A farewell concert of Maria Callas with the Italian operatic tenor Giuseppe Di Stefano. Recorded on October 12, 1974 in Tokyo NHK Hall. Accompanist: Robert Sutherland, Glasgow-born classical pianist.

In 1973, Giuseppe Di Stefano accompanied Maria Callas on her final recital tour that ended in 1974: critics remarked that both were losing their voices, but the public reaction was enthusiastic everywhere.

1974 was the last year that Callas gave public performances. She died in 1977 aged 53.

Glasgow-born classical pianist Robert Sutherland coached and accompanied Callas on her last ever tour with tenor Guiseppe di Stefano and remained a close friend, continuing to work with her in her Paris home. He wrote a book “Maria Callas: Diaries of a Friendship” about their time together.

Table of Contents


  1. Bizet: L’amour est un oiseau rebelle (Habanera), from Carmen (Callas) (1)
  2. Bizet: La fleur que tu m’avais jetée, from Carmen (Di Stefano) (2)
  3. Bizet: C’est toi? C’est moi – Duo final, from Carmen (Duet) (3)
  4. Salvatore Cardillo: Core ‘ngrato (Di Stefano) (4)
  5. Mascagni: Voi lo sapete, from Cavalleria rusticana (Callas) (5)
  6. Mascagni: Tu qui, Santuzza? … Ah ! Lo vedi … No, no Turiddu, from Cavalleria rusticana (duet) (6)
    1. Schicchi: O mio babbino caro (Callas) (7)
    2. Donizetti: Una parola, o Adina … Chiedi all’aura lusinghiera … Per guarir di tal pazzia, from L’elisir d’amore (duet)



Habanera, the popular name for “L’amour est un oiseau rebelle” (Love is a rebellious bird) is actually an aria for a mezzo-soprano role. It is one of the most famous arias from Bizet’s Carmen. It is the entrance aria of the title character, “Carmen”, a Gypsy Girl, in scene 5 of the first act.

Habanera is actually a Cuban popular dance music of the 19th century. The score of this aria was adapted from the habanera “El Arreglito”, originally composed by the Spanish musician Sebastián Yradier. Bizet thought it to be a folk song; when others told him he had used something that had been written by a composer who had died only ten years earlier, he had to add a note to the vocal score of Carmen, acknowledging its source.

The French libretto was written by Henri Meilhac and Ludovic Halévy.


Quand je vous aimerai?
Ma foi, je ne sais pas,
Peut-être jamais, peut-être demain.
Mais pas aujourd’hui, c’est certain!
L’amour est un oiseau rebelle
Que nul ne peut apprivoiser,
Et c’est bien en vain qu’on l’appelle,
S’il lui convient de refuser.
Rien n’y fait, menace ou prière;
L’un parle bien, l’autre se tait,
Et c’est l’autre que je préfère;
Il n’a rien dit mais il me plaît.

(L’amour est un oiseau rebelle) L’amour…
(Que nul ne peut apprivoiser,) L’amour…
(Et c’est bien en vain qu’on l’appelle,) L’amour…
(S’il lui convient de refuser.) L’amour…

L’amour est enfant de Bohême,
Il n’a jamais, jamais connu de loi;
Si tu ne m’aimes pas, je t’aime;
Si je t’aime, prends garde à toi! (Prends garde à toi!)
Si tu ne m’aimes pas,
Si tu ne m’aimes pas, je t’aime; (Prends garde à toi!)
Mais si je t’aime, si je t’aime;
Prends garde à toi!

(L’amour est enfant de Bohême,)
(Il n’a jamais, jamais connu de loi;)
(Si tu ne m’aimes pas, je t’aime;)
(Si je t’aime, prends garde à toi!) (Prends garde à toi!)

Si tu ne m’aimes pas,
Si tu ne m’aimes pas, je t’aime; (Prends garde à toi!)
Mais si je t’aime, si je t’aime;
Prends garde à toi! (Prends garde à toi!)

L’oiseau que tu croyais surprendre
Battit de l’aile et s’envola.
L’amour est loin, tu peux l’attendre;
Tu ne l’attends plus, il est là.
Tout autour de toi, vite, vite,
Il vient, s’en va, puis il revient.
Tu crois le tenir, il t’évite,
Tu crois l’éviter, il te tient!

(Tout autour de toi, vite, vite) L’amour…
(Il vient, s’en va, puis il revient.) L’amour…
(Tu crois le tenir, il t’évite,) L’amour…
(Tu crois l’éviter, il te tient!) L’amour…

L’amour est enfant de Bohême,
Il n’a jamais, jamais connu de loi;
Si tu ne m’aimes pas, je t’aime;
Si je t’aime, prends garde à toi! (Prends garde à toi!)
Si tu ne m’aimes pas,
Si tu ne m’aimes pas, je t’aime (Prends garde à toi!)
Mais si je t’aime, si je t’aime
Prends garde à toi!

(L’amour est enfant de Bohême,)
(Il n’a jamais, jamais connu de loi;)
(Si tu ne m’aimes pas, je t’aime;)
(Si je t’aime, prends garde à toi!) (Prends garde à toi!)

Si tu ne m’aimes pas,
Si tu ne m’aimes pas, je t’aime (Prends garde à toi!)
Mais si je t’aime, si je t’aime
Prends garde à toi! (Prends garde à toi!)

English translation

When will I love you?
Good Lord, I don’t know,
Maybe never, maybe tomorrow.
But not today, that’s for sure.

Love is a rebellious bird
That none can tame,
And it is well in vain that one calls it
If it suits him to refuse
Nothing to be done, threat or prayer.
The one talks well, the other is silent;
And it’s the other that I prefer
He says nothing but he pleases me.

(Love is a rebellious bird) Love…
(that none can tame,) Love…
(and you can call him, although it is, quite in vain,) Love…
(because it suits him not to come) Love…

Love is a gypsy’s child,
It has never, never known the law;
If you do not love me, I love you;
If I love you, take guard yourself (Take guard yourself!)
If you do not love me,
If you do not love me, I love you (Take guard yourself!)
But if I love you, if I love you
Take guard yourself!

(Love is a gypsy’s child,)
(It has never, never known the law;)
(If you do not love me, I love you;)
(If I love you, take guard yourself) (Take guard yourself!)

If you do not love me,
If you do not love me, I love you (Take guard yourself!)
But if I love you, if I love you
Take guard yourself!(Take guard yourself!)

The bird you hoped to catch
Beat its wings and flew away …
Love is far, you can wait for it
You no longer await it, there it is
All around you, swift, swift,
It comes, goes, then it returns …
You think to hold it fast, it flees you
You think to flee it, it holds you

(All around you, swift,) Love…
(It comes, goes, then it returns) Love…
(You think to hold it fast, it flees you) Love…
(You think to flee it, it holds you) Love…

Love is a gypsy’s child,
it has never, never known the law;
if you love me not, then I love you;
if I love you, take guard yourself (Take guard yourself!)
if you love me not,
if you love me not, then I love you (Take guard yourself!)
but if I love you, if I love you
take guard yourself!

(Love is a gypsy’s child,)
(it has never known the law;)
(if you love me not, then I love you;)
(if I love you, take guard yourself) (Take guard yourself!)

if you love me not,
if you love me not, then I love you (Take guard yourself!)
but if I love you, if I love you
take guard yourself (Take guard yourself)

La fleur que tu m’avais jetée (Flower Song)

It is an aria from from the Bizet opera, Carmen, which is sung by Don José in the opera’s 2nd act when he is about to return to the army barracks. Through song, he tells her that the flower she once gave to him allowed him to remain strong while serving his time in prison. When José says he must return to duty, she mocks him, and he answers by showing her the flower that she threw to him in the square (“La fleur que tu m’avais jetée”).

French Text

La fleur que tu m’avais jetée,
Dans ma prison m’était restée.
Flétrie et séche, cette fleur
Gardait toujours sa douce odeur;
Et pendant des heures entiéres,
Sur mes yeux, fermant mes paupières,
De cette odeur je m’enivrais
Et dans la nuit je te voyais!
Je me prenais à te maudire,
À te détester, à me dire :
Pourquoi faut-il que le destin
L’ait mise là sur mon chemin?
Puis je m’accusais de blasphème,
Et je ne sentais en moi-même,
Je ne sentais qu’un seul déisr,
Un seul désir, un seul espoir:
Te revoir, ô Carmen, ou,
te revoir!
Car tu n’avais eu qu’à paraître,
Qu’a jeter un regard sur moin
Pour t’emperer de tout mon être,
Ô ma Carmen!
Et j’étais une chose à toi
Carmen, je t’aime!

English Translation

The flower that you had thrown me,
I kept with me in prison.
Withered and dry, the flower
Still kept its sweet smell;
And for hours,
On my eyes, my eyelids closed,
I became intoxicated by its fragrance
And in the night I saw you!
I began to curse you,
and hating you, I began to tell myself:
Why should fate
put you on my path?
Then I accused myself of blasphemy,
And I felt within myself,
I only felt but one desire,
One desire, one hope:
To see you again, Carmen, oh,
you again!
For all you needed was to be there,
to share one glance with you
To long for you with all my being,
O my Carmen
And I was yours
Carmen, I love you!

C’est toi! C’est moi! (Duo final)

French text

C’est toi !

C’est moi !

L’on m’avait avertie
que tu n’étais pas loin, que tu devais venir ;
l’on m’avait même dit de craindre pour ma vie
mais je suis brave et n’ai pas voulu fuir.

Je ne menace pas, j’implore, je supplie ;
notre passé, Carmen, je l’oublie.
Oui, nous allons tous deux
commencer une autre vie,
loin d’ici, sous d’autres cieux !

Tu demandes l’impossible,
Carmen jamais n’a menti ;
son âme reste inflexible.
Entre elle et toi, tout est fini.
Jamais je n’ai menti ;
entre nous, tout est fini.

Carmen, il est temps encore,
oui, il est temps encore.
Ô ma Carmen, laisse-moi
te sauver, toi que j’adore,
et me sauver avec toi !

Non, je sais bien que c’est l’heure,
je sais bien que tu me tueras ;
mais que je vive ou que je meure,
non, non, je ne te céderai pas !

Carmen, il est temps encore,
ô ma Carmen, laisse-moi
te sauver, toi que j’adore ;
ah ! laisse-moi te sauver
et me sauver avec toi !
Ô ma Carmen, il est temps encore, etc.

Pourquoi t’occuper encore
d’un cœur qui n’est plus à toi ?
Non, ce cœur n’est plus à toi !
En vain tu dis : « Je t’adore »,
tu n’obtiendras rien, non, rien de moi.
Ah ! c’est en vain,
tu n’obtiendras rien, rien de moi !

Tu ne m’aimes donc plus ?

(Silence de Carmen.)
Tu ne m’aimes donc plus ?

Non, je ne t’aime plus.

Mais moi, Carmen, je t’aime encore ;
Carmen, hélas ! moi, je t’adore !

À quoi bon tout cela ? Que de mots superflus !

Carmen, je t’aime, je t’adore !
Eh bien, s’il le faut, pour te plaire,
je resterai bandit, tout ce que tu voudras –
tout, tu m’entends ? Tout !
mais ne me quitte pas,
ô ma Carmen,
ah ! souviens-toi, souviens-toi du passé !
Nous nous aimions naguère !
Ah ! ne me quitte pas, Carmen,
ah, ne me quitte pas !

Jamais Carmen ne cédera !
Libre elle est née et libre elle mourra !

CHŒUR et FANFARES (dans le cirque)
Viva ! viva ! la course est belle !
Viva ! sur le sable sanglant
le taureau, le taureau s’élance !
Voyez ! voyez ! voyez !
Le taureau qu’on harcèle

en bondissant s’élance, voyez !
Frappé juste, en plein cœur,
voyez ! voyez ! voyez !
Victoire !
(Pendant ce chœur, silence de Carmen et de Don
José… Tous deux écoutent… Don José ne perd pas
Carmen de vue… Le chœur terminé, Carmen fait
un pas vers le cirque.)

JOSÉ (se plaçant devant elle)
Où vas-tu ?

Laisse-moi !

Cet homme qu’on acclame,
c’est ton nouvel amant !

Laisse-moi ! laisse-moi !

Sur mon âme,
tu ne passeras pas,
Carmen, c’est moi que tu suivras !

Laisse-moi, Don José, je ne te suivrai pas.

Tu vas le retrouver.
Dis…tu l’aimes donc ?

Je l’aime !

Je l’aime, et devant la mort même,
je répéterai que je l’aime !
(fanfares et reprise du chœur dans le cirque)

Viva ! la course est belle ! etc.

Ainsi, le salut de mon âme,
je l’aurai perdu pour que toi,
pour que tu t’en ailles, infâme,
entre ses bras, rire de moi !
Non, par le sang, tu n’iras pas !
Carmen, c’est moi que tu suivras !

Non ! non ! jamais !

Je suis las de te menacer !

Eh bien ! frappe-moi donc, ou laisse-moi
passer !

Victoire !

Pour la dernière fois, démon,
veux-tu me suivre ?

Non ! non !

Cette bague autrefois,
tu me l’avais donnée,
tiens !
(Elle la jette à la volée.)

(le poignard à la main, s’avançant sur Carmen)
Eh bien, damnée !
(Carmen recule. José la poursuit. Pendant ce
temps, fanfares dans le cirque.)

Toréador, en garde !
Et songe bien, oui, songe en combattant,
qu’un œil noir te regarde,
et que l’amour t’attend !
(José a frappé Carmen. Elle tombe morte…Le
vélum s’ouvre. On sort du cirque.)

Vous pouvez m’arrêter.
C’est moi qui l’ai tuée !
(Escamillo paraît sur les marches du cirque. José
se jette sur le corps de Carmen.)
Ah ! Carmen ! ma Carmen adorée !

English translation

It’s you!

Yes, me!

I’d been warned
that you were about, that you might come here;
I was even told to fear for my life
but I’m no coward and had no intention of running away.

I’m not threatening, I’m imploring, beseeching;
our past, Carmen – I forget it!
Yes, together we are going
to begin another life,
far from here, under new skies!

You ask the impossible,
Carmen has never lied;
her mind is made up.
Between her and you everything’s finished.
I have never lied;
all’s over between us.

Carmen, there is still time,
yes, there is still time.
O my Carmen, let me
save you, you I adore,
and save myself with you!

No, I’m well aware that the hour has come,
I know that you are going to kill me;
but whether I live or die,
no, no, I shall not give in to you!

Carmen, there is still time,
O my Carmen, let me
save you, you whom I adore;
ah! let me save you
and save myself with you!
O my Carmen, there is still time, etc.

Why still concern yourself
with a heart that’s no longer yours?
No, this heart no longer belongs to you!
In vain you say “I adore you”
you’ll get nothing, no nothing, from me.
Ah! it’s useless,
You’ll get nothing, nothing, from me!

Then you don’t love me any more?

(Carmen is silent.)
Then you don’t love me any more?

No, I don’t love you any more.

But I, Carmen, I love you still;
Carmen, alas! I adore you!

What’s the good of this? What waste of words!

Carmen, I love you, I adore you!
All right, if I must, to please you
I’ll stay a bandit, anything you like –
anything, do you hear? Anything!
but do not leave me,
O my Carmen,
ah! remember the past!
We loved each other once!
Ah! do not leave me, Carmen,
ah, do not leave me!

Carmen will never yield!
Free she was born and free she will die!

CHORUS and FANFARES (in the arena)
Hurrah! hurrah! a grand fight!
Hurrah! Across the bloodstained sand
the bull charges!
Look! Look! Look!
The tormented bull

comes bounding to the attack, look!
Struck true, right to the heart,
look! look! look!
(During the chorus, Carmen and José remain
silent…both are listening…José’s eyes are fixed
upon her…The chorus over, she takes a step
towards the main entrance of the ring.)

JOSÉ (blocking her way)
Where are you going?

Leave me alone!

This man they’re cheering,
he’s your new lover!

Leave me alone! Leave me alone!

By my soul,
you won’t get past,
Carmen, you will come with me!

Let me go, Don José, I’m not going with you.

You’re going to him.
Tell me…you love him, then?

I love him!

I love him, and in the face of death itself
I shall go on saying I love him!
(shouts and fanfares again from the arena)

Hurrah! A grand fight! etc.

So I am to lose
my heart’s salvation so that you
can run to him, infamous creature,
to laugh at me in his arms!
No, by my blood, you shall not go!
Carmen, you’re coming with me!

No! No! Never!

I’m tired of threatening you!

All right, stab me then, or let me


For the last time, you devil,
will you come with me?

No! No!

This ring that you
once gave to me –
here, take it!
(She throws it away.)

(advancing on Carmen, knife in hand)
All right, damn you!
(Carmen draws back, José following, as fanfares
sound again in the ring.)

Toreador, on guard!
And remember, yes remember as you fight
that two dark eyes are watching you,
and that love awaits you!
(José has stabbed Carmen; she falls dead. The curtains
are thrown open and the crowd comes out of the arena.)

You can arrest me.
I was the one who killed her!
(Escamillo appears on the arena steps. José
throws himself upon Carmen’s body.)
Ah! Carmen! My adored Carmen!

Core ‘ngrato

Core ‘ngrato (Ungrateful Heart), also known by the first words Catarì, Catarì (Catari is a girl’s forename), is a 1911 Neapolitan song by emigrant American composer Salvatore Cardillo with lyrics by Riccardo Cordiferro (real name Alessandro Sisca).

It was adopted by Enrico Caruso but it is not known whether he commissioned Cardillo and Sisca to write it. It is the only well-known standard Neapolitan song to have been written in America.

In the song, Catari’s lover reproaches the girl for thoughtlessly and heartlessly rejecting his abiding love for her; he implores her not to forget that he has given her his heart and that his soul is in torment; and he says he has confessed his feelings to a priest, who advised him to let her go.

The song’s title comes from the heartfelt passage, Core, core ‘ngrato t’aie pigliato ‘a vita mia. Tutt’ passato e nun’nce pienze cchi! (which approximates in English to, Ungrateful heart, you have stolen my life. It’s all over and you no longer think about us!)

Core ‘ngrato

Catari, Catari, pecche me dice sti parole amare,
pecche me parle e ‘o core me turmiente, Catari?
Nun te scurda ca t’aggio date ‘o core, Catari,
nun te scurda!

Catari, Catari, che vene a dicere stu parla ca me da spaseme?
Tu nun’nce pienze a stu dulore mio,
tu nun’nce pienze, tu nun te ne cure.

Core, core, ‘ngrato,
t’aie pigliato ‘a vita mia,
tutt’e passato e
nun’nce pienze chiu!

Catari, Catari…
tu nun `o ssaje ca
fino e `int`a na chiesa
io so’ trasuto e aggiu pregato a Dio,
E ll`aggio ditto pure a `o cunfessore:
sto’a suffri pe` chella lla…
sto’a suffri,
sto’a suffri nun se p? credere…
sto’a suffri tutte li strazie!`
E `o cunfessore,ch’e perzona santa,
mm`ha ditto: `Figliu mio
lassala sta!…

Ungrateful heart

Caterina, Caterina, why do you say those bitter words?
Why do you speak and torment my heart, Caterina?
Don’t forget, I gave you my heart, Caterina,
don’t forget.

Caterina, Caterina, why do you come and say those words that hurt me so much?
You don’t think of my pain,
you don’t think, you don’t care.

Ungrateful heart,
you have stolen my life.
Everything is finished
and you don’t care any more!

Catarí’, Catarí’
you do not know that even in church
I bring my prayers to God, Catari.
And I recount my confession to the priest: “I am suffering
from such a great love.”

I’m suffering,
I’m suffering from not knowing your love,
I’m suffering a sorrow that tortures my soul.
And I confess, that the Holy Mother
spoke to me: “My son, let it be, let it be.”

Voi lo sapete

Voi lo sapete is a soprano aria from Cavalleria rusticana, an opera in one act by Pietro Mascagni to an Italian libretto by Giovanni Targioni-Tozzetti and Guido Menasci, adapted from a play and short story written by the Italian realist (Verismo) writer Giovanni Verga.


Voi lo sapete, o mamma,
Prima d’andar soldato,
Turiddu aveva a Lola
Eterna fè giurato.
Tornò, la seppe sposa;
E con un nuovo amore
Volle spegner la fiamma
Che gli bruciava il core:
M’amò, l’amai.
Quell’invidia d’ogni delizia mia,
Del suo sposo dimentica,
Arse di gelosia…
Me l’ha rapito…
Priva dell’onor mio rimango:
Lola e Turiddu s’amano,
Io piango, io piango!

Miseri noi,
Che cosa vieni a dirmi
In questo santo giorno?

Io son dannata.
Andate o mamma,
Ad implorare Iddio,
E pregate per me.
Verrà Turiddu,
Vo’ supplicarlo
Un’altra volta ancora!

Aiutatela voi,
Santa Maria!

English translation

Mother, you know that
before Turiddu
became a soldier,
he was betrother to Lola.
He returned and discovered she was married;
and he tried to extinguish
the flame in his heart
with a new love:
he loved me, and I loved him.
Lola was envious of my happiness,
forgot her husband,
and burned with jealousy…
She stole him from me…
I’ve lost my honour:
Lola and Turiddu love each other,
I cry, I cry!

Oh dear,
what a terrible thing
you ‘have told me on this holy day!

I am accursed.
Go, Mother,
and pray the Lord
for me!
Turiddu will be coming,
I will plead with him

Holy Mary,
help her!

Tu qui, Santuzza? (You here, Santuzza?)

Tu qui, Santuzza?

Qui t’aspettavo.

È Pasqua,
In chiesa non vai?

Non vo.
Debbo parlarti…

Mamma cercavo.

Debbo parlarti…

Qui no! Qui no!

Dove sei stato?

Che vuoi tu dire?
A Francofonte!

No, non è ver!

Santuzza, credimi…

No, non mentire;
Ti vidi volger
Giù dal sentier…
E stamattina, all’alba,
T’hanno scorto
Presso l’uscio di Lola.

Ah! mi hai spiato?

No, te lo giuro.
A noi l’ha raccontato
Compar Alfio
Il marito, poco fa.

Cosi ricambi
L’amor che ti porto?
Vuoi che m’uccida?

Oh! questo non lo dire…

Lasciami dunque, lasciami;
Invan tenti sopire
Il giusto sdegno
Colla tua pietà.

Tu l’ami dunque?


Assai più bella
È Lola.

Taci, non l’amo.

Oh! maledetta!


Quella cattiva femmina
Ti tolse a me!

Bada, Santuzza,
Schiavo non sono
Di questa vana
Tua gelosia!

Battimi, insultami,
T’amo e perdono,
Ma è troppo forte
L’angoscia mia.

You here, Santuzza?

I was waiting for you.

It’s Easter,
aren’t you going to church?

I’m not going.
I must talk to you…

I’m looking for my mother.

I must talk to you…

Not here! Not here!

Where have you been?

What do you mean?
To Francofonte!

No, it’ not true!

Santuzza, believe me…

Don’t lie;
I saw you
turn off the road…
And at dawn, this morning,
you were seen
near Lola’s house.

Were you spying me?

No, I swear to you.
Her husband, Alfio,
just told that
a little while ago.

Is this how you repay
my love to you?
Do you want him to kill me?

Oh! Don’t said that…

Then leave me alone.
You can’t stop
my anger
with your pity.

So do you love her?


Lola is
more beatiful.

Be quiet! I don’t love her.

You do love her!
Damn her!


That wicked woman
has taken you away from me!

Be careful, Santuzza,
I won’t bow
to your
stupid jealousy!

Beat me, insult me,
I love and forgive you,
but my anguish
is too strong to bear.

O mio babbino caro

“O mio babbino caro” (“Oh My Beloved Father”) is a soprano aria from the opera Gianni Schicchi (1918) by Giacomo Puccini to a libretto by Giovacchino Forzano. It is sung by Lauretta after tensions between her father Schicchi and the family of Rinuccio, the boy she loves, have reached a breaking point that threatens to separate her from Rinuccio.


O mio babbino caro,
mi piace, è bello, bello.
Vo’andare in Porta Rossa (it)
a comperar l’anello!

Sì, sì, ci voglio andare!
e se l’amassi indarno,
andrei sul Ponte Vecchio,
ma per buttarmi in Arno!

Mi struggo e mi tormento!
O Dio, vorrei morir!
Babbo, pietà, pietà!
Babbo, pietà, pietà!

English translation

Oh my dear papa,
I love him, he is handsome, handsome.
I want to go to Porta Rossa
To buy the ring!

Yes, yes, I want to go there!
And if my love were in vain,
I would go to the Ponte Vecchio
And throw myself in the Arno!

I am anguished and tormented!
Oh God, I’d like to die!
Papa, have pity, have pity!
Papa, have pity, have pity!


M. Özgür Nevres

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