Wenn mein Bastien einst im Scherze
Bastienne's aria from the opera Bastien und Bastienne
Text by Friedrich Wilhelm Weiskern (1710–1768) and Johann H. F. Müller (1738–1815), revised by Johann
Andreas Schachtner (1731–1795), based on Les Amours de Bastien et Bastienne by Justine Favart (1727–1772) and
Harny de Guerville (18th century)
Set by Wolfgang Amadeus Mozart (1756–1791)
Wenn
mein
Bastien
einst
im

 
 
If
my
Bastien1
once
as-a
(One time when my Bastien as a joke )
mir
ein
Blümchen



from-me
a
little-flower
(stole a little flower from me,)
sonst

once
drang
mir
selbst
die
Lust


 

drove
in-me
myself
the
joy
(my heart was filled with the same joy,)
Scherze

joke
entwand,

stole,
in's

in-the
Herze,

heart,
die
er
bei
dem

  
that
he
by
the
(that he felt at the little theft.)
Raub

theft
empfand.

felt.
Warum

Why
von

from
Geschenken

gifts
wird

becomes
er

he
einer
andern
 
from-an
other-woman
(How is it that he is now blinded
jetzt
geblendt?


now
blinded?
/ by gifts from another woman?)
Alles,
was
nur
zu
 


All,
what
only
to
(Everything that one could think of,)
ward
ihm
ja



was
to-him
certainly
(I freely gave to him.)
Meiereien,

Dairies,
1
Feld

field
von

from
und


and
erdenken,

think-is,
mir

me
gegönnt.

freely-given.
Herden

herds
Bastien = although the French pronunciation is preferable, the German pronunciation of is also possible.
Wenn mein Bastien einst im Scherze (Bastien und Bastienne) Mozart
bot
ich
ihm




offered
I
him
(I gladly offered to him.)
Jetzt
soll
ich



Now
must
I
(Now I am despised,)
mit

with
Freuden

joy
verachtet

despised
da
ich
ihm
so




when
I
for-him
so
(when I have done so much for him.)
viel

much
an.

to.
werden,

be
getan.

have-done.
(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)
Wenn mein Bastien einst im Scherze (Bastien und Bastienne) Mozart
Bel piacere è godere
Poppea's aria from the opera Agrippina
Text by Vincenzo Grimani (1652–1710)
Set by Georg Friedrich Händel (1685–1759)
Bel
piacere
è
godere




Beautiful
pleasure
it-is
to-enjoy
(It is a great pleasure to enjoy a faithful love!)
Questo
fà
contento



It
makes
contented
(It gives the heart contentment.)
il

the
amor!

love!
cor.

heart.
Di
bellezza
non
s'apprezza




Of
beauty
not
is-valued
(The splendor of beauty has little value)
Se
non
vien
d'un
 


if
does-not
it-come
from-a
(if it does not come from a faithful heart.)
fido

faithful
lo

the
fido

faithful
splendor;

splendor,
core.

heart.
(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)
Bel piacere è godere (Agrippina) Händel
Intorno all'idol mio
Orontea's aria from the opera Orontea
Text by Giacinto Andrea Cicognini (1606–1650), revised by Giovanni Filippo Apolloni (1635–1688)
Set by Marco Antonio Cesti (1620–1669)
Intorno
all'idol


Around
the-idol
(Around my beloved)
spirate
pur,
 
blow
just,
mio

mine
spirate,

blow,
aure
soavi
e



breezes
gentle
and
(gentle and pleasant breezes;)
e
nelle
guancie



and
on-the
cheeks
(and on his beloved cheeks)
baciatelo

kiss-him
Al

To
mio

my
sull'ali

on-the-wings
per

for
ben,

love,
della

of
grate;

pleasant;
elette

chosen
me,

me,
che

who
cortesi

kind
aurette!

breezes!
riposa

rests
quiete,

peace,
grati
sogni
assistete,



pleasant
dreams
aid-in,
(help him to have pleasant dreams,)
e
il
mio



and
[the]
my
(and my hidden love)
racchiuso

contained
svelategli
per
me,



reveal-to-him
for
me,
(reveal to him for me, oh spirits of love!)
ardore

ardor
o

oh
larve

shadows
d'amore!

of-love!
(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)
Intorno all'idol mio (Orontea) Cesti
Bois épais
Amadis' aria from the opera Amadis
Text by Philippe Quinault (1635–1688), after the French adaptation by Nicolas Herberay des Essarts (?–1552) of
Amadis de Gaule by Garci Rodríguez de Montalvo (?–1504)
Set by Jean-Baptiste Lully (1632–1687)
Bois
épais,
redouble



Woods
deep,
redouble
(Deep wood, increase your shade;)
Tu
ne
saurais



You
not
know
(You cannot be dark enough;)
Tu
ne
peux



you
not
can
(you cannot enough hide)
mon

my
Je

I
malheureux

unhappy
sens

feel
dont

of-which
un

a
l'horreur

the-horror
ton

your
être

to-be
trop

enough
ombre;

shade;
assez

enough
sombre;

dark;
cacher

hide
amour.

love.
désespoir

despair
est

is
extrême,

extreme,
Je
ne
dois
plus




I
not
may
longer
(I may no longer see the one I love,)
voir

see
Je
ne
veux
plus




I
not
wish
longer
(I no longer wish to endure the day.)
souffrir

to-endure
ce

that
le

the
que

which
j'aime,

I-love,
jour.

day.
(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)
Bois épais (Amadis) Lully
Das verlassene Mägdelein  (The Abandoned Girl)
Text by Eduard Mörike (1804–1875)
Set by Hugo Wolf (1860–1903), from Mörike-Lieder, no. 7
Früh,
wann
die
Hähne
krähn,





Early,
when
the
cocks
crow,
(In the early morning, when the cocks crow,)
Eh

before
die

the
Sternlein

little-stars
Muss
ich
am



must
I
at-the
(I must stand at the hearth)
Muss
Feuer


must
fire
(I must light the fire.)
schwinden,

disappear,
Herde

hearth
stehn,

stand,
zünden.

kindle.
Schön
ist
der
Flammen




Beautiful
is
the
flames'
(The glow of the flame is beautiful,)
Es
springen


there
leap
(the sparks leap up)
die

the
Ich
schaue


I
gaze
(I gaze in so deeply,)
so

so
in
Leid


in
grief
(lost in sorrow.)
Schein,

glow,
Funken;

sparks;
darein,

there-in,
versunken.

sunken.
Plötzlich,
da
kommt



Suddenly,
there
comes
(Suddenly it comes to me,)
Treuloser

unfaithful

Knabe,

boy,
Das verlassene Mägdelein (Mörike)
es

it
mir,

to-me,
Dass
ich
die
  
that
I
the
(that last night)
Nacht

night
von

from
dir

you
Geträumet
habe.
 
dreamed
have.
(I dreamed of you.)
Träne

Tear
Stürzet

plunges
auf

upon
Träne

tear
dann

then
hernieder;

down;
So
kommt
der



so
comes
the
(and so the day breaks –)
O
ging
er



Oh
would-go
it
(oh, if it were only over again!)
Tag

day
heran –

on –
wieder!

again!
(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)
Das verlassene Mägdelein (Mörike)
Lachen und Weinen
Text by Friedrich Rückert (1788-1866)
Set by Franz Schubert (1797-1828), D. 777
Lachen
und
Weinen




Laughing
and
weeping
(Laughing or weeping at any hour)
zu

at
Ruht
bei
der
Lieb




rests
in
the
love
(is a part of love for so many reasons.)
Morgens
lacht
ich



Mornings
laughed
I
(In the morning, I laughed for joy;)
Und
warum
ich



and
why
I
(and why do I now weep)
Bei

in
des

the
Ist
mir
selb'



is
to-me
myself
(I don't even know myself.)
auf

for
vor

for
nun

now
Abendes

evening's
so

so
Weinen
und
Lachen
 

Weeping
and
laughing
(Weeping or laughing at any hour)
Ruht
bei
der
Lieb




rests
in
the
love
(is a part of love for so many reasons.)
mancherlei

many-a-different
Grunde.

reason.
Lust,

joy,
weine

weep
bewusst.

known.
zu

at
jeglicher

every
auf

for
vor

for
Und
warum
du
erwachen




and
why
you
awaken
(and why can you (my heart) wake up)
Lachen und Weinen (Rückert)
Stunde

hour
Scheine,

glow,
nicht

not
Abends
weint
ich



Evening
wept
I
(In the evening, I wept out of grief;)
jeglicher

every
so

so
Schmerz;

pain;
Stunde

hour
mancherlei

many-a-different
Grunde.

reason.
Kannst
am
Morgen



can-you
in-the
morning
(in the morning laughing,)
Muss
ich
dich



must
I
you
(I must ask you, oh my heart.)
mit

with
fragen,

ask,
Lachen,

laughter,
o

oh
Herz.

heart.
(Literal translation and IPA transcription © by Bard Suverkrop—www.IPASource.com)
Lachen und Weinen (Rückert)
Amor sin esperanza (Love Without Hope)
Text by an anonymous poet
Set by Manuel Fernández Caballero (1835–1906)
Virgen

Virgin,
Flor

flower
pura

pure
de

of
Paloma

dove
Madre

mother
las

the
de

of
de

of
y

and
sin

without
flores

flowers
los

the
cielos,

heavens,
amores,

love,
Haz
que
me



make
that
me
(make him/her love me,)
quiera,

he/she-might-love,
Y
si
no
ha




and
if
not
he/she-has
(and if he/she does not love me,)
Haz
que


make
that
(let me die.)
me

I
Ya

Now
que

that
has

have
marchitado,

faded-away,
Ya

now
que

that
nunca

never
mis

my
no

not
mis

my
mancha,

stain,
de

to
quererme

love-me
muera.

might-die.
ilusiones

hopes
han

have
de

to
brazos,

arms,
Amor sin esperanza (Anonymous)
ceñirte

surround
Deja

let
que

that
llore

I-might-weep,
y
llorando
mi



and
(in)-weeping
my
(and in weeping my heart)
se

it
pecho

breast/(heart)
desahogue.

might-ease.
(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)
Amor sin esperanza (Anonymous)
Il zeffiro (The breeze)
Text by an anonymous poet
Set by Vincenzo Bellini (1801–1835)
Venticel,
che
l'ali



Little-breeze,
whose
the-wings
(Little breeze, whose wings of gold)
Vai
battendo


go
beating
(are beating about me,)
d'oro

of-gold
a

to
me

me
Se
vedesti
il



if
you-can-see
the
(if you can see my beloved,)
mio

my
Dimmi,

tell-me,
o

oh
caro,

dear-one,
E

and
favellagli

speak-to-him
ov'ei

where-he
m'è

for-me-is
Zeffiretto,
a
lui



Little-zephyr,
to
him
(then, little breeze, return to him)
per

for
tesoro,

treasure,
dimmi

tell-me
Ah!
se
il
loco




Ah!
if
the
place
(Ah, if to the place where he is)
Penetrar
non


to-penetrate
not
(I am not allowed to go,)
d'appresso,

near,
ov'è.

where-he-is.
soggiorna

is-staying
concesso,

allowed,
ritorna

return
me.

me.
(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)
Il zeffiro (Anonymous)
Le charme  (The Charm)
Text by Paul Armand Silvestre (1837–1901)
Set by Ernest Amédée Chausson (1855–1899), op. 2, no. 2
Quand
ton
sourire
me




When
your
smile
me
(When your smile caught me by surprise,)
Je
sentis
frémir



I
felt
quiver
(I felt my whole being tremble;)
surprit,

surprised,
tout

all
mon

my
Mais
ce
qui
domptait



()
but
that
which
tamed
(but what overcame my spirit,)
Je
ne
pus



I
not
could
(I did not recognize at first.)
Quand

When
ton

your
mon

my
d'abord

at-first
regard

glance
le

it
tomba

fell
Je
sentis
mon



I
felt
my
(I felt my soul melt;)
âme

soul
Mais
ce
que



but
that
which
(but what this emotion was,)
serait

was
esprit,

spirit,
connaître.

recognize.
sur

on
moi,

me,
se

it
fondre,

melt,
cet

this
émoi,

emotion,
Je
ne
pus
d'abord




I
not
could
at-first
(I could not at first explain.)
Ce
qui
me
vainquit




That
which
me
vanquished
(That which has conquered me forever,)
Quand ton sourire me surprit (Silvestre)
être,

being,
en

it
répondre.

reply.
à

for-
jamais,

ever,
Ce
fut
un
plus




that
was
a
more
(was a much sadder charm;)
Et
je
n'ai
su




and
I
only
knew
(and I only realized I love you,)
Qu'en

when
voyant

I-saw
douloureux

sorrowful
que

that
ta

your
je

I
première

first
charme;

charm;
t'aimais,

you-loved,
larme.

tear.
(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)
Quand ton sourire me surprit (Silvestre)
Me voglio fà 'na casa
Text by an anonymous poet
Set by Gaetano Donizetti (1797–1848), subtitle Canzone napoletana
Me
voglio
fà
'na
casa





I
want
to-build
a
house
(I want to build a house in the middle of the sea,)
fravecata
de


fabricated/made
of-the
(made from peacock feathers.)
Tralla

la

le

la,

penne

feathers
tra

la

de

of
la

miezo

in-the-middle-of-the
mare

sea,
pavune.

peacocks.
la.

D'oro
e
d'argiento
li




Of-gold
and
of-silver
the
(I will make the staircase of gold and silver)
scaline

staircase
e
de
prete
preziuse




and
of
stones
precious
(and the balconies of precious stones.)
li

the
fare

to-make
barcune.

balconies.
Tralla la le la, tra la la la.
Quanno
Nennella
mia



When
Nennella
mine
(And when my Nennella would appear,)
ognuno
dice,
mo'



everyone
will-say,
now
(everyone will say, now the sun rises.)
se

herself
sponta

rises
va a

comes to
lu

the
facciare

appear
sole.

sun.
Tralla la le la, tra la la la.
(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)
Me voglio fà 'na casa (Anonymous)
Notes on the Neapolitan dialect.
Perhaps the most noticeable deviation from standard Italian pronunciation in the Neapolitan dialect is the use of the
 in the unstressed syllables. The English speaking native must take care not broaden the –uh quality of the  but
rather think of relaxing, neutralizing, or even diluting the pure Italian vowel. D'oro ( in the Neapolitan
dialect) is not pronounced as the English name Dora  but with a final  that has a high admixture of .
The unstressed –a, –e, and –o, although having the broader, neutral quality of the schwa, should nevertheless be
distinguishable from each other. Think of three cans of white paint (the schwa), each colored with a few drops of red
(–a), blue (–e), or yellow (–o). All three colors are predominantly white but with a subtle, distinguishable difference.
Here is the rule: –a, –e, and –o are pronounced as the schwa  in unstressed syllables. Example: voglio .
This includes unstressed syllables of a word group such as in me voglio .
The exceptions: –a is pronounced  when it is in the syllable that immediately precedes the stressed syllable and,
optionally, in the syllable that immediately follows the stressed syllable. Again, one must consider all unstressed and
stressed syllables in a word group. fà 'na casa =  or 
It is highly recommended that the singer listen very closely to a native Italian (preferably, a native of Naples!) when
singing in the Neapolitan dialect.
Some other deviations from standard Italian:


Unlike Italian, the single intervocalic –z is not doubled. preziuse 
–s before –p, –c , –f, and –qu is . sponta 
Me voglio fà 'na casa (Anonymous)
Canción del grumete (Song of the Cabin Boy)
Text by an anonymous poet
Set by Joaquín Rodrigo (1901-1999)
En
la
mar



In
the
sea
(At sea there is a tower,)
hay

is
una

a
Y
en
la
torre




and
in
the
tower
(and in the tower is a window,)
una

a
Y
en
la
ventana




and
in
the
window
(and in the window is a young girl)
Que
lo
conozco



which
it
I-know
(I recognize it by its sail,)
Y
en
el
palo




and
on
its
sail
(and on its mainsail there are)
Los
rizos
de



the
curls
of
(the curls of my dark love.)
mi

my
niña

young-girl
llama.

calls/beckons.
mi

my
en

by
ventana,

window,
una

a
Que
a
los
marineros




who
to
the
sailors
(who calls to the sailors.)
Por
allí
viene



(Over)
there
is/comes
(Over there my ship is coming,)
torre,

tower,
barco,

ship/boat,
la

the
mayor

greater
vela,

sail,
lleva

carries
morena.

dark-skinned-one.
(Literal translation and IPA transcription © copyright 2011 Bard Suverkrop, www.IPASource.com)
Canción del grumete (Anonymous) Page 1 of 1