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Pace pace mio Dio

Opera details:

Opera title:

La Forza del destino

Composer:

Giuseppe Verdi

Language:

Italian

Synopsis:

La Forza del destino Synopsis

Libretto:

La Forza del destino Libretto

Translation(s):

English Deutsch

Aria details:

Type:

aria

Role(s):

Leonora

Voice(s):

Soprano

Act:

4.05

Previous scene: Le minaccie i fieri accenti
Next scene: Io muoio confessione!

Martina Arroyo: Verdi - La Forza del Destino, 'Pace, pace mio Dio!'

Singer: Martina Arroyo

Martina Arroyo (born February 2, 1937) is an operatic soprano of Puerto Rican and African-American descent who had a major international opera career during the 1960s through the 1980s. She was part of the first generation of black opera singers to achieve wide success and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world. Arroyo first rose to prominence at the Zurich Opera between 1963--1965, after which she was one of the Metropolitan Opera's leading sopranos between 1965 and 1978. During her years at the Metropolitan Opera she was also a regular presence at the world's best opera houses, performing on the stages of La Scala, Covent Garden, the Opéra National de Paris, the Teatro Colón, the Deutsche Oper Berlin, the Vienna State Opera, the Lyric Opera of Chicago, and the San Francisco Opera to name just a few. She is best known for her performances of the Italian spinto repertoire and in particular her portrayals of Verdi and Puccini heroines. Her last opera performance was in 1991, after which she has devoted her time to teaching singing on the faculties of various universities in the United States and Europe. Having performed in the major opera houses and with the greatest symphony orchestras of the world, she has left a legacy of recordings, including: Handel's Judas Maccabeus (twice) and Samson, Mozart's Don Giovanni (Donna Elvira for Karl Böhm and Donna Anna for Sir Colin Davis), Beethoven's Missa solemnis and Ninth Symphony, Rossini's Stabat mater, Verdi's Un ballo in maschera, La forza del destino (in both the St. Peterburg and revised versions), and the Messa da requiem and Mahler's massive Eighth Symphony (the Symphony of a Thousand). She has also recorded important 20th century music, including Schoenberg's Gurre-Lieder and Carlo Franci's African Oratorio and two works she "created" in their world premieres: Karlheinz Stockhausen's Momente and Samuel Barber's Andromache's Farewell. Arroyo's discography (which also includes an aria recital), though enviable, does not encompass anything like the full range of roles she essayed onstage. At the Metropolitan Opera alone, these are the operas she performed but never recorded commercially: Verdi's Ernani, Macbeth, Il trovatore, Don Carlos (the Celestial Voice as well as Elizabeth, both in Italian), and ; Wagner's Lohengrin and Der Ring des Nibelungen (featured roles in all four operas); Ponchielli's La Gioconda; Giordano's Andrea Chénier; and Puccini's Madama Butterfly and Turandot (as Liù; she played the title role in Toronto). Since her official retirement from singing in 1989 Martina Arroyo has amassed significant teaching credits, including stints at Louisiana State University, UCLA, University of Delaware, Wilberforce University, the International Sommerakademie-Mozarteum in Salzburg and Indiana University. She has given master classes nationally and internationally, and judged several competitions including the George London Competition and the Tchaikovsky International Competition. With Dr. Willard L. Boyd, former President of the University of Iowa, she co-authored the "Task Force Report on Music Education in the U.S." In 1976, she was appointed by President Gerald Ford to the National Council of the Arts in Washington, D.C. She founded the Martina Arroyo Foundation, which is dedicated to the development of emerging young opera singers by immersing them in complete role preparation courses. She is also active on the Boards of Trustees of Hunter College and Carnegie Hall. She was elected a Fellow of the American Academy of Arts and Sciences in 2000. She was candid about her perceived status as second-best to her great contemporary, fellow African-American spinto Leontyne Price; once, when a Met doorman greeted her as "Miss Price", she sweetly replied, "No, honey: I'm the other one."...

Lyrics & English Translation

Peace, peace, my God!
Cruel misfortune, alas, constrains me to languish;
Deep as on the first day, for so many years
My suffering has endured.
Peace, peace, my God!
I loved him, it's true! But God adorned him so much
With beauty and courage,
That I still love him, nor will I be able to remove
His image from my heart.
Fate! Fate! Fate!
A crime has separated us in this world!
Alvaro, I love you, and it is written above in heaven:
I will never see you again!
O God, God, make me die;
Since only death can give me calm.
In vain my soul hoped for peace here,
While prey to such grief.
Wretched bread . . . come prolong
My comfort-less life . . . But who is approaching?
Who dares to profane the sacred place?
Let them be accursed!


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I send my kind and warm regards,

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Lucia Aliberti G Verdi Forza del Destino Pace Pace Mio Dio Essen 11389
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ANGELA GHEORGHIU Pace pace mio Dio Dresden 1999 11372
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Libretto/Lyrics/Text/Testo:

SCENA VI

Presso la grotta di Leonora. Valle tra rupi inaccessibili, attraversata da un ruscello. Nel fondo a sinistra dello spettatore è una grotta con porta praticabile, e sopra una campana che si potrà suonare dall'interno. La scena si oscura lentamente; la luna apparisce splendidissima. Donna Leonora, pallida, sfigurata, esce dalla grotta, agitatissima.
Leonora


LEONORA
Pace, pace, mio Dio!
Cruda sventura
M'astringe, ahimé, a languir;
Come il dì primo
Da tant'anni dura
Profondo il mio soffrir.
L'amai, gli è ver!
Ma di beltà e valore
Cotanto Iddio l'ornò.
Che l'amo ancor.
Né togliermi dal core
L'immagin sua saprò.
Fatalità! Fatalità! Fatalità!
Un delitto disgiunti n'ha quaggiù!
Alvaro, io t'amo.
E su nel cielo è scritto:
Non ti vedrò mai più!
Oh Dio, Dio, fa ch'io muoia;
Che la calma può darmi morte sol.
Invan la pace qui sperò quest'alma
In preda a tanto duol.
Va ad un sasso ove sono alcune provvigioni deposte dal Padre Guardiano
Misero pane, a prolungarmi vieni
La sconsolata vita … Ma chi giunge?
Chi profanare ardisce il sacro loco?
Maledizione! Maledizione! Maledizione!

Torna rapidamente alla grotta, e vi si rinchiude.

English Libretto or Translation:

SCENE TWO

A valley amid precipitous rocks, traversed by a stream. In the background, to the spectator's left, is a cave with a practicable door, above which is a bell that can be rung from within. The sun is going down. The scene darkens slowly; the moon appears, extremely bright.
Donna Leonora, pale and worn, emerges from the cave in a state of great agitation.

Melody

LEONORA
Peace, peace, O God!
She comes down.
Cruel misfortune
compels me, alas, to languish;
my suffering has lasted for so many years,
as profound as on the first day.
Peace, peace, O God!
I loved him, it is true! But God had blessed him
with such beauty and courage
that I love him still, and cannot efface his image
from my heart.
Fatal destiny! A crime
has divided us down here!
Alvaro, I love you and in heaven above it is written
that I shall never see you again!
O God, God, let me die, for only death
can bring me peace.
In vain this soul of mine here sought peace,
a prey to so much woe.
She goes to a rock on which the Father Superior has left food for her.
Wretched bread, you come to prolong
my inconsolable life. - But who comes here,
daring to profane this sacred retreat?
A curse! A curse!

She retreats rapidly into the cave, closing it behind her.

Sheetmusic in our database with this aria

Operatic Anthology: SopranoCantolopera: Arias for Dramatic Soprano