Thursday, January 30, 2014

Esci Omai - Staging Notes

The Count has a crowlbar, sword, and other implements that he drops on the floor for the recitative. 

He is using the crowlbar to try to open the closet door. “Esci omai, garzon malnato, sciagurato, non tardar:”

The Countess steals the crowlbar, jumps onto the bed,looking as though she might hit the Count if he comes too close. “Ah, signore, quel furore, per lui fammi il cor tremar.” Jump off the bed onto the other side of the room. Point the crowlbar at the Count as though to indicate that you’ll use it on him with it if he comes close. ”per lui fammi il cor tremar.”

Count is undeterred, still trying to open the door with his bare hands. “E d'opporvi ancor osate? E d'opporvi ancor osate?”

Countess makes a show of putting down the crowlbar. “No, sentite”

The Count comes over toward the bed. “Via parlate! Parlate!” (hit the bed) “PARLATE!”

Countess crosses herself. Tries to calm him down by what she’s saying, but then gradually realizes that she’s only making matters worse. The calm look turns to one of dread as she realizes she’s unintentionally incriminating herself. “Giuro al ciel ch'ogni sospetto, ch'ogni sospetto, e lo stato in... che il trovate... sciolto il collo … nudo il petto ...

Count is so enraged that he immediately picks up the crowlbar and runs back to the door. “Sciolto il collo! Nudo il petto! Seguitate!”  

The Countess makes one last go of exonerating herself “Per vestir femminee spoglie …”, then puts her hand to her mouth as though she can’t believe what she’s saying. Should look like she’s beginning to cry as she says “Mi fa torto quel trasporto, m'oltraggiate a dubitar.”   

The Count’s still trying to open the door. “Ah comprendo, indegna moglie, mi vo' tosto vendicar. “  

The Count gives up prying open the door in frustration, throws down the sword and jumps onto the bed “Qua la chiave!”

The Count jumps off the bed onto the other side of the stage. “Qua la chiave!”

The Countess begins to relent and starts fiddling with the key on a chain around her neck, thinking that this will stop the row. “Voi sapete …”  

But it just makes the Count more angry, he comes up to her. “Non so niente!” Gradually rips the necklace off her neck to get the key, which brings the Countess to her knees. “Va lontan dagl'occhi miei, un'infida, un'empia sei e mi cerchi d'infamar.”

The Countess is on her knees, crying and tugging at his shirt. “Vado ... sì ... ma …”  

The Count puts his hand up to ignore her and begins to walk away. “Non ascolto.”

The Countess bolts to the other side and implores him. “Non son rea.”   

“Vel leggo in volto!” The Count grips the Countess by the neck as he says this. Keeps her there for the next exchange.

At, “Ah, comprendo” pull her even closer, by the neck.

At the second “mora, mora” the Count puts his other hand on the Countess’s neck.

When the music stops, the Count begins to start choking the Countess in earnest to the point that the Countess is on her knees again. Susanna comes out with a practiced smile, blinking a few times. Clearly both frightened and sure of herself.

The Count stops when he sees Susanna and lurches backward.

The Count says ‘Susanna..’

The Countess is wheezing, but manages to say “Susanna?...”

“Signore, cos'è quel stupore?”  Pick up the sword, walk over to the Count. “Il brando prendete, il paggio uccidete, quel paggio malnato, vedetelo qua.” Hand him the sword. “Quel paggio malnato, vedetelo qua.”

For this exchange, the Countess is still on her knees on the floor. The Count goes again to sit on the bed. Susanna has a mischievous grin, bringing some light to the proceedings.

The Count bolts up and looks at Susanna. “Sei sola?”    

Susanna shrugs her shoulders: “Guardate” gestures to the closet “qui ascoso sarà.”

The Count goes up to Susanna to see if she’s telling the truth. Susanna keeps motioning for the Count to go in.

The Count goes in the closet. Susanna goes over to the Countess to help her up.

The Countess is a wreck, wheezing and crying and terrified. “Susanna, son morta, il fiato mi manca.”

Susanna’s rubs her back. Points to the window: “Più lieta, più franca, in salvo è di già.” The Countess suddenly looks overjoyed because she finally realizes they have nothing to worry about and gives Susanna a hug.

The Count steps out of the closet, shocked look, head in hands; “Che sbaglio mai presi! Appena lo credo” kneels and bows before the Countess “se a torto v'offesi perdono vi chiedo; perdono vi chiedo”

Looks up at her and gesticulates with anger “ma far burla simile è poi crudeltà.”

The Countess and Susanna look at him imperiously: “Le vostre follie non mertan pietà. Le vostre follie non mertan pietà.”

Tries to put his head in her lap “Io v'amo.”  

The Countess pushes it out “Nol dite!”

The Count looks up at her. “Vel giuro.”    

As she stands up, the Countess pushes him far back enough that he falls back and points at him to yell. “Mentite! Son l'empia, l'infida che ognora v'inganna.”

The Count is on his ass, now looking at Susanna: “Quell'ira, Susanna, m'aita a calmar.”

Susanna’s sitting down, not even looking at the Count. “Così si condanna chi può sospettar. Così si condanna chi può sospettar.”

The Countess looks in the mirror when she says this. “Adunque la fede d'un'anima amante sì fiera mercede doveva sperar?” (breaks down in tears)

Pleading with Susanna again to help him. “Quell'ira, Susanna, m'aita a calmar.”

Still won’t look at the Count. “Così si condanna chi può sospettar.” Get up and walk to the Countess. Così si condanna chi può sospettar.”

Susanna wipes away the Countess’s tears “Signora.”

The Count tries to do the same. “Rosina”

Turns to him furiously: “Crudele!” Takes the wedding ring off her finger. “Più quella non sono;” hurls it across the room. The Count suddenly gasps, as though he realizes he may lose what he prizes most - even if she’s a possession like any other. The Countess backs away, pointing at the Count: “ma il misero oggetto del vostro abbandono che avete diletto di far disperar.”

“Confuso, pentito, son troppo punito, abbiate pietà.”  The Count sits on the bed. Exhausted and close to tears.

Susanna walks up to the Countess and holds her from the shoulders. “Confuso, pentito, son troppo punito, abbiate pietà.”

“Soffrir sì gran torto quest'alma non sa.” Said to Susanna who is on her side stage right.

The Count says the next few lines (all explanation) from his seated place, not looking at anyone. Susanna and the Countess from where they stand. He reaches into his pocket and produces the letter “Ma un foglio sì barbaro?” When he hears that the letter was from Figaro and Basilio, he stands up and reaches for the sword.

“Ah perfidi! Io voglio …”

The Count, after being ‘corrected’ again by the Countess and Susanna, moves in front of the (stage) right half of the bed and kneels. “Ebben, se vi piace comune è la pace; Rosina inflessibile con me non sarà.”

The Countess to Susanna: “Ah quanto, Susanna, son dolce di core! Di donne al furore chi più crederà?”

Susanna says, with both a hint of mischief and forgiveness: “Cogl'uomin, signora, girate, volgete, vedrete che ognora si cade poi là.”   

The Count begins to become desperate. “Guardatemi” The Countess comes closer just to tell him off. “Ingrato!” Susanna goes to the back of the room to pick up the wedding ring. More desperate: “Guardatemi”.

The Count should sound like he’s sobbing at the end of this line: “Ho torto, e mi pento.”

The Countess then kneels to him, together they sing the apotheosis, the Count puts her ring back on her finger and they kiss passionately.

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