Robert Blocker, Dean
yale opera Gerald Martin Moore, Director
Winter Gala Concert with Yale Philharmonia
Louis Lohraseb, guest conductor
Saturday, December 17, 2022 | 7:30 p.m. Woolsey Hall
Program
Gioachino Rossini
1792–1868
Rossini
Wolfgang Amadeus Mozart 1756–1791
Overture from William Tell (1829)
“Ah, qual colpo inaspettato” from Il barbiere di Siviglia (1816)
Rosina: Jaeeun Shin, soprano Almaviva: Seiyoung Kim, tenor Figaro: Alex Smith, baritone
“Bei Männern, welche Liebe fühlen” from Die Zauberflöte, K. 620
Pamina: Jillian Tate, soprano Papageno: Finn Sagal, bass-baritone
Georges Bizet 1838–1875
“Mêlons! Coupons!” from Carmen (1875)
Carmen: Ana Mora, mezzo-soprano Frasquita: Amalia Crevani, soprano Mercedes: Allison Fahey, mezzo-soprano
Gaetano Donizetti 1797–1848
“Cheti, cheti, immantinente” from Don Pasquale (1843)
Malatesta: Korin Thomas-Smith, baritone Pasquale: Sergio Martínez, bass
Angelo Anelli, Giovanni Ruffini & Donizetti
Bizet
“Leïla! Dieu puissant” from Les pêcheurs de Perles (1863)
Leïla: Jillian Tate, soprano Nadir: Ethan Burck, tenor
Eugène Cormon & Michel Carré
Cesare Sterbini Emanuel Schikaneder Henri Meilhac & Ludovic HalévyGiuseppe Verdi 1813–1901
“Dio, che nell’alma infondere” from Don Carlo (1867)
Don Carlo: Daniel Espinal, tenor Rodrigo: Samuel Kidd, baritone Monk: Alex Smith, baritone Ensemble: Allison Fahey, Ana Mora, Kara Morgan, Ethan Burck, Seiyoung Kim, Korin Thomas-Smith, Finn Sagal, Sergio Martínez
François Joseph Méry & Camille du Locle trans. Achille de Lauzières & Angelo Zanardini
Pyotr Ilyich Tchaikovsky 1840–1893
Rossini
Léo Delibes 1836–1891
intermission
King René’s Arioso from Iolanta, Op. 69
King René: Sergio Martínez, bass
“Ah! Quel respect, Madame” from Le Comte Ory (1828)
Countess Adèle: Amalia Crevani, soprano Count Ory: Seiyoung Kim, tenor
“Flower Duet” from Lakmé (1883)
Lakmé: Jaeeun Shin, soprano Mallika: Kara Morgan, mezzo-soprano
Modest Tchaikovsky M. Tchaikovsky
Rossini
“Ai capricci della sorte” from L’italiana in Algeri (1813)
Isabella: Allison Fahey, mezzo-soprano Taddeo: Finn Sagal, bass-baritone
Edmond Gondinet & Phillippe Gille
Angelo AnelliProgram cont.
Jules Massenet 1842–1912 Camille Saint-Saëns 1835–1921
Verdi Jacques Offenbach 1819–1880
“Pleurez mes yeux” from Le Cid (1885)
Chimène: Anneliese Klenetsky, soprano
Bacchanale from Samson et Dalila, Op. 47
“Bella figlia dell’amore” from Rigoletto (1851)
Gilda: Jaeeun Shin, soprano Maddalena: Ana Mora, mezzo-soprano Duke: Daniel Espinal, tenor Rigoletto: Korin Thomas-Smith, baritone
“Hélas, mon cœur s’égare encore” from Les Contes d’Hoffmann (1881)
Hoffmann: Ethan Burck, tenor Dappertutto: Alex Smith, baritone
Giulietta: Anneliese Klenetsky, soprano Nicklausse: Kara Morgan, mezzo-soprano Schlemiel: Samuel Kidd, baritone
Louis Gallet, Édouard Blau & Adolphe d’Ennery
Francesco Maria Piave
Jules Barbier
Pitichinaccio: Seiyoung Kim, tenor Ensemble: Amalia Crevani, Jaeeun Shin, Jillian Tate, Elana Bell, Allison Fahey, Ana Mora, Daniel Espinal, Korin Thomas-Smith, Sergio Martínez, Finn Sagal
As a courtesy to others, please silence all devices. Photography and recording of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.
Artist Profiles
Louis Lohraseb, guest conductorSince his professional debut in 2019 at the Teatro dell’Opera di Roma, Louis Lohraseb is establishing himself as an exciting young conductor of both symphonic and operatic repertoire. His performances have garnered praise from Opera News, The Wall Street Journal, and others, with Classical Music Daily writing: “Teatro dell’Opera’s good orchestra was conducted with ability by Louis Lohraseb, who has, no doubt, a merit in making this premiere vibrant and full of tension.” The 2022–2023 season will see Lohraseb make his mainstage debut at Los Angeles Opera, where he will lead Tosca, starring Michael Fabiano and Angel Blue. He will also debut with Sarasota Opera, leading Massenet’s Thérèse, return to Indiana University’s IU Opera Theatre to lead Don Giovanni, and conduct at Yale University, leading Yale Opera’s annual Gala Concert.
Engagements in the 2021–2022 season included debuts with the Komische Oper Berlin conducting La traviata and with Semperoper Dresden leading performances of Carmen, as well Indiana University for IU Opera Theatre’s production of La rondine.
He also returned to Los Angeles Opera as assistant conductor to music director James Conlon, as well as assistant conductor to the Chicago Symphony Orchestra for La Clemenza di Tito in August. Mr. Lohraseb is a recipient of the 2022 Solti Foundation Career Assistance Award. Engagements in 2020 were to have included his LA Opera mainstage debut conducting Roberto Devereux, as well as a return to Teatro dell’Opera di Roma, but these were canceled due to the pandemic.
Mo. Lohraseb is proud to have among his mentors James Conlon, Lorin Maazel, Arthur Fagen, Kevin Murphy, and David Effron. He was selected as the 2016 Conducting Fellow at the Chautauqua Music Festival, where he conducted and assisted in both operatic and symphonic literature. In 2018, he was an assistant conductor at the Glimmerglass Festival, after which he joined the Domingo-Colburn-Stein Young Artist Program at LA Opera.
A doctoral candidate at the Jacobs School of Music, he served as assistant conductor and opera coach for the IU Opera Theater. As the 2013 Conducting Fellow at the Yale School of Music, he studied with Shinik Hahm and served as assistant conductor to the Yale Philharmonia under such musicians as Peter Oundjian, John Adams, and Krzysztof Penderecki. During his time at Yale, he founded the Amadeus Orchestra, served as music director of the Cheshire Symphony Orchestra, and was a conducting fellow at the Castleton Festival in Virginia in 2014. Born to Iranian and Italian parents, he earned his Master of Music degree in conducting from Yale University in 2015 and graduated summa cum laude from SUNY Geneseo in 2013, where he was an Edgar Fellows honors student and a member of Phi Beta Kappa.
Student Profiles
Elana Bell mezzo-soprano Hometown: Baltimore, MD; B.M. & B.A. Oberlin Conservatory & College;
M.M. University of Cincinnati CollegeConservatory of Music; Young Artist Programs: Des Moines Metro Opera, Music Academy of the West, Tanglewood Music Center
Ethan Burck tenor
Hometown: Aurora, IL; B.M. Baldwin Wallace Conservatory; M.M. Curtis Institute of Music; Young Artist Program: Santa Fe Opera
Amalia Crevani soprano Hometown: Milford, NJ; B.M. DePauw University; Young Artist Program: Aspen Opera
Daniel Espinal tenor
Hometown: Sarasota, FL; B.M. Manhattan School of Music; Young Artist Program: Merola Opera
Allison Fahey mezzo-soprano Hometown: Sebastian, FL; B.M. Stetson Unversity; Young Artist Programs: Seagle Festival, Chautauqua Opera Conservatory
Samuel Kidd baritone
Hometown: Ann Arbor, MI; B.M. The University of Michigan; M.M. University of Cincinnati CollegeConservatory of Music; Young Artist Programs: Wolf Trap Opera, Houston Grand Opera Young Artists’ Vocal Academy, Music Academy of the West
Seiyoung Kim tenor Hometown: Seoul, South Korea; B.M. The Juilliard School; M.M. New England Conservatory; Young Artist Programs: Santa Fe Opera, Wolf Trap Opera, Houston Grand Opera Young Artists’ Vocal Academy
Anneliese Klenetsky soprano Hometown: Edison, NJ; M.M. & B.M. The Juilliard School; Young Artist Programs: Music Academy of the West, Chautauqua Voice Program, Ravinia’s Steans Music Institute
Sergio Martínez bass Hometown: Bogotá, Colombia; B.M. Juan N. Corpas University (Bogotá, Colombia); M.M. University of Illinois UrbanaChampaign Young Artist Program: Glimmerglass Opera Ana Mora mezzo-soprano Hometown: Venezuela; B.M. Pontificia Universidad Javeriana (Bogotá, Colombia) M.M. & G.D. New England Conservatory Young Artist Program: Santa Fe Opera
Kara Morgan mezzo-soprano Hometown: Andover, MN; B.M. Drake University; M.M. New England Conservatory; Young Artist Programs: Santa Fe Opera, Sarasota Opera
Finn Sagal bass-baritone
Hometown: La Cañada, CA; B.M. University of California, Los Angeles; Young Artist Programs: Aspen Music Festival, Curtis Summerfest
Jaeeun Shin soprano
Hometown: Seoul, South Korea; B.M. Korea National University of Arts; M.M. & G.D. New England Conservatory
Alex Smith baritone
Hometown: Kalamazoo, MI; B.M. Oberlin Conservatory of Music; Young Artist Programs: SongFest, Oberlin in Italy
Jillian Tate soprano
Hometown: Fairfax, VA; B.M. University of Maryland, College Park
Korin Thomas-Smith baritone
Hometown: Toronto, Canada; B.M. & M.M. University of Toronto; Young Artist Programs: Music Academy of the West, Aspen Music Festival, Ravinia’s Steans Music Institute
Yale Opera Staff
director Gerald Martin Moore manager Erika Niemi
music preparation Alejandro Roca
collaborative piano fellows Curtis Serafin Anna Smigelskaya voice faculty Gerald Martin Moore Adriana Zabala
Yale Philharmonia Staff
manager Jeffrey M. Mistri music librarian Samuel Bobinski
office assistant Marty Tung
Yale Philharmonia Roster
Peter Oundjian, principal conductor Samuel Hollister, assistant conductor
violin i
Charlie Lovell-Jones Da Young (Rachel) Lim Herdís Guðmundsdóttir Amy Oh
Alexander Franco Goldberg Evan Johanson Kenneth Naito Emily Shehi Emma Meinrenken Zili Sha
violin ii Anna Lee Gregory Lewis Xingzhou Rong Andrew Samarasekara Riana Heath Yan Li Sophia Steger Albert Steinberger viola
Joseph Skerik Cassia Drake Madison Marshall Katie Liu Matthew McDowell Serena Hsu
cello
Jasmine Pai William Suh Cheng “Allen” Liang Hans Emil Sollesnes Ben Lanners Jenny Bahk
double bass Esther Kwon Nicole Wiedenmann Hector Ponce flute Jarrett May Michael Huerta Nadira Novruzov oboe Will Stevens Rachel Ahn Mickenna Keller Alec Chai
english horn Alec Chai
clarinet Amer Hasan Nikki Pet Jonathan López bass clarinet Jonathan López bassoon Marty Tung Winfred Felton Ryan Goodwin contrabassoon Ryan Goodwin
horn Stephanie Fritz Franco Ortiz Xin He Jaimee Reynolds William Sands Corey Schmidt Amber Wang trumpet Anthony Barrington Eric Evans Shania Cordoba trombone
Addison Maye-Saxon Chandler McLaughlin Yuki Mori Declan Wilcox tuba Bridget Conley
timpani Michael Yeung
percussion Sijia Huang Mingyu Son Jessie Chiang Yukiko Nakamura harp Yun Chai Lee
Yale Opera Upcoming Events
feb Britten’s The Rape of Lucretia
17 & 18 Legacy Theatre, Stony Creek, CT
Candace Evans directs a fully-staged production of Britten’s heart-wrenching opera performed with chamber ensemble.
Tickets on sale in January 2023 at legacytheatre.org
may Rossini’s Le Comte Ory
5 & 7 Fri 7:30 p.m. & Sun 2 p.m. | Morse Recital Hall
Pat Diamond directs Rossini’s hilarious romp in a new production with musical direction by Gerald Martin Moore.
Tickets start at $12, Students start at $5
Upcoming Events at YSM
dec 19
Bassoonarama
YSM Ensembles
7:30 p.m. | Sudler Recital Hall Free admission
dec 21 Yale Cellos
YSM Ensembles
7:30 p.m. | Morse Recital Hall Free admission
jan 18 Melvin Chen, piano Horowitz Piano Series
7:30 p.m. | Morse Recital Hall Tickets start at $15, Students start at $7
jan 22 Augustin Hadelich, violin Faculty Artist Series 3 p.m. | Morse Recital Hall Free admission
jan 24 Brentano String Quartet
Oneppo Chamber Music Series
7:30 p.m. | Morse Recital Hall Tickets start at $28, Students $13
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Texts Translations
“Ah, qual colpo inaspettato”
ROSINA
(Ah, qual colpo inaspettato! Egli stesso? Oh Ciel! Che sento! Di sorpresa e di contento son vicina a delirar!)
FIGARO (Son rimasti senza fiato, ora muoion dal contento, guarda, guarda il mio talento, che bel colpo seppe far!)
CONTE (Qual trionfo inaspettato! Me felice! Oh, bel momento! Ah, d'amore e di contento son vicino a delirar!)
ROSINA Mio Signor!...Ma...voi...ma io...
CONTE Ah, non più, ben mio, Il bel nome di mia sposa, idol mio, t'attende già, sì.
ROSINA Il bel nome di tua sposa! Oh, qual gioia al cor mi dà!
CONTE Sei contenta? ROSINA Ah! mio signore!
ROSINA e CONTE Dolce nodo avventurato che fai paghi i miei desiri! Alla fin de' miei martiri tu sentisti, amor, pietà.
FIGARO (Nodo!) Andiamo. (Nodo!) Presto, andiamo. (Paghi!) Vi sbrigate. Via, lasciate quei sospiri. Presto, andiam per carità. Se si tarda i miei raggiri fanno fiaso in verità. Ah! Cospetto! Che ho veduto! Alla porta una lanterna, due persone! Che si fa?
CONTE Hai veduto...
FIGARO Sì, signor...
ROSINA (Oh, what a shock! It is he himself! Heavens, what do I hear? With surprise and with joy I am almost delirious!)
FIGARO (They are breathless with delight, they are dying of contentment, oh, how talented I am, what a fine coup I brought about!)
COUNT (What an unexpected triumph! What a happy, wonderful moment! With love and contentment, I am almost delirious!)
ROSINA
My Lord!...But...you...but I...
COUNT
You are no longer just my love, the blessed name of wife, my idol, awaits you.
ROSINA
The blessed name of wife! Oh, what joy that gives my heart!
COUNT Are you happy? ROSINA Oh! Good sir!
ROSINA and COUNT Sweet, fortunate knot, that rewards my desires! At last, God of Love, you felt pity for my suffering.
FIGARO (Knot!) Let's get going. (Knot!) Quickly, Let's go. (All desire!) Hurry up. This is no time for sentiment. Quick, let's go for goodness sake. If there’s any more delay my ruses will end in fiasco, for sure. Oh, damn it! What do I see!
At the door a lantern, two people! What's to be done?
COUNT
You have seen...
FIGARO Yes, sir...
1
CONTE Due persone?
FIGARO Sì, signor...
CONTE Una lanterna?
FIGARO Alla porta, sì, signor.
ASSIEME Che si fa? Che si fa? Zitti, zitti, piano, piano, non facciamo confusione, per la scala del balcone, presto andiamo via di qua.
“Bei Männern, welche Liebe fühlen”
Pamina: Bei Männern, welche Liebe fühlen, fehlt auch ein gutes Herze nicht.
Papageno: Die süßen Triebe mitzufühlen, ist dann der Weiber erste Pflicht.
Beide: Wir wollen uns der Liebe freu’n, wir leben durch die Lieb’ allein.
Pamina: Die Lieb’ versüßet jede Plage, ihr opfert jede Kreatur.
Papageno: Sie würzet uns’re Lebenstage, sie wirkt im Kreise der Natur.
Beide: Ihr hoher Zweck zeigt deutlich an: nichts Edler’s sei, als Weib und Mann. Mann und Weib, und Weib und Mann, reichen an die Gottheit an.
COUNT Two people?
FIGARO Yes, sir... COUNT A lantern? FIGARO At the door, yes, sir.
TOGETHER
What's to be done? Softly, softly, piano, piano, no confusion, no delay, by the ladder of the balcony, quickly, let us go away.
Men who feel the call of love
Pamina: Men who feel the call of love Do not lack a gentle heart.
Papageno: To share these sweet desires Is women’s first duty.
Both: We shall rejoice in love, We live for love alone.
Pamina: Love sweetens every sorrow, All creatures pay it homage.
Papageno: Love adds spice to our days on earth, Love is at work throughout all nature.
Both: Its exalted goal is manifest: Nothing is more noble than man and wife. Man and wife, and wife and man, Attain divinity.
2
English Translation © Richard Stokes
“Mêlons! Coupons!”
MERCÉDÈS , FRASQUITA Mêlons! Coupons! Bien, c'est cela. Trois cartes ic i. Quatre là!
MERCEDES et FRASQUITA
Et maintenant, parlez, mes belles, De l'avenir donnez - nous des nouvelles; Dites - nous qui nous trahira, Dites - nous qui nous aimera. Parlez, parlez! Parlez, parlez! Dites - nous qui nous trahira, Dites - nous qui nous aimera.
FRASQUITA
Moi, je vois un jeune amoureux Qui m'aime on ne peut davantage.
MERCÉDÈS
Le mien est très riche et très vieux Mais il parle de mariage.
FRASQUITA
Il me campe sur son cheval, Et dans la montagne il m'entraîne.
MERCÉDÈS
Dans un château presque royal, Le mien m'installe en souveraine.
FRASQUITA
De l'amour à n'en plus finir, Tous les jours nouvelles fol ies.
MERCÉDÈS
De l'or tant que j'en puis tenir, Des diamants ... des pierreries.
FRASQUITA
Le mien devient un chef fameux, Cent hommes marchent à sa suite.
MERCÉDÈS
Le mien, en croirai - je mes yeux ? Oui ... Il meurt! Ah je suis veuve Et j'hérite !
FRASQU ITA et MERCÉDÈS
Parlez encor, parlez, mes belles, De l'avenir donnez - nous des nouvelles;
MERCÉDÈS , FRASQUITA Shuffle ! Cut! Well, that's it. Three cards here. Four there!
MERCEDES and FRASQUITA And now, talk, my beautiful, From the future give us news; Tell us who will betray us, Tell us who will love us. Speak, speak! Speak, speak! Tell us who will betray us, Tell us who will love us.
FRASQUITA Me, I see a young lover Who loves me mor e than anything
MERCÉDÈS
Mine is very rich and very old But he's talking about marriage.
FRASQUITA
He's sitting me on his horse, And to the mountains he carries me off .
MERCÉDÈS
In a castle, almost royal, Mine sets me up like a queen!
FRASQUITA Love n ever ending, Everyday new raptures!
MERCÉDÈS
Gold as long as I can hold, Diamonds , precious stones.
FRASQUITA
Mine becomes a famous leader , One hundred men are following him.
MERCÉDÈS
Mine, can I believe my eyes ? Yes ... he is dying! Ah, I'm a widow And I inherit !
FRASQUITA and MERCEDES Speak again, speak, my beautiful, From the future give us news;
3
Dites - nous qui nous trahira, Dites - nous qui nous aimera. Parlez encor! Parlez encor!
MERCÉDÈS FRASQUITA Fortune! Amour!
CARMEN
Voyons, que j'essa ie à mon tour. Carreau, pique ... la mort! J'ai bien lu ... moi d'abord. Ensuite lui ... pour tous les deux la mort !
En vain pour éviter les réponses amères, En vain tu mêleras, Cela ne sert à rien, les cartes sont sincères Et ne mentiront pas. Dans le li vre d'en haut, s i ta page est heureuse, Mêle et coupe sans peur, La carte sous tes doigts s e tournera joyeuse T'annonçant le bonheur. Mais si tu dois mourir, si le mot redoutable Est écrit par le sort, Recommence vingt fois , l a carte impitoyable Répétera: la mort! Encor! Encor! Toujours la mort.
FRASQUITA et MERCÉDÈS Parlez encor Parlez, mes belles, De l'avenir donnez - nous des nouvelles; Dites - nous qui nous trahira, Dites - nous qui nous aimera. Fortune! Amour!
CARMEN Encor! Encor! Le désespoir! La mort, la mort. Encor! La mort. Toujours la mort.
MERCÉDÈS Fortune!
FRASQUITA Amour! CARMEN Toujours la mort!
TOUTES LES TROIS Encor! Encor! Encor! Encor!
Tell us who will betray us, Tell us who will love us. Speak again! Speak again!
MERCÉDÈS FRASQUITA Fortune! Love !
CARMEN
Let's see, l et me have a turn. Diamonds , spades ... death! I have read it clearly ... me first. Then him ... for both of us death !
In vain to avoid the bitter replies , In vain you will shuffle , It is useless, the cards are sincere And will not lie.
If your page in the heavenly book is happy , Shuffle and cut without fear, The card under your fingers w ill turn up happy foretelling good luck . But if you must die, if the terrible word Is written by fate , Begin over twenty times , t he ruthless card Will r epeat: death! Ag ain! Again! Always death.
FRASQUITA and MERCEDES Speak again Speak, my beautiful, From the future give us news; Tell us who will betray us, Tell us who will love us. Fortune! Love!
CARMEN Again! Again! The despair! Death, death. Again! The death. Always death. MERCÉDÈS Fortune!
FRASQUITA Love!
CARMEN Always death!
THE THREE OF THEM Again! Again! Again! Again!
4
PASQUALE
Cheti, cheti, Cheti, cheti, immantinente nel giardino discendiamo; prendo meco la mia gente, il boschetto circondiamo e la coppia sciagurata, a un mio cenno imprigionata, senza perdere un momento conduciam dal podestà.
MALATESTA
Io direi . . . sentite un poco. Noi due soli andiam sul loco, nel boschetto ci appostiamo, ed a tempo ci mostriamo. E tra preghi e tra minaccie d’avvertir l’autorità, ci facciam dai due prometter che la cosa resti là.
PASQUALE È si fatto scioglimento poca pena al tradimento.
MALATESTA Riflettete, è mia sorella.
PASQUALE
Vada fuor di casa mia, altri patti non vo’ far.
MALATESTA È un affare delicatto; vuol ben esser ponderato.
PASQUALE
Ponderate, esaminate, ma in mia casa non la vo’, no, no
MALATESTA
Uno scandalo farete e vergogna poi ne avrete.
PASQUALE Non m’importa!
MALATESTA
Non conviene, non sta bene: altro modo cercherò.
PASQUALE
Non sta bene, non conviene… ma lo schiaffo qui restò. Io direi…
PASQUALE
Quietly, quietly, right away we’ll go down into the garden; I’ll take my servants with me, we’ll surround the grove and the wretched couple, captured at my signal, without losing a moment, we’ll bring them before the magistrate.
MALATESTA
I would say . . . listen for a bit. Let us two go alone to the place, we’ll place ourselves in the grove and show ourselves at the right time. And between prayers and threats to notify the authorities, we’ll make them both promise that the affair will end there.
PASQUALE
Such a punishment hardly fits the crime.
MALATESTA
Reflect on it carefully, she’s my sister.
PASQUALE
Let her get out of my house, I won’t stand for other solutions.
MALATESTA
It’s a delicate matter; it needs to be well thought out.
PASQUALE Think, examine, but I don’t want her in my house, no, no.
MALATESTA
You’ll make a scandal and be sorry after.
PASQUALE I don’t care!
MALATESTA
It’s not right, it won’t do; I’ll look for another way.
PASQUALE
It won’t do, it’s not right… but O have the slap to prove it. I would say…
5
“Cheti, cheti, immantinente”
MALATESTA
L’ho trovata!
PASQUALE
Benedetto! dite presto.
MALATESTA
Nel boschetto quatti, quatti ci appostiamo, di là tutto udir possiamo. S’è costante il tradimento, la cacciate su due piè.
PASQUALE
Bravo, va benone, son contento, son contento. (Aspetta, aspetta, cara sposina: la mia vendetta già s’avvicina: già, già ti preme, già t’ha raggiunto, tutte in un punto l’hai da scontar.
Vedrai se giovino raggiri e cabale, sorrisi teneri, sospiri e lagrime; or voglio prendere la mia rivincita, sei nella trappola, v’hai da restar.)
MALATESTA
(Il poverino sogna vendetta, non sa il meschino quel che l’aspetta: invano freme, invan s’arrabia, è chiuso in gabbia, non può scappar. Invano accumula progetti e calcoli, non sa che fabbrica castelli in aria; non vede, il semplice, che nella trappola da sè medesimo si va a gettar.)
“Leïla! Dieu puissant”
NADIR
De mon amie, f leur endormie a u fond du lac silencieux, j 'ai vu dans l'onde , c laire et profonde , e tinceler le front joyeux e t les doux yeux!
Ma bien - aimée est enfermé dans un palais d'or et d'azur
LÉÏLA
Dieu! La voix se rapproche!
NADIR
Je l'entends rire, e t je vois luire Sur le cristal du gouffre obscur son regard pur!
MALATESTA
I’ve found it!
PASQUALE
Thank goodness! Tell me quickly.
MALATESTA
We will place ourselves quietly in the grove from there we’ll be able to hear everything. If the betrayal is proven, throw her out at once.
PASQUALE
Bravo, that’s excellent, I’m content. (Just wait, dear little wife: my vengeance already draws near; already it presses you, already it has caught up with you, in a single moment you will have to pay for everything You’ll see if tricks and plots help you, tender smiles, sighs and tears; now I want to take my revenge, you’re in the trap, you’ll have to stay there.)
MALATESTA
(The poor man dreams of vengeance, but the wretch doesn’t know what awaits him: in vain he rages, in vain he gets angry, he’s locked in the cage, he can’t escape. In vain he piles up plans and schemes, he doesn’t know that he’s building castles in the air; he doesn’t see, the fool, that he’s about to throw himself into a trap.)
NADIR
In the deep and clear water, Looking like a slumbering flower I saw my beloved´s sparkling brow and gentle eyes Reflected in the lake
My beloved is locked away in a palace of gold and azure;
LEILA
God ! The voice is coming nearer!
NADIR
I hear her laugh , and I can see in the shining reflection of the dark abyss , her pure gaze !
6
LÉÏLA
Un doux charme m'attire! Ciel! Ah! c'est lui
NADIR Léïla! Léïla!
LÉÏLA
Dieu puissant, le voilà!
NADIR Près d'elle, me voilà!
LÉÏLA
Par cet étroit sentier q ui borde un sombre abîme, Comment es - tu venu?
NADIR
Un Dieu guidait mes pas, u n tendre espoir m'anime! Rien, non rien ne m'a retenu!
LÉÏLA
Que viens - tu faire ici? Fuis, la mort te menace!
NADIR Apaise ton effroi, pardonne!
LÉÏLA
J'ai juré! Je ne dois pas t’entendre, hélas! Je ne dois pas te voir!
NADIR Ah! fais - moi grâce.
LÉÏLA Le mort est sur tes pas!
NADIR Ne me repousse pas!
LÉÏLA Ah! va - t'en!
NADIR
Ah! l e jour est loin encore , n ul ne peut nous surprendr e! Ah! Léïla, souris à mon espoir!
LÉÏLA
Non, séparons - nous! Il en est temps encore
NADIR Ah! pourquoi repousser un ami qui t'implore?
LÉÏLA
A sweet charm is draws me! Heavens! It is he!
NADIR Leila! Leila!
LEILA Almighty God, here he is!
NADIR
Near here, here I am !
LEILA
How did you come along this narrow path bound by a dark chasm?
NADIR
A god was leading me, a tender hope burns within me. Nothing, no, nothing could have kept me.
LEILA
What are you doing here ? Flee, death threatens you!
NADIR Calm your fear , forgive me!
LEILA I have sworn ! I must not listen to you, alas! I must not see you!
NADIR Ah! have mercy on me!
LEILA Death is fol lowing you!
NADIR Do not spurn me!
LEILA Ah! go away!
NADIR
Ah! daylight is still far away, nobody can find us! Ah! Leila, grant me what I hope for!
LEILA
No, let us part! There is still time.
NADIR Ah! Why spurn a friend who is imploring you?
7
LÉÏLA
Ah! va - t'en! Ah! la mort est sur tes pas. Ah! par pitié, éloigne - toi!
NADIR
Ton cœur n'a pas compris le mien!
Au sein de la nuit parfumée, Quand j'écoutais l'âme charmée, Les accents de ta voix aimée, Ton cœur n'a pas compris le mien!
LÉÏLA
Ainsi que toi je me souviens! Au sein de la nuit parfumée, Mon âme alors libre et charmée, À l'amour n'était pas fermée! Ainsi que toi je me souviens!
NADIR
J'avais promis d'éviter ta présence, Et de me taire à tout jamais; Mais de l'amour, hélas! ô fatale puissance! Pouvais-je fuir les beaux yeux que j'aimais?
LÉÏLA
Malgré la nuit, malgré ton long silence, Mon cœur charmé avait lu dans ton cœur! Je t'attendais, j'ésperais ta présence! Ta douce voix m'apportait le bonheur!
NADIR
Est-il vrai? que dis-tu? Doux aveu, ô bonheur! Oui! Ton cœur n'a pas compris le mien! Au sein de la nuit parfumée, etc
LÉÏLA
Ah! Ainsi que toi je me souviens! etc
ENSEMBLE Ô doux moment
“Dio, che nell’alma infondere”
RODRIGO
Questo arcano dal Re non fu sorpreso ancora?
DON CARLO No.
LEILA
Ah! go away, death is following you! Ah! for pity's sake, go away!
NADIR
Your heart did not understand mine: in the thick of the fragrant night, as I listened, with ravished soul, to the sounds of your beloved voice, your heart did not understand mine!
LEILA
Just like you, I remember: in the thick of the fragrant night, my soul, then free and bewitched, was not yet closed to love. Just like you, I remember!
NADIR
I had promised to keep away from you and to be silent forever! But, alas, the power of love is fatal, how could I have fled from the beautiful eyes I loved?
LEILA
Despite the darkness, despite your lengthy silence, my heart had read into your heart. I was awaiting you, hoping your presence, your sweet voice brought me happiness.
NADIR
Is this true? What are you saying? Sweet avowal! O rapture! Yes, your heart had understood mine! In the thick of the fragrant night, etc.
LEILA
Ah! Just like you, I remember! Etc.
TOGETHER O sweet moment!
RODRIGO
Has the king found out your secret ?
DON CARLO No.
8
RODRIGO
Ottien dunque da lui di partir per la Fiandra. Taccia il tuo cor, - degna di te Opra farai, - apprendi omai In mezzo a gente oppressa a divenir un Re!
DON CARLO
Ti seguirò, fratello.
RODRIGO
Ascolta! il santo asil s'apre già; qui verranno Filippo e la Regina.
DON CARLO Elisabetta!
RODRIGO
Rinfranca accanto a me lo spirto che vacilla! Serena ancor tua stella in alto brilla. Domanda al ciel dei forti la virtù!
DON CARLO E RODRIGO
Dio che nell'alma infondere Amor volesti e speme, Desio nel core accendere Tu déi di libertà. Giuriam insiem di vivere E di morire insieme; In terra, in ciel congiungere Ci può la tua bontà.
RODRIGO Vengon già
DON CARLO
Oh terror! Al s ol vederla io tremo!
CORO DI FRATI
Carlo il sommo imperatore Non è più che muta polve: Del celeste suo fattore L'alma altera or trema al piè.
RODRIGO Coraggio!
DON CARLO
Ei la fe' sua! Sventura! Io l'ho perduta!
RODRIGO
Vien presso a me; più forte il c ore avrai!
DON CARLO E RODRIGO
Insiem vivremo, e moriremo insieme!
RODRIGO
So then get me his to leave for Flanders. In an effort worthy of you, allow your heart to break! Learn now how to become a king amidst an oppressed people !
DON CARLO I will follow you, brother.
RODRIGO Listen! The doors of the monastery are opening; It must be Philip and the Queen.
DON CARLO Elizabeth!
RODRIGO
By my side, let your wavering spirits be strengthened. Your star will again shine serenely in the heavens! Ask God to give you the strength of a hero !
DON CARLO AND RODRIGO
God, you have pierced our hearts with a spark of the same fire, the same exalted love, the love of liberty! God, who has made of our sincere hearts the hearts of two brothers, receive our oath! We shall die in brotherly love!
RODRIGO There they are
DON CARLO Oh terror! I tremble at her sight !
MONKS
Charles the Supreme Emperor It is no more than mute dust: Of the heavenly his factor The alma alters or trembles at the footer.
RODRIGO Courage!
DON CARLO He made her his wife ! I have lost her !
RODRIGO
Your heart shall be stronger if you come near.
DON CARLO AND RODRIGO Together we will live, and we will die together!
9
“King Rene’s Arioso”
Что скажет он?
Какой ответ произнесёт его наука?
Увидит Иоланта свет, иль суждена мне вечно мука знать дочь мою объятой тьмою!
О Боже, сжалься надо мною!
Господь, уж если грешен я, за что страдает ангел чистый?
За что поверг из - за меня во тьму Иоланты взор лучистый?
О дай мне радостую весть, утешь надеждой исцеленья.
Я за неё готов принесть корону, власть, мои владенья…
Лиши меня всего: покоя, счастья.
Я всё смиренно претерплю, за всё Тебя благословлю, смотри, готов во прахе пасть я. Всего лишиться, всё отдать.
Но, только дай мне не видать Иоланть взор обьятым тьмою!
О Боже, сжалься надо мной. Перед Тобой готов во прахе пасть я.
О Боже, Боже мой! Сжалься! Сжалься надо мною!
“Ah! Quel respect, Madame”
ORY
Ah! Quel respect, madame, por vous vertus m´enflamme; souffrez que de mon âme j´exprime ici l´ardeur!
COMTESSE L´ardeur!
ORY
Votre prudence, votre obligeance nous a sauvé l´honneur.
COMTESSE
Je suis hereuse er fière d´avoir d´un téméraire Soustrait à la colère une vertu si chère,
ORY Helas!
What will he say?
What answers will his wisdom provide?
Will Iolanta see light, or, am I forever doomed to be tormented by my daughter's darkness?
O Lord, have mercy on me!
Heavenly Father! If I am the sinner, why is this pure angel suffering?
What have I done, that You have cast Iolanta into the realm of darkness?
I beg You, give me joyful news and bless me with the hope of a recovery.
In return, I am prepared to give up my crown, my power, my possessions…
Retaining only peace and joy.
I glorify You! In agony, I surrender myself and fall before You in the dust.
I am prepared to leave everything, give everything away.
If only you would remove the darkness from Iolanta's eyes.
O Lord, have mercy on me!
I am prepared to submit to you.
O Lord, my Lord! I beg you! Have mercy on me!
Translation by Alireza Tousi
ORY
Ah, what respect, madame, for your virtue is kindled in me; allow me to express the ardor within my soul
COUNTESS The ardor!
ORY
Your wisdom, your kindness, has saved our honor
COUNTESS
I am happy and proud that I was able to rescue Your virtue from the wrath of a rash man
ORY
Alas!
10
English
COMTESSE
Oui,je suis fière qu´asa colère échappent tant d´attraits
ORY
En mon coeur rien n´efface tant de charmes et de graces, cette main que j´embrasse vous l’atteste à jamais!
COMTESSE
Que faites-vous? Ah! De grâce!
ORY
De ma reconnaissance, quoi! L´excès vous offence! Et sans votre assistance. Hélas! Lorsque j´y pense Quell était notre sort, hélas, lorsque je pense D´effroi j´en tremble encor!
COMTESSE
Calmez votre âme, quell excés de frayeur!
ORY Ah Madame COMTESSE
Ah! Quell excés d´ivresse! D’où vient cette tendresse?
ORY
Il faut avec adresse modérer m tendresse La crainte encor l´opresse de quelle douce ivresse Comme si près de lui, malgré moi j’ai frémi.
COMTESSE
Vous pouvez sans crainte braver le Compte Ory
ORY
Ah! Vous osez sans crainte Braver le Compte Ory On le dit téméraire.
COMTESSE
Je brave sa colére
ORY
On pretend qu’il vous aime
COMTESSE
Lui!....ah, quelle audace extreme!
COUNTESS
Yes, I am proud that from his wrath Can escape such charms
ORY
In my heart nothing can efface such charm and grace this hand that I kiss attests it forever!
COUNTESS
What are you doing? Ah! For goddness’ sake!
ORY What! Does my excessive gratitude Offend you! And without your assistance, alas, when I think of it, what would be our fate, alas, when I think with fear, I tremble still!!
COUNTESS
Calm your soul, what excess of fear!
ORY Ah Madame COUNTESS Ah, what excess of rapture! Whence comes this tenderness?
ORY
I must with prudence moderate my tender feelings Fear still oppresses her; with what sweet ardor As if near him, in spite of myself I trembled.
COUNTESS
You can without fear defy Count Ory
ORY Ah! You dare without fear defy Count Ory They say he´s bold COUNTESS I defy his wrath
ORY
They say that he loves you COUNTESS He!... ah. What boldness extreme!
11
ORY
Pour obtenir sa grâce, s’il tombait à vos genoux, Madame, que feriez-vous?
COMTESSE
D’une pareille audace la honte et le mépris Seraient le prix Ce téméraire qui croit nous plaire, En vain espère être vainqueur Moi je préfère l’amant sincere Qui sait nous taire sa tendre ardeur. Mais on doit rire du faux délire Et du martyre d’un séducteur.
ORY
Beauté si fière, prude sévère, Bientôt j’espère toucher ton Coeur; Je ris d’avance de la défense, La résistance est de rigueur; Puis l’heure arrive où la captive Faible et plaintive cede au vainqueur.
COMTESSE
En confiance on peut d’avance Braver, je pense, son insolence
ORY
Il faut d’avance être en défense, La confiance n’est pas prudence.
“Flower Duet”
Lakme: Viens, Mallike, les lianes en fleur jettent déjà sur le ruisseau sacré qui coule, calme et somber éveillé par le chant des oiseaux tapageurs!
Mallika: Oh, maitresse, c’est l’eure où je te vois sourire, l’eure bénie où je pius lire dans le ceour toujours fermé de Lakme!
Lakme, Mallika: Dôme épais le jasmin, A la rose s’assemble, Rive en fleurs frais matin, Nous appellent ensemble. Ah! glissons en suivant Le courant fuyant: Dans l’on de frémissante, D’une main nonchalante, Gagnons le bord, Où l’oiseau chante, l’oiseau, l’oiseau chante.
ORY
To obtain his pardon, if he fell at your knees., Madame, what would you do?
COUNTESS
Of such boldness, shame and disdain Would be the price This bold man who hopes to please us, In vain hopes to be the conqueror. I myself prefer the lover sincere Who knows how to conceal his tender ardor. But one must laugh over the sham frenzy And over the suffering of a seducer.
ORY
A beauty so proud, prudish,severe Soon I hope to touch our heart
I am laughing beforehand at her defense, Her resistence is to be expected; Then the time comes when the captive woman Feeble and plaintive yields to the victor
COUNTESS
In confidence, one can beforehand Defy, I think, his insolence
ORY
I must beforehand be on my guard Over-confidence is not prudence.
Lakme: Come, Mallika! The flowering vines shade the sacred stream. The noisy birds have awakened the calm and gloomy waters.
Mallika: My lady, it is the blessed hour when I see you smiling and can read into your heart!
Both:
Beneath the dense canopy, where white jasmine and roses mingle over the riverbanks. Laughing in the cool morning, we are summoned together. Come, let us go down there together. We shall gently slip into the fleeting current. Upon the quivering waves we will glide free of care; let us journey to the restful bank where the birds sing.
12
Dôme épais, blanc jasmin, Nous appellent ensemble!
Lakme: Mais, je ne sais quelle crainte subite, S’empare de moi, Quand mon père va seul à leur ville maudite; Je tremble, je tremble d’effroi!
Mallika : Pourquoi le Dieu Ganeça le protèg e, Jusqu’à l’étang où s’ébattent joyeux Les cygnes aux ailes de neige, Allons cueillir les lotus bleus.
“Ai capricci della sorte”
ISABELLA
Ai capricci della sorte i o so far l'indifferente. Ma un geloso impertinente i o son stanca di soffrir.
TADDEO Ho più flemma, e più prudenza Di qualunque innamorato. M a comprendo dal passato t utto quel che può avvenir.
ISABELLA Sciocco amante è un gran supplizio.
TADDEO Donna scaltra è un precipizio.
ISABELLA Meglio un Turco che un br iccone.
TADDEO Meglio il fiasco che il lampione.
ISABELLA Vanne al diavolo in malora! Più non vo'con te garrir.
TADDEO Buona notte; sì... Signora. Ho finito d'impazzir.
ISABELLA (Ma in man de'barbari...senza un amico Come dirigermi?...Che brutto intrico! Che ho da risolvere? Che deggio far? Che ho da risolvere? Che brutto affar!)
Beneath the dense canopy, where white jasmine and roses mingle over the riverbanks. Laughing in the cool morning, we are summoned together.
Lakme: I do not know what fear suddenly takes hold of me. My father is traveling to a cursed city. I am trembling with fear!
Mallika: Let us gather the blue lotus from the pond upon which the snow-winged swans live happily. Our God, Ganesha, will protect your father!
Isabella: I know how to show indifference to the blows of fate. But I am too tired of putting up with this jealous man.
Taddeo: I am more calm and prudent than any other suitor. But I understand from past experiences that anything can happen.
Isabella: A foolish lover is a great trial.
Taddeo: A wily woman is a disaster.
Isabella: Better a Turk than a rascal.
Taddeo: Better to be a cuckhold than a chaperone.
Isabella: Go to the devil! I no longer want to bicker with you.
Taddeo: Good night, madam. I won’t be driven mad any longer.
Isabella: But to be in a new country without a friend…how can I manage? What a mess! How shall I resolve this?
13
TADDEO (Ma se al lavoro poi mi si mena... Come resistere, se ho poca schiena?)
TADDEO (La furia or placasi.)
ISABELLA (Ride il babbeo.)
TADDEO Staremo in collera?
IS ABELLA Che ve ne par?
A DUE
Ah,no: per sempre uniti, Senza sospetti e liti, Con gran piacere, ben mio, Sarem nipote e zio; E ognun lo crederà.
TADDEO
Ma quel Bey, Signora, Un gran pensier mi dà.
ISABELLA
Non ci pensar per ora, Sarà quel che sarà.
“Pleurez mes yeux”
De cet affreux combat je sors l'âme brisée! Mais enfin je suis libre et je pourrai du moins Soupirer sans contrainte et souffrir sans témoins.
Pleurez! pleurez mes yeux! tombez triste rosée Qu'un rayon de soleil ne doit jamais tarir! S'il me reste un espoir, c'est de bientôt mourir! Pleurez mes yeux, pleurez toutes vox larmes! pleurez mes yeux!
Mais qui donc a voulu l'éternité des pleurs? O chers ensevelis, trouvez-vous tant de charmes à léguer aux vivants d'implacables douleurs? Hélas! je me souviens, il me disait: Avec ton doux sourire...
Tu ne saurais jamais conduire Qu'aux chemins glorieux ou qu'aux sentiers bénis!
Ah! mon père! Hélas!
Pleurez! pleurez mes yeux! etc.
Taddeo: But if they make me go to work, how can I stand it? I have little strength!
Taddeo: Her fury wanes.
Isabella: (The buffoon laughs at me). Taddeo: Must we remain angry at one another? Isabella: What do you think?
Both: Ah, no! Always united without suspicions or quarrels! With great pleasure, we will be niece and uncle – and everyone will believe us!
Taddeo: But that Turkish official, my lady –he causes me great concern.
Isabella: Don’t think about it for now. It will be what it will be.
My soul is broken from this dreadful fight! However, I at last I am free and able to sigh and to suffer in privacy
Cry, cry these eyes of mine! May a ray of sun never dry this sad dew which falls! If a hope remains to me, it is to die soon! Cry, these eyes of mine! Cry all your tears!
But who wanted the eternity of tears? Dear buried ones, have you found pleasure in passing on merciless pain to the living? Alas! I remember that he said to me… With your sweet smile, you could only lead to glorious paths…to blessed paths!
Ah, my father! Alas! Cry, these eyes of mine! etc.
14
“Bella figlia dell’amore”
DUCA
Un dì, se ben rammentomi, O bella, t'incontrai… Mi piacque di te chiedere E intesi che qui stai. Or sappi che d'allora Sol te quest'alma adora.
GILDA (Iniquo!)
MADDALENA Ah! Ah!... e vent'altre appresso Le scorda forse adesso? Ha un'aria il signorino d a vero libertino...
DUCA Sì... un mostro son …
GILDA Ah, padre mio!
MADDALENA Lasciatemi, s tordito. DUCA Ih, che fracasso!
MADDALENA Stia saggio!
DUCA E tu sii docile, n on farmi tanto chiasso. Ogni saggezza chiudesi n el gaudio e nell'amore. La bella mano c andida!
MADDALENA Scherzate voi, signore. Son brutta.
DUCA Abbracciami.
MADDALENA Ebbro!
DUCA D'amore ardente, MADDALENA Signor, l'indifferente vi piace canzonar?
Duke: I remember our meeting quite well on that day, beautiful one. I was pleased to ask of you and was told that you live here. Now I know from that day forward, my soul has loved only you!
Gilda: The villain!
Maddalena: Ha! And twenty others since then that he is probably forgetting! This young man has the air of a libertine.
Duke: Yes, I am a monster…
Gilda: Ah, father!
Maddalena: Leave me be, fool!
Duke: What a fuss… Maddalena: - Be good, now!
Duke: And you, be a bit more docile and don’t make a scene! All wisdom ends in pleasure and in love! What a beautiful pale hand!
Maddalena: You can’t be serious. I’m ugly
Duke: Embrace me!
Maddalena: You’re drunk!
Duke: I am burning with love!
Maddalena: Good sir, do you enjoy teasing me?
15
DUCA No, no, ti vo' sposar…
MADDALENA Ne voglio la parola…
DUCA Amabile figliuola! RI GOLETTO E non ti basta ancor?
GILDA
Iniquo traditor!
DUCA Bella figlia dell'amore, Schiavo son dei vezzi tuoi; Con un detto sol tu puoi l e mie pene consolar. Vieni e senti del mio core i l frequente palpitar.
MADDALENA
Ah! ah! rido ben di core, c he tai baie costan poco Quanto valga il vostro gioco, m el credete, so apprezzar. Son o avvezza, bel signore, Ad un simile scherzar.
GILDA Ah, così parlar d'amore A me pur intame ho udito! Infelice cor tradito, p er angoscia non scoppiar.
RIGOLETTO
Taci, il p iangere non vale. Ch'ei mentiva sei sicura. Taci, e mia sarà la cura La vendetta d'affrettar. Sì, pronta fia, sarà fatale, Io saprollo fulminar.
Duke: Not at all, I want to marry you…
Maddalena: I’d like your word on that.
Duke: Lovely maiden! Rigoletto: Is this scene enough proof to you?
Gilda: Evil betrayer!
Duke: Beautiful daughter of love, I am captivated by your charms. With just one word you can console my suffering. Come and feel the quick beating of my heart.
Maddalena: Ha! I laugh because words cost nothing. I can appreciate your strategy, believe me. I’m used to similar joking, and I laugh heartily, my handsome sir.
Gilda: Ah! Speaking of love in this manner… I have also heard him speak to me in this way. Unhappy heart, do not burst from anguish.
Rigoletto: Hush, weeping will do you no good. No that you’re sure he is lying, hush and let me take care of the revenge. It will be swift and deadly I know how I will strike him down.
16
HOFFMANN
Hélas! mon cœur s'égare encore, Mes sens se laissent embraser, Maudit l'amour qui me dévore, Ma raison ne peut s'apaiser. Sous ce front clair comme une aurore L'enfer même vient me griser. Je la hais et je l'adore Je veux mourir de son baiser.
GIULIETTA
Mon bel Hoffmann, je vous adore, Mais n'ai point l'âme à refuser Ce diamant aux feux d'aurore Qui ne me coûte qu'un baiser. Car je suis femme et j'adore Ce qui me fait plus belle encore Pour vous griser. Poète, il faut vous apaiser.
DAPERTUTTO et PITICHINACCIO
Pauvre Hoffmann, l'amour encor Vainement vient t'embraser; Ta belle au regard d'aurore Nous a vendu son baiser. Car la coquette s'adore; Un bijou qui peut encore L'embellir et nous griser Vaut bien pour elle un baiser.
SCHLEMIL
Ce poète que j'abhorre Aurait bientôt son baiser Sans ce fer clair et sonore Dont je sais fort bien user. Ami, nous allons causer et je vais apaiser l'ardeur folle qui te dévore.
NICKLAUSSE ET LE CHŒUR
Hélas! son cœur s'enflamme encore! Par elle il s'est laissé griser. L'amour le brûle et le dévore. Son regard qui l’implor e Dit assez qu’il l’adore!
Rien Helas! Ne pourra appaiser! Son cœurs va se briser. Son pauvre coeur va se briser, Hélas!
HOFFMANN
Alas! My heart once again wanders, My senses are set ablaze, Cursed is the love that devours me, My reason c annot be stilled. Beneath that brow clear like a dawn hell itself comes to intoxicate me. I hate her and I love her I want to die from her kiss.
GIULIETTA
My beautiful Hoffmann, I adore you, But do not have the soul to refuse This diamond with fire like dawn that does not cost me but a kiss. For I am a woman and I love What makes me more beautiful To make you drunk. Poet, must appease yourself.
DAPERTUTTO and PITICHINACCIO
Poor Hoffmann, love again
In vain comes to set you ablaze; Your beauty of the look of dawn has sold to us her sweet kiss. Because the coquette adores herself; A jewel that can still Embellish it and make us intoxicating It's worth a kiss.
Schlemil
This poet whom I abhor Would soon have his kiss If I didn’t have here to calm them d own A sword supple and ringing Which I know very well to use. Friend, we will talk and I will appease the mad ardor that devours you.
NICKLAUSSE AND CHORUS
Alas! his heart is still burning! He let himself to be intoxicatedLove burns and devours him. Nothing can soothe him. The perfidious he adores Take the hearts to break them. Flee the beautiful at the dawn front, Because we die of her kiss. Nothing can assuage him! His poor heart will break, alas!
17
“Hélas, mon cœur s'égare encore”
18