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Condotta ell'era in ceppi

Opera details:

Opera title:

Il Trovatore

Composer:

Giuseppe Verdi

Language:

Italian

Synopsis:

Il Trovatore Synopsis

Libretto:

Il Trovatore Libretto

Translation(s):

English Deutsch

Aria details:

Type:

aria

Role(s):

Azucena

Voice(s):

Mezzo-Soprano

Act:

2.05

Previous scene: Soli or siamo
Next scene: No son tuo figlio

Fiorenza Cossotto: Verdi - Il Trovatore, 'Condotta ell'era in ceppi'

Singer(s): Montserrat Caballé Maria Callas Viorica Cortez Fiorenza Cossotto Leyla Gencer Rita Gorr Marilyn Horne Mercedes Llopart Giulietta Simionato Elena Souliotis Joan Sutherland Tatiana Troyanos Christa Ludwig Grace Bumbry Shirley Verrett

Fiorenza Cossotto (born on April 22, 1935) is an Italian mezzo soprano. She is considered by many to be one of the great mezzo-sopranos of the 20th century. Born on April 22, 1936 in Crescentino,[1] Province of Vercelli, Italy, Cossotto attended the Turin Academy of Music and graduated top of her class. After her studies with Mercedes Llopart, she made her operatic debut as Sister Matilde in the world premiere of Poulenc's Dialogues of the Carmelites in 1957 at La Scala in Milan. Her international debut was at the 1958 Wexford Festival as Giovanna Seymour in Donizetti's Anna Bolena. Her Covent Garden debut was in 1959 as Neris in Cherubini's Médée, with Maria Callas in the title role. A 1962 performance of the lead in La favorita at La Scala led to wider fame and she made her American debut in the same role in 1964 at the Lyric Opera of Chicago and as Amneris at the Metropolitan Opera in 1968. Altogether between the seasons of 1967--68 and 1988--89 she gave 148 performances at the Met (exclusively leading roles). She was considered an expert in portrayals of major mezzo/contralto roles in mid-19th century Italian opera; e.g. Favorita, Amneris, Azucena, Eboli, Preziosilla, Maddalena, Ulrica and Laura. She also essayed Carmen, Mozart's Cherubino, Urbain in Meyerbeer's Les Huguenots, Bellini's Romeo and Marfa in Khovantschina. She kept on singing, and in 2005 she celebrated her 70th birthday with a performance of Suor Angelica at the Théâtre Royal in Liège, Belgium. According to the book "Opera" published by Koenemann, "She [Cossotto] and Giulietta Simionato were the leading Italian mezzo-sopranos of the 1960s and 1970s. She [Cossotto] won plaudits in the annals of operatic history for her wonderful vocal timbre, her perfect singing technique, and the ease with which she could master different registers. Besides singing the great mezzo roles, she also took the outstanding alto parts of the Italian operatic repertoire." Among her competitors were Shirley Verrett, Grace Bumbry, Rita Gorr, Christa Ludwig, Marilyn Horne, Viorica Cortez and Tatiana Troyanos. Apart from mezzo and alto roles, she also sang soprano roles traditionally sung by mezzos such as Santuzza (Cavalleria Rusticana) and Adalgisa (Norma). She sang Adalgisa next to the Normas of Callas, Joan Sutherland, Montserrat Caballé, Leyla Gencer and Elena Souliotis. Full live documents (except only partially for Callas) of these performances have been commercially released in audio and/or video. She also tried her luck in soprano roles (alas in studio only) of Lady Macbeth and Marchesa del Poggio (Un giorno di regno), and made a commercial recording of soprano arias by Verdi. Her repertory at the Met included Amneris, Eboli, Adalgisa, Santuzza, Azucena, Dalila, Carmen (only on tour and in outdoor park concerts), Principessa (Adriana Lecouvreur) and Mistress Quickly (which she added in 1985, singing with Giuseppe Taddei as Falstaff)...
With

Placido Domingo


Lyrics & English Translation

She was led to her destiny in chains!
With the child in my arm, I followed her weeping.
I tried, in vain, to reach her...
In vain the wretch tried to stop and bless me!
For, among terrible curses, prodding her with their weapons
they pushed her towards the stake, those cruel men!
Then, with broken accents she exclaimed: "Revenge!"
That word eternally reverberates in this heart.
I managed to kidnap the Count's child:
I dragged him hither...
the flames were ready.
He was crying his heart out,
my heart was torn, in shreds!...
Then all of a sudden, to the sick soul, like in a dream,
a vision of frightening phantoms rose!
The guards and the torture! My mother, deathly pale...
barefoot, half naked!...the cry, the well-known cry echoes....
"Revenge!"...I stretch my trembling hand...I hold
the victim... I reached for it, push it into the fire...
the delirium is over...the dreadful scene vanishes...
only the flame burning, and its victim is no more!
I then turn my eyes and I see just in front of me
the son of the wicked Count...
My son,
my own son I had killed!
I still feel
my hair raising at the thought of it!


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Libretto/Lyrics/Text/Testo:

AZUCENA
Condotta ell' era in ceppi al suo destin tremendo!
Col figlio sulle braccia, io la seguía piangendo.
Infino ad essa un varco tentai, ma invano, aprirmi...
Inven tentò la misera fremarsi e benedirmi!
Chè, fra bestemmie oscene, pungendola coi ferri,
al rogo la cacciavano gli scellerati sgherri!
Allor, con tronco accento: Mi vendica! esclamò.
Quel detto un' eco eterna in questo cor lasciò.

Il figlio giunsi a rapir del Conte:
lo trascinai qui meco...
Le fiamme ardea già pronte.

Ei distruggeasi in pianto...
Io mi sentiva il core dilaniato, infranto!...
Quand' ecco agli egri spiriti, come in sogno, apparve
la vision ferale di spaventose larve!
Gli sgerri ed il supplizio!...La madre smorta in volto...
Scalza, discinta!...il grido, il noto grido ascolto...
Mi vendica!...La mano convulsa tendo...stringo
la vittima...nel foco la traggo, la sospingo...
Cessa il fatal delirio... L' orrida scena fugge...
La fiamma sol divampa, e la sua preda strugge!
Pur volgo intorno il guardo e innanzi a me vegg' io
Dell' empio Conte il figlio...
Il figlio mio,
mio figlio avea bruciato!
Sul capo mio le chiome
sento rizzarsi ancor!
 

English Libretto or Translation:

AZUCENA
She was led to her destiny in chains!
With the child in my arm, I followed her weeping.
I tried, in vain, to reach her...
In vain the wretched woman tried to stop and bless me!
For, among terrible curses, prodding her with their weapons
they chased her towards the stake, the cruel men!
Then, with broken accents she exclaimed: "Revenge me!"
That word eternally reverberates in this heart.

I managed to kidnap the Count's child:
I dragged him hither...
the flames were ready.

He was crying his heart out,
my heart was torn, in shreds!...
Then suddenly, to the sick soul, like in a dream,
a vision of frightening phantoms rose!
The guards and the torture!...My mother, deathly pale…
barefoot, in disarray!...the cry, the well-known cry echoes....
"Revenge me! "I stretch my trembling hand-I hold
the victim...I reach for it, push it into the fire...
the delirium is over...the dreadful scene vanishes…
only the flame burning, and its victim is no more!
I then turn my eyes and I see just in front of me
the son of the wicked Count...
My son,
my own son I had killed!
I still feel my hair
raising at the thought of it!
 
 
 
Translation by: Marc Verzatt 

Sheetmusic in our database with this aria

Operatic Anthology: Mezzo-SopranoAnthology of Italian Opera: Mezzo-SopranoCantolopera: Arias for Mezzo-Soprano Volume 3

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