human
Requie ai defunti, and immediately afterwards in a most lively style,
gpt
Then slowly and solemnly again,
human
Oriam per essi, and quickly,
gpt
The song now continues as a very lively bolero, until just before the end of the first verse, when the King sings, solemnly again,
human
Requie ai defunti, and the chorus brings the first verse to a close with shouts for the King. The Queen has the next verse just on the same lines as the King's verse. Hamlet and Ophelia both have serious asides in the next verse, but the chorus does not notice them, and finishes up the number in a fine, reckless operatic way. The second part of the first act opens in a remote part of the Castle ramparts. The night is very dark, but the light in the banqueting-hall can be seen in the distance. The opening music is intensely dramatic; the 'cellos are divided into five parts, and while the orchestra in front are playing this most tragic music, one can hear occasionally, beautifully blending with the rest of the score, the lively strains of the King's private band playing in the great dining-hall. Dramatically the Ghost enters just as the lively music is dominating. Hamlet, in an impassioned outburst, calls on the Ghost for an explanation; and, beginning very quietly, the Ghost works himself up to a tremendous pitch of excitement in telling his story. Finally he disappears, and his voice is heard below the stage singing
gpt
Giurate (
human
Swear ). Hamlet, Horatio, and Marcellus finish the act singing, _pianissimo_,
gpt
De profundis clamavi. This is indeed a fine concerted number, and much the most dramatic in any of the _Hamlet_ operas. The famous soliloquy,
human
Essere, o non essere! (
gpt
To be, or not to be! ), is faithfully and dramatically set, a strange 'cello part giving singular point to the words
human
To die, to sleep. Hamlet and Ophelia have a very elaborate duet in this act, the former pretending to be mad. The King and Queen also have a duet, entitled {34}
gpt
Vieni, compagna,