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You Had the Time of Your Life / We've Come So Far It All Keeps Adding Up / We're on a Roll, No Self Control Hysteria, Mass Hysteria! / American Unity What's Left of My Mind Louder Than Bombs and Eternity Twiddle My Thumbs Just for a Bit / I Walk a Lonely Road St. Jimmy / I Got a Rock 'n Roll Girlfriend ○○Career score of 1,000,000系(4種) Ability to Operate Machinery Step Up to the Mike Billie Joe Misleading the Choir|Hit All Triple Harmonies on any song Hit 100% of the drum notes on one of the listed songs Louder Than Bombs and Eternity Live Freaky, Die Freaky Feel Like They're Gonna Bleed The World Around Make the Best of This Test Won't Make It for Dinner Frank Edwin Wright III 難易度・パート指定の無い物は不問とする listed songsとはBeatles同様進行度を確認するジャーナルで指定されている曲と思われる コンプには各専用コントローラーはもちろん、3人ハーモニー用にマイクは最低でも2本必要 誤訳等ありましたら修正してください You Had the Time of Your Life Five-star every song in Green Day Rock Band with any instrumentいずれかの楽器を使用しGreen Day Rock Bandのいわゆる曲で☆5獲得する 50 We ve Come So Far Earn at least 3 stars on all songs in Green Day Rock Band with any instrumentいずれかの楽器を使用しGreen Day Rock Band全ての曲で☆3を獲得する 25 It All Keeps Adding Up Score 1,000,000 points in a single song1曲中に100万点獲得する 20 I Threw My Crutches in the River Earn at least 3 stars on any song in Expert difficultyいずれかの曲で難易度Expertを選択し,最低でも☆3を獲得する 15 Hysteria, Mass Hysteria! 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Evolutionary Robotics The Biology, Intelligence, and Technology of Self-Organizing Machines (Intelligent Robotics and Autonomous Agents) Bradford Books? Stefano Nolfi? Dario Floreano? BradfordBooks? StefanoNolfi? DarioFloreano? ジャンル別? Subjects-Computers&Internet-WebDevelopment-Scripting&Programming-Agents? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-Robotics? Subjects-Computers&Internet-General? Subjects-Engineering-Aerospace-AdvancedMechanics? Subjects-Engineering-Bioengineering-Biotechnology? Subjects-Engineering-Civil-Mechanics? Subjects-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Engineering-General? Subjects-Engineering-Mechanical-Automation? Subjects-Engineering-Mechanical-General? Subjects-Engineering-Mechanical-Robotics? Subjects-Professional&Technical-Engineering-Civil-Mechanics? Subjects-Professional&Technical-Engineering-ComputerTechnology-Robotics&Automation? 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IJD 1.1.1 Iurisprudentiae vox duplicem involvit conceptum, unum prudentiae, alterum iuris. IJD 1.1.2 Prudentia quid sit non melius nosse poterimus, quam si divisionem habituum paulo altius repetierimus. IJD 1.1.3 Uti vero per habitum hic intelligimus conceptum aliquem philosophicum, ita quae alii in hac doctrina de habitibus infusis (a) disserere solent, eoque v. g. donum linguarum in Apostolis referunt, nos non turbarunt, qui circulos luminis naturae revelationis turbare nolumus. (a) Mutavi in hac editione §. 3. 4. In praecedenti siquidem editione secutus eram adhuc communem doctrinam libellorum logicorum in capite de qualitate, atque adeo distinxeram inter habitus infusos acquisitos, hos in eos, qui viribus supernaturalibus naturalibus acquiruntur. Et in posterioribus perrexeram. Sed hic malui plane istas duas priores divisiones seponere ob rationes in thesibus dictas. IJD 1.1.4 Eadem observatio est, dum fides, spes, charitas, ipsa theologia ad classem habituum referuntur ab aliis, quod nihil aliud est, quam mysteria fidei metiri velle modulo inepto rationis. IJD 1.1.5 Nos ita procedemus; habitus est vel intellectualis, qui in intellectu residet, acquiritur actibus intellectus, qui sunt affirmare negare, vel voluntarius, qui residet in voluntate, acquiritur actibus voluntatis. Per actus autem voluntatis hic non solum intellige internos, scilicet appetere, aversari, sed externos, videlicet actus locomotivae, quatenus a prioribus diriguntur. IJD 1.1.6 Habitus intellectualis vel pro obiecto habet principia (b) tam theoretica quam practica, vocatur intelligentia, vel principiata. (c) (b) Scilicet complexa seu propositiones. (c) i. e. conculsiones ex istis primis principiis ortas, seu principia incomplexa, seu cognitionem rerum, de quibus propositiones formantur. IJD 1.1.7 Posterior est vel theoreticus, qui pro obiecto habet cognitionem Creatoris creaturae, vel practicus, qui pro obiecto habet cognitionem actionum humanarum. IJD 1.1.8 Theoreticus vel considerat ens in genere, qui dicitur ontologia, (d) hodie vulgariter metaphysica, (e) vel certas entis species. (d) Ita Claubergius scripsit Ontologiam, ante eum alii. (e) Vide quae hac de re eleganter disserit B. Pater in Historia metaphysica subiuncta eius Quaestionibus metaphysicis. IJD 1.1.9 Et quidem vel Creatorem, qui vocatur sapientia, (f) olim etiam metaphysica, (g) hodie \ prima pars pneumaticae, (h) vel creaturas corporeas, (i) appellatur scientia. (l) (f) Unde sapientiae imperium tribui\-tur inter habitus intellectuales. Quamvis ineptissime eundem titulum hodie multi tribuant metaphysicae, quatenus est simplex ontologia. (g) Dicebatur autem olim metaphysica, quod post physicam tractari debebat, quia cognitio creaturarum ducit ad cognitionem creatoris, Cartesiani ergo cum methodum inversam sequantur, suam doctrinam de Deo metaphysicae nomine insignire non possunt. De ontologia Peripateticorum pariter inepte metaphysicae nomen retinet. (h) Nam tractatur in pneumatica 1. de Deo, 2. de angelis, 3. de anima separata. Ignorat vero pneumaticam philosophia vetus, cum sit novum inventum Scholasticorum, ut ostendit Pater in Historia Metaphysices. (i) Quia spiritus creatos separatim, existentes ignorat ratio sibi relicta. (l) Unde Aristotelis tot sunt scientiae, quot substantiae sunt autem substantiae tres Deus, unde metaphysica, caelum, unde astronomia, corpus naturale, unde physica. Sub se enim in lata acceptatione scientia comprehendit sapientiam. IJD 1.1.10 Scientia vero contemplatur creaturas corporeas, vel ratione essentiae qualitatum, quod facere debet physica, vel ratione quantitatis, quod facit mathesis. IJD 1.1.11 Sequitur habitus practicus. Atqui hic (m) vel occupatur circa actiones hominum honestas, appellatur prudentia, vel turpes, dicitur astutia, vel indifferentes, vocatur solertia. (m) Varia mutavi a §. 11. ad 20. quae aliter extant aut ordinata erant in prima editione, quae inde provenerant, quod, quia observaveram artem non posse ad habitus intellectuales referri, prudentiam solam in classe habitum [habituum?] practicorum retinueram, eamque feceram synonyumum habitus practici. IJD 1.1.12 Qui vero in his omnibus ingenio caret, stupidus imprudens dicitur. IJD 1.1.13 Dum vero prudentia versatur circa actiones honestas, ita circa eas occupata est, ut non excludatur earum iucunditas utilitas, sed ut ea honestati subordinetur. Nam honestum vel maxime iucundum est utile. IJD 1.1.14 Quatenus autem magis ab utilitate iucunditate abstrahit, honestatem actionum, seu earum convenientiam cum lege prae oculis habet, eatenus ad differentiam prioris, cum additamento iurisprudentia dicitur late accepta. IJD 1.1.15 Porro homines, quorum actiones dirigit prudentia, vivunt vel in societate civili, tum dicitur prudentia politica, vel in societate domestica, vocatur prudentia oeconomica.
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ACT ONE 1.- Overture Scene 1 (Solomon, Zadok, Priests...) 2.- Chorus CHORUS OF PRIESTS Your harps and cymbals sound to great Jehovah’s praise; unto the Lord of Hosts your willing voices raise. 3.- Air LEVITE Praise ye the Lord for all his mercies past, whose truth, whose justice will for ever last. 4.- Chorus PRIESTS With pious heart, and holy tongue, resound your Maker’s name, till distant nations catch the song, and glow with holy flame. 5.- Accompagnato SOLOMON Almighty pow’r, who rull’st the earth and skies, and bade gay order form confusion rise; whose gracious hand reliev’d Thy slave distress’d, with splendour cloath’d me, and with knowledge bless’d Thy finish’d Temple with Thy presence grace, and shed Thy heav’nly glories o’er the place. 6.- Recitative ZADOK Imperial Solomon, thy pray’rs are heard. See, from the op’ning skies descending flames involve the sacrifice; and lo! within the sacred dome that gleamy light, profusely bright, declares the Lord of Hosts is come. 7.- Air Sacred raptures cheer my breast, rushing tides of hallow’d zeal, joys too fierce to be express’d, in this swelling heart I feel. Warm enthusiastic fires in my panting boson roll, hope of bliss, that ne’er expires, dawns upon my ravish’d soul. 8.- Chorus CHORUS OF ISRAELITES Throughout the land Jehovah’s praise record, for full of pow’r and mercy is the Lord. 9.- Recitative SOLOMON Bless’d be the Lord, who look’d with gracious eyes upon His vassals’ humble sacrifice, and has with an approving smile my work o’erpaid, and grac’d the pile. 10.- Air What though I trace each herb and flow’r, that drink the morning dew, did I not own Jehovah’s pow’r, how vain were all I knew. Say what’s the rest but empty boast, the pedant’s idle claim, who having all the substance lost attempts to grasp a name. Scene 2 (The previous and the Queen) 11.- Recitative SOLOMON And see my Queen, my wedded love, you soon my tenderness shall prove; a palace shall erect its head, of cedar built, with gold bespread; methinks the work is now begun, the axe resounds on Lebanon, and see, bedeck’d with canvas wings, the dancing vessel lightly springs, while Ophir’s mines, well pleas’d, disclose the wealth that in their entrails glows. 12.- Air QUEEN Bless’d the day when first my eyes saw the wisest of the wise! Bless’d the day when I was led to ascend the nuptial bed! But completely bless’d the day, on my bosom as he lay, when he call’d my charms divine, vowing to be only mine. 13.- Recitative SOLOMON Thou fair inhabitant of Nile, rejoice thy lover with a smile! QUEEN Oh monarch, with each virtue bless’d, the brightest star that gilds the east no joy I know beneath the sun, but what’s compris’d in Solomon. With thee, how quickly fled the winter’s night, and short is summer’s length of light. 14.- Duet QUEEN Welcome as the dawn of day to the pilgrim on his way, whom the darkness caus’d to stray, is my lovely King to me. SOLOMON Myrtle grove, or rosy shade, breathing odours through the glade to refresh the village maid, yields in sweets, my queen, to thee. 15. Recitative ZADOK Vain are the transient beauties of the face, Where virtue fails to animate each grace; Bright and more bright her radiant face appears, Nor dreads the canker d tooth of rolling years O er such a partner comfort spreads her wing, And all our life is one perpetual spring. 16. Air Indulge thy faith and wedded truth With the fair partner of thy youth; She s ever constant, ever kind, Like the young roe, or loving hind. 17.- Recitative SOLOMON My blooming fair, come, come away, my love admits of no delay. 18.- Air Haste, haste to the cedar grove, where fragrant spices bloom, and am’rous turtles love, beneath the pleasing gloom, while tinkling down the hill, avoiding hateful day, the little murm’ring rill in whispers glides away. 19.- Recitative QUEEN When thou art absent from my sight, the court I shun, and loathe the light. 20.- Air With thee th’unshelter’d moor I’d tread, nor once of fate complain, though burning suns flash’d round my head, and cleav’d the barren plain. Thy lovely form alone I prize, ‘Tis thou that canst impart continual pleasure to my eyes, and gladness to my heart. 21.- Chorus CHORUS May no rash intruder disturb their soft hours; to form fragrant pillows, arise, oh ye flow’rs! Ye zephirs, soft-breathing, their slumbers prolong, while nightingales lull them to sleep with their song. ACT ONE 1.- Overture Scene 1 (Solomon, Zadok, Priests...) 2.- Chorus CHORUS OF PRIESTS Your harps and cymbals sound to great Jehovah’s praise; unto the Lord of Hosts your willing voices raise. 3.- Air LEVITE Praise ye the Lord for all his mercies past, whose truth, whose justice will for ever last. 4.- Chorus PRIESTS With pious heart, and holy tongue, resound your Maker’s name, till distant nations catch the song, and glow with holy flame. 5.- Accompagnato SOLOMON Almighty pow’r, who rull’st the earth and skies, and bade gay order form confusion rise; whose gracious hand reliev’d Thy slave distress’d, with splendour cloath’d me, and with knowledge bless’d Thy finish’d Temple with Thy presence grace, and shed Thy heav’nly glories o’er the place. 6.- Recitative ZADOK Imperial Solomon, thy pray’rs are heard. See, from the op’ning skies descending flames involve the sacrifice; and lo! within the sacred dome that gleamy light, profusely bright, declares the Lord of Hosts is come. 7.- Air Sacred raptures cheer my breast, rushing tides of hallow’d zeal, joys too fierce to be express’d, in this swelling heart I feel. Warm enthusiastic fires in my panting boson roll, hope of bliss, that ne’er expires, dawns upon my ravish’d soul. 8.- Chorus CHORUS OF ISRAELITES Throughout the land Jehovah’s praise record, for full of pow’r and mercy is the Lord. 9.- Recitative SOLOMON Bless’d be the Lord, who look’d with gracious eyes upon His vassals’ humble sacrifice, and has with an approving smile my work o’erpaid, and grac’d the pile. 10.- Air What though I trace each herb and flow’r, that drink the morning dew, did I not own Jehovah’s pow’r, how vain were all I knew. Say what’s the rest but empty boast, the pedant’s idle claim, who having all the substance lost attempts to grasp a name. Scene 2 (The previous and the Queen) 11.- Recitative SOLOMON And see my Queen, my wedded love, you soon my tenderness shall prove; a palace shall erect its head, of cedar built, with gold bespread; methinks the work is now begun, the axe resounds on Lebanon, and see, bedeck’d with canvas wings, the dancing vessel lightly springs, while Ophir’s mines, well pleas’d, disclose the wealth that in their entrails glows. 12.- Air QUEEN Bless’d the day when first my eyes saw the wisest of the wise! Bless’d the day when I was led to ascend the nuptial bed! But completely bless’d the day, on my bosom as he lay, when he call’d my charms divine, vowing to be only mine. 13.- Recitative SOLOMON Thou fair inhabitant of Nile, rejoice thy lover with a smile! QUEEN Oh monarch, with each virtue bless’d, the brightest star that gilds the east no joy I know beneath the sun, but what’s compris’d in Solomon. With thee, how quickly fled the winter’s night, and short is summer’s length of light. 14.- Duet QUEEN Welcome as the dawn of day to the pilgrim on his way, whom the darkness caus’d to stray, is my lovely King to me. SOLOMON Myrtle grove, or rosy shade, breathing odours through the glade to refresh the village maid, yields in sweets, my queen, to thee. 15. Recitative ZADOK Vain are the transient beauties of the face, Where virtue fails to animate each grace; Bright and more bright her radiant face appears, Nor dreads the canker d tooth of rolling years O er such a partner comfort spreads her wing, And all our life is one perpetual spring. 16. Air Indulge thy faith and wedded truth With the fair partner of thy youth; She s ever constant, ever kind, Like the young roe, or loving hind. 17.- Recitative SOLOMON My blooming fair, come, come away, my love admits of no delay. 18.- Air Haste, haste to the cedar grove, where fragrant spices bloom, and am’rous turtles love, beneath the pleasing gloom, while tinkling down the hill, avoiding hateful day, the little murm’ring rill in whispers glides away. 19.- Recitative QUEEN When thou art absent from my sight, the court I shun, and loathe the light. 20.- Air With thee th’unshelter’d moor I’d tread, nor once of fate complain, though burning suns flash’d round my head, and cleav’d the barren plain. Thy lovely form alone I prize, ‘Tis thou that canst impart continual pleasure to my eyes, and gladness to my heart. 21.- Chorus CHORUS May no rash intruder disturb their soft hours; to form fragrant pillows, arise, oh ye flow’rs! Ye zephirs, soft-breathing, their slumbers prolong, while nightingales lull them to sleep with their song. Handel,George Frideric/Solomon/II
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＜＜第１幕＞＞ 物語はスコットランド王の宮廷で起こる。 ＜第１場＞ 王宮の居室。 鏡の前で着飾っているジネヴラ。 ダリンダ、小姓と侍女達。 Cavatina GINEVRA 愛らしさと色気と明るさで 私があの人の目に もっと美しく映りますように。 （彼女が鏡から立ち上がると、小姓と侍女達出て行く） Recitativo DALINDA つまり王女、恋してらっしゃるのね？ GINEVRA 私の心は恋する思いをかき立てる 気高い炎で燃えているわ。 DALINDA 王であるお父様は それを認めていらして？ GINEVRA むしろ御推奨よ。 DALINDA お愛し続けなさいな、心ゆくまで。 （出て行こうとする） ＜第２場＞ ジネヴラ、ポリネッソ、戻って来たダリンダ。 POLINESSO ジネヴラ？ GINEVRA まあ、厚かましい！ちょっとダリンダ！ POLINESSO あなたの美しい瞳から離れていると 私は生きた心地がしない。 だから許してください、もしあなたに・・・ GINEVRA 公爵、今までだってあなたに会うのが 迷惑だったのに 愛を告白した今は もっと迷惑よ。 Aria GINEVRA ティシフォネ（復讐の女神）だって あなたほど私の目に おぞましく映らないわ。 私達をからかう愛の神は あなたには燃える心を 私には氷の心を与えたのね。 （出て行く） ＜第３場＞ ポリネッソとダリンダ。 Recitativo POLINESSO 高慢ちきな美女め！ DALINDA 公爵様、努力しても無駄ですわ・・・ 彼女は諦めるのです、だってアリオダンテが・・・ POLINESSO …そいつがオレのライバルか？ DALINDA いえもう二人は相思相愛で。 POLINESSO おやじは何と言ってるんだ？ DALINDA 王も二人の仲を認めていますわ。 もう公爵様に勝ち目はないでしょう？ （愛情を込めて彼を見つめながら） Aria DALINDA 瞳を開いて 他の人の秘めた思いに気づいてください。 あなたに恋焦がれている人がいるのに まだあなたは気づいていない。 口には出さずとも かすかな溜息で 彼女はあなたに知らせる ああ！この胸に燃える美しい炎を。 （出て行く） ＜第４場＞ ポリネッソ、ひとりで。 Recitativo POLINESSO オレの望みよ、どうする？ こうしてお前は私オレを捨てるのか？ いや、やるんだポリネッソ！ ダリンダが貴様に愛を告白したじゃないか。 ライバルを王座から蹴落とすために 大芝居を打ってやるぜ。 Aria POLINESSO ボロをまとった策略は 役立たずの 嫌われものだ。 それはごまかしと言う。 だがもしより美しく 着飾ろうものなら 男らしく上手くやったと 褒められる。 （出て行く） ＜第５場＞ 王宮の庭。 アリオダンテ、後にジネヴラ。 Cavatina ARIODANTE ここでは小川も芝もブナの木も 彼らの言葉で 恋する私に愛を語っている。 Recitativo ARIODANTE 私は永遠に君を愛する、私の大切な人よ。 （ジネヴラが現れる） GINEVRA 永遠に変わらぬ心を・・・私もあなたにそう言うわ。 ARIODANTE 君は私の君主、私はその奴隷だ。 GINEVRA アリオダンテ 愛の神のおかげで 恋する魂は もう君主ではないわ。 そして心を支配する人は奴隷ではない。 ARIODANTE びっくりして ちょっと信じられないが。 GINEVRA じゃあ私の右手を あなたへの愛の証に。 Duetto GINEVRA E ARIODANTE この手を取って（取ります） 私の忠誠の証（褒美）です。 過酷な運命の 手ひどい仕打ちも 私の中のこんなにも甘美な情熱を 消すことはできないでしょう。 （手を差し伸べながら一緒に歌っていると、王が二人の間に入って、アリオダンテと娘の手を取る） ＜第６場＞ アリオダンテ、ジネヴラ、王、オドアルド、そして衛兵。 Recitativo RE（王） うろたえることはないぞ 美しい恋する魂達よ！ GINEVRA お父様！ ARIODANTE 我が王！ RE 静かに！ 満ち足りたお前達の仲間に わしも入れてくれないかね。 （ジネヴラに） お前は我が人生と 心の一部なのだから。 （アリオダンテに） そして君はもう一方の・・・ ARIODANTE （ひざまづいて） 王たるあなたの御もとに・・・ RE 立つのじゃ、愛するアリオダンテよ。 わしもこの歳になると 娘のことや王国の将来を考えねばならぬ。 お前以外に花婿として王として相応しい者が 思い浮かばないのじゃ。 GINEVRA 神よ！大きな喜びを・・・ ARIODANTE 素晴らしい未来を・・・ GINEVRA …この心が保ち続けるなら・・・ ARIODANTE …この心が受け入れるなら・・・ ARIODANTE E GINEVRA …これは愛の奇跡というもの。 RE さあ娘よ行くのじゃ、近づく婚礼に備えて。 お前の心にはさらなる満足を その顔にはよりたくさんの装飾品を その髪にはより多くの宝石を。 Aria GINEVRA 飛べ、愛の神達よ 大いに喜ぶ二つの美しい心を 祝福するために！ あまりの嬉しさに 言葉もないほど ただただ喜びがほとばしる。 （出て行く） ＜第７場＞ アリオダンテ、王、オドアルド、衛兵。 Recitativo RE すぐに行け、オドアルド、祝賀の準備だ。 そして高貴な婚礼で 明日が幸せと喜びの日になるように。 ODOARDO そしてこの王宮、王国、世界が喜びで満ちるように。 （出て行く） RE そしてお前、ジネヴラと同じく 愛するアリオダンテよ 王の手からこの贈り物を受けるがよい。 我が身と娘と王座以上のものを わしはそなたに与えることはできない。 Aria RE ラッパの音と共に この喜びを広めるため この知らせが世界中に伝わるように。 運命はこれ以上喜ばしい日を 送り届けることはできないと 天がほがらかに鳴り響く。 （出て行く） ＜第８場＞ アリオダンテ、ひとりで。 Recitativo ARIODANTE おお、幸せな私の心よ！ 幾多の苦しみを経た後 ついに満足を得る時が来たのだ。 Aria ARIODANTE 変わらぬ愛の翼で 愛の神は空を舞い 信頼と希望を 心の中で勝利させる。 もう辛い運命を 恐れる必要はなく それどころか 美しい大切な人と一緒なら いつも心は喜びに満ちるのだ。 （出て行く） ＜第９場＞ ポリネッソ、ダリンダと一緒に話しながら入って来る。 Recitativo POLINESSO お前の魅力は分かっているぜ、愛するダリンダ。 で、お前の力を借りて 意に沿わぬ「くびき」を振り落とし ジネヴラと彼女の結婚と王国を 茶番にかけてあざ笑ってやりたいのさ。 DALINDA （何ですって？ああ、幸せ！） あなたの指図なら、公爵様・・・ POLINESSO そうか、では今夜 ジネヴラが眠ったら あいつの服を着て 上から下まであいつそっくりに装い 髪型もあいつのように整えて・・・ DALINDA それから？ POLINESSO 王宮の庭の 隠しドアから ジネヴラの振りをして あの女の部屋へオレを入れろ。 DALINDA でも私の貞節は？ POLINESSO オレは高貴な女性に相応しい扱いを 心得ているさ。 これでまだ決心はつかないのか？ DALINDA 愛の力よ！ 愛する人を拒むなんてできないわ。 POLINESSO そうしたらオレの心は全てお前のものだ。 Aria POLINESSO 美しい瞳よ、そうだお前が 今日オレの傷口を癒すのを期待しているぞ。 そしてオレの心からの愛情を捧げよう。 愛らしい眼（まなこ）よ！ （出て行く） ＜第10場＞ ダリンダとルルカニオ。 Recitativo LURCANIO ダリンダ、もう日は西に沈んだが 君の美しい瞳には より輝く太陽が昇り 私達を照らしている。 DALINDA まあ、私をからかって。 LURCANIO 君は私が望む唯一の女性だ。 DALINDA でも私はあなたのためでは・・・ LURCANIO 君は私の憧れなんだ。 DALINDA もっと素晴らしいものに あなたの情熱を捧げて。 （出て行く） Aria LURCANIO 我が太陽の愛らしい光が 今私から消えていく。 一体なぜ？ その光がなければ私は生きていけない。 そこから発する情熱は 私の心に生気を与え 私に火を付け 今も燃え 私が死ぬまで燃え続けるだろう。 （出て行く） ＜第11場＞ ダリンダ、ひとりで。 Recitativo DALINDA ああ、この恋する心は 他の人への炎で燃えているのよ。 そしてずっと永久に変わらないわ。 Aria DALINDA 初めての愛の炎は この心にとてもいとおしいから 恋する魂は それを消そうとはしないわ。 私は心変わりしないし 決してつれなくすることもないわ。 この心は永遠に 彼を思うの。 （出て行く） ＜第12場＞ 魅惑的な渓谷。 アリオダンテ、辺りの美しさに見とれながら。 Recitativo ARIODANTE どこもかしこも 喜びに心弾んでいるようだ。 ＜第12場＞ ジネヴラとアリオダンテ。 Recitativo GINEVRA どんな幸運の星が 私をあなたに導くのかしら、愛する人？ ARIODANTE 君がその星なんだよ。 GINEVRA 心穏やかに、あなた。 もう私達のゴールはすぐそこよ。 私達の幸せな婚礼が明日を彩るでしょう。 ARIODANTE ここで幸せに暮らしている 優美なニンフ達、恋する羊飼いの娘達よ。 踊りと歌で 私達の喜びを祝福しておくれ。 Sinfonia. Duetto GINEVRA E ARIODANTE 私の心に この上なき喜びと希望が芽吹くなら それは忠実な愛のたまもの。 移り気な愛しか知らぬ者は 本当の喜びや幸福を 手にする望みはないのだ。 （合唱） CORO 美しい魂達よ、忠実な恋人達よ お前達の愛を大いに楽しみなさい。 それは心に至福をもたらす。 GINEVRA E ARIODANTE 私の心に この上なき喜びと希望が芽吹くなら それは忠実な愛のたまもの。 CORO, GINEVRA E ARIODANTE 皆が 歓喜するお前達の 変わらぬ愛と希望に 倣おうと努めるように。 Ballo Ninfe, Pastori e Pastorelle. Gavotte Musette I Lentement Musette II Andante Allegro Coro CORO, GINEVRA E ARIODANTE 皆が 歓喜するお前達の 変わらぬ愛と希望に 倣おうと努めるように。 ATTO PRIMO L azione si svolge presso la corte del Re di Scozia SCENA I° Gabinetto Reale Ginevra allo specchio in atto di acconciarsi. Dalinda, paggi e damigelle. Cavatina GINEVRA Vezzi, lusinghe, e brio rendano il volto mio più vago al mio tesor. S’alza sullo specchio, e li Paggi, e le Damigelle partono. Recitativo DALINDA Ami dunque, o signora? GINEVRA Avvampa il core di nobil fiamma, che vi accese amore. DALINDA Il Re tuo genitore, l’approva? GINEVRA Anzi il fomenta. DALINDA Segui ad amar, fa’ l’alma tua contenta. in atto partire SCENA II° Ginevra, Polinesso e Dalinda, che ritorna. POLINESSO Ginevra? GINEVRA Tanto ardire? Olà Dalinda! POLINESSO Lungi da’ tuoi bei rai viver non può il mio cor; quindi perdona se a te… GINEVRA Duca, se mai fosti noioso oggetto a gli occhi miei, or che amante ti scopri, or più lo sei. Aria GINEVRA Orrida a gl’occhi miei, quanto, signor, tu sei Tesifone non è. Amor, di noi per gioco, il core a te di foco di gelo fece a me. Parte. SCENA III° Polinesso e Dalinda. Recitativo POLINESSO Orgogliosa beltade! DALINDA Signore, in vano tenti… lascia d’amarla. Io credo che Ariodante… POLINESSO …è mio rival? DALINDA Anzi gradito amante. POLINESSO E il genitor? DALINDA Approva gli affetti lor, e che sperar tu puoi? Guardandolo teneramente Aria DALINDA Apri le luci, e mira gli ascosi altrui martiri v’è chi per te sospira, e non l’intendi ancor. E in tacita favella col fumo de’ sospiri, ti scopre, oh Dei! la bella fiamma, che le arde il sen. Parte. SCENA IV° Polinesso solo. Recitativo POLINESSO Mie speranze, che fate? Cosi mi abbandonate? No. Fa’ cuor, Polinesso! Giacché Dalinda a te si scopre amante, alziam mole d’ingegno, per atterrar il mio rivale al regno. Aria POLINESSO Coperta la frode di lana servile, si fugge, e detesta, e inganno s’appella. Si chiama con lode prudenza virile s’avvien che si vesta di spoglia più bella. Parte. SCENA V° Giardino reale. Ariodante, poi Ginevra. Cavatina ARIODANTE Qui d’amor nel suo linguaggio parla il rio, l’erbetta, e ‘l faggio al mio core innamorato. Recitativo ARIODANTE T’amerò dunque sempre, idolo mio. Ginevra le si presenta GINEVRA Alma costante pur, ti dico anch’io. ARIODANTE Tu sovrana, io vassallo! GINEVRA Ariodante, mercè del Nume Arciero più sovrana non è quest’alma amante; servo non è, chi ha del mio cor l’impero. ARIODANTE Quasi attonita l’alma ancor nol crede. GINEVRA Dunque la destra mia, di cio che t’offre amor pegno ti sia. Duetto GINEVRA E ARIODANTE Prendi (prendo) da questa mano il pegno (il premio) di mia fé. Del fato più inumano il barbaro rigore, mai così bell’ardore estinguer possa in me. Mentre replicano il Duetto, porgendosi la mano, il Re entra nel mezzo, e prende la mano di Ariodante e della figlia. SCENA VI° Ariodante, Ginevra, Re, Odoardo e guardie Recitativo RE Non vi turbate, bell’ alme innamorate! GINEVRA Padre! ARIODANTE Mio Re! RE Tacete! e dei vostri contenti me a parte ancor prendete, a Ginevra che della vita, e degli spirti miei una parte sei tu; ad Ariodante l’altra tu sei. ARIODANTE in atto di inginocchiarsi Alle tue reggie piante … RE Sorgi, amato Ariodante; in questa età degg’ io, alla figlia pensar, pensar al regno, né s’offre al pensier mio di te più degno sposo, e Re più degno. GINEVRA A tanta gioia, oh Dei! ARIODANTE A tanta sorte… GINEVRA …Se resiste il cor mio… ARIODANTE …Se il cor non muore… ARIODANTE E GINEVRA …È prodigio d’amore. RE Or va’ figlia, comparti per le nozze vicine più contenti al al tuo core, più vezzi al volto tuo, più gemme al crine. Aria GINEVRA Volate, amori, di due bei cori la gioia immensa a celebrar! Il gaudio è tanto, che come è quanto, dir non saprei debba esultar. Parte. SCENA VII° Ariodante, Il Re, Odoardo e guardie. Recitativo RE Vanne pronto, Odoardo, le pompe a preparar; e il novo giorno sia coll’ alto Imeneo lieto e giocondo. ODOARDO E goda questa reggia, il regno, il mondo. parte RE E tu al par di Ginevra, amato Ariodante, dalla man del tuo Re gradisci il dono; più darti non poss’io, se me stesso ti dò, la figlia, e il trono. Aria RE Voli colla sua tromba la fama in tutto il mondo le gioie a pubblicar! Il ciel lieto rimbomba, che giorno più giocondo sorte non può mandar. Parte. SCENA VIII° Ariodante solo. Recitativo ARIODANTE Oh, felice mio core! dopo tanti tormenti pur giungesti alla sfera dei contenti. Aria ARIODANTE Con l’ali di costanza alza il suo volo Amor, fa trionfar nel cor, fede, e speranza. Non devo più temere di sorte il rio tenor, ma col mio bel tesor, sempre godere. Parte. SCENA IX° Polinesso e Dalinda, parlando assieme. Recitativo POLINESSO Conosco il merto tuo cara Dalinda, e col tuo mezzo io voglio scuotere il giogo indegno, render scherni a’ disprezzi lasciar Ginevra, e le sue nozze, e il regno. DALINDA (Che sento? oh me felice!) Al tuo cenno, Signor… POLINESSO Si in questa notte quando dorme Ginevra, ti adorna di sue vesti, cerca imitarla in tutto, disponi come lei le chiome…. DALINDA E poi? POLINESSO Per la segreta porta del reale giardino nelle sue stanze m’introduci, e fingi di Ginevra il sembiante. DALINDA Ma il mio onor? POLINESSO So il rispetto che si conviene a nobile donzella. E non risolvi ancor? DALINDA Forza d’amore! nulla si può negar a chi s’adora. POLINESSO Tutto sarà per te poscia il mio core. Aria POLINESSO Spero per voi, sì, sì begli occhi in questo dì sanar mie piaghe. E a voi sacrar voglio gli affetti del cor mio, pupille vaghe! Parte. SCENA X° Dalinda e Lurcanio. Recitativo LURCANIO Dalinda, in occidente già cade il sole, e ne’ bei lumi tuoi un sol più chiaro ecco ne spunta a noi. DALINDA Signor, meco tu scherzi. LURCANIO Sei la mia sola speme. DALINDA Non son per te, Signor… LURCANIO Sei l’idol mio. DALINDA Ergi a scopo maggiore il tuo desio. Parte Aria LURCANIO Del mio sol vezzosi rai v’ascondete ora da me; ma perchè? Senza voi viver non so. Quell’ardor, che da voi scese, che m’accese, e m’arde ancora, e arderà per sin ch’io mora quel la vita al cor donò. Parte. SCENA XI° Dalinda sola. Recitativo DALINDA Ah! che quest’alma amante arde per altro foco, e in eterno sarà sempre costante. Aria DALINDA Il primo ardor è così caro a questo cor, che estinguerlo non vuol quest’alma amante. Io son fedel, né mai crudel, e sempre a lui sarà il cor costante. Parte. SCENA XII° Valle deliziosa. Ariodante, ammirando la bellezza del loco. Recitativo ARIODANTE Pare, ovunque mi aggiri, che incontri il gaudio e ‘l brio. SCENA XIII° Ginevra e Ariodante. Recitativo GINEVRA E qual propizia stella mi guida a te, mio ben? ARIODANTE Tu sol sei quella. GINEVRA Consolati, mio caro; già siam vicini al porto, e il novo giorno del bel nostro Imeneo ne anderà adorno. ARIODANTE Felici abitator di questo suolo, Ninfe leggiadre, e amanti pastorelle, le nostre gioie intanto venite a celebrar col ballo, e il canto. Sinfonia. Duetto GINEVRA E ARIODANTE Se rinasce nel mio cor, bella gioia, bella speme, la produce un fido amor. Chi non sa costante amar, vero gaudio, vero bene non isperi di trovar. Coro CORO Si godete al vostro amor, alme belle, fidi amanti, questo fa beato il cor. GINEVRA E ARIODANTE Se rinasce nel mio cor, bella gioia, bella speme, la produce un fido amor. CORO, GINEVRA E ARIODANTE Cerchi ognuno d’imitar la costanza, la speranza che vi fa lieti esultar. Ballo Ninfe, Pastori e Pastorelle. Gavotte Musette I Lentement Musette II Andante Allegro Coro CORO, GINEVRA E ARIODANTE Cerchi ognuno d’imitar la costanza, la speranza che vi fa lieti esultar. To the extent possible under law, REIKO KOHhave waived all copyright and related or neighboring rights to the Japanese text above. This work is published from Japan. Handel,George Frideric/Ariodante/ActⅡ