors to cut the ribbons of the scroll; not finding them, she looks suspiciously round the relatives. She breaks the ribbon with her hands, disclosing a second parchment which is wrapped around the will.) ZITA (reading) “To my cousins Zita and Simone.” SIMONE Poor Buoso! ZITA Poor Buoso! (In a rush of anticipated gratitude, Simone lights the three unlit candles.) SIMONE YOU must have all the candles! They must burn right down to the foot. Yes, enjoy them, enjoy them! Poor Buoso! THE RELATIVES Poor Buoso! If only he’s left me this house! And the mills at Signa! And the mule! If only he’s left me... ...the mule and the mills at Signa! The mills at Signa! The mule, the mi - ZITA Quiet! It’s open. (Zita is in the middle, holding the will; the others cluster behind her. All their faces are absorbed in reading. Suddenly their faces begin to cloud over, gradually turning to looks of tragedy. Zita slumps into a chair, dropping the will. Simone puts out the three candles, closes the drapes round the bed and then puts out the rest of the candles. The other relatives each find a chair or a chest to fall on to, and they sit in silence, with glazed eyes.) SIMONE SO it was true! We shall see the monks grow fat at the Donati’s expense! CIESCA All those lovely florins he saved up finishing in the monks’ habits! MARCO Robbing all of us of a living, and letting the monks wallow in plenty. BETTO I shall have to limit my drinking at Signa, while the monks drink the fruit of the vine. ZITA, CIESCA, NELLA They’ll have to keep widening their robes, we’ll burst with rage and they’ll burst with goodies! RINUCCIO My happiness will be stolen by the “Holy Works of Santa Reparata”! GHERARDO Open the monastery pantries! Be happy, brothers, and sharpen your teeth! ZITA Here you are - the first fruits from the market! Lick your lips! Here, poor brothers; plump thrushes! SIMONE Meaty quails! NELLA Larks! GHERARDO Ortolans! ZITA Warblers! SIMONE Meaty quails! Fatted geese! ZITA Ortolans! BETTO And cockerels! CIESCA, NELLA, RINUCCIO, GHERARDO Cockerels? ALL The youngest cockerels! RINUCCIO The tenderest young cockerels! ZITA, MARCO And with your rosy, well-fed faces, laugh at us: ha! ha! ha! ha! SIMONE, BETTO And with your rosy, well-fed faces, your cheeks gushing with health: CIESCA, NELLA, GHERARDO, then with RINUCCIO Larks and cockerels!! There’s a Donati! ALL Ha! ha! ha! There he is! There is a Donati! Ha! ha! ha! There he is! And he wanted the inheritance! Have a laugh, brothers, have a laugh at the Donati’s expense! Ha! ha! ha! ha! ZITA Who would ever have said that when Buoso went to the grave we would be weeping in earnest! (Slowly, they each look again for a seat to collapse on to.) ZITA, CIESCA, NELLA And is there no way... SIMONE, BETTO ..to change it? ZITA, MARCO ...to get round it? GHERARDO ...soften it? MARCO Oh Simone, Simone? ZITA You are the oldest. MARCO And you’ve also been mayor of Fucecchio. (Simone shakes his head to show that there is no solution.) RINUCCIO There is only one person who can advise us, perhaps save us. THE OTHERS Who? RINUCCIO Gianni Schicchi. THE OTHERS Oh! ZITA AS for Gianni Schicchi and his daughter, I don’t want to hear them mentioned again. Do you understand? GHERARDINO (running in) He’s coming now. THE RELATIVES Who? GHERARDINO Gianni Schicchi! ZITA Who called for him? RINUCCIO I sent for him because I was hoping - THE RELATIVES This is a fine time to have Gianni Sehioohi under our feet! etc. ZITA Oh, watch out! If he comes up I’ll fling him down the stairs! GHERARDO (to Gherardino, spanking him) You should do only what your father tells you; take that, and that! (He pushes him into the room at the top of the stairs.) SIMONE Imagine a Donati marrying the daughter of a peasant! ZITA Someone come up to Florence from the country! imagine being related to newcomers! I will not have him here! I won’t! RINUCCIO You’re mistaken. He’s crafty, astute. He knows everything about the traps in the law and the codex. A wag! A Joker! is there some new, rare practical joke going round? it’s Gianni Schicchi who set it up. Shrewd eyes light up his funny face with laughter, and his huge nose throws a shadow Just like an old ruined tower. He’s from the country? Well, so what? Enough of this petty, small-minded prejudice! Florence is like a tree in flower, whose trunk and branches are found in the piazza dei Signori, but its roots bring new strength in from the fresh fruitful valleys. Florence grows and solid palaces and slim towers rise up to the stars! Before the Arno runs to the sea, singing, it kisses the piazza Santa Croce, and its song is so sweet and resonant that the streams chorus in to join it. In this way artists and scientists have joined to make Florence richer and more splendid. And from the castles of Val d’Elsa welcome Arnolfo, come down to build his beautiful tower. And Giotto came from leafy Mugel, and Medici, the valiant merchant. Enough of narrow-minded malice and spite! Long live the newcomers and Gianni Schicchi! (A knock is heard at the door.) It’s him! (He opens the door; Gianni Schicchi comes in, followed by Lauretta.) GIANNI SCHICCHI (stopping at the threshold and looking at the line of grieving relatives in amazement.) What expressions of dismay and sorrow!... RINUCCIO Lauretta! LAURETTA Rino! GIANNI SCHICCHI ...Buoso Donati must have got better! RINUCCIO My darling! LAURETTA Why so pale? RINUCCIO Alas, my uncle... LAURETTA Well, tell me. RINUCCIO My love, my love, it’s so sad. LAURETTA So sad. (Slowly, Schicchi comes forward into the room and sees the candlesticks round the bed.) SCHICCHI (aside) Oh, he’s gone? Why are they crying? They’re better than strolling players for acting! (aloud) Oh, I can understand your grief at such a loss. I’m deeply sorry. GHERARDO Oh, the loss really has been great! SCHICCHI Oh, these things... But, what can you do? In this world you lose one thing, you find another, you lose Buoso, but there’s the inheritance! ZITA Exactly! For the monks! SCHICCHI Ah! Disinherited? ZITA Disinherited! Yes, yes, disinherited! And that’s why I’m saying; take your daughter and go. I’m not giving my nephew to a girl who has no dowry. RINUCCIO Oh aunt, I love her, I love her! LAURETTA Daddy, daddy, I want him! SCHICCHI Daughter, have some pride! ZITA I don’t care in the slightest! SCHICCHI Well done, old woman! Well done! For a dowry you’d sacrifice my daughter and your nephew! Well done, old woman! Well done! Old skinflint! Miser! Mean, tight-fisted, stingy! (leading Lauretta off to the left) Oh, come on, come on! Have some pride! Come on, come on! LAURETTA Rinuccio, don’t leave me! You promised me in the moonlight at Fiesole! YOU promised me when you kissed me! NO, don’t leave me! NO, don’t leave me, Rinuccio, no! RINUCCIO My Lauretta, remember, you swore your love to me! And that evening Fiesole was like a flower. Remember, remember, my love, my love. ZITA And he insults me! Without a dowry I won’t, I won’t give my nephew, I won’t give my nephew! Rinuccio, come on. Let them go. YOU would be asking for disaster! Come on, come on. LAURETTA, RINUCCIO Farewell to our bright hopes, every last ray has died, we won’t be able to marry on May Day. SCHICCHI Oh, come on, Lauretta, come on, dry your eyes, your new relations would be misers. Have some pride! Oh, come on, come on! ZITA Well come on! Rinucclo, come on. Well come on, come on. Let them go. Off, on your way! THE RELATIVES Lovers’ tlffs as well! LAURETTA Daddy, I want him! RINUCCIO Oh aunt, I want her! ZITA And I won’t have it! SCHICCHI Have some pride! THE RELATIVES A fine time! Think of the will! SCHICCHI Old skinflint, stingy, mean... THE RELATIVES Think of the will! ZITA Well come on, come on! SCHICCHI ...tight-fisted old woman, away! LAURETTA, RINUCCIO My love! SCHICCHI Go away! Oh, come on, come on! ZITA NO, no, I won’t have it! Get out! THE RELATIVES Think of the will! LAURETTA, RINUCCIO My love! ZITA NO, no, no! SCHICCHI Come on, come on, come on! RINUCCIO (stopping Schicchi) Mister Giovanni, stay for a moment. (to Zita) Instead of shouting give him the will. (to Schicchi) Try to save us! You can’t be lost for some marvellous idea, a discovery, a solution, a way out, a resource! SCHICCHI For these people? No, no, no! LAURETTA (kneeling in front of her father) Oh, dear daddy, I like him, he’s handsome, he’s handsome; I want to go to Porta Rossa to buy the ring! Yes, yes, I want to go there! And if it’s useless to love him, I’ll go to the Ponte Vecchio and throw myself into the Arno! I am pining, I am tortured! Oh God, I could die! Daddy, have pity, have pity! Daddy, have pity, have pity! SCHICCHI Give me the will! (Rinuccio gives the will to Gianni who then walks up and down, totally absorbed in reading it. The relatives start off following him with their eyes, but end up walking up and down behind him. Schicchi stops suddenly.) NO way out! LAURETTA, RINUCCIO Farewell to our bright hopes, our sweet mirage; we won’t be able to marry on May Day! (Gianni Schicchi begins pacing up and down again, reading through the will more carefully.) SCHICCHI (stopping suddenly) NO way out! LAURETTA, RINUCCIO Farewell to our bright hopes, every last ray has died, SCHICCHI However!... LAURETTA, RINUCCIO Perhaps we shall be able to marry on May Day! (The relatives surround Schicchi, watching him anxiously. Schicchi stands still in the middle of the room, making measured gestures and gazing in front of him. Gradually a triumphant smile breaks out on his face.) THE RELATIVES Well? SCHICCHI Laurettina, go out on to the terrace; take some nice crumbs for the little bird. (stopping Rinuccio who is following Lauretta) On your own. (As soon as Lauretta has left, Schicchi turns back to the relatives.) No-one knows that Buoso has breathed his last? THE RELATIVES No-one. SCHICCHI Good! No-one must know yet. THE RELATIVES No-one will find out. SCHICCHI And the servants? ZITA Since he grew worse no-one has been in the room. SCHICCHI (to Marco and Gherardo) You two take the corpse and the candlesticks Women, make up the bed! ZITA, CIESCA, NELLA But - SCHICCHI Hush, do as I say! (Marco and Gherardo disappear behind the drapes round the bed, then they come back out with a red-coloured bundle which they carry into the room on the right. Simone, Betto and Rinuccio take away the candlesticks while the women begin to make the bed up again. A knock is heard at the door: everyone freezes.) THE RELATIVES Ah! SCHICCHI Who can it be? Ah! ZITA Master Spinelloccio, the doctor! SCHICCHI Don’t let him in. Tell him something, that Buoso is better and that he’s resting. (The relatives crowd together at the door, barely letting it open. Schicchi hides behind the drapes on the bed while Betto closes the shutters.) MASTER SPINELLOCCIO May I? THE RELATIVES Good morning, Master Spinelloccio. ZITA, MARCO, BETTO He’s better! CIESCA, RINUCCIO, GHERARDO He’s better! NELLA He’s better! SIMONE He’s better! MASTER SPINELLOCCIO Has there been some improvement? ZITA, SIMONE, BETTO Yes indeed! CIESCA, NELLA, MARCO Yes indeed! MASTER SPINELLOCCIO What strength science has risen to! Well, let’s have a look, let’s have a look. (Spinelloccio tries to come in but the relatives stop him.) ZITA, MARCO No! He’s resting. MASTER SPINELLOCCIO But I - CIESCA, SIMONE He’s resting. SCHICCHI (imitating Buoso’s voice) No, no, Master Spinelloccio. (At Schicchi’s impersonation the relatives give a jolt, then they realise that it is Schicchi imitating Buoso’s voice.) MASTER SPINELLOCCIO Oh! Master Buoso! SCHICCHI I’d so like to rest, could you come back this evening? I’m almost asleep. MASTER SPINELLOCCIO Yes, Master Buoso. But you’re better? SCHICCHI I’ve come back to life. Till this evening. MASTER SPINELLOCCIO Till this evening. (to the relatives) Even from his voice I can tell he’s better. Ah! No patient has ever died on me. I don’t make any claims, the credit all belongs to the school of Bologna. THE RELATIVES Till this evening, doctor. MASTER SPINELLOCCIO Until this evening. (The relatives close the door and turn round to face Schicchi who has come out of hiding. Betto opens the shutters again, letting the light in.) SCHICCHI Was my voice like his? THE RELATIVES Exactly the same! SCHICCHI Oh, victory! Victory! Don’t you understand? THE RELATIVES No! SCHICCHI Oh, what blockheads! You run to the notary’s; “Master notary, quick! Come over to Buoso Donati’s. He’s grown much worse. He wants to make his will. Bring the papers along with you; quickly, master, or it will be too late!” And the notary arrives. He comes in; the room is half in darkness, in the bed the figure of Buoso can be made out. On his head is the night-cap, round his mouth, the handkerchief. Between cap and handkerchief is a nose which looks like Buoso’s but instead is mine, because in place of Buoso there am I! I, Schicchi, with another voice, another shape, pretending to be Buoso Donati, giving instructions and making a will. O, my people, this mad conception, springing from my imagination is enough to defy eternity! THE RELATIVES Schicchi! Schicchi! Schicchi! (Choked with emotion, the relatives surround Gianni Schicchi, kissing his hands and clothes.) Schicchi! Schicchi! Schicchi! etc. ZITA (to Rinuccio) GO, run to the notary’s. RINUCCIO I’ll run to the notary’s. (He runs out.) THE RELATIVES Dear Gherardo, Marco, Zita, Ciesca, etc. SCHICCHI Oh, such emotion! THE RELATIVES Nella, Ciesoa, Schicchill Schicchill Sohioohil Sohioohil Gherardo, Maroo, Zita. Oh joyful day! A lovely joke on the monks! Sohioohil Sohioohil Sohioohil SCHICCHI Oh, suoh emotionl Oh, suoh emotionl (The relatives hug and kiss each other emotionally.) THE RELATIVES Family affection iS lovely! Family affection is lovely! SIMONE Oh Gianni, let’s have a think now about how to divide things; the money in cash? THE RELATIVES In equal parts! SIMONE I’ll have the holdings at Fucecchio. ZITA I’ll have those at Figline. BETTO I’ll have those at Prato. GHERARDO We’ll take the properties at Empoli. MARCO I’ll have those at Quintole. BETTO I’ll have those at Prato. SIMONE And those at Fucecchio. ZITA That would still leave the mule, this house and the mills at Signa. MARCO They’re the best things. SIMONE Ah, I understand, I understand. Because I’m the oldest and have been mayor of Fucecchio, you want to give them to me. I thank you. ZITA No, no, no, no! Just a moment! if you are old, that’s your worry! That’s your worry! THE RELATIVES Listen to him, listen to him, the mayor! He wants the best of the estate! The house, the mule, the mills at Signa should come to me! The mule, the mills, the house should come to me! The house, the mills should come to me! etc. SCHICCHI How lasting family affection is! Ha! ha! ha! ha! ha! ha! ha! ha! ha! ha! etc. (A death knell is heard tolling. All the relatives are stunned into silence.) THE RELATIVES They’ve found out! They’ve found out that Buoso’s croaked! (Gherardo rushes out down the stairs.) SCHICCHI The game is up! LAURETTA (appearing from the terrace) Daddy, what should I do? The little bird doesn’t want any more crumbs. SCHICCHI Give him something to drink now! (Lauretta disappears back on to the terrace. Gherardo comes back, panting.) GHERARDO The Captain’s baptised Moor has had an accident. THE RELATIVES Rest in peace! SIMONE As for the house, the mule and the mills, I suggest we leave them to Schicchi’s honesty and sense of justice, THE RELATIVES We’ll leave it up to Schicchi! SCHICCHI As you wish, Give me the things to bet dressed, Quickly, quickly! (From a chest, Zita, Nella and Ciesca take a handkerchief, a night-cap and a night-shirt belonging to Buoso and gradually take them over to Schicchi and dress him.) ZITA Here is the night-cap! (under her breath, to Schicchi) If you leave me the mule, this house and the mills at Signa, I’ll give you thirty florins, SCHICCHI Very well! (Zita goes off, rubbing her hands. Simone comes up nonchalantly to Schicchi.) SIMONE If you leave me the house, the mule and the mills, I’ll give you a hundred florins, SCHICCHI Very well! BETTO (approaching Schicchi furtively) Gianni, if you leave me this house, the mule and the mills at Signa, I’ll gorge you with money! SCHICCHI Very well! (Nella consults privately with Gherardo, then she comes up to Schicchi.) NELLA Here’s the handkerchief! (under her breath) If you leave us the mule, the mills at Signa and this house, you’ll choke with florins! SCHICCHI Very well! (Ciesca whispers to Marco then comes up to Schicchi.) CIESCA And here is the night-shirt. (under her breath) if you leave us the mule, the mills at Signa and this house, you’ll have a thousand florins! SCHICCHI Very well! (All the relatives rub their hands with satisfaction. Meanwhile Gianni Schicchi slips on the night-shirt. The three women stand round Schicchi, admiring him; Simone is at the window watching for the arrival of the notary. Gherardo clears the table where the notary will sit; Marco and Betto close the drapes round the bed and tidy up the room.) NELLA Get undressed, baby boy, we’re putting you to bed. And don’t get annoyed, oh no, if we change your shirt! The canary changes its feathers, the fox its fur, the spider spins its web anew, the dog finds another bed, the snake casts its skin. ZITA He’s lovely, wonderful! Who would not be fooled? Is it Gianni playing Buoso? Is it Buoso playing Gianni? Is the will nasty? A splendid night-shirt, a sleepy face, a forceful nose, a grieving voice, ah! CIESCA Hurr y up, baby boy, you have to go to bed. if the game goes well, we’ll give you a sweet! The egg becomes the chicken, the flower becomes a fruit, the friars eat up everything, but as a monk grows poor, Ciesca grows rich, ah! NELLA And kind Gianni... ZITA ...changes his clothes... NELLA ...to help us! CIESCA He changes expression... ZITA ...his face and his nose... CIESCA ...to help us! NELLA He changes his voice... ZITA ...and the will... ALL THREE ...to help us! SCHICCHI I’ll give you the help you deserve! THE WOMEN That’s lovely! SCHICCHI I’ll make you happy! THE WOMEN Exactly so! Oh Gianni, Gianni, our saviour! CIESCA, NELLA Oh Gianni Schicchi, our saviour! ZITA Oh Schicchi! CIESCA, NELLA Oh Schicchi! ZITA Oh Gianni Schicchi, our saviour! NELLA, GHERARDO is it exact? CIESCA, MARCO, SIMONE, BETTO Perfect! THE WOMEN Off to bed! THE MEN Off to bed! THE WOMEN Off to bed! THE MEN Off to bed! (Schicchi stops them with a solemn gesture.) SCHICCHI A warning first. Oh ladies and gentlemen, be careful. Do you know the decree? “Whoever puts himself in place of another concerning wills and bequests, both he and his accomplices will have one hand chopped off and then be exiled.” Keep it well in mind! If we are caught: do you see Florence? Farewell, Florence, farewell, heavenly skies, I bid you adieu with this stump, and go wandering off like a Ghibelline! THE RELATIVES Farewell, Florence, farewell, heavenly skies, etc. (There is a knock at the door. Gianni leaps into bed; the relatives hurry to settle him down; they pull the curtains, place a lit candle on the table where the notary will sit and finally open the door. Rinuccio, the notary and two witnesses, Pinellino and Guccio, come in.) RINUCCIO Here iS the notary. THE NOTARY, PINELLINO, GUCCIO Master Buoso, good morning. SCHICCHI Oh! Are you here? Thank you, Master Amantio. Oh Pinellino the shoemaker, thank you. Thank you, Guccio the dyer, it’s too kind, too kind of you to come and be witnesses for me. PINELLINO Poor Buoso! I’ve always made his shoes, and to see him in this state makes me cry. (The notary takes the papers and seals out of a box and puts them on the table; he sits down in the armchair while the two witnesses remain on their feet on either side of him.) SCHICCHI I would like to have written the will in my own hand, but paralysis prevents me. That’s why I wanted a notary, serious and honest. THE NOTARY Oh, Master Buoso, thank you. Then you’re suffering from paralysis? (Schicchi tries to stretch out his hands, making them shake tremulously.) CIESCA, NELLA Poor Buoso! ZITA, SIMONE Poor Buoso! THE NOTARY Oh! poor man! Enough! The witnesses have seen it, the witnesses have seen it. We may begin. But - your relatives? SCHICCHI Let them stay. THE NOTARY Then I’ll begin. In the name of God, in the year of Our Lord Jesus Christ, since His healing incarnation the one thousand two hundred and ninety- ninth, on the first day of September, the eleventh indiction. I, Amantio di Nicolao, notary, citizen of Florence, at the request of Buoso Donati, write this will. SCHICCHI Annulling, revoking and invalidating all previous wills. ZITA, CIESCA, NELLA What foresight! MARCO, SIMONE, BETTO What foresight! THE NOTARY One preliminary; tell me, your funeral, (may it be far off) do you want it splendid, ornate, expensive? SCHICCHI No, no, no, not expensive. No more than two florins should be spent. GHERARDO Oh, such modesty! MARCO Oh, such modesty! CIESCA, NELLA, RINUCCIO Poor uncle! ZITA What a soul! BETTO What a heart! SIMONE It does him honour! SCHICCHI I leave to the minor order of brothers and to the Holy Works of Santa Reparata - (slightly anxious, the relatives stand up slowly) - five lire. SIMONE, BETTO Well done! ZITA, MARCO Well done! ZITA, MARCO, SIMONE, BETTO One must always be charitable. THE NOTARY Don’t you think that’s rather little? SCHICCHI When someone dies and leaves a large amount to religious orders and monasteries, it makes those who live on say: “That was stolen money.” NELLA, RINUCCIO, GHERARDO What principles! CIESCA, MARCO, BETTO What a mind! ZITA, SIMONE What wisdom! THE NOTARY What clarity! SCHICCHI The money in cash I leave in equal shares to each of my relatives. CIESCA, NELLA, RINUCCIO Oh, thank you, uncle! ZITA Thank you, cousin! SIMONE, BETTO Thank you, brother-in-law! SCHICCHI To Simone I leave the property at Fucecchio. SIMONE Thank you! SCHICCHI TO Zita the holdings at Figline. ZITA Thank you, thank you! SCHICCHI TO Betto the land at Prato. BETTO Thank you, brother-in-law! SCHICCHI TO Nella and Gherardo the property at Empoli. NELLA, GHERARDO Thank you, thank you. SCHICCHI To Ciesca and Marco the property at Quintole. THE RELATIVES Now we’re at the mule, the house and the mills. SCHICCHI I leave my mule, the one that cost three hundred florins, and which is the best mule in Tuscany, to my devoted friend Gianni Schicchi. THE RELATIVES What? What? What’s that? What’s that? THE NOTARY He leaves the mule to his devoted friend Gianni Schicchi. THE RELATIVES But - SIMONE What do you expect Gianni Schicchi will want with that mule? SCHICCHI Keep calm, Simone. I know what Gianni Schicchi wants! THE RELATIVES Ah, the scoundrel, the scoundrel, the scoundrel! SCHICCHI I leave the house in Florence to my dear, devoted and affectionate friend Gianni Schicchi. (The relatives spring up in rage.) THE RELATIVES Ah, that’s enough, that’s enough! Damn that scoundrel Gianni Schicchi! We protest, we protest, etc. SCHICCHI Farewell, Florence, farewell, heavenly skies... THE RELATIVES Ah! SCHICCHI ...I bid you goodbye. THE NOTARY The wishes of the man making his will should not be impeded. SCHICCHI Master Amantio, I make my bequests to whom I please. I have decided on my will and it shall be done. If they scream I’ll stay calm and sing to myself. GUCCIO Oh, what a man! PINELLINO What a man! SCHICCHI And the mills at Signa... THE RELATIVES The mills at Signa? SCHICCHI The mills at Signa (farewell, Florence!) I leave to my dear (farewell, heavenly skies!) affectionate friend, Gianni Schicchi! THE RELATIVES Ah! SCHICCHI (And I bid you goodbye with this stump!) La, la, la, la, la, la, la, la. There, it’s done! Zita, give twenty florins from your purse to the witnesses, and a hundred to the good notary. THE NOTARY Thank you, Master Buoso. (The notary goes towards the bed, but Schicchi stops him, holding out a trembling hand.) SCHICCHI No farewells. On your way, on your way. Let’s be brave. THE NOTARY (as he leaves) Oh, what a man, what a man! PINELLINO, GUCCIO (leaving) What a man, what a loss! THE NOTARY What a shame! THE NOTARY, PINELLINO, GUCCIO What a loss! GUCCIO (to the relatives) Courage! PINELLINO Courage! (As soon as the notary and witnesses have left, Rinuccio runs out on to the terrace; the relatives hurl themselves against Schicchi who is standing up on the bed, trying to defend himself.) ZITA Thief! THE RELATIVES Thief! Thief, thief, scoundrel, traitor, blackguard, villain, thief, thief, scoundrel, blackguard, traitor! SCHICCHI Skinflints! (Schicchi jumps down from the bed and hits out at the relatives with Buoso's stick.) I’ll run you out of my house! it’s my house! (The relatives run here and there, looting wildly.) THE RELATIVES Pillage! Pillage! Pillage! GHERARDO, SIMONE, BETTO Pillage! Pillage! ZITA Plunder! Plunder! MARCO The silver! SCHICCHI Out! out! out! THE RELATIVES The linen! The silver! SCHICCHI it’s my house! THE RELATIVES The silver! The linen! SCHICCHI Out! out! Out! out! Out! out! it’s my house, it’s my house! THE RELATIVES The silver! The linen! Plunder, plunder! Pillage, pillage! SCHICCHI Out! out! out! ZITA, CIESCA, NELLA Ah! SCHICCHI Out! out! out! etc. (As all the relatives have collected more and more loot, they crowd together at the door and go down the stairs. Schicchi runs after them, rushing down the stairs.) THE RELATIVES Thief, villain, scoundrel, traitor! SCHICCHI Out! out! out! THE RELATIVES Thief, thief, scoundrel, traitor! SCHICCHI Out! out! THE RELATIVES Ah! ah! SCHICCHI Out! out! THE RELATIVES Ah! ah! SCHICCHI Out! out! (The glass door opens slowly, revealing Florence, bathed in sunlight; the two lovers are standing on the terrace in each other's arms.) RINUCCIO My Lauretta, we shall always stay here. Look, Florence Is golden, Flesole is beautiful! LAURETTA That’s where you vowed your love to me. RINUCCIO I asked you for a kiss. LAURETTA My fIrst kIss. RINUCCIO Pale and quivering, you turned your face. LAURETTA, RINUCCIO Florence In the distance seemed to us like paradise! (Schicchi comes back up the stairs, loaded down, and throws everything on to the ground.) SCHICCHI The gang of thieves has gone! (He sees the two lovers and, smiling, turns to the audience.) Tell me, ladies and gentlemen, if Buoso’s money could have had a better end than this. For this prank they sent me to hell, and so be it; but, with the permission of the great old man Dante, if you’ve been entertained this evening, allow me (He claps his hands.) extenuating circumstances. End of opera |
| libretto by Kenneth Chalmers |