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Alzati la tuo figlio

Opera details:

Opera title:

Un Ballo in maschera


Giuseppe Verdi




Un Ballo in maschera Synopsis


Un Ballo in maschera Libretto


English Deutsch

Aria details:









Previous scene: Morro ma prima in grazia
Next scene: Eri tu che macchiavi quell'anima

Verdi - Un ballo in maschera - Leo Nucci 'Alzati... Eri tu' - James Allen Gähres, cond. (live)

Singer: Leo Nucci

LEO NUCCI sings Renato's aria 'Alzati, là tuo figlio' - 'Eri tu che macchiavi quell'anima', from Act Three of the opera 'Un ballo in maschera' by Giuseppe Verdi (live)

James Allen Gähres, conductor
Leo Nucci, baritone

Ulm Philharmonic (Philharmoniker Ulm)

Live recorded during open public concert.
Ulm, Germany

Verdi - Don Carlo - LEO NUCCI sings 'Per me giunto', 'O Carlo, ascolta' - James Allen Gähres, cond. (live):
Leoncavallo - Pagliacci - LEO NUCCI sings Tonio's Prologue 'Si può, si può?... Signore! Signori! - James Allen Gähres, cond. (live):
Alzati! là tuo figlio
A te concedo riveder. Nell’ombra
E nel silenzio, là,
Il tuo rossore e l’onta mia nascondi.
Non è su lei, nel suo
Fragile petto che colpir degg’io.
Altro, ben altro sangue a terger dèssi
L’offesa! . . .
Il sangue tuo!
E lo trarrà il pugnale
Dallo sleal tuo core,
Delle lagrime mie vendicator!

Eri tu che macchiavi quell'anima,
La delizia dell'anima mia;
Che m'affidi e d'un tratto esecrabile
L'universo avveleni per me, avveleni per me!
Traditor! che compensi in tal guisa
Dell'amico tuo primo, dell'amico tuo primo la fé!

O dolcezze perdute! O memorie
D'un amplesso che l'essere india! . . .
Quando Amelia sì bella, sì candida
Sul mio seno brillava d'amor!
Quando Amelia sul mio seno
Brillava d'amor, si brillava d'amor!

È finito, non siede che l'odio, non siede che l'odio
Che l'odio e la morte nel vedovo cor!
O dolcezze perdute, o speranze d'amor, d'amor, d'amor!

No composer gave the baritone so many great gifts as Giuseppe Verdi did. Such as Renato's aria in Act Three of 'Un ballo in maschera'. It is a masterpiece of conflicted feelings, pain, betrayal, and revenge. Renato’s wife, Amelia, is in love with his best friend Riccardo, the governor of colonial Massachusetts or in some productions King Gustav III of Sweden. This extramarital affair is chaste, but when Renato discovers it he suspects what any wronged husband would, i.e. Amelia and his best friend are getting it on.

After you heard the second act love duet between the two, the most passionate in all Italian opera, you would come to the same conclusion. Verdi’s powers are so great in this aria that the recitative that precedes it is better than just about any baritone aria not written by Verdi. 'Eri tu' requires everything from the singer that offers it to the public. Range, smooth vocal line, and effortless high notes are just the beginning of what’s needed to realize this great work.

Antonio Somma based the libretto of Un ballo in maschera on Eugène Scribe's libretto 'Gustave III, ou Le bal masque', written for Daniel-François-Esprit Auber and first performed in 1833. Although Somma was a skillful poet, Verdi found it necessary to instruct him in the art of developing a libretto. Verdi and Somma first worked together on Re Lear, but this was never completed.

Facing a deadline for the Teatro San Carlo in Naples, Verdi and Somma forged ahead with Un ballo in maschera (at first entitled 'Una Vendetta in Domino'), but the Neapolitan censors demanded so many significant changes, that Verdi withdrew the piece, and offered it to the Teatro Apollo in Rome.
The Roman censors required, among other things, a change of locale, thus the action of Un ballo in maschera takes place in and around Boston, Massachusetts, near the end of the seventeenth century. In protest to this and other changes, Somma asked that his name be omitted from the program. The opera was first performed on February 17, 1859, achieving a great success and within three years playing throughout Europe and in New York.

Some modern settings restore Scribe's eighteenth century Swedish setting and characters, a practice Verdi never approved. Scribe's libretto, based in part on historical fact, concerns the 1792 assassination of King Gustav III of Sweden at a masked ball. Although the real murder was most likely politically motivated, Scribe adds the element of jealousy by creating an affair between the King and the assassin's wife. Much of the opera is a straightforward translation of Scribe's libretto.

Verdi's Un ballo in maschera is often discussed as an example of his 'middle period' and shows the infusing of French elements into Verdi's intense approach to Italian serious opera.

Watch videos with other singers performing Alzati la tuo figlio:


Renato [lasciato il ferro, additandole, senza guardarla, un uscio]
Alzati, là tuo figlio
A te concedo riveder. Nell'ombra
E nel silenzio, là,
Il tuo rossore e l'onta mia nascondi.
[Amelia esce]
Non è su lei, nel suo
Fragile petto che colpir degg'io.
Altro, ben altro sangue a terger dèssi
L'offesa!... [fissando il ritratto] Il sangue tuo!
- Nè tarderà il mio ferro
Tutto a versarlo dal tuo falso core:
Delle lacrime mio vendicatore!

E sei tu che macchiavi quell'anima,
La delizia dell'anima mia...
Che m'affidi e d'un tratto esecrabile
L'universo avveleni per me!
Traditor! che in tal guisa rimuneri
Dell'amico tuo primo la fè!
O dolcezze perdute! O memorie
D'un amplesso che mai non s'oblia!...
Quando Amelia sì bella, sì candida
Sul mio seno brillava d'amor!...
È finita - non siede che l'odio,
E la morte sul vedovo cor!
Scena II
Renato; Samuel e Tom entrano salutandolo freddamente.

English Libretto or Translation:

Renato [left the iron, pointing to it, without looking at it, a doorway]
Stand up, there your son
I'll see you again. In the shadows
And in the silence, there,
Your redness and my shame hide.
[Amelia exits]
It's not about her, in her
Fragile chest that hit me.
Other, quite another blood to terger
The offense! ... [staring at the picture] Your blood!
- My iron will not be late
Everything to pour it from your false core:
My avenger's tears!

And it is you who caressed that soul,
The delight of my soul ...
What you trust and suddenly execrable
The universe poisons for me!
Traitor! that in this way they will regain
Of your first friend, the fè!
Or lost sweets! Or memories
Of an embrace that never gets away! ...
When Amelia is so beautiful, so candid
On my breast shone with love! ...
It's over - it does not sit that hate,
And death on the widower cor!
Scene II
Renato; Samuel and Tom enter greeting him coldly.

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