Professional Documents
Culture Documents
by Michael Kennedy
Ariadne auf Naxos was conceived as a shor t and simple project but was to turn into a complex affair
which would absorb six years of creative work by the poet Hugo von Hofmannsthal and the composer
Richard Strauss and bring their ar tistic collaboration to the brink of collapse. At one point
Hofmannsthal wrote: When two men like us under take a trifle like this, it inevitably becomes a ver y
serious trifle. As they worked, the personality differences between them magnified: the composer easygoing, relaxed, pragmatic, practical; the poet reser ved, introspective, slightly priggish, and convinced
of his intellectual superiority.
In 1910 the two men had completed Der Rosenkavalier and Strauss was eager for a new subject. He
wanted Semiramis, but Hofmannsthal scotched the idea immediately, hinting instead about a little
Molire piece. On 20 March 1911 he referred in a letter to the thir ty-minute opera for small chamber
orchestra which is as good as finished inside my head. It is called Ariadne auf Naxos and is a mixture of
heroic-mythological figures in eighteenth-centur y costume and figures drawn from the commedia
dellarte I believe that something attractive and delightful a new genre can come about by
appearing to reach back into the past for something old, as indeed all development is fulfilled in spiral
movement. The idea of a chamber opera came to Strauss and Hofmannsthal after the first per formance
of Der Rosenkavalier in Dresden in Januar y 1911. Rehearsals, under the local producer, had gone badly
until Max Reinhardt, whose work at the Deutsches Theater in Berlin both men knew well, came to their
aid and directed the opera as it were anonymously (he asked for no credit in the programme-book).
Hofmannsthal wanted to write something for him as a thank-offering which he might use at the
Deutsches Theater. His initial idea was to provide a shor t operatic work to be per formed as an
intermezzo or divertissement in a Molire play which Hofmannsthal would himself adapt for the Berlin
stage. Such musical intermdes, in Molires day, were per formed between the acts, or at the
beginning or end of the action, and were frequently lavish: the original per formances of Molires Le
Bourgeois gentilhomme (1670) ended with a grand Ballet des Nations to music by Lully. Hofmannsthal
had become interested in Molire in about 1909; he translated the one-act Le Manage forc for
Reinhardt to stage in Berlin and while writing the libretto for Der Rosenkavalier borrowed ideas and
characters from Molires plays the text of the Italian Singers aria in Act One, Di rigori armato, was
lifted in its entirety from the concluding ballet of Le Bourgeois gentilhomme. His first plan now was to
adapt Molires La Comtesse dEscarbagnas, but on 15 May 1911 he wrote to Strauss: I have the
Molire In Paris it suddenly came to me just how well-suited the Bourgeois gentilhomme would be to
the inser tion of our operatic divertissement. He explained that he would jettison the sub-plot of the play
and that in place of the concluding enter tainment the Ariadne opera would be per formed in the
presence of Monsieur Jourdain [the eponymous bourgeois gentilhomme], the Count and the dubious
Marquise, and [would] be punctuated now and then by brief remarks from these spectators.
Strausss reply was offhand: I have read the Gentilhomme: the first half works ver y nicely The
second half is rather thin The play as a whole lacks a proper focus and comic point A ver y
attractive kind of enter tainment music could be written for the dances of the Dancing Master, the
Tailor and the kitchen boys. I really think the whole thing is going to be great fun. He imagined Ariadne
as a contralto and awarded the star role to Z erbinetta high coloratura soprano (Kurz, Hempel,
Tetrazzini). Among his ideas for set numbers was a grand coloratura aria with an Andante followed by
a Rondo, a theme with variations and ever y imaginable coloratura trick (if possible with obbligato flute)
for Z erbinetta A real showstopper. He had in mind an orchestra of twenty players (eventually it
became thir ty-seven) and rejected Hofmannsthals idea of placing it on the stage (the Deutsches
Theater had no adequate orchestra pit). Impossible, he wrote. For this kind of chamber music piece I
would need really first-class people and they wouldnt play-act. Hofmannsthal was surprised by the
attention given to Z erbinetta (an after thought of his, and a character from Molires Les Fourberies de
Scapin) but capitulated, though he added that the prospect of working with these stars of the stage
and prima donnas without the slightest trace of dramatic talent would paralyse his imagination.
Strausss next letter was even more discouraging. He found himself uninspired by Hofmannsthals
libretto and was worried about how the transition from the Molire play to the Ariadne opera would be
managed. Hofmannsthal explained that there would be a shor t linking scene in prose in which the
Dancing Master and Composer, who are responsible for arranging the per formance in Jourdains house,
talk about the public, the critics and so on. While they talk the stage is set up for the opera in the big
hall Strauss received the completed libretto in mid-July 1911. His response was still cool and
3
Hofmannsthal expressed pique that he did not respond to Ariadne as warmly as he had to
Rosenkavalier. He then explained the underlying meaning of the opera in words which are still useful to
the listener today:
It is all about constancy: whether to hold fast to what is lost, to remain faithful even unto death
or to live, to live on, to get over it, to transform oneself, to sacrifice the integrity of ones soul and
yet, by this ver y transformation, to keep possession of oneself, to remain fully human and alive
Z erbinetta is in her element rushing from one man to another, whereas Ariadne could only ever be
one mans wife or lover, she could only be the abandoned woman of one man. One thing remains to
her: the miracle, the god. She gives herself to him because she believes him to be Death; and he is
both Death and Life simultaneously Yet what to divine souls is a real miracle is to ear thbound
souls like Z erbinettas merely an ever yday reality Bacchus is no mere deus ex machina rather,
he too undergoes this crucial experience. Young, innocent, unconscious of his own divinity, he
travels from island to island as the wind takes him. His first adventure was typical: call her a woman
of easy vir tue or Circe the enchantress as you will He leaves Circes arms untransformed, but not
without a wound, a longing, a knowingness. And what happens now is that he finds a being whom
he can love -who misjudges him, but who, through this ver y misjudgment, is able to surrender
herself fully to him, to offer herself to him in the totality of her love, to entrust herself to him as one
entrusts oneself only to Death.
Strausss reply was typically good-humoured, modest and practical: Yes, he had been disappointed by
die libretto; perhaps he had expected too much. He had re-read it and been more impressed, though he
remained concerned that the meaning, so beautifully explained in Mofmannsthals letter, would not
necessarily come across in per formance. But the breach was healed and, perhaps in response to
Strausss criticisms, Hofmannsthal sent his latest idea for the linking scene: Jourdain announces,
through his lackey, that he wishes both things [the opera Ariadne and the burlesque comedy of
Z erbinettas troupe] to be staged simultaneously. This makes the Composer of the opera furious, but
Z erbinetta takes on the task of insinuating herself with her companions into the action of the opera as
a comic intermezzo, with as little disruption as possible. Strauss agreed that this scene must become
the core of the piece, adding that Z erbinetta could have an affair with the Composer, provided that he
is not made too close a por trait of me.
If the composition of this extraordinar y and courageous combination of straight theatre and opera
gave trouble, the practicalities of putting it on a stage were even more perilous. It soon became clear
that the Deutsches Theater, where Hofrnannsthal had imagined that this tribute to Max Reinhardt
would take place, would not accommodate an orchestra of thir ty-seven players. Strauss tried the opera
houses he knew best Munich, Dresden, Berlin. All were unsuitable, mainly because the resident
company would not take kindly to ceding a Strauss premire to actors from Reinhardts company and
singers recruited from Vienna and elsewhere. In Januar y 1912 Strauss offered the first per formance to
the new and well equipped theatre in Stuttgar t provided they agree to Emmy Destinn as Ariadne, Frieda
Hempel as Z erbinetta, Reinhardt as producer and any stage designer Hofmannsthal chose. He would
conduct two model per formances and after that it could be done anywhere. Hofmannsthal was
flabbergasted all that for two per formances, most of which would be attended by critics, envious
colleagues and professionals! And in Stuttgar t, the remotest, most God-forsaken place on ear th. But
he surrendered in due course. Strauss star ted rehearsals in June. My score, considered as a score, is
a real masterpiece, he boasted. No-one else could have done it. Although he assured Hofmannsthal
that ever ything was going splendidly, in fact the situation at Stuttgar t soon became chaotic. The
resident company under took the preliminar y rehearsals and were to take over after the first
per formance, so they did not take kindly to the arrival of Reinhardts troupe. Strauss had trouble with
the orchestra, which resented his impor tation of several key players from his Berlin orchestra, and the
designer Ernst Stern was at odds with the management and workshops.
The premiere of Ariadne auf Naxos, zu spielen nach dem Brger als Edelmann des Molire (Ariadne auf
Naxos, to be per formed after Molires Le Bourgeois gentilhomme) was fixed for 25 October. None of the
hoped-for singers was available. Ariadne was sung by a young Czech soprano whom Strauss had heard
and admired in Offenbachs La Belle Hlne, Mizzi (later Maria) Jeritza. Z erbinetta was sung by
Margarethe Siems, who had created the roles of the Marschallin in Der Rosenkavalier and Chr ysothemis
in Elektra. The Bacchus was not Karl Erb, as had been intended, but Hermann Jadlowker. Monsieur
Jourdain was acted by Victor Arnold, and the play itself was apparently per formed magnificently, but
the first night of what is now known as Ariadne I was not a success. The King of Wr ttemberg did not
help by holding a fifty-minute reception in the inter val. By the time the opera began, the audience was
tiring. But, as Strauss wrote years later, the real reason for failure was the nature of the experiment: a
public that goes to the theatre doesnt want to hear an opera, and vice versa. Per formances followed
in Munich (ghastly, according to Strauss) and Dresden and in London, where Somerset Maugham
translated the play and Beecham conducted. Strauss thought the Berlin production in Februar y 1913
really wonder ful; Hofmannsthal loved the Vienna staging. But generally the work was regarded as too
expensive because of the need for actors and singers and too difficult because of the demands it made
on style. Hofmannsthal was the first to admit failure: he had over-rated the capabilities of German
theatres. He took up the suggestion made by the critic Richard Specht that the Molire should be
separated from Ariadne. After a talk with Strauss in Berlin, Hofmannsthal suggested that the linking
scene be conver ted into a sung Prologue. It would take place behind the Ariadne stage in a hall where
dressing-rooms had been improvised. Monsieur Jourdain would become the richest man in Vienna and
would not appear, being represented by his major-domo. He sent Strauss the libretto in June 1913. The
composers reaction was frigid. Drear y, he said, not at all to his liking. The role of the Composer he
found completely unsympathetic I shall find it ver y tr ying setting him to music He turned his
attention to composing the ballet Josephs Legende for Diaghilev and badgered Hofmannsthal for the
star t of Die Frau ohne Schatten, composing the first two acts before the outbreak of the First World War
delayed Hofmannsthals work on the libretto to Act Three. So Strauss completed Eine Alpensinfonie.
By Januar y 1916, with Die Frau ohne Schatten at a standstill, Strauss looked again at the Prologue
libretto and decided to set it. Within a few weeks the premire of the revised version was offered to
and accepted by Vienna. Strauss decided that the Composer should be a travesti role for mezzo-soprano
(as a rule, the most talented woman singer in the theatre). Hofmannsthal was horrified, but Strauss
would not budge. In fact, although sometimes sung by a mezzo, the role is assigned to a soprano by
Strauss in the score. The poet had also never liked Strausss treatment of Z erbinetta and hated her big
coloratura aria. But although Strauss made it easier and shor ter in the revision, he would not remove it.
Extraordinarily, in view of his initial response to the libretto of the Prologue, Strauss enjoyed writing the
music. It took him only seven weeks and opened up a new seam in his work which led to the opera
Intermezzo (about his domestic life) and eventually to Arabella and the final masterpiece, Capriccio. The
deletion of Monsieur Jourdain also involved revision of the opera itself. Strauss removed several
passages of excellent music, including a long extra aria for Z erbinetta after Bacchuss arrival. Ariadne II
ends with the love-duet between Ariadne and Bacchus. This is in totally different vein to the original
ending when, after the duet, Z erbinetta and the comedians return and Monsieur Jourdain makes his
final comments on his wish to be a nobleman. Irony and comedy were replaced by rapture in 1916.
The revised Ariadne auf Naxos had its premire in Vienna on 4 October 1916. Although warmly rather
than ecstatically received, the new version soon supplanted the original, which has only infrequently
been revived. (At Stuttgar t in 1912, and in subsequent stagings, both the play and the opera were
cut.) Ariadne II was not, however, the end of the stor y. Hofmannsthal realised that in jettisoning
Molire, they had also jettisoned Strausss incidental music, which many regarded as some of the most
8
delightful he had written. He therefore lured the unwilling Strauss into a revised version of the play Le
Bourgeois gentilhomme (1917), to be directed by Reinhardt in Berlin the following year. The revision, for
which Strauss composed ten extra numbers, ran for only thir ty-one per formances. Hofmannsthal then
wanted to turn it into an opera and, while they were about it, what about an entirely new aria for
Z erbinetta in Ariadne? But Strauss had had enough, and rescued his incidental music by compiling and
publishing a nine-movement Suite in 1920. There is, however, a rather touching postscript. In the last
months of his life, in 1949, when Munich was celebrating his eighty-fifth bir thday, Strauss was asked
which of his works he would most like to see. He chose the 1917 Bourgeois gentilhomme and was
delighted by it. Its a shame Hofmannsthal couldnt have seen it too, he remarked.
I have described Ariadne II as a revision, which in some sense it is, but it is really a second opera on
the subject. Ariadne I is a bolder, more original work, however impracticable, and has a freshness all its
own. It is often said that, after Elektra, Strauss ceased to be an adventurer in music. In fact, Ariadne
auf Naxos in either of its guises is a pioneering, for ward-looking work. Its adoption of neoclassicism
anticipated Prokofievs Classical Symphony and Stravinskys Pulcinella. The realism of the Prologue
came several years before Stravinskys The Soldiers Tale. Moreover, in his scoring for an orchestra of
thir ty-seven players, Strauss showed technical ingenuity of the highest order, not least in his use of the
harmonium as a substitute for several groups of wind instruments (extra horns, trombones, bassoons,
flutes, oboes and clarinets). It is mainly through the scrupulously planned effects of this instrument
that Strauss is able to achieve the sleight-of-hand of suggesting a full-scale orchestra with a modest
number of per formers.
9
Strauss always kept his faith in the original 1912 Ariadne, even though he often conducted the 1916
version. It was, he declared, so attractive, in both form and content, that I can hardly believe that it
will not be better appreciated some day, by a more cultivated public than we have now. Perhaps, with
the issue of this first recording, its day has come.
10
Synopsis
For the purposes of this recording, the play of Der Brger als Edelmann/Le Bourgeois gentilhomme has
been reduced to a series of monologues for Monsieur Jourdain which provide a framework for Strausss
incidental music. What follows is a rsum of the play as it was adapted and cut to two acts (from
Molires five) by Hofmannsthal for the first production of Ariadne auf Naxos in 1912, followed by a
synopsis of the original version of the opera. In the latter, I have indicated the principal cuts and
amendments made by Strauss for the 1916 version.
The Play
Monsieur Jourdain, one of the Parisian nouveaux riches, is shown by Molire in relationship to his
ser vants, family and those professionals whom he has engaged to instruct him in the social graces of
the aristocracy.
The Hofmannsthal-Strauss adaptation opens on strings and piano with an Overture which suggests the
period (the seventeenth centur y) as seen through twentieth-centur y eyes. Jourdain is depicted by
several themes, the first rather pompous on trumpet, horns and trombone, the next on solo trumpet.
After this introduction there follows a gentler section, a Sicilienne with an ingratiating oboe melody. The
first scene presents the Music Master and Dancing Master discussing their respective ar ts. Jourdain
joins them, announced by his two themes from the Overture, and they assure him that he must acquire
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their skills if he is to pass as a nobleman. The Music Master introduces his pupil, a young composer
who has written the opera Ariadne auf Naxos which is to be per formed that evening for Jourdains
guests. To emphasise his point about music and song, the Music Master fetches the three singers who
are to play Echo, Naiad and Dr yad in the opera and Echo sings the aria Du, Venus Sohn, the melody
of which has already been heard as the Sicilienne in the Overture. (It was too good a tune to lose and
Strauss incorporated the aria into the Composers par t when he wrote the Prologue for the 1916
version.) Jourdain complains that it is drear y and sings a popular song he prefers, Ich glaubete, mein
Schtzchen. The Music Master then asks the singers of Naiad and Dr yad to per form a typical
shepherd-and-shepherdess duet of the kind found in many comdie-ballets (Kennst du ewig nichts als
Klte). The impression is given that this, too, is an extract from the opera, but it is not.
Jourdain now turns his attention to the Dancing Master, who mentions the enter tainment Unfaithful
Z erbinetta and her Four Lovers which he intends to present for the guests. But Jourdain wants his
favourite dance (mein Leibtanz) the minuet, so the Dancing Master instructs him in the correct steps.
Strauss at first wanted to use the Minuet from the incidental music composed for the plays premire
by Lully, but instead he disinterred a minuet, with entrancing writing for two flutes, that he had
composed in 1900 for a ballet, Kythere, which he abandoned (he used the Lully minuet in the 1917
revision of Le Bourgeois gentilhomme). Jourdains lesson is interrupted by the Fencing Master who
arrives to music that parries and thrusts on trombone, trumpet, piano and horn. Jourdains hopeless
effor ts are illustrated by violins and the movement ends with the militar y-style commands of the
Fencing Master.
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Enter next the Tailor and his apprentice boys, with the exotic clothes ordered by Jourdain, to a
Gavotte (also rescued from Kythere) which leads into a Polonaise dominated by a violin solo which
suggests the Superman from Also sprach Zarathustra in powdered wig and buckle shoes. Jourdain joins
in to a variant of his first theme. This is followed by a charming melody for violas before the return of
the Gavotte and the Polonaise.
Mme Jourdain and the ser vant-girl Nicole arrive and make fun of Jourdains elaborate new clothes and
ridiculous posturing. They are interrupted by the entrance of the dissolute nobleman Dorante who has
come (he says) to repay the large sum of money he has borrowed from Jourdain but who then proceeds
to borrow more. Dorante speaks to Jourdain about the beautiful and widowed Marquise Dorimne, in
whose honour Jourdain is giving the dinner and enter tainment and with whom he would like to believe
he is in love. While Dorante is talking about the opera Ariadne auf Naxos, Jourdain opens a door and we
hear the orchestra rehearsing the over ture. This is where Hofmannsthals Act One ends.
Act Two opens with Dorante escor ting the Marquise Dorimne to a theme marked galante e grazioso
which alternates with a quicker theme in staccato triplets. The music pauses on two held chords, the
point at which the cur tain rises to show Jourdain anything but ready to receive guests. He rushes away
to dress. Dorante and Dorimne parade round the room, she saying how embarrassed she is in the
circumstances to receive Dorantes amorous over tures. Jourdain returns and makes ungainly bows to
Dorimne.
13
A lackey announces dinner. This scene was devised by Hofmannsthal (following a suggestion by
Reinhardt) to provide Strauss with the oppor tunity for parody. The waiters enter to a Grand March (in
which there are disguised allusions to the Coronation March from Meyerbeers Le prophte). A little
grazioso figure leads to the first course: Rhine salmon, cue for a quotation of the Rhine motif from
Wagners Das Rheingold with Strausss own brand of water music scored for oboe, solo violin, pizzicato
strings and harp. This is followed by saddle of mutton, illustrated by the sheep from Strausss Don
Quixote and a beautiful cello melody which is also suggestive of Don Quixote. A dish of larks and
thrushes comes next: the quotations here are from Act One of Der Rosenkavalier (when Octavian and
the Marschallin hear the dawn birdsong) and from Verdis La donna mobile (nobody has satisfactorily
explained this reference, unless it be to the Mantuan fondness for roasted song-birds). The last course
is an omelette surprise. The surprise is the emergence from a huge dish of a kitchen-boy who dances
wildly and erotically to symbolise Dorantes passion for the Marquise. That, at least, is what
Hofmannsthal wanted, but Strauss wrote a jolly and invigorating Viennese waltz ending in a whirl of
gaiety. Mme Jourdain then interrupts the dinner and attacks the Marquise for having designs on
Jourdain. The Marquise leaves in high dudgeon and Jourdain calls to the footmen: I need you. Ive got
something ver y serious and impor tant to order, but I still dont know what it is.
Hofmannsthal ended the play there (Strauss thought it was weak and pleaded in vain for something
more dramatic). There followed the linking scene in prose, with no music, in which Jourdain decrees
that the comedians enter tainment and the opera must be per formed simultaneously (gleichzeitig) so
that the firework display can begin punctually at 9 p.m. This scene, which became the Prologue to the
14
1916 version, is not included in the vocal score of the 1912 Ariadne and was only ever printed in the
(now rare) Textbuch for the Stuttgar t per formance. On this recording the last of Jourdains monologues
sums up its content.
The Opera
Before the music begins Jourdain, Dorante and Dorimne take their seats. Dorante and Dorimne
decide that they will slip away before the per formance ends.
A melancholy prelude, based on four shor t motifs, depicts the tear ful, unhappy Ariadne. The daughter
of Minos, King of Crete, she fell in love with the hero Theseus and helped him to kill the minotaur in
the Cretan labyrinth, subsequently eloping with him on his ship. However, instead of bringing her home
to Athens as his bride, Theseus callously abandoned her on the island of Naxos where she is now
attended by her three Nymphs, Naiad, Dr yad and Echo. They describe her inconsolable state and she
rouses herself from sleep to lament her painful, meaningless existence. Jourdain, from his seat on the
stage, complains that her singing is monotonous and later again interrupts until Dorante and Dorimne
persuade him to be quiet (his interruptions are omitted for this recording). Ariadne recalls the beautiful
union she had with Theseus, her mind ranging wildly from one idea to another. Z erbinetta and her
comedians obser ve her from the wings. They decide she has gone mad but Z erbinetta suggests that
Harlequin might tr y a little song to cheer her up (Echo repeats its opening phrases). Ariadne pays no
attention and in the superb aria Es gibt ein Reich longs for the arrival of Hermes, messenger of death,
to conduct her into the pure realms of the dead.
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The male comedians tr y to diver t Ariadne with singing and dancing. Z erbinetta joins them, sees they
are getting nowhere and (with some difficulty) sends them off stage. She cur tseys to Ariadne and
launches into her great recitative and aria, Grossmchtige Prinzessin, during which Ariadne retreats
into her cave. Z erbinetta sympathises with her plight common to all women, she says. Men are
faithless monsters but are women any better? She has had plenty of men, she loves each passionately
but then she moves on to the next. The aria in its original form contains witty by-play with the
conductor and satirises operatic conventions, but for the 1916 version Strauss not only dropped the
pitch by a whole tone but cut thir ty-nine bars in the middle and another for ty in the closing section,
which he replaced with a new and shor ter coda.
Harlequin calls out Prettily preached!
(Hbsch gepredigt) and re-emerges from the wings. There follows the comedians enter tainment:
Harlequin tries to seduce Z erbinetta, but the other three return to the stage with the same intent.
Z erbinetta dances with each in turn, gives three of them the slip and leaps into Harlequins arms. The
trio do not see this and each believes she is planning a secret meeting with him. They search for her
while Harlequin and Z erbinetta, off-stage, sing a love-duet. The three realise they have been duped and
slink offstage in disappointment.
The mood changes as the three nymphs announce the approach of the young god Bacchus. The son of
Jupiter and Semele, he has been with the sorceress Circe, whose magic potion turns her guests into
swine. But Bacchus remains a young god. Ariadne emerges from her cave to await his approach.
Bacchus is heard singing to Circe he knows he has escaped an evil fate and wonders what it would
16
have been. Ariadne believes that he is Hermes, come to her as the messenger of death. Z erbinetta, in
a long aria which was deleted in the 1916 version, returns to the stage and tries to prepare Ariadne for
the truth about Bacchus, extolling his godlike qualities in extravagant language.
After an orchestral interlude (also cut in 1916), Bacchus appears in person before Ariadne. Theseus,
she cries, but then continues to believe he is Hermes. Bacchus, fresh from his adventure with Circe,
believes Ariadne to be another sorceress. He is bewitched by her beauty and tells her of the new life
that awaits them, but although she surrenders to him, he is never able to explain the truth of his
identity to her. In the 1916 version Z erbinetta now appears from the wings to point out that it is just
as she predicted a new god approaches and we surrender without a word and in Strausss
favourite key of D flat major the duet ends as a canopy descends and enfolds the two lovers.
So the opera ends in the revised version. But for the 1912 finale the comedians creep back on to the
stage and Dorante and Dorimne creep off. Z erbinetta, who has remained offstage throughout the love
duet, now makes her comment about the new god and recapitulates some of her big aria. The music
brightens as the themes and rhythms of the comedians dance return, culminating in a waltz as
Z erbinetta and her four companions laugh their way off the stage. Jourdain is left alone. He has been
asleep. He is reproached, he says, for his association with persons of rank, but he envies them. He
would give anything to have been born a count or a marquis and to behave as badly as they do and
think as little of it. And his trumpet tune from the over ture ends the opera.
M ICHAEL KENNEDY, 1997
17
COMPACT DISC 1
LE BOURGEOIS GENTILHOMME
Ouverture du Premier Acte
JOURDAIN
Comment ? De quelles fadaises sagit-il ? Je ne dis
que btises en toutes choses ? Mon jugement tombe
toujours ct tout ce qui me plat ne serait que
le plus ordinaire de lordinaire ou bien encore rat ?
Ah ! Et ma raison, ma raison ne serait donc quau
niveau de ma bourse ? L, vous avez trouv un
homme tel que vous le souhaitiez : la main ouver te,
connaisseur et tout assentiment. Quelquun qui dans
un travail ce qui est vritablement achev sait
honorer voulant savoir voulant apprendre et la
belle marquise : voudra-t-elle accepter mon
invitation, par tagera-t-elle aussi bien le souper que la
reprsentation musicale quen son honneur je veux
organiser ? Car enfin je suis des ar ts un mcne et
un protecteur sans limites. Oui, je le suis !
JOURDAIN
Wie?? Was fr Schnacksen? Ich und albern ber die
Begriffe? Mein Ur teil trfe nur das Verkehr te was
mir zu loben beikommt, sei das Gemeinste vom
Gemeinen oder etwas Ver fehltes?? Ha! Und den
Verstand, den Verstand htt ich nur im Beutel?? Hier
haben sie einen Mann gefunden, wie sie ihn brauchen:
eine offene hand, Kennerschaft, Beifall. Jemand, der
das wahrhaft Gelungene in einer Arbeit zu ehren wei
zu ehren wis sen will lernen will und die
schne Marquise: wird sie sich die Gasterei gefallen
lassen, wird sie dem Souper sowohl als der
musikalischen Vor fhrung beiwohnen, die ich ihr zu
Ehren anstellen will? Bin doch ein grenzenloser
Gnner und Frderer der Knste. Das bin ich!
JOURDAIN
What? What kind of nonsense is this? Me, foolish
beyond belief? My judgement always faulty because I
only praise the commonest of common things or get
it completely wrong? Ha! And I carr y my wits
allegedly in my purse? Here you see a man who is
ever ything a man should be: generous, a
connoisseur, of good reputation. Someone who, when
evaluating the true quality of a work of ar t, can
tries to is willing to learn about And the pretty
Marquise, is she going to appreciate all this
hospitality, and come to the supper as well as attend
the musical per formance Ive organised in her
honour? I am, after all, a patron and sponsor of the
ar ts whose generosity knows no bounds. I am
indeed!
Ariette
CHANTEUSE
Toi, fils de Vnus, accorde une douce rcompense
notre ferveur, notre langueur.
Qu toi soit consacr mon jeune cur,
ainsi que toutes mes penses.
O toi, cher ange ! toi enfant !
o toi dieu puissant !
JOURDAIN
Mais voil un air qui sonne par trop triste, et pendant
lequel on sendor t. Jai tout rcemment appris une
petite chanson qui ne manquait pas de charme.
Attendez un peu Ah ! Comment tait-ce donc ? On
y parle de petits chats de petits chats Oui. Ah !
voil, jy suis !
Ariette
Ariette
SNGERIN
Du, Venus Sohn, gibst sen Lohn
Fr unser Sehnen und Schmachten.
Dir sei geweiht mein junges Herz,
Und all mein Sinnen und Trachten.
O du Knabe! du Kind!
O du mchtiger Gott!
SINGER
Thou givest, Venus son, the sweet fulfilment
of our desires and yearning expectation.
To you I dedicate my youthful heart
my every thought, my every aspiration.
Mere boy art thou, a child to boot!
And yet a mighty god!
JOURDAIN
Na, die Arie klingt ein bichen gar zu traurig, und man
schlft dabei ein. Ich habe letzthin ein Liedchen
gelernt, das recht ar tig war. War ten Sie Je! wie
war es doch? Es ist was von Ktzchen drinnen von
Ktzchen Ja. Ach! nun habe ichs!
JOURDAIN
Oh dear, that aria is a bit too gloomy, I think, and apt
to send one to sleep. But only lately I learnt a little
ditty which was just the thing. Wait wait how
did it go? Something about a kitten a kitten Ah
yes! Now Ive got it!
Jourdains Song
I used to think my sweetheart
was as tame as she is fair.
I used to think my sweetheart
tamer than a kitty.
But she is a hundred times wilder,
even a thousand times wilder
than a tiger in the jungle.
Duett
Duet
BERGER
Ne connatras-tu jamais que le froid,
ne sauras-tu jamais que la moquerie !
Quest-il donc de plus doux que lamour,
Et quel dieu lui est suprieur !
Se peut-il que lon soit heureux
Sans quelque sentiment langoureux ?
tez lamour de dessus la terre
Et cen est fait de la vie !
SCHFER
Kennst du ewig nichts als Klte,
Weit du ewig nichts als Spott!
Was ist ser als die Liebe
Und was ist ein grerer Gott!
Kann man ja wohl glcklich warden
Ohne sehnschtigen Sinn?
Nehmt die Liebe von der Erden,
Und das Leben ist dahin!
SHEPHERD
Must you always be so cold,
is scorn the only thing you know?
What is there more sweet than love,
what mightier god than he?
Can a man be truly happy
if his thoughts turn not to longing?
Banish Love from the world
and life is at an end.
BERGRE
Volontiers tomberais-je amoureuse
Si les hommes taient fidles.
Mais tout defausset sont leurs serments
Et mon cur chaque fois senfuit !
Oui je suis bien plaindre,
Nayant gure de chance en ce monde,
Ah, dans lattente et lespoir dembrasser
Un unique bonheur auquel aspirer !
SCHFERIN
Gerne wollt ich mich verlieben,
Wren nur die Mnner treu.
Aber falsch sind ihre Schwre
Und ihr Herz geschwinde neu!
Ja, ich mu mich selber jammern,
Tauge schlecht in diese Welt,
Ach, mit Harren und Umklammern
Auf ein einzig Glck gestellt!
SHEPHERDESS
Willingly Id fall in love
if men were only faithful.
But their promises are false,
and their hearts are fickle.
Yes, self-pity is my lot,
in this world no place have I;
oh, such waiting and embracing
all for one brief happiness!
BERGER
O quelle gnrosit soffrir soi-mme !
SCHFER
O ses Sichverschenken!
SHEPHERD
Oh sweet voluptuousness!
BERGRE
O sentiment dangoisse !
SCHFERIN
O ngstliches Gefhl!
SHEPHERDESS
Oh feeling of unease!
BERGER
O tendre union.
SCHFER
O zrtliches Verschrnken.
SHEPHERD
Oh tender warm embraces!
BERGRE
Bien plutt libre et seule.
SCHFERIN
Viel lieber frei und khl.
SHEPHERDESS
Id rather be cool and free!
BERGER
Laisse lamour te trouver !
SCHFER
La dich die Liebe finden!
SHEPHERD
Open your heart, let Love come in!
BERGRE
Il est trompeur, hlas, et suffocant !
SCHFERIN
Verworren, weh, und schwl!
SHEPHERDESS
Confusion, pain and suffocation!
BERGER
Laisse lamour semparer de toi !
SCHFER
La dich die Liebe binden!
SHEPHERD
Accept the bonds of Love!
BERGRE
O sentiment dangoisse !
O liberi, reste mes cts !
Je ne veux te ngocier !
Je redoute ce moment,
ce jour je songe avec effroi !
SCHFERIN
O ngstliches Gefhl!
O Freiheit, bleib bei mir!
Ich will dich nicht verhandeln!
Mir banget vor der Stunde,
Mir grauset vor dem Tag!
SHEPHERDESS
Oh feeling of unease!
O Freedom, never desert me!
I will never let you go!
Such an hour makes me tremble,
such a day fills me with horror!
Duo
BERGER
Radoucis ta duret,
O laisse-toi transformer,
Ton heure approche,
Ton jour saccomplira.
SHEPHERD
Let such hardness melt away,
allow yourself to change;
your hour to yield is drawing near,
your days about to dawn.
SCHFER
Entspanne diese Hrte,
O lasse dich verwandeln,
Es nahet deine Stunde,
Erfllet sich dein Tag.
JOURDAIN
Mais ce nest point sot. Si seulement lopra tout
entier tait ainsi, avec des personnages hroques,
des lieux magnifiques, des costumes, des clairages.
Je serais alors satisfait. Or que mont-ils annonc ?
De quel lieu sagit-il ? Une le dser te, une princesse
sans prince, et puis encore un Bacchus quest-ce
quun Bacchus : un berger ? Ah, pas de berger ! Non:
quils fassent en sor te que lle dser te ait lair aussi
splendide quaimable. Que lon ne lsine sur rien, sur
rien et sur tout pas sur les clairages Une
princesse sans prince ? Elle ne saurait me faire que
leffet dune veuve ! (finaud) Voil qui est bien. Il faut
absolument insister sur une veuve de noble
extraction, laquelle persiste vouloir rester veuve,
mais pour laquelle, finalement, il deviendra difficile
dainsi vouloir persvrer dans son obstination. Quen
tait-il dj du joyeux pilogue ? Linfidle
Z erbinetta et ses quatre amants ? Trs bien, trs
bien : dans ce cas galement, prvoir une veuve,
laquelle, de manire des plus coquines, serait de
mme conduite faire preuve dinfidlit envers sa
condition de veuve ? ! Quelle mer veille ! Et des
menuets, il faut inclure quelques menuets. Ah ! les
menuets sont ma danse.
JOURDAIN
10 Das ist gar nicht so dumm. Wenn so nur die ganze
Oper wre, mit heroischen Personen, prchtigem
Schauplatz, Kostmen, Beleuchtung. Dann wrd ich
zufrieden sein. Doch was haben die mir angekndigt?
Welch einen Schauplatz?? Eine wste Insel, eine
Prinzessin ohne Prinz, und dann ein Bacchus was ist
ein Bacchus: ein Schfer? Wenn das nur kein Schfer
ist! Nein: Sie mssen es so machen, da die wste
Insel recht prchtig und wohnlich aussieht. An nichts
dar f gespar t werden, an nichts, sonderlich nicht an
der Erleuchtung Eine Prinzessin ohne Prinz? Ah,
das scheint mir eine Witwe dann zu sein!
(bauernschlau) Das pat. Es mu ganz und gar auf
eine Witwe von vornehmen Stand abgesehen sein,
welche zwar darauf beharr t, eine Witwe zu bleiben,
welcher es aber doch am Ende schwer gemacht wird,
darauf zu beharren. Wie war das mit dem heiteren
Nachspiel? Die ungetreue Z erbinetta und ihre vier
Liebhaber?? Sehr gut, sehr gut: Darin ist es wohl
auch auf eine Witwe abgesehen, die dann auf eine
recht spitzbbische Weise dazu gebracht wird, ihrer
Witwenschaft untreu zu werden?!! Wie wunderbar!
Und Menuette, einige Menuette mssen angebracht
werden. Ach! die Menuette sind mein Leibtanz.
JOURDAIN
Thats not half bad. If only the whole opera were like
that, and had heroic figures, splendid scener y,
costumes and lighting. Then I should be satisfied.
But what did they tell me? What sor t of scener y will
there be? A deser t island, a princess without a
prince, and a Bacchus Whats a Bacchus? A
shepherd? I bet its a shepherd. No, theyve got to
arrange it so that the deser t island looks quite
splendid and cosy. No expense must be spared,
especially where the lighting is concerned A
princess without a prince? Ah, a widow, probably!
(slyly) Ver y fitting! It absolutely must be about a
widow of noble rank, a widow who is determined not
to remarr y but finds, in the end, that she cannot
resist. How did that jolly epilogue go? Unfaithful
Z erbiner ta and her Four Lovers? Ver y good, ver y
good. Ideally it should be about a widow abandoning
her chaste widowhood as the result of some really
clever trick! How splendid! And minuets, we must
have a few minuets. Ah, the minuet is my favourite
dance!
Menuet
11 Menuett
Minuet
Und der Herr Graf, der mich seinen Freund nennet und
mit mir umgehet, als ob ich seinesgleichen wre, wird
mir in seiner unglaubichen Gtigkeit auch heute
beistehen, hab ich doch sehr wohl wahrgenommen,
da er von freien Stcken selbst sich anbot, mir in
meiner Liebe zu dienen. Er hat mir viel Ehre angetan,
ich bin ganz beschmt ber diese Gtigkeit. Deshalb
will ich zu den fnfzehntausendachthunder t Livres, die
ich die Ehre hatte, ihm als meinem besten Freund
vorschieen zu dr fen, sogleich noch zweihunder t
Pistolen dazulegen zum Z eichen, da ich ihm niemals
nichts werd abschlagen knnen. Ich wei wohl, was
fr Respekt ich ihm schuldig bin: Er hat noch diesen
Morgen in des Knigs Z immer von mir gesprochen. In
des Knigs Z immer!! Bei meiner Treue, ich habe ein
unbeschreibliches Verlangen Wir wollen gehen
Oh, lassen sie uns ein wenig weiter hinweggehen
Ich will mein Kleid ein wenig in der Stadt sehen
lassen.
And the dear Count, who calls me his friend and goes
about with me as if I were his equal, he, in his
incredible goodness of hear t, will, I know, suppor t
me today, because I have noticed how willingly he is
prepared to expedite my love-suit. He has honoured
me greatly and I am indeed embarassed by such
goodness. Thats why Im going to add another two
hundred pistoles to the fifteen thousand eight
hundred livres that I was honoured by his touching
me, as his best friend, for, to show him that I will
deny him nothing. I well know the respect I owe him.
He spoke about me only this morning in the Kings
chamber. In the Kings chamber! Upon my word, I
have an inexpressible desire Lets go out into the
street But keep a few paces behind me I I
want to show off my coat around the town.
Orchestre en coulisse
Orchestra offstage
Und schlielich eine Omelette mit einer berraschung, hiezu ein ser Por tugieser wein. Ja, ja:
mit einer berraschung: Ein Kchenjunge wird aus
der Omelette springen und fr uns tanzen!!
Dar fich bitten?
ARIANE NAXOS
Ouverture
Ariane est devant Ientre de la grotte, immobile.
Naade est sa gauche, Dryade sa droite et cho
dans lefond prs de la paroi de la grotte.
26 Ouvertre
Overture
NAADE
Dor t-elle ?
NAJADE
27 Schlft sie?
NAIAD
Is she sleeping?
DRYADE
Dor t-elle ?
DRYADE
Schlft sie?
DRYAD
Is she sleeping?
NAADE
Non, elle pleure !
NAJADE
Nein! sie weinet!
NAIAD
No, she is weeping.
DRYADE
Elle pleure dans son sommeil !
coute ! Elle gmit !
DRYADE
Weint im Schlafe.
Horch! sie sthnet
DRYAD
Weeping in her sleep.
Hark! She moans.
NAADE
Elle pleure !
NAJADE
Sie weinet!
NAIAD
She is weeping.
DRYADE
Elle pleure dans son sommeil !
DRYADE
Weint im Schlafe.
DRYAD
Weeping in her sleep.
NAADE, DRYADE
Hlas ! Nous y sommes habitues !
NAJADE, DRYADE
Ach! so sind wir sie gewhnt.
NAIAD, DRYAD
Oh, she is always like this.
NAADE
Jour aprs jour, plonge dans une affliction
inchange.
NAJADE
Tag um Tag in starrer Trauer.
NAIAD
Day after day in benumbed sorrow.
DRYADE
Toujours de nouvelles larmes plus amres.
DRYADE
Ewig neue bittre Klagen
DRYAD
Ever fresh bitter laments.
NAADE
De nouveaux spasmes et de nouveaux frissons,
toujours de nouvelles larmes plus amres,
inconsolable !
NAJADE
Neuen Krampf und Fieberschauer,
Ewig neue bittre Klagen
Unvershnt.
NAIAD
Fresh spasms and shivering fever,
ever fresh bitter complaints,
inconsolable.
DRYADE
Cur bless jamais, jamais,
inconsolable !
DRYADE
Wundes Herz auf ewig, ewig
Unvershnt.
DRYAD
A hear t wounded forever, forever
inconsolable.
CHO
Jamais, jamais, inconsolable !
ECHO
Ewig, ewig unvershnt.
ECHO
Forever, forever inconsolable.
ARIANE
(gisante)
Hlas !
ARIADNE
(an der Erde)
29 Ach!
ARIADNE
(on the ground)
Alas!
CHO
Hlas.
ECHO
Ach!
ECHO
Alas!
ARIANE
O suis-je ? Mor te ? Et je vis, je reviens la vie, et
je vis encore ?
Mais ce nest pour tant pas une vie que je vis !
Cur bris, vas-tu donc toujours continuer battre ?
(Elle se redresse lgrement.)
Quai-je donc rv ?
Hlas ! dj oubli !
Ma tte ne retient plus rien;
seules les ombres passent
travers lombre qui lenvahit !
Et cependant, quelque chose y palpite
et me fait bien mal !
Hlas !
ARIADNE
Wo war ich? Tot? Und lebe, lebe wieder
Und lebe noch?
Und ist ja doch kein Leben, das ich lebe!
Z erstckelt Herz, willst ewig weiter schlagen?
(richtet sich halh auf)
Was hab ich denn getrumt?
Weh! schon vergessen!
Mein Kopf behlt nichts mehr.
Nur Schatten streichen
Durch einen Schatten hin.
Und dennoch, etwas zuckt dann auf
Und tut so weh!
Ach!
ARIADNE
Where was I? Dead? And alive, alive again
and still living?
And yet it is no life that I live!
Broken hear t, will you keep on forever beating?
(half raising herself)
What then was I dreaming?
Alas! Forgotten already.
My head retains nothing any more.
Only shadows slip
through a shadow.
And yet, something suddenly blazes up
and pains me so!
Ah!
CHO
(sans me)
Hlas.
ECHO
(seelenlos)
Ach!
ECHO
(soullessly)
Ah!
ARLEQUIN
(en coulisse)
Comme elle est jeune et belle et affreusement triste!
HARLEKIN
(zwischen den Kulissen)
Wie jung und schon und malos traurig!
HARLEQUIN
(from the wings)
How young and fair and infinitely sad!
Z ERBINETTA
(en coulisse)
Dabord on croirait une enfant, mais ses yeux sont si
cerns !
Z ERBINETTA
(zwischen den Kulissen)
Von vorne wie ein Kind, doch unterm Aug
wie dunkel!
Z ERBINETTA
(from the wings)
In face like a child, but how dark-ringed her eyes!
ARLEQUIN, TRUFFALDIN
Et difficile, bien difficile consoler, jen ai peur !
HARLEKIN, TRUFFALDIN
Und schwer, sehr schwer zu trsten, frchte ich!
HARLEQUIN, TRUFFALDINO
And ver y, ver y difficult to console, I fear.
ARIANE
(sans faire attention eux, continuant son monologue)
Il y avait une belle chose qui sappelait
Thse-Ariane
et elle allait dans la lumire
et tout ce qui tait vivant sen rjouissait !
Pourquoi est-ce que je sais cela ? Je veux loublier !
(Une autre pense traverse sa pauvre tte dsoriente.)
ARIADNE
(ohne ihrer irgendwie zu achten; vox sich, monologisch)
30 Ein Schnes war: hie Theseus-Ariadne
ARIADNE
(taking no notice of them; to herself, as in a monologue)
There was a thing of beauty called Theseus-Ariadne,
that walked in light
and rejoiced in life.
Why do I think of it? I want to forget!
(Another idea occurs to her poor deranged mind.)
ARIANE
(secouant la tte)
Plus jamais.
Elle vit toute seule ici,
elle respire si doucement et marche si lgrement
que pas un brin dherbe ne bouge l o elle passe,
son sommeil est pur, son esprit est clair,
son cur est sonore comme la source :
elle se conduit bien,
cest pourquoi bientt le jour viendra
o elle pourra senvelopper dans son manteau
et entourer son visage dun voile
et sallonger dedans,
et elle sera mor te !
ARIADNE
(abwinkend)
Nicht noch einmal!
Sie lebt hier ganz allein.
Sie atmet leicht, sie geht so leicht,
Kein Halm bewegt sich, wo sie geht,
Ihr Schlaf ist rein, ihr Sinn ist klar,
Ihr Herz ist lauter wie der Quell:
Sie hlt sich gut,
Drum kommt auch bald der Tag,
Da dar f sie sich in ihren Mantel wickeln,
Dar f ihr Gesicht mit einem Tuch bedecken
Und dar f da drinnen liegen
Und eine Tote sein!
ARIADNE
(motioning them away)
No, not again!
She lives here quite alone.
Lightly she breathes, lightly she moves,
not a blade stirs where she treads,
her sleep is chaste, her mind serene,
her hear t as pure as a spring:
she keeps herself undefiled,
for the day is soon to come
when she can wind herself in her mantle,
cover her face with a cloth
and lie there,
among the dead.
ARLEQUIN
(en coulisse)
Jai peur que son extreme douleur nait troubl son
esprit !
HARLEKIN
(in der Kulisse)
Ich frchte, groer Schmerz hat ihren Sinn ver wirr t.
HARLEQUIN
(from the wings)
I am afraid that great sorrow has unhinged her mind.
10
Z ERBINETTA
(en coulisse)
Essayons la musique !
Z ERBINETTA
(in der Kulisse)
Versucht es mit Musik.
Z ERBINETTA
(from the wings)
Let us tr y some music!
SCARAMOUCHE, TRUFFALDIN
(en coulisse)
Cest cer tain, elle est folle !
SCARAMUCCIO, TRUFFALDIN
(in der Kulisse)
Ganz sicher, sie ist toll.
SCARAMUCCIO, TRUFFALDINO
(from the wings)
No doubt, she has gone mad.
ARIANE
(sans tourner la tte, part, comme si elle avait
entendu ces derniers mots dans son rve)
Folle, mais sage, oui ! Je sais ce qui est bon quand
on le retient loin de mon pauvre cur.
ARIADNE
(ohne den Kopfzu wenden, vor sich; als htte sie die
letzten Worte in ihren Traum hinein gehrt)
Toll, aber weise, ja! Ich wei, was gut ist,
Wenn man es fernhlt von dem armen Herzen.
ARIADNE
(without turning her head, to herself, as if she had
heard the last words in her dream)
Mad, but wise, yes! I know what is good
when one can keep it far from ones poor hear t.
Z ERBINETTA
(en coulisse)
Hlas, quon essaye donc une petite chanson !
Z ERBINETTA
(in der Kulisse)
31 Ach, so versuchet doch ein kleines Lied.
Z ERBINETTA
(from the wings)
Oh then, tr y a little song!
HARLEKIN
Lieben, Hassen, Hoffen, Z agen,
Alle Lust und alle Qual,
Alles kann ein Herz er tragen
Einmal um das andre Mal.
(Echo wiederholt seelenlos, wie ein Vogel, ohne Text.)
HARLEQUIN
Love and hatred, hope and fear,
ever y joy and ever y pain,
all this can the hear t endure
once and many times again.
(Echo repeats it soullessly, like a bird, without words.)
Z ERBINETTA
( mi-voix)
Elle na mme pas lev la tte une seule fois !
Z ERBINETTA
(halblaut)
Sie hebt auch nicht einmal den Kopf.
Z ERBINETTA
(sotto voce)
She didnt raise her head once!
ARLEQUIN
(de mme)
Tout est perdu.
Jen ai eu limpression tout en chantant.
(cho reprend encore une fois la mlodie.)
HARLEKIN
(ebenso)
Es ist alles vergebens.
Ich fhlte es whrend des Singens.
(Echo wiederholt nochmals die Melodie.)
HARLEQUIN
(the same)
Its all no use.
I felt as much while I was singing.
(Echo again repeats the melody.)
Z ERBINETTA
Tu as dj perdu courage ?
Z ERBINETTA
Du bist ja ganz aus der Fassung.
Z ERBINETTA
You are quite upset.
ARLEQUIN
Lamour, la haine, lespoir, la crainte,
tous les plaisirs et toutes les peines,
un cur peut tout suppor ter
une fois aprs lautre.
(cho reprend dune voix sans me comme un oiseau la
mlodie dArlequin.)
Mais ni plaisir, ni chagrin,
la douleur elle-mme efface,
cest la mor t de ton cur
alors, pourquoi ntre pas mienne !
Il faut tlever hors de ces tnbres,
mme si cest pour prouver une nouvelle douleur,
tu dois vivre cette douce vie,
vivre encore cette fois-ci !
(cho, comme prcdemment. Ariane sans se laisser
distraire poursuit son rve.)
11
ARLEQUIN
Jamais un tre humain ne ma autant mu.
HARLEKIN
Nie hat ein menschliches Wesen mich so gerhr t.
HARLEQUIN
Never have I been so moved by any human being.
Z ERBINETTA
Tu en dis autant de toutes les femmes.
Z ERBINETTA
So geht es dir mit jeder Frau.
Z ERBINETTA
Youre the same about ever y woman.
ARLEQUIN
Et toi tu ne le dis peut-tre pas de tous les hommes?
HARLEKIN
Und dir vielleicht nicht mit jedem Mann?
HARLEQUIN
And arent you the same about ever y man?
ARIANE
( part)
Il existe un royaume o tout est pur :
et il a mme un nom : le royaume de la mor t !
(Elle se relve)
Ici, rien nest pur !
Ici, tout devient tout !
(Elle se serve dans son vtement.)
Mais bientt sapproche un messager,
on lappelle Herms.
Avec sa baguette magique
il gouverne les mes :
tels des oiseaux lgers
telles des feuilles mor tes
il les pousse par-devers lui.
Beau et paisible dieu, vois, Ariane attend !
Hlas, de toutes les froces douleurs
il faut que mon cur soit purifi,
alors tu me feras un signe de tte,
tes pas te por teront devant ma grotte.
Les tnbres descendront sur mes yeux,
ta main descendra sur mon cur.
Dans mes beaux vtements de fte
que ma mre ma donns,
mes membres seront envelopps,
cer te paisible grotte sera ma tombe.
Mais sans bruit, mon me
suivra son nouveau matre,
comme une feuille au vent, lgre,
elle le suivra l-bas, elle le suivra si volontiers.
Les tnbres descendront sur mes yeux
et sur mon cur.
Mes membres seront envelopps,
superbement paree et toute seule.
(avec une exaltation grandissante)
Tu me libreras,
tu me rendras moi-mme,
et cette vie si lourde por ter
tu me lenlveras.
Je me perdrai tout entire en toi,
Ariane sera auprs de toi.
ARIADNE
(vor sich)
32 Es gibt ein Reich, wo alles rein ist:
Es hat auch einen Namen: Totenreich.
(hebt sich vom Boden)
Hier ist nichts rein!
Hier kam alles zu allem!
(Sie zieht ihr Gewand eng um sich.)
Bald aber naht ein Bote,
Hermes heien sie ihn.
Mit seinem Stab
Regier t er die Seelen:
Wie leichte Vgel,
Wie welke Bltter
Treibt er sie hin.
Du schner, stiller Gott! sieh! Ariadne war tet!
Ach, von alien wilden Schmerzen
Mu das Herz gereinigt sein;
Dann wird dein Gesicht mir nicken,
Wird dein Schritt vor meiner Hhle,
Dunkel wird auf meinen Augen,
Deine Hand auf meinem Herzen sein.
In den schnen Feierkleidern,
Die mir meine Mutter gab,
Diese Glieder werden bleiben,
Stille Hhle wird mein Grab.
Aber lautlos meine Seele
Folget ihrem neuen Herrn,
Wie ein leichtes Blatt im Winde,
Folgt hinunter, folgt so gern.
Dunkel wird auf meinen Augen
Und in meinem Herzen sein,
Diese Glieder werden bleiben
Schn geschmckt und ganz allein.
(mit wachsender Begeisterung)
Du wirst mich befreien,
Mir selber mich geben,
Dies lastende Leben,
Du nimm es von mir.
An dich werd ich mich ganz verlieren,
Bei dir wird Ariadne sein.
12
ARIADNE
(to herself)
There is a realm where all is pure;
it has a name, too: the Realm of Death.
(raising herself)
Here nothing is pure!
All is finished here.
(She pulls her robe close around her.)
But soon a messenger will draw nigh,
they call him Hermes.
With his staff
he rules all souls:
like birds on the wing,
like dr y leaves,
he drives them before him.
O beautiful, serene god! See! Ariadne awaits you!
Oh, my hear t must be cleansed
of all wild grief,
then your presence will call me,
your footsteps will approach my cave,
darkness will cover my eyes,
your hand will touch my hear t.
In the beautiful festal robes,
which my mother bequeathed me,
my body will remain,
the silent cave will be my tomb.
But mutely my soul
will follow its new lord,
as a light leaf in the wind
flutters downward, gladly falling.
Darkness will cover my eyes
and fill my hear t,
this body will remain,
richly adorned and all alone.
(with growing rapture)
You will set me free,
give me to myself,
this burdensome life,
take it from me.
I will lose myself entirely in you,
with you Ariadne will abide.
Z ERBINETTA
Comme ils se balancent,
et dansent et chantent,
lun me plat
ou peut-tre lautre,
lun ou bien lautre
en tout cas me plat.
Z ERBINETTA
Wie sie sich schwingen,
Tanzen und singen,
Gefiele der eine
Oder der andere,
Der eine oder andere
Gefiele mir schon.
Z ERBINETTA
As they go whirling,
dancing and singing,
I rather fancy one
or the other.
One or the other
Im beginning to like.
Z ERBINETTA
Comme ils se balancent, etc.
Z ERBINETTA
Wie sie sich schwingen, etc.
Z ERBINETTA
As they go whirling, etc.
13
Z ERBINETTA
Comme ils se balancent, etc.
Mais la princesse
ferme les yeux,
elle naime pas leurs faons,
leur chanson ne lui plat pas.
(Elle passe entre les quatre danseurs.)
Par tez donc ! Laissez-la donc ! Vous lui pesez !
Z ERBINETTA
Wie sie sich schwingen, etc.
Doch die Prinzessin
Verschliet ihre Augen,
Sie mag nicht die Weise,
Sie liebt nicht den Ton.
(indem sie zwischen die vier Tnzer tritt)
Geht doch, lats doch! Ihr fallet zur Last!
Z ERBINETTA
As they go whirling, etc.
But the princess
shuts her eyes,
she does not like the dancing,
she does not like the tune.
(stepping between the four dancers)
Go then, thats enough! Youre getting tiresome!
Z ERBINETTA
Par tez donc, vous lui pesez !
Z ERBINETTA
Geht doch, ihr fallet zur Last.
Z ERBINETTA
Go then, youre getting tiresome!
BRIGHELLA
Mais que nous dansions,
mais que nous chantions,
quoi que nous fassions,
nous ny par venons pas.
BRIGHELLA
Doch wie wir tanzen,
Doch wie wir singen,
Was wir auch bringen,
Wir haben kein Glck.
BRIGHELLA
Dance as we may,
sing as we may,
whatever we do,
we have no luck.
Z ERBINETTA
(les obligeant partir)
Alors, cessez de danser,
cessez de chanter,
loignez-vous !
Z ERBINETTA
(indem sie sie mit Gewalt fortdrngt)
Drum lat das Tanzen,
Lat das Singen,
Z ieht euch zurck.
Z ERBINETTA
(pushing them forcibly away)
Cease then your dancing,
stop your singing,
and leave us alone.
TRUFFALDIN
Il faut ou bien danser, etc.
Mais que nous dansions, etc.
TRUFFALDIN
Es gilt, ob Tanzen, etc.
Doch wie wir tanzen, etc.
TRUFFALDINO
Singing and dancing, etc.
Dance as we may, etc.
Zerbinetta schaffi sie weg. Die Vier ab, zwei nach rechts,
zwei nach links.
14
COMPACT DISC 2
Rcitatifet Air
Z ERBINETTA
(avec une profonde rvrence devant Ariane)
Trs puissante princesse, qui ne compretidrait
que la tristesse de personnes aussi illustres et
minentes
doit tre mesure selon dautres critres
que celle du commun des mor tels. Cependant,
(Elle se rapproche dun pas, mais Ariane ne lui prte
aucune attention.)
ne sommes-nous pas entre femmes
et un coeur incomprhensible,
ne bat-il pas dans chacune de nos poirrines ?
(Elle se rapproche encore et fait une rvrence; pour ne
pas la voir, Ariane cache son visage dans ses mains.)
Nest-ce pas une dlicieuse douleur
que de parler de notre faiblesse,
et den faire laveu entre nous ?
Et nos sens nen sont-ils pas tout troubls ?
Vous ne voulez pas mcouter
belle et orgueilleuse et immobile, [tombeau
comme si vous tiez une statue sur votre propre
ne voulez-vous donc aucun autre confident
que ces rochers et ces flots ?
(Ariane se retire jusqu Ientre de sa grotte.)
Princesse, coutez-moi vous ntes pointe seule,
nous toutes toutes, hlas ce qui a glac votre
cur,
quelle est la femme qui na pas eu en souffrir ?
Abandonne ! Dsespre ! En proie au tourment !
Hlas, des les dser tes comme la vtre,
il en existe des infinits parmi les hommes,
moi moi-mme jen ai habit plusieurs,
et je nai pour tant pas appris maudire les hommes.
(Ariane entre compltement dans sa grotte. Zerbinetta
adresse ses nouvelles paroles de consolation une
personne dsormais invisible.)
Infidles, ils le sont !
Monstrueux, sans la moindre mesure !
Une cour te nuit,
une brve journe,
un souffle dair,
un regard fugitif,
et leur cur se transforme !
Z ERBINETTA
(mit einer tiefen Verneigung vor Ariadne)
Gromchtige Prinzessin, wer verstnde nicht,
Da so erlauchter und erhabener Personen
Traurigkeit
Mit einem anderen Ma gemessen werden mu,
Als der gemeinen Sterblichen. Jedoch,
(Einen Schritt nhertretend, doch Ariadne achtet in
keiner Weise auf sie.)
Sind wir nicht Frauen unter uns,
Und schlgt denn nicht
In jeder Brust ein unbegreiflich Herz?
(Abermals nher, mit einem Knicks. Ariadne, ihrer nicht
zu achten, verhllt ihr Gesicht.)
Von unsrer Schwachheit sprechen,
Sie uns selber eingestehn,
Ist es nicht schmerzlich s?
Und zuckt uns nicht der Sinn danach?
Sie wollen mich nicht hren
Schn und stolz und regungslos,
Als wren Sie die Statue auf Ihrer eignen Graft.
Sie wollen keine andere Ver traute
Als diesen Fels und diese Wellen haben?
(Ariadne tritt an den Eingang ihrer Hhle zurck.)
Prinzessin, hren Sie mich an nicht Sie allein,
Wir alle ach, wir alle was Ihr Herz erstarr t
Z ERBINETTA
(making a deep curtsy to Ariadne)
Most gracious Princess, who does not know
that for such an illustrious and noble personage
as yourself
grief must have a different measure
than for common mor tals. Yet,
(She takes a step closer, though Ariadne pays no
attention to her.)
are we not all women underneath,
and does there not beat
in ever y breast an unfathomable hear t?
(She moves still nearer with a curtsey. Ariadne, in order
to avoid her, covers her face.)
To speak of our weakness,
to confess it to ourselves,
is it not bitter-sweet?
And does not our hear t thrill at it?
You do not wish to listen to me
beautiful and proud and still,
like a statue on your own tomb.
You want no other confidante, then,
than these rocks and waves?
(Ariadne retires to the mouth of her cave.)
Princess, hear me out not you alone,
but all oh, all of us that which numbs your hear t,
15
Rondo
Chacun est arriv comme un dieu
et son allure ma aussitt rendue muette,
il ma embrass le front et la joue,
et je suis devenue la prisonnire du dieu
et jai t transforme du tout au tout !
Chacun est arriv comme un dieu
et ma compltement transforme,
il ma embrass la bouche et la joue
et je me suis abandonne sans un mot !
Rondo
Rondo
16
Ah!
I surrendered without a word.
When the new god approached,
I surrendered without
(She conveys by a gesture that the orchestra, by playing
ever more loudly, has made it impossible for her to
carry on singing.)
Cadence
Cadenz
Cadenza
Zerbinetta, die whrend der Fermate erwartungsvoll aufgehorcht hatte, macht, als sie das Violoncell allein u. p
beginnen hrt, eine dankende Geste und fllt sofort ein:
Ah!
Kam der neue Gott gegangen,
Hingegeben war ich stumm, stumm
Ah!
When the new god approached,
I surrendered without a word, a word
HARLEKIN
(unsichebar)
Hbsch gepredigt!
(springt aus der Kulisse)
Aber tauben Ohren!
HARLEQUIN
(out of sight)
Prettily preached!
(springing from the wings)
But to deaf ears!
Z ERBINETTA
(se tournant prestement vers lui)
Oui, on dirait que cer te dame et moi parlons des
langages differents.
Z ERBINETTA
(sich rasch zu ihm wendend)
Ja, es scheint, die Dame und ich sprechen
verschiedene Sprachen.
Z ERBINETTA
(quickly turning to him)
Yes, it seems the lady and I dont speak the same
language.
ARLEQUIN
On le dirait.
HARLEKIN
Es scheint so.
HARLEQUIN
So it would appear.
Z ERBINETTA
La question est de savoir si elle napprendra pas
finalement sexprimer dans le mien.
Z ERBINETTA
Es ist die Frage, ob sie nicht schlielich lernt, sich
in der meinigen auszudrcken.
Z ERBINETTA
The question is whether, in the end, she wont learn
to speak mine.
ARLEQUIN
Il faut attendre. Mais il y a une chose pour laquelle
nous navons pas besoin dattendre
(Dun saut il est ses cts.)
HARLEKIN
Wir wollens abwar ten. Was wir aber nicht abwar ten
wollen
(Er ist mit einem Sprung bei ihr.)
HARLEQUIN
Well wait and see. But what we wont wait to see
Ah !
Lorsquun nouveau dieu est arriv,
je me suis abandonnee sans un mot, un mot
ARLEQUIN
(invisible)
Joli sermon !
(sortant de la coulisse dun bond)
Mais pour de sourdes oreilles !
17
Z ERBINETTA
Pour qui me prends-tu ?
Z ERBINETTA
Wofr hltst du mich?
Z ERBINETTA
What do you take me for?
ARLEQUIN
Pour une jeune enchanteresse avec qui jaurais
vraiment grand plaisir faire meilleure
connaissance
Il cherche ltreindre. Elle se dgage.
HARLEKIN
Fr ein entzckendes Mdchen, dessen Beziehungen
zu mir dringend einer Belebung bedr fen.
HARLEQUIN
For an enchanting young woman, with whom
I urgently desire to become better acquainted.
Z ERBINETTA
Effront ! Et ici, par-dessus le marche !
A deux pas de la demeure de la princesse !
Z ERBINETTA
Unverschmter! und auerdem: hier!
Z wei Schritte von der Wohnung der Prinzessin!
Z ERBINETTA
Shameless creature! And, of all places, here!
Two steps from the dwelling of the princess.
ARLEQUIN
Peuh ! Sa demeure, cest une grotte !
HARLEKIN
Pah! Wohnung, es ist eine Hhle.
HARLEQUIN
Dwelling, bah! Its a cave.
Z ERBINETTA
Quest-ce que a change ?
Z ERBINETTA
Was nder t das?
Z ERBINETTA
What difference does that make?
ARLEQUIN
Beaucoup de choses, car elle na pas de fentres !
(Il cherche encore lembrasser.)
HARLEKIN
Sehr viel, sie hat kein Fenster.
(Versucht sie abermals zu kssen.)
HARLEQUIN
A great deal, it hasnt any windows.
(He tries to kiss her again.)
Z ERBINETTA
(se dgageant nergiquement)
Je crois que tu en serais vraiment capable !
Z ERBINETTA
(macht sich energisch los)
Ich glaube, du wrest wirklich fhig
Z ERBINETTA
(wrenching herself free)
I really think you would, too!
ARLEQUIN
Nen doute pas, capable de tout !
HARLEKIN
Z weifle nicht, zu allem!
HARLEQUIN
I would, make no mistake!
Z ERBINETTA
(le toisant, moiti pour elle-mme)
Et penser quil y a des femmes qui il plat
justement pour cela.
Z ERBINETTA
(mit ihn mit einem Blick, halb fr sich)
Z u denken, da es Frauen gibt, denen er eben
darum gefiele.
Z ERBINETTA
(sizing him up with a glance, half to herself)
To think that there are women, who even like him on
that account.
ARLEQUIN
Et penser que, des pieds la tte, tu es justement
une de ces femmes !
HARLEKIN
Und zu denken, da du von oben bis unten eine
solche Frau bist!
HARLEQUIN
And to think that you, from top to toe, are just such
a woman!
Z ERBINETTA
(a chapp Arlequin et court vers le devant de la
scne, part et presque au public)
Les hommes ! Dieu du ciel, si tu voulais vraiment
que nous leur resistions, pourquoi les as-tu crs si
diffrents ?
Z ERBINETTA
(hat sich Harlekin entzogen, luft nach vorn, vor sich,
beinahe ad spectatores)
Mnner! Lieber Gott, wenn du wirkch wolltest,
da wir ihnen widerstehen sollten, warum hast du
sie so verschieden geschaffen?
Z ERBINETTA
(having extricated herself from Harlequin, runs forward;
to herself almost to the spectators)
Men! Dear God, if you really wanted us to resist
them, then why did you create them all so different?
18
BRIGHELLA
(dun ton niais)
Mais je ne suis pas entt, moi,
si tu me fais bonne figure.
Ah, je nai plus envie de rien,
je suis si heureux !
BRIGHELLA
(mit albernem Ton)
Doch ich bin strrisch nicht,
Gibst du ein gut Gesicht.
Ach, ich verlange nicht mehr,
Freu mich so sehr.
BRIGHELLA
(in a foolish tone)
But I am not obstinate,
when you smile on me.
Oh, I ask nothing more,
Im so happy.
SCARAMOUCHE
(avec une expression ruse)
Sur cette le,
il y a de bien jolis coins.
Viens, laisse-toi conduire,
je connais les lieux !
SCARAMUCCIO
(mit schlauem Ausdruck)
Auf dieser Insel
Gibts hbsche Pltze.
Komm, la dich fhren,
Ich wei Bescheid!
SCARAMUCCIO
(with a sly expression)
On this island
theres many a pretty spot.
Come, let yourself be led,
I know my way.
TRUFFALDIN
(lourdaud et paillard)
Si javais seulement une voirure
et un petit cheval,
jemmnerais vite cette petite
l o nous serions seuls.
TRUFFALDIN
(tppisch lstern)
Wr nur ein Wagen,
Ein Pferdchen nur mein,
Htt ich die Kleine
Bald wo allein!
TRUFFALDINO
(awkwardly lascivious)
If only I had
a pony and car t,
Id soon have the little woman
by myself somewhere.
ARLEQUIN
(discret, dans le fond)
Pendant quelle gaspille
des illades et des caresses,
je reste ici jusqu la fin
silencieusement aux aguets.
HARLEKIN
(diskret im Hintergrund)
Wie sie vergeudet
Augen und Hnde,
Laur ich im Stillen
Hier auf das Ende!
HARLEQUIN
(discreetly in the background)
While she scatters
her favours all around,
Ill lie in wait here
until shes done!
Z ERBINETTA
(dansant de lun lautre)
Toujours par contrainte,
jamais par caprice
toujours prise par une nouvelle
surprise indicible !
Z ERBINETTA
(von einem zum anderen tanzend)
Immer ein Mssen,
Niemals Launen,
Immer ein neues
Unsgliches Staunen!
Z ERBINETTA
(dancing from one to the other)
Always by compulsion,
never by caprice,
always a new
inexpressible wonder!
BRIGHELLA
Je ne suis pas entt.
BRIGHELLA
Ich bin nicht strrisch.
BRIGHELLA
I am not obstinate.
19
ARLEQUIN
Jpie en silence.
HARLEKIN
Ich laure im Stillen.
HARLEQUIN
Ill lie in wait.
SCARAMOUCHE
Si javais cette fille
SCARAMUCCIO
Htt ich das Mdchen
SCARAMUCCIO
If I had the maiden
TRUFFALDIN
Je connais les lieux !
TRUFFALDIN
Ich wte Bescheid!
TRUFFALDINO
Id know my way!
Z ERBINETTA
Ainsi en fut-il de Pasquariello
et aussi de Mezzetin !
Et puis de Cavicchio
et aussi de Burattin !
Toujours par contrainte,
jamais par caprice,
hlas, et par fois,
il y en avait deux !
Z ERBINETTA
So wars mit Pasquariello
Und Mezzetin!
Dann mit Cavicchio
Und Burattin!
Niemals Launen,
Immer ein Mssen,
Und ach, zuweilen
Waren es zwei!
Z ERBINETTA
So it was with Pasquariello
and Mezzetino!
Then with Cavicchio
and Burattino!
Never by caprice,
always by compulsion
and oh, sometimes
there were two.
ARLEQUIN
Pendant quelle gaspille
des illades et des caresses,
je reste ici jusqu la fin
silencieusement aux aguets.
HARLEKIN
Wie sie vergeudet
Augen und Hnde,
Laur ich im Stillen
Hier auf das Ende!
HARLEQUIN
While she scatters
her favours all around,
Ill lie in wait here
until shes done!
Z ERBINETTA
Comme il sincline fougueusement !
(Elle donne Scaramouche lintrieur de sa main
baiser.)
Z ERBINETTA
Wie er feurig sich ernieder t!
(Sie reicht Scaramuccio das Innere der Hand zum
Kusse.)
Z ERBINETTA
How impetuously he stoops!
(She extends the palm of her hand for Scaramuccio to
kiss.)
SCARAMOUCHE, Z ERBINETTA
Comme la pression la pression rpond !
Main et lvre, bouche et main,
quel lien dlicieux et magique !
SCARAMUCCIO, Z ERBINETTA
Wie der Druck den Druck er wider t!
Hand und Lippe, Mund und Hand,
Welch ein zuckend Z auberband!
SCARAMUCCIO, Z ERBINETTA
How touch responds to touch!
Hand and lips, mouth and hand,
what a sweet enchantment!
20
ARLEQUIN
(au fond)
Jpie en silence.
HARLEKIN
(in Hintergrunde)
Ich laure in Stillen.
HARLEQUIN
(in the background)
Ill lie in wait.
Z ERBINETTA
(Elle recommence danser.)
Si je le rends jaloux des autres,
comme ce jeune homme guind deviendra souple,
ce garon si raide pirouettera !
Z ERBINETTA
(aufs neue tanzend)
Mach ich ihn auf diese neidig,
Wird der steife wie geschmeidig,
Wird der steife Bursch sich drehn!
Z ERBINETTA
(starting to dance again)
If by this I make him jealous,
hell be like putty in my hands,
and I shall twist him round my little finger!
BRIGHELLA
(dansant avec raideur)
Si elle me rend jaloux des autres,
hlas, comme je massouplirai
et pirouetterai autour de cette jolie petite poupe !
BRIGHELLA
(steif tanzend)
Macht sie mich auf diese neidig,
Ach, wie will ich mich geschmeidig
Um die hbsche Puppe drehn!
BRIGHELLA
(dancing stiffly)
If by this she makes me jealous,
oh, Ill be putty in her hands
and shell twist me round her pretty finger!
SCARAMOUCHE
(dansant)
Si elle nous rend jaloux des autres,
h !, comme nous nous assouplirons
ho !, et pirouetterons autour de ses grces !
SCARAMUCCIO
(tanzend)
Macht sie uns auf diesen neidig,
Hei, wie alle sich geschmeidig,
Hui, um ihre Gunst sich drehn!
SCARAMUCCIO
(dancing)
If by this she makes us jealous,
hey, well be putty in her hands,
ho, well let her twist us round her finger!
TRUFFALDIN
(dansant)
Comme elle sait assouplir chacun,
en les rendant jaloux les uns des autres,
et les faire pirouetter sans trve !
TRUFFALDIN
(tanzend)
Wie sie jeden sich geschmeidig,
Einen auf den andern neidig,
Ohne Pause wei zu drehn!
TRUFFALDINO
(dancing)
As all are putty in her hands,
each being jealous of the other,
shell twist them endlessly around her finger!
TRUFFALDIN
A moi la main ! Ctait le signal ! Je dois me glisser
sournoisement hors de cette compagnie !
TRUFFALDIN
Mir die Hand, das war das Z eichen!
Schlau aus dem Kreise mu ich mich schleichen!
TRUFFALDINO
She gave me her hand, that was the token!
Craftily I must now steal out of this circle!
SCARAMOUCHE
A moi la chaussure ! Ctait le signal !
Cette cleste crature mattend,
cest moi quelle a choisi pour ami !
SCARAMUCCIO
Mir der Schuh, das war das Z eichen!
Mich er war tet das himmlische Wesen,
Mich zum Freunde hat sie erlesen!
SCARAMUCCIO
She gave me her shoe, that was the token!
Shes waiting for me, the heavenly creature,
she has chosen me for her sweethear t!
BRIGHELLA
A moi le regard ! Ctait le signal !
Cette cleste crature mattend,
cest moi quelle a choisi pour ami !
BRIGHELLA
Mir der Blick, das war das Z eichen!
Mich er war tet das himmlische Wesen,
Mich zum Freunde hat sie erlesen!
BRIGHELLA
She gave me a glance, that was the token!
Shes waiting for me, the heavenly creature,
she has chosen me for her sweethear t!
21
SCARAMUCCIO
Pst, wo ist sie hin? Wo mag sie sein?
(Spht herum, geht rechts um die Bhne herum.)
SCARAMUCCIO
Psst, where is she? Where can she be?
(He looks about him and goes round the stage to the
right.)
Psst, where is she? Where can she be?
BRIGHELLA
(masqu, arrive par la gauche, tout has dun air sot et
rus)
Psst, o est-elle ? O peut-elle tre ?
(Il se dirige vers la droite et se heurte Scaramouche
qui revient.)
BRIGHELLA
(verlarvt, von links kommend, dummschlau)
BRIGHELLA
(disguised, comes from the left, cunning, yet foolish)
TRUFFALDIN
(verlarvt, von links, an der linken Ecke in eben dem
Augenblick hervorkommend, als Brighella nach rechts
den ersten Schritt tut)
Pst, wo ist sie? Wo mag sie sein?
He runs into the other two, who have run into each
other; all three stagger around in the middle.
Z ERBINETTA
(invisible, aufond)
Dire quun coeur se connat
si mal lui-mme !
Z ERBINETTA
(unsichtbar, rckwrts)
Da ein Herz so gar sich selber nicht versteht,
Gar sich selber nicht versteht!
Z ERBINETTA
(unseen, in the back)
To think that a hear t
should not even understand itself!
ARLEQUIN
(galement invisible)
Ah, que cest charmant, joliment arrang !
HARLEKIN
(gleichfalls unsichtbar)
Ach, wie reizend, fein geglieder t!
HARLEQUIN
(likewise unseen)
Oh, how wonder fully well organised!
SCARAMOUCHE
Psst, o est-elle ? O peut-elle tre ?
(Epie alentour etfait le tour de la scne par la droite.)
TRUFFALDIN
(masqu, arrive par la gauche au moment o Brighella
fait son premier pas vers la droite)
22
Z ERBINETTA
Main et lvre, bouche et main.
Z ERBINETTA
Hand und Lippe, Mund und Hand
Z ERBINETTA
Hand and lips, mouth and hand.
ARLEQUIN
Comme la pression la pression rpond !
HARLEKIN
Wie der Dmck den Dmck er wider!
HARLEQUIN
How touch responds to touch!
Z ERBINETTA
Quel lien dlicieux et magique !
Z ERBINETTA
Welch ein zuckend Z auberband!
Z ERBINETTA
What a sweet enchantment!
Z ERBINETTA, ARLEQUIN
Main et lvre, bouche et main,
quel lien dlicieux et magique !
Z ERBINETTA, HARLEKIN
Hand und Lippe, Mund und Hand!
Welch ein zuckend Z auberband!
Z ERBINETTA, HARLEQUIN
Hand and lips, mouth and hand!
What a sweet enchantment!
ARLEQUIN
Ah, que cest charmant, joliment arrang !
HARLEKIN
Ach, wie reizend fein geglieder t!
HARLEQUIN
Oh, how wonder fully well organised!
Z ERBINETTA
Main et lvre, bouche et main.
Z ERBINETTA
Hand und Lippe, Mund und Hand
Z ERBINETTA
Hand and lips, mouth and hand.
TRUFFALDIN, SCARAMOUCHE
Ae, ae !
TRUFFALDIN, SCARAMUCCIO
Ai, ai.
TRUFFALDINO, SCARAMUCCIO
Oh, oh.
ARLEQUIN
Comme la pression la pression rpond !
HARLEKIN
Wie der Druck den Druck er wider t!
HARLEQUIN
How touch responds to touch!
Z ERBINETTA, ARLEQUIN
Main et lvre, bouche et main,
quel lien dlicieux et magique !
Z ERBINETTA, HARLEKIN
Hand und Lippe, Mund und Hand!
Welch ein zuckend Z auberband!
Z ERBINETTA, HARLEQUIN
Hand and lips, mouth and hand,
what a sweet enchantment!
Z ERBINETTA, ARLEQUIN
Ah, que cest charmant, joliment arrang !
Comme la pression la pression rpond !
Main et lvre, bouche et main,
quel lien dlicieux et magique !
Z ERBINETTA, HARLEKIN
Sieh, wie reizend fein geglieder t,
Wie der Druck den Druck er wider t,
Hand und Lippe, Mund und Hand,
Welch ein zuckend Z auberband!
Z ERBINETTA, HARLEQUIN
See, how wonder fully well organised,
how touch responds to touch!
Hand and lips, mouth and hand,
what a sweet enchantment.
23
DRYADE
(aufgeregt)
Ein schnes Wunder!
DRYAD
(excitedly)
A radiant mar vel!
NAADE
Un sduisant jeune homme !
NAJADE
Ein reizender Knabe!
NAIAD
An enchanting youth!
DRYADE
Un jeune dieu !
DRYADE
Ein junger Gott!
DRYAD
A young god!
CHO
Un jeune dieu, un jeune dieu !
ECHO
Ein junger Gott, ein junger Gott!
ECHO
A young god, a young god!
DRYADE
Ainsi, vous savez
DRYADE
So wit ihr ?
DRYAD
Do you know
NAADE
Son nom ?
NAJADE
Den Namen?
NAIAD
his name?
DRYADE
Bacchus !
DRYADE
Bacchus!
DRYAD
Bacchus!
NAADE
Bacchus !
Un sduisant jeune homme !
NAJADE
Bacchus!
Ein reizender Knabe!
NAIAD
Bacchus!
An enchanting youth!
DRYADE
coutez-moi donc !
DRYADE
Mich hret doch an!
DRYAD
Hear me, then!
NAADE
coutez-moi !
NAJADE
Mich hret!
NAIAD
Hear me!
DRYADE
Sa mre mourut sa naissance !
DRYADE
Die Mutter starb bei der Gebur t!
DRYAD
His mother died at his bir th.
NAADE
Une fille de roi
NAJADE
Eine Knigstochter!
NAIAD
A kings daughter!
DRYADE
Aime dun dieu !
DRYADE
Eines Gottes Liebste!
DRYAD
A gods beloved!
NAADE
Une fille de roi !
NAJADE
Eine Knigstochter!
NAIAD
A kings daughter!
DRYADE
Aime dun dieu !
DRYADE
Eines Gottes Liebste!
DRYAD
A gods beloved!
NAADE
De quel dieu ?
NAJADE
Was fr eines Gottes?
NAIAD
What kind of god?
DRYADE
(agite)
Une tonnante mer veille !
24
CHO
(avec enthousiasme)
Aime dun dieu, aime dun dieu !
ECHO
(enthusiastisch)
Eines Gottes Liebste! Eines Gottes Liebste!
ECHO
(enthusiastically)
A gods beloved! A gods beloved!
DRYADE
Mais le petit coutez donc !
Des nymphes llevrent.
DRYADE
Aber den Kleinen hr t doch!
Nymphen zogen ihn auf.
DRYAD
But the young one, listen!
Nymphs reared him.
NAADE
Des nymphes llevrent !
NAJADE
Nymphen zogen ihn auf!
NAIAD
Nymphs reared him!
CHO
(enthousiaste)
Des nymphes llevrent ! Des nymphes llevrent !
ECHO
(begeistert)
Nymphen zogen ihn auf! Nymphen zogen ihn auf!
ECHO
(ardently)
Nymphs reared him! Nymphs reared him!
NAADE, DRYADE
Des nymphes levrent ce tendre et divin enfant !
Hlas, dire que ce ne fut pas nous !
NAJADE, DRYADE
Nymphen, das zar te gttliche Kind!
Ach, da nicht wir es gewesen sind.
NAIAD, DRYAD
Nymphs, the tender godlike child!
Oh, if only it had been us!
CHO
(dune voix doiseau)
Hlas, dire que ce ne fut pas nous !
ECHO
(vogelhaft)
Ach, da nicht wir es gewesen sind.
ECHO
(bird-like)
Oh, if only it had been us!
DRYADE
Il grandit comme une flamme attise par le vent.
DRYADE
Er wchst wie die Flamme unterm Wind!
DRYAD
He waxed like a flame in the wind.
NAADE
Bientt, ce nest plus un enfant
NAJADE
Ist schon kein Kind mehr
NAIAD
A child no longer
CHO
Bientt, ce nest plus un enfant
ECHO
Ist schon kein Kind mehr
ECHO
A child no longer
NAADE
Cest un adolescent et puis un homme !
NAJADE
Knabe und Mann!
NAIAD
A youth, a man!
DRYADE
Vite il sembarque dans un navire avec
dimptueux compagnons !
DRYADE
Schnell zu Schiffe mit wilden Gefhr ten!
DRYAD
Swiftly embarking with wild companions!
NAADE
Sa voile est hisse dans le vent puissant !
NAJADE
Mchtig im Wind die Segel gestellt!
NAIAD
Mightily setting his sails to the wind!
DRYADE
Il est au gouvernail !
DRYADE
Er am Steuer.
DRYAD
Himself at the helm!
NAADE, DRYADE
Quel audacieux garon !
NAJADE, DRYADE
Khn! der Knabe!
NAIAD, DRYAD
Dauntless, the youth!
25
CHO
(dune voix doiseau)
Il est au gouvernail !
ECHO
(vogelhaft)
Er am Steuer.
ECHO
(bird-like)
Himself at the helm!
NAADE
Salut la premire aventure !
NAJADE
Heil dem ersten Abenteuer!
NAIAD
Hail to the first adventure!
CHO
Il est au gouvernail !
ECHO
Er am Steuer!
ECHO
Himself at the helm!
DRYADE
La premiere ? Savez-vous ce que ctait ?
DRYADE
Das erste? Ihr wit, was es war?
DRYAD
The first? Do you know what it was?
NAADE, CHO
Circ ! Circ ! Le navire aborde son le,
vers son palais, ses pas le por tent,
de nuit, avec torches
NAJADE, ECHO
Circe! Circe! An ihrer Insel
Landet das Schiff, zu ihrem Palast
Schweift der Fu, nchtlich mit Fackeln
NAIAD, ECHO
Circe! Circe! To her island
speeds the ship, to her palace
his feet bear him, by night with torches
DRYADE
Sur le seuil, elle laccueille,
elle lentrane vers la table,
elle lui tend les mets et la boisson.
DRYADE
An der Schwelle empfngt sie ihn,
An den Tisch zieht sie ihn hin,
Reicht die Speise, reicht den Trank.
DRYAD
On the threshold she welcomes him,
she leads him to the table,
ser ves him food, ser ves him drink.
CHO
Elle lui tend les mets.
ECHO
Reicht die Speise.
ECHO
Ser ves him food.
NAADE
(imptueusement)
La boisson magique ! les lvres magiques !
NAJADE
(eifrigst)
Den Z auber trank den Z auberlippen!
NAIAD
(with the utmost eagerness)
The magic drink of her enchanted lips!
CHO
La boisson magique !
Prsent damour trop doux !
ECHO
Den Z auber trank,
Allzu se Liebesgabe!
ECHO
The magic drink,
all-too-sweet gift of love!
DRYADE
(dun ton triomphant)
Mais le jeune homme, mais le jeune homme !
lorsque, pleine dinsolence et darrogance,
elle lui fait signe de se mettre ses pieds
DRYADE
(Triumph im Ton)
Doch der Knabe, doch der Knabe!
Wie sie frech und berheblich
Ihn zu ihren Fen winkt
DRYAD
(triumphantly)
But the youth, but the youth!
However bold and haughtily
she beckons him to her feet
DRYADE
Sarrachant de ses bras,
ple et surpris, sans moquerie,
ni transform, ni enchan,
un jeune dieu se tient devant elle !
DRYADE
Aus den Armen ihr entwunden,
Bla und staunend, ohne Spott,
Nicht ver wandelt, nicht gebunden
Stent vor ihr ein junger Gott!
DRYAD
Freed from her encircling arms,
pale and wondering, undefiled,
not transformed nor enslaved,
a young god stands before her!
26
CHO
Ni transform, ni enchan,
un jeune dieu se tient devant elle !
ECHO
Nicht ver wandelt, nicht gebunden
Steht vor ihr ein junger Gott!
ECHO
Not transformed nor enslaved,
a young god stands before her.
NAADE, DRYADE
( lentre de la grotte)
Ariane !
NAJADE, DRYADE
(am Eingang der Hhle)
Ariadne!
NAIAD, DRYAD
(at the mouth of the cave)
Ariadne!
CHO
(ravi et dune voix doiseau)
Ni transform !
ECHO
(vogelhaft entzckt)
Nicht ver wandelt!
ECHO
(bird-like, enchanted)
Not transformed!
DRYADE
Dor t-elle ?
DRYADE
Schlft sie?
DRYAD
Is she asleep?
NAADE
Dor t-elle ?
NAJADE
Schlft sie?
NAIAD
Is she asleep?
CHO
Ni enchan !
ECHO
Nicht gebunden
ECHO
Not enslaved!
DRYADE
Non, elle nous entend !
DRYADE
Nein! Sie hr t uns!
DRYAD
No, she hears us!
NAADE
(annonant Ariane)
Une tonnante mer veille !
NAJADE
(der Ariadne meldend)
Ein schnes Wunder!
NAIAD
(addressing Ariadne)
A radiant mar vel!
CHO
Ni transform !
ECHO
Nicht ver wandelt
ECHO
Not transformed
DRYADE
Une tonnante mer veille !
DRYADE
Ein schnes Wunder!
DRYAD
A radiant mar vel!
CHO
Un jeune homme !
ECHO
Ein Knabe!
ECHO
A youth!
NAADE
Un dieu !
NAJADE
Ein Gott!
NAIAD
A god!
DRYADE
(toujours prs de la grotte)
Hier encore lhte de Circ,
allong prs delle au banquet,
buvant la boisson magique
DRYADE
(immer gegen die Hhle hin)
Gestern noch der Gast der Circe,
Mit ihr liegend bei dem Mahle,
Nippend von dem Z auber trank
DRYAD
(addressing herself to the cave)
Yesterday he was Circes guest,
reclining with her at the banquet,
sipping the magic draught
CHO
Ni enchane, un jeune homme !
ECHO
Nicht gebunden, ein Knabe!
ECHO
Not enslaved, a youth!
27
NAADE
Aujourdhui, il est ici auprs de nous !
NAJADE
Heute ist er hier bei uns!
NAIAD
Today he is here with us!
DRYADE
Un dieu !
DRYADE
Ein Gott!
DRYAD
A god!
NAADE, DRYADE
Entends-tu,
Ariane ?
NAJADE, DRYADE
Hrst du,
Ariadne?
NAIAD, DRYAD
Do you hear,
Ariadne?
BACCHUS
(une voix derrire la scne;jeune, merveilleux, songeur)
Circ, Circ, peux-tu mentendre ?
Tu ne mas presque rien fait,
mais ceux qui font cout jusquau bout,
quas-tu donc fait deux ?
Circ, jai pu menfuir,
vois, je puis sourire et me reposer,
Circ, quavais-tu lintention
de faire de moi ?
BACCHUS
(Stimme hinter der Szene; jung, zauherhaft, trumerisch)
10 Circe, Circe, kannst du mich hren?
Du hast mir fast nichts getan
Doch die dir ganz gehren,
Was tust du denen an?
Circe, ich konnte fliehen.
Sieh, ich kann lcheln und ruhn.
Circe, Circe, was war dein Wille,
An mir zu tun?
BACCHUS
(offstage voice, young, magical, dreamy)
Circe, Circe, can you hear me?
Your magic hardly touched me
but those in thrall to you,
what do you do to them?
Circe, I was able to escape you.
See, I can smile and am free.
Circe, what was it you wished
to do to me?
ARIANE
(doucement se glissant dans son chant, pour ellemme, trs)
Cela vous saisit travers tous les chagrins,
apaisant lancienne douleur,
cela vous saisit au plus profond du cur.
ARIADNE
(in sein Singen hinein, vor sich, leisest)
ARIADNE
(mingling her words with his; to herself, very quietly)
BACCHUS
(avec mlancolie, amoureusement)
Mais sans avoir t transform,
je suis par ti loin de toi.
Quest-ce donc que ces sensations oppressantes
attachent mon esprit troubl ?
Comme si jtais une bte de la fort terrasse
par les plantes qui font dormir !
Circ, ce que tu nas pas os faire,
mest-il donc quand mme arriv ?
BACCHUS
(schwermtig, liehlich)
11 Doch da ich unver wandelt
Von dir gegangen bin,
Was haften die schwlen Gefhle
An dem benommenen Sinn?
Als wr ich von schlfernden Krutern
Betubt, ein Waldestier!
Circe, was du nicht dur ftest,
Geschieht es doch an mir?
28
BACCHUS
(sadly and sweetly)
Though there unchanged
I have left you,
why do feelings of oppression
weigh down my benumbed senses?
As if I were a wild beast,
deadened by sleep-making herbs!
Circe, is that which you could not do to me there,
happening to me now?
ARIANE
O, messager de la mor t, ta voix est douce !
Du baume dans le sang et du sommeil dans lme !
ARIADNE
O Todesbote! S ist deine Stimme!
Balsam ins Blut und Schlummer in die Seele!
ARIADNE
O messenger of Death, your voice is sweet!
Balsam to the body and sleep to the soul!
BACCHUS
(de plus prs et plus fort; presquejoyeux, avec un rien
dlgante moquerie)
Circ, jai pu menfuir !
Circ, tu ne mas presque rien fait !
Circ, jai pu menfuir !
Vois, je puis sourire et me reposer !
Circ, quavais-tu lintention
de faire de moi ?
BACCHUS
(naher und strker; frhlicher, mit etwas wie grazisem
Spott)
Circe, ich konnte fliehen!
Circe, du hast mir fast nichts getan?
Circe, ich konnte fliehen!
Sieh, ich kann lcheln und ruhen.
Circe, Circe, was war dein Wille,
An mir zu tun?
BACCHUS
(closer and louder; more cheerfully, with a hint of
graceful mockery)
Circe, I was able to escape!
Circe, your magic hardly touched me!
Circe, I was able to escape!
See, I can smile and am free.
Circe, what was it you wished
to do to me?
ARIANE
(les yeuxferms, levant les mains dans la direction do
vient la voix)
Ne maccable pas en versant une telle profusion
de tes enchantements nocturnes
devant mon esprit affaibli.
Celle qui ta si longtemps attendue,
empor te-la loin dici !
ARIADNE
(die Augen geschlossen, die Hnde gehoben nach der
Richtung, von der die Stimme tnt)
Belade nicht zu ppig
Mit nchtlichem Entzcken
Voraus den schwachen Sinn!
Die deiner lange harret,
Nimm sie dahin!
ARIADNE
(her eyes closed, her hands raised in the direction of
the voice)
Do not too lavishly
woo my weak senses
with nocturnal enchantment!
She who has waited so long for you,
take her hence!
Z ERBINETTA
(entre prcipitamment et fait une profonde rvrence
devant Ariane)
Princesse ! Quelle rcompense, messagre,
ai-je mrit ?
Sur cette ile sjourne un homme, un dieu !
Il sy trouve un miracle sans pareil,
qui sjourne et sen vient !
Bientt il atteindra cette colline et cette grotte.
Oui cest un homme, mais quel homme !
Car il na rien de leur rudesse, de leur duret.
Des joues de femme,
lil dun chevreuil,
lobser ver ainsi, le suivre aussi,
jamais je ne vis rien de plus noble.
Fur tivement jai suivi sa trace :
il ne marche, il ne marche pas ! il cour t, il plane;
il va, comme sil tait indcis,
levant les bras, puis se mettant rire :
un jeune garcon, non, un enfant !
Z ERBINETTA
(tritt eilig auf mit einem tiefen Knicks vor Ariadne)
Z ERBINETTA
(hurrying in and making a deep curtsey to Ariadne)
29
CHO
(enchant)
Ft-ce, cdant leur puissance, pour y perdre la vie !
ECHO
(verzckt)
Und wrs, in ihrem Druck das Leben zu beenden.
ECHO
(rapt)
If only to die from their touch!
Z ERBINETTA
Mais lui, comme si tout autre chose lanimait
que ce que ses mains viennent de faire, ah,
il laisse peine saisie sa proie schapper,
ne la regarde pas mme sloigner.
Une ombre, comme celle dune sombre couronne
quune main invisible lui tresserait,
traverse son visage
dont lclat passe de la clar t lobscurit.
Tandis que son regard au loin se perd,
jaillit de ses lvres douces et audacieuses
un beau chant, presque triste qui, je ne sais
comment, lesprit lui est venu.
Z ERBINETTA
Doch er, als ging es ihm um vllig andre Dinge,
Als seine Hnde schaffen, ach
Er lt das kaum gefangene entspringen,
Sieht ihm nicht einmal nach.
Ein Schatten, wie von einem dunklen Kranz,
Den eine unsichtbare Hand ihm flicht,
Fliegt ber sein Gesicht,
Es wechselt unter hell und dunklem Glanz.
Indes sein Auge in die Ferne sieht,
Entstrmt den sen, khnen Lippen ein schn,
Halbtraurig Lied, das ihm, ich wei nicht,
Wie zu Sinn gekommen.
Z ERBINETTA
But he, as if totally concerned with other things
and not with the movements of his hands,
lets that which he has hardly caught escape,
and doesnt even follow it with his eyes.
A shadow as it were of a dark wreath,
woven for him by an unseen hand,
steals over his face;
it changes from light to dark and dark to light.
While he gazes into the dim distance,
from his sweet, bold lips emerges
a song, half sweet, half sad, which has,
I dont know how, just slipped into his mind.
NAADE, DRYADE
(doucement)
Une douce chanson ! Nous lavons bien entendue.
NAJADE, DRYADE
(leise)
Ein ses Lied! Wir habens wohl vernommen.
NAIAD, DRYAD
(softly)
A sweet song! We heard it quite clearly.
Z ERBINETTA
Dj entendue ?
Et la princesse pour dignement recevoir
un tel invit nest pas encore pare !
Z ERBINETTA
Vernommen schon?
Und die Prinzessin noch zum Empfange
Nicht geschmckt fr einen solchen Gast!
Z ERBINETTA
Youve heard it already?
And the Princess still not adorned
to welcome such a guest!
ARIANE
(comme absente)
Il vient vers moi
ARIADNE
(spectrally)
He comes to me
ARIADNE
(geisterhaft)
13 Er kommt zu mir
Z ERBINETTA
Silence, elle est comme absente.
Rien dtonnant si elle entend sa voix,
et cependant elle ne la pas encore vu !
Ses boucles, vite, et que Ton appor te le manteau !
Des sandales pour ce joli pied !
Ne le sentez-vous pas : il approche !
Ce qui ici doit arriver ne vous donne donc des ailes ?
Z ERBINETTA
Still, sie ist wie entrckt.
Kein Wunder, wenn sie seine Stimme hr te,
Und noch hat sie ihn nicht gesehn!
Die Spangen, schnell, den Mantel nun herbei!
Sandalen an den hbschen Fu!
Knnt Ihr nicht fhlen: Er ist nah!
Beflgelt Euch denn nicht, was hier geschehen mu?!
Z ERBINETTA
Shes so quiet, she might be under a spell.
No wonder, now that shes heard his voice,
even though she hasnt even seen him!
Hand me the bracelets, quickly, and the cloak!
Sandals for the pretty feet!
Cant you sense it: he is nigh!
Arent you excited by what has to happen?!
30
ARIANE
(trs tendrement)
Elles mont pare. L est mon tombeau.
O ma mre. Voici quAriane quitte enfin ces lieux.
Bacchus savance et se tient devant Ariane. Celle-ci
brusquement effraye cache son visage (dans ses
mains.)
Thse !
(Zerbinetta, Naade, Dryade et cho se retirent en
sinclinant profondment.)
Non ! Non ! Cest le beau dieu silencieux !
Je te salue, messager des messagers !
(Elle sincline.)
ARIADNE
(zartest)
Sie haben mich geschmckt. Mein Grab ist da.
O meine Mutter. Jetzt geht Ariadne for t von hier.
(Bacchus tritt ein und steht vor Ariadne, die in jhem
Schreck die Hnde vors Gesicht schlgt.)
Theseus!
(Zerbinetta, Najade, Dryade und Echo ziehen sich unter
tiefen Verbeugungen zurck.)
Nein, nein! Es ist der schne stille Gott!
14 Ich gre dich, du Bote aller Boten!
(Neigt sich.)
ARIADNE
(most tenderly)
They have adorned me. My grave is yonder.
Oh, mother. Now can Ariadne leave this place.
(Bacchus steps forward and stands before Ariadne who,
in sudden terror, covers her face with her hands.)
Theseus!
(Zerhinetta, Naiad, Dryad and Echo, bowing deeply,
withdraw.)
No, no! It is the beautiful quiet god!
I greet you, messenger of all messengers!
(She bows.)
BACCHUS
(tout jeune)
Belle crature !
Es-tu la desse de cette le ?
Cette grotte est-elle ton palais ?
Sont-ce l tes ser vantes ?
Chantes-tu ton mtier tisser des chants
magiques ?
(timide, profondment boulevers par son aventure avec
Circ, la premire de son existence)
Emmnes-tu ltranger chez toi
et tallonges-tu avec lui au banquet,
et lui fais-tu boire une boisson magique ?
Hlas, et celui qui se donne toi,
le transformes-tu aussi ?
Malheur ! Es-tu donc aussi une de ces sorcires ?
BACCHUS
(ganz jung)
Du schnes Wesen!
Bist du die Gttin dieser Insel?
Ist diese Hhle dein Palast?
Sind diese deine Dienerinnen?
Singst du am Webstuhl Z auberlieder?
BACCHUS
(very young)
You lovely creature!
Are you the goddess of this island?
Is this cave your palace?
Are these your ser vants?
Do you spin magic songs at your loom?
ARIANE
(toute tendresse dans son anticipation de la mort)
Je ne comprends pas ce que tu dis.
Est-ce donc que tu veux me mettre lpreuve ?
Mon esprit est troubl,
tant rest si longtemps sans consolation !
Je vis ici et jattends ta venue;
fait-il nuit ou jour, depuis combien de temps,
hlas, je ne le sais plus.
ARIADNE
(zari in ihrer Todesbereitschaft)
Ich wei nicht, was du redest.
Ist es, Herr, da du mich prfen willst?
Mein Sinn ist wirr
Vom vielem Liegen ohne Trost!
Ich lebe hier und harre deiner, deiner harre ich
Seit Nchten, Tagen, seit wie vielen,
Ach, ich wei es nicht mehr!
ARIADNE
(softly, as one ready for death)
I know not of what you talk.
Is it that you wish to test me, my lord?
My senses are confused
from lying here so long without solace!
I live here and await your coming,
for nights and days, for how many,
oh, I no longer know!
BACCHUS
Tu me connais donc ?
Tu mas salu dun cer tain nom.
ARIANE
Non ! non ! ce nest pas toi,
mon esprit est un peu troubl.
BACCHUS
15 Wie? kennst du mich denn?
Du hast mit einem Namen mich gegrt.
ARIADNE
Nein, nein, der bist du nicht,
Mein Sinn ist leicht ver wirr t.
31
BACCHUS
What? Do you know me then?
You called me by some name in greeting.
ARIADNE
No, no, you are not he.
My mind is easily confused.
BACCHUS
(calmement)
Qui suis-je donc ?
BACCHUS
(ruhig)
Wer bin ich denn?
BACCHUS
(quietly)
Who am I then?
ARIANE
Tu es le chef bord dun sombre navire,
qui suit une sombre voie.
ARIADNE
Du bist der Herr ber ein dunkles Schiff,
Das fhr t den dunklen Pfad.
ARIADNE
You are the captain of a sable ship
that sails the dark course.
BACCHUS
(acquiesant)
Je suis le chef, bord dun navire.
BACCHUS
(nickt)
Ich bin der Herr - ber ein Schiff.
BACCHUS
(nodding)
I am the captain of a ship.
ARIANE
(brusquement)
Empor te-moi ! L-bas !
Loin dici, avec mon cur !
Il ne ser t plus rien en ce bas monde !
ARIADNE
(jh)
Nimm mich! Hinber!
For t von hier mit diesem Herzen!
Es ist zu nichts mehr ntze auf der Welt.
ARIADNE
(impetuously)
Take me! To the other side!
Away from here with this hear t!
It is of no more use in this world.
BACCHUS
(doucement)
Veux-tu donc venir avec moi, sur mon bateau ?
BACCHUS
(sanft)
So willst du mit mir gehen auf mein Schiff?
BACCHUS
(softly)
Would you then go with me on my ship?
ARIANE
Je suis prte. Le demandes-tu ?
Est-ce donc que tu veux mprouver ?
(Bacchus secoue la tte rprimant sa douleur)
Comment opres-tu la transformation ?
Avec les mains ? Avec ta baguette magique ?
Comment, ou bien est-ce avec une boisson
que tu donnes boire ? Tu a parl dune boisson.
ARIADNE
Ich bin bereit. Du fragst?
Ist es, da du mich prfen willst?
(Bacchus schttelt den Kopf mit unterdrckter Angst)
Wie schaffst du die Ver wandlung?
Mit den Hnden? Mit deinem Stab?
Wie, oder ists ein Trank, den du zu trinken gibst?
Du sprachst von einem Trank!
ARIADNE
I am ready. Why do you ask?
Is it that you wish to test me?
(Bacchus shakes his head with suppressed anxiety)
How do you work the transformation?
With your hands? With your wand?
How? Or is it some potion that you give to drink?
You spoke of a draught!
BACCHUS
(rvcur, les yeux dans ceux dAriane)
Ai-je parl dune boisson,
je nen sais plus rien.
BACCHUS
(vertrumt in ihrem Anblick)
Sprach ich von einem Trank,
Ich wei nichts mehr.
BACCHUS
(gazing at her entranced)
Did I speak of a draught,
I no longer know.
ARIANE
(acquiesant)
Je sais que cest l-bas que tu vas memmener !
Celui qui sjourne l-bas oublie trs vite !
La parole, le souffle ont dj disparu !
On se repose et orrse repose de son repos;
et l-bas personne n est affaibli par les pleurs
il a oubli ce qui lui faisait mal :
rien ne compte de ce qui comptait ici, je le sais
(Elle ferme les yeux.)
ARIADNE
(nickt)
Ich wei, so ist es dor t, wohin du mich fhrest!
Wer dor t ver weilet, der vergit gar schnell!
Das Wor t, der Atemzug ist gleich dahin!
Man ruht und ruht vom Ruhen wieder aus;
Denn dor t ist keiner matt vom Weinen,
Er hat vergessen, was ihn schmerzen sollte:
Nichts gilt, was hier gegolten hat, ich wei
(Sie schliet die Augen.)
ARIADNE
(nodding)
I know what it is like, where you would take me!
He who abides there, forgets all in a trice!
Speech and breath are all but one there!
One rests on and on in peace;
for there no one is weak from weeping,
all is forgotten that should give one pain:
nothing matters that mattered here, I know
(She closes her eyes.)
32
BACCHUS
(profondment mu, avec une inconsciente solennit)
Je suis un dieu, un dieu ma engendr,
ma mre est mor te dans les flammes l-bas,
lorsque mon pre sest montr elle environn de
flammes,
la magie de Circ a chou contre moi
parce que je suis invulnrable, le baume et lther
coulent dans mes veines en guise de sang mor tel.
Entends-moi, crature qui te tiens devant moi,
entends-moi, toi qui mourras :
les toiles ternelles mourront
avant que tu ne meures, toi, entre mes bras !
ARIANE
(reculant craintivement devant la force de sa voix)
Ce sont l des paroles magiques ! Malheur ! Si vite !
Maintenant, on ne peut plus reculer. Donnes-tu ainsi
loubli, dun regard ?
Tout va-t-il donc sloigner de moi ?
Le soleil ? Les toiles ?
Et moi-mme ?
Mes peines me sont-elles enleves jamais,
tout jamais ? Hlas !
(dans un souffle)
Ne reste-t-il donc plus rien dAriane quun souffle ?
(Elle tomhe, il la retient.)
BACCHUS
(tief erregt, unhewut feierlich)
Bin ich ein Gott, schuf mich ein Gott,
Starb meine Mutter in Flammen dahin,
Als sich in Flammen mein Vater ihr zeigte,
BACCHUS
(deeply moved, solemnly)
I am a god, a god created me,
my mother perished in flames,
as my father manifested himself to her in flames.
ARIADNE
(ngstlich zurckweichend vor der Gewalt seines Tones)
16 Das waren Z auber wor te! Weh! So schnell!
Nun gibt es kein Z urck. Gibst du Vergessenheit
So zwischen Blick und Blick?
Entfernt sich alles von mir?
Die Sonne? Die Sterne?
Ich mir selber?
Sind meine Schmerzen mir auf immer,
Immer genommen? Ach!
(verhauchend)
Bleibt nichts von Ariadne als ein Hauch?
(Sie sinkt. Er hlt sie.)
ARIADNE
(drawing back in fear before the authority of his voice)
That was a spell! Alas! So soon!
Now there is no going back! Do you give oblivion
thus from one moment to the next?
Do all things pass away from me?
The sun? The stars?
I from myself?
Is all my pain taken from me
for ever and ever? Ah!
(expiring)
Does nothing remain of Ariadne but a breath?
(She sinks to the ground. Bacchus holds her.)
BACCHUS
(dune voixplus mue que forte)
Je te le dis : maintenant, la vie commence
pour toi et pour moi !
(Il lembrasse.)
BACCHUS
(mehr ergriffen als laut)
Ich sage dir, nun hebt sich erst das Leben an
Fr dich und mich!
(Er kt sie.)
BACCHUS
(more touched than loud)
I say to you, only now is life beginning
for you and me!
(He kisses her.)
ARIANE
(scartant de lui, le regarde inconsciemment avec un
tonnement craintif)
Le monde ne pesait-il pas sur ma poitrine ? Las tu,
las-tu fait disparaitre dun souffle ?
(Elle indique la grotte, avec une crainte enfantine.)
L-dedans gisait la pauvre chienne,
presse contre terre, sur de brlantes or ties,
avec le vers et le clopor te, et plus vile queux.
ARIADNE
(entwindet sich ihm, unbewut, sieht mit bangem
Staunen um sich)
Lag nicht die Welt auf meiner Brust? Hast du,
Hast du sie for tgeblasen?
(sie zeigt auf die Hhle, kindisch furchtsam)
Da innen lag die arme Hndin
An Boden gedrckt, auf kalten Nesseln
Mit Wurm und Assel, und rmer als sie.
ARIADNE
(frees herself from him; half aware and frightened,
gazing around her)
Lay not the worlds weight on my breast? Have you,
have you blown it all away?
(pointing to the cave, with childlike fear)
Inside there lay the poor creature,
pressed to the ground, on cold nettles,
with crawling worms, and poorer than they.
BACCHUS
Dsormais, la plus profonde joie de tes peines
slve dans ton cceur et dans le mien !
BACCHUS
Nun steigt deiner Schmerzen innerste Lust
In dein und meinem Herzen auf!
BACCHUS
Now your sufferings soar to utmost joy
in both your hear t and mine!
33
ARIANE
Magicien ! Tu mas transforme !
(encore inquite, comme un enfant craintif)
Lil de ma mre ne me regarde-t-il pas
depuis lombre de ton manteau ?
Ton tnbreux royaume est-il ainsi ? donc bni ?
Si dtach du monde terrestre ?
ARIADNE
Du Z auberer, du! Ver wandler, du!
(noch bang, wie ein furchtsames Kind)
Blickt nicht aus dem Schatten deines Mantels
Der Mutter Auge auf mich her?
Ist so dein Schattenland! also gesegnet?
So unbedr ftig der irdischen Welt?
ARIADNE
You magician you! You sorcerer!
(still anxious, like a frightened child)
From the shadow of your mantle
does not my mothers glance fall upon me here?
Is it like this in your land of shades? So blessed?
So free from the ear thly world?
BACCHUS
Cest toi-mme qui es dtache,
toi, mon enchanteresse !
BACCHUS
Du selber! du bist unbedr ftig,
Du meine Z auberin!
BACCHUS
You yourself! You are free,
you, my enchantress!
ARIANE
Ny a-t-il pas dau-del ?
Y sommes-nous dj ?
Comment cela a-t-il pu se produire ?
Sommes-nous dj de lautre ct ?
Mme ma grotte, que cest beau !
Vote au-dessus dune bienheureuse couche,
dun autel sacr !
Quelles mer veilleuses transformations tu opres !
ARIADNE
17 Gibt es kein Hinber?
Sind wir schon da?
Wie konnt es geschehen?
Sind wir schon drben?
Auch meine Hhle, schn, gewlbt
ber ein seliges Lager,
Einen heiligen Altar!
Wie wunderbar ver wandelst du!
ARIADNE
Is there no passage?
Are we already there?
How could it have happened?
Have we already crossed over?
Even my cavern, how beautiful, arched
over a sacred couch,
a holy altar!
How mar vellously you have transformed it!
BACCHUS
Toi ! Tout est toi !
Je suis autre que je ntais !
Lesprit divin est veill en moi,
pour saisir tout entier ton tre superbe !
Mes membres sont envahis par une joie divine !
Cette grotte l-bas !
Laisse-moi, la grotte de tes peines,
je la tire vers la joie la plus profonde pour toi et moi !
BACCHUS
Du! Alles du!
Ich bin ein anderer, als ich war!
Der Sinn des Gottes ist wach in mir,
Dein herrlich Wesen ganz zu fassen!
Die Glieder reg ich in gttlicher Lust!
Die Hhle da!
La mich, die Hhle deiner Schmerzen,
Z ieh ich zur tiefsten Lust um dich und mich!
BACCHUS
It is you! All your doing!
I am quite other than I was!
My godhead is awakened in me
to grasp your glorious being complete!
I am filled with godlike joy!
The cavern there!
Let me change the cave of your sorrows
to a bower of deepest delight for you and me!
Die Lufi trgt ihn, und Ariadne mit ihm, jh his an den
Eingang der Grotte.
34
BACCHUS
Javais besoin de toi par-dessus tout !
Dsormais; je suis autre que je ntais.
BACCHUS
Deiner hab ich um alles bedur ft!
Nun bin ich ein anderer, als ich war.
BACCHUS
I have need of you above all!
Now I am quite other than I was.
ARIANE
Que mes peines ne soient pas perdues !
Garde Ariane auprs de toi, auprs de toi !
ARIADNE
La meine Schmerzen nicht verloren sein,
Bei dir la Ariadne sein!
ARIADNE
Let not my suffering be in vain,
with you let Ariadne remain!
BACCHUS
Je suis enrichi par tes souffrances,
mes membres sont envahis par une joie divine !
Et les toiles temelles mourront avant
que tu ne meures entre mes bras !
BACCHUS
Durch deine Schmerzen bin ich reich,
Nun reg ich die Glieder in gttlicher Lust!
Und eher sterben die ewigen Sterne,
Eh denn du strbest aus meinem Arm!
BACCHUS
Through your suffering I am made rich,
now I am filled with godlike joy!
And may the eternal stars die,
rather than that you should die in my arms.
Z ERBINETTA
(commenant doucement, mais avec dans la voix un air
de triomphe moqueur)
Le nouveau dieu approche
et nous nous rendons sans un mot
Puis sur mains et joues il dpose un baiser,
et nous nous livrons, prisonnires,
mtamorphoses du tout au tout.
Il en fut ainsi avec Paillasse
(rvrence)
et Mezzetin !
(rvrence)
Puis avec Cavicchio,
et Burattin !
Mais jamais ce ne fut par caprice,
jy fus toujours oblige,
toujours prise par une surprise
nouvelle et inquitante.
Dire quun cur se connat si mal lui-mme !
Z ERBINETTA
(leise beginnend, aber mit spttischem Triumph im Ton)
Z ERBINETTA
(starting softly but with a note of mocking triumph)
35
JOURDAIN
( lui-mme, comme absent)
Tout le monde ne cesse de me reprocher de
frquenter les grands seigneurs et moi je ne sais
rien de plus beau que cela. Il nest avec les grands
seigneurs que civilit, politesse simple et sans
contrainte et qui na point dgale ; et je voudrais
quil met cot deux doigts de la main pour tre n
comte ou marquis et avoir reu ce petit quelque
chose grce quoi ils savent parer tout ce quils
entreprennent dun si mer veilleux clat.
JOURDAIN
(vor sich, wie entrckt)
20 Alle Leute rcken mir bestndig nichts als meinen
Verkehr mit groen Herren vor und ich wei mir
einmal nichts Schneres als das. Es ist doch bei
groen Herren ein Anstand, eine leichte, gelassene
Hflichkeit ohnegleichen; und ich wollte, da es mir
ein Paar Finger aus der Hand gekostet htte, und da
ich dafr ein Graf oder Marquis von Gebur t wre und
dieses gewisse Etwas mitbekommen htte, mit dem
sie allem, was sie tun, ein solches groes Ansehen zu
geben wissen.
JOURDAIN
(to himself, as if in a trance)
Ever yone keeps on at me about my association with
people of quality but I cant imagine anything nicer.
They have such finesse, such an incomparable air of
easy, relaxed cour tesy; I would gladly have given, if
not my right arm, then a few fingers at least to have
been born a count or marquis and to have had that
cer tain something which confers such grandeur on
all they do.
36