Musica Proibita

Sung by Afredo Kraus, Austrian Spanish tenor
The finest rendition of Musica Proibita ever!

Musica Proibita
Music by Stanislaus Gastaldon
From the Opera “Mala Pasqua!” (Evil Easter) based on Giovanni Verga’s short story “Cavalleria Rusticana”
1890

Ogni sera di sotto al mio balcone
Every night beneath my balcony
Sento cantar una canzone d’amore
I hear the singing of a love song
Più volte la ripete un bel garzone
Repeated several times by a handsome boy
E battere mi sento forte il core
And I feel my heart beat faster

Oh quanto è dolce quella melodia!
Oh how sweet that melody!
Oh com’ è bella, quanto m’ è gradita!
Oh how beautiful, how pleasing to me!
Ch’io la canti non vuol la mamma mia
My mother will not let me sing it
Vorrei saper perché me l’ha proibita?
I wish I knew why she forbids me to?

Ella non c’è ed io la vo’ cantare
She’s not here so I’m going to sing
La frase che m’ha fatto palpitare
The phrase that makes me palpitate
Vorrei baciare i toui capelli neri
I want to kiss your raven hair
Le labbra tue e gli occhi tuoi severi
Your lips and your eyes so solemn

Vorrei morir con te, angel di Dio
I want to die with you, angel of God
O bella innamorata tesoro mio
O beautiful beloved treasure of mine
Qui sotto il vidi ieri a passeggiare
I saw him below yesterday walking
E lo sentiva al solito cantar
And heard him sing his usual song

Vorrei baciare i tuoi capelli neri
I want to kiss your raven hair
Le labbra tue e gli occhi toui severi!
Your lips and eyes so solemn!
Stringimi, o cara, stringimi al tuo core
Hold me dear, hold me close to your heart
Fammi provar l’ebbrezza dell’amor
Let me feel the ecstasy of love!

Musica Proibita Phrasing, as sung by Alfredo Kraus

[ Instrumental: Vorrei baciare i / toui capelli / neri /
Le labbra tue / e gli occhi tuoi severi /
Vorrei morir / con te, angel di Dio /
O / bella innamorata / tesoro mio ]

O-gni see-ra di sot-to al mio bal-coo-nee /
Sen-to can-tar / u-na can-zone / d’a-moo-ree /
[ Piu vol-te ]
Più vol-te la ri-pe-te un / bel gar-zoo-nee /
E bat-te-re mi seeeen-to / for-te il coooo-re /
E bat-te-re mi seeeen-to / for-te il coore /

Ooh quan-to è dol-ce / quel-la me-lo-dii-aa /
Ooh com-è bel-la / quan-to m’è gra-dii-taa /
Ch’i-o la can-ti / non vuol la mam-ma mii-aa /
Vor-rei sa-per / peer-ché me l’ha / proi-bi-ta /

El-la non c’è / ed io la vo’ can-tar /
La fra-se che m’ha fat-to / pal-pi / taaaa-aa-re /
[Da da da de de / da da da de de / da da da de de ]
Voor-rei ba-ciaa-re i / toui ca-pel-li nee-rii /
Le lab-bra tuee / e gli oc-chi tuoi / se-vee-rii /

Vor-rei mo-riiii-ri / con te an-gel / di Dii-oo /
Oooo / bel-la in-na-mo-ra-ta / te-soro mii-oo /
Quii sot-to il vii-dii / ie-ri a pas-seg-giaa-ree /
E lo sen-ti-va / al soo-lii-to / can-taaaaaar! /

Vor-rei / ba-ciaa-re i / tuoi ca-pel-li / nee-rii /
Le lab-bra tu-ee / e gli oc-chi toui / se-vee-rii /
Strin-gi-mi o caaaa-ra / strin-gi-mi al / tuo coo-ree /
Faam-mii / pro-vaaaaaar! / l’eb-brez-za / deeeeeel / l’aaa-moooooor!

Score:
IMSLP53218-PMLP110039-GASTALDON
http://imslp.org/wiki/Musica_Proibita,_Op.5_%28Gastaldon,_Stanislao%29

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12 responses to “Musica Proibita

  1. To say Kraus’s is the finest as a statement of fact is, as I’m sure you realize quite unreasonable. There are many fine versions of it-including, of course, Caruso-and a beautiful one by Carreras.

    Can you, or someone answer, who sings the aria in the original Gastaldon opera? Traditonally sung by tenors, it is written from a woman’s point of view. The opera Mala Pasqua has vanished-but no one seems to know this answer.

    • Dear Marshal,

      Re: the gender reversal, that’s a point I found interesting too.

      I left some comments about that at a YouTube channel featuring Ileana Cotrubas singing the aria:

      You may want to leave some comments of your own.

  2. Apparently something happened withmy connection. I was saying, of course you are right about the h-essentially being no h in Italian. My apologies. I guess I’m so used to seeing it the “English”‘ way that I miss the h. All I had to do was look at the original Caruso 78, which I am right now, and it has no h. (no compromising with things in those days) I’m sure as many times as nI’ve seen the record I unconsciously put an h in.

  3. Yes, I have participated in that discussion about Cortrubas under my YouTube name of Labienus, which, by the way, caused me to stumble upon this. Are you perchance-the China Desk? with whom I’ve had the discussion. If not, but read it, or if so, you already know, but who will look for a Mala Pasqua score and answer this question?

    Yes, the gender issue always amused me when I followed the text with a tenor singing. By the way, although it must have been written for a woman’s voice it has that tenor feel and phrasing, which Marilyn Horne once talked about ( in general), and why she loved, at least at home, singing tenor arias.

    • Yes, I am The China Desk.

      I wish I had coordinated my blog names better in advance.

      I agree with Horne’s attitude. As long as the material is not too far out of line with the opposite gender, I see no reason not to sing it.

      I would probably draw the line at “O Mio Babbino Caro” though!

      Ditto “Girls Just Wanna Have Fun.”

      LOL!

  4. Hi Bevin-is that right?

    And a small world it is. It also shows how rare the interest is on a more serious level, because it amazes me that this question about the song isn’t common knowledge. I wouldn’t worry about coordinating the blog names-mine are all over the place. Clearly my Youtube one honors my interest in Roman history. Normally I wouldn’t be so free with my name and e-mail (why I like the You tube system), but coming upon your site, I figured anyone into this on this level would be OK. ( Your meticulous renditons of the text as sung by different voices is fascinating to me. By the way why do you translate mala pasqua as underground easter?)

    So you seem a technically adept and clever person. Can’t we access some library on line to obtain our answer about the Mala Pasqua score? In this flurry of interest about the song, I came across some reference to the fact that for a long time they thought it didn’t exist any longer-but a copy was found?

    Regards,

    Marshall

    • Dear Marshal,

      Yes, my name is Bevin.

      This is admittedly rather rarified territory. Some people would say that what we are doing is pedantry.

      But as a voice student, I find these issues intriguing. How far I’m willing to engage in scholarly research is another matter of course. I’m not a music scholar, merely an opera lover and amateur voice student.

      I believe Mala Pasqua means “Evil Easter.” I seem to recall I had a reason for translating it as “Underground Easter” but I can’t recall what it was now.

    • Thanks also for the kind words about my renditions of song lyrics.

      I merely needed to sort out the phrasing before I felt I could sing them properly in my voice class.

      Sometimes the text on the scores are too small and blurry. It helps to type them out more clearly.

      I could have saved the output to Word files on my HD of course, but I’ve found that it’s actually easier to locate my documents if I store them online.

      As a result, I soon got into the habit of uploading them to my blogs. Before I knew it, I had a whole slew of such postings.

      Not only does it make them easier for me to locate, it makes them available to my classmates or anyone else who might find them useful.

      A real win/win proposition.

  5. Howdy! This post could not be written any better!
    Reading through this post reminds me of my previous room mate!

    He always kept talking about this. I will forward this write-up to him.
    Pretty sure he will have a good read. Thank you for sharing!

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