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Deh! non volerli vittime

Opera details:

Opera title:

Norma

Composer:

Vincenzo Bellini

Language:

Italian

Synopsis:

Norma Synopsis

Libretto:

Norma Libretto

Translation(s):

English Deutsch

Recitative details:

Type:

recitative

Role(s):

Norma / Pollione / Oroveso

Voice(s):

Soprano / Tenor / Bass

Act:

2.18

Previous scene: Norma deh Norma scolpati

Norma: Deh! non volerli vittime - Iva Pacetti (1928)

Singer(s): Eugenia Burzio Maria Callas Giuseppina Cobelli Nazzareno De Angelis Beniamino Gigli Iva Pacetti Aureliano Pertile Rosa Ponselle Eva Turner

The present excerpt gives us Deh! non voleri vittime with Iva Pacetti's warm, full, sensuous, vibrant voice shining out like a beacon amidst the increasing red tides of the La Scala Orchestra propelled by Lorenzo Molajoli (1928). Yes the sound may be terrible, but Iva Pacetti's voice seems to triumph against the swish and fog of the recording. Due to her almost non-existent recording career, she has been largely forgotten until today.

Respected in her native Italy as a dramatic soprano of the first rank, Iva Pacetti (1898-1981) found her generous vibrato (a characteristic she shared with most of her large-voiced Italian soprano colleagues) not to the taste of many English critics. Ironically, while she was charged with display of tremolo or even wobble, this very richness was expected by Italian audiences. Pacetti was able to master the most imposing roles in the dramatic soprano repertory, including Norma, Verdi's Abigaille, Isolde, and Brünnhilde (sung in Italian as was the custom of the day). Born in Prato, almost contiguous with Florence, Pacetti began singing lessons at the age of 13, training first as a mezzo-soprano and later, as a dramatic soprano. A last-minute cancellation at the Teatro Metastasio in Prato thrust the 22-year-old singer on-stage for the first time as Aida. Engagements at other Italian theaters quickly followed and two years later, Pacetti sang Boito's Elena at La Scala with Aureliano Pertile as her Faust, the bronze-voiced bass Nazzareno de Angelis as Mefistofele, and Arturo Toscanini in the pit. In the first of two unpleasant episodes with the maestro, Pacetti was informed that Toscanini was displeased with her and wished her replaced. The soprano held her ground and sang all of her contracted performances. Rehearsals were tense and at one point, Pacetti walked out after the maestro labeled her a "sheep". Pacetti was begged to return rather than force a cancellation, but it was the last time the two collaborated and La Scala remained closed to her until after Toscanini's departure. For the 1931-1932 season at the Chicago Opera, the soprano sang performances of Aida, Il Trovatore, and Tosca. She was booked for the following year, but that season failed to materialize and, in a theater accustomed to the likes of Raisa, Muzio, and Eva Turner, she was not regarded as essential enough to re-engage in future years. During the 1930s, Pacetti's second period at La Scala brought a variety of roles, from Fidelio to Pizzetti's Fedra, a part she took over from the much-adored Giuseppina Cobelli. Minnie in La Fanciulla del West became a favorite role and she enjoyed success in the verismo repertory with Fedora, Adriana Lecouvreur, and Francesca da Rimini. At the core of her repertory in Milan and elsewhere, however, remained the larger Verdi roles and two Bellini works, Norma and Il Pirata. For her first London season (1930), she was not in good voice as Tosca and her Desdemona was deemed a failure, but later impressions of her Tosca were more favorable, particularly regarding her dignity and avoidance of misplaced theatrics. During the 1931 Covent Garden season, Pacetti was recruited to take over from Rosa Ponselle a performance of Leonora in La Forza del Destino. The latter years of her career were spent performing primarily at La Scala where she was a frequent partner of Beniamino Gigli. She retired from the stage in 1947, after which she was active as a voice teacher in Milan.

-------------------------------------

Maria Callas as Norma - Deh! non volerli vittime (1954/1960):

A beautiful, powerful voice but I still prefer the Eugenia Burzio version. Her ability to sustain allows her to inflect the line more dramatically:
-------------------------------------

NORMA
Oh, do not let them be victims
Of my cruel mistake ?
Oh, do not cut them down
In the innocence of childhood.
Remember that I am your blood,
Have pity on my children.
Oh father, have pity,
Have pity on my children.
Father, oh father ?

-------------------------------------

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Libretto/Lyrics/Text/Testo:

NORMA
sempre piano ad Oroveso
Deh! Non volerli vittime
Del mio fatale errore!
Deh! Non troncar sul fiore
Quell'innocente età!
Pensa che son tuo sangue,
Abbi di lor pietade!
Ah! Padre, abbi di lor pietà!

POLLIONE
Commosso è già.

CORO
Piange! Prega!

NORMA
Padre, tu piangi?
Piangi e perdona!
Ah! Tu perdoni!
Quel pianto il dice.
Io più non chiedo. Io son felice.
Contenta il rogo io ascenderò!

POLLIONE
Sì, è già. Oh ciel!
Ah, più non chiedo!
Contento il rogo io ascenderò!

OROVESO
Oppresso è il core.
Ha vinto amor, oh ciel!
Ah, sì! Oh, duol! Oh, duol!
Figlia! Ah!
Consolarm'io mai, ah, non potrò!

CORO
Che mai spera?
Qui respinta è la preghiera!
Le si spogli il crin del serto,
La si copra di squallor!
Sì, piange!

NORMA
Padre, ah, padre! Tu mel prometti?
Ah! Tu perdoni!
Quel pianto il dice, ecc.

POLLIONE
Più non chiedo, oh ciel! ecc.

OROVESO
Ah! Cessa, infelice!
Io tel prometto, ah, sì!
Ah sì! Oh, duol! Oh, duol!
Figlia! Ah!
Consolarm'io mai, ah, non potrò!

CORO
Che mai spera? ecc.
I Druidi coprono d'un velo nero la Sacerdotessa.
Vanne al rogo!

OROVESO
Va, infelice!

NORMA
incamminandosi
Padre, addio!

CORO
Vanne al rogo ed il tuo scempio
Purghi l'ara e lavi il tempio,
Maledetta estinta ancor!

POLLIONE
Il tuo rogo, o Norma, è il mio!
Là più santo
Incomincia eterno amor!

NORMA
si volge ancora una volta
Padre Addio!

OROVESO
la guarda
Addio!
Sgorga o pianto,
Sei permesso a un genitor!

Pollione e Norma sono trascinati al rogo.

English Libretto or Translation:

NORMA
Oh, do not let them be victims
Of my cruel mistake ?
Oh, do not cut them down
In the innocence of childhood.
Remember that I am your blood,
Have pity on my children.
Oh father, have pity,
Have pity on my children.
Father, oh father ?

OROVESO and CHORUS
My heart is oppressed!

NORMA
Love conquered me!

OROVESO and CHORUS
Love conquered, yes!

NORMA
Ah, forgive me, your tears have told me.
I ask no more ? I am happy,
And gladly I shall ascend the pyre!

CHORUS
She weeps! She prays ? but what hope has she?
Her prayers will be rejected.
Tear from her brow the sacred wreath,
Place upon her the veil of death!

POLLIONE
I ask no more of you!

NORMA
Father, ah father!

OROVESO
No more, wretched girl!

NORMA
You promise me?

OROVESO
I promise you, yes.

NORMA
Ah, you forgive me! Your tears have told me, etc.

OROVESO
Go, wretched child!

NORMA
Father ? goodbye!

POLLIONE
Your pyre, o Norma, is mine.
There beyond, purer, holier,
Begins eternal love!

OROVESO
Break forth, at last, o tears!
You are a father's right.

CHORUS
Go now to the pyre and may your sacrifice
Cleanse the altar and the temple,
O you who shall be cursed in death!

NORMA
You promise me?

OROVESO
I promise you, yes.

NORMA
Ah, you forgive me! Your tears have told me, etc.

OROVESO
Go, wretched child!

NORMA
Father ? goodbye!

POLLIONE
Your pyre, o Norma, is mine.
There beyond, purer, holier,
Begins eternal love!

OROVESO
Break forth, at last, o tears!
You are a father's right.

CHORUS
Go now to the pyre and may your sacrifice
Cleanse the altar and the temple,
O you who shall be cursed in death!

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