Winter Gala Concert Yale Philharmonia - yale opera - Yale School of Music
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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 HallProgram
Gioachino Rossini Overture from William Tell (1829)
1792–1868
Rossini “Ah, qual colpo inaspettato” Cesare Sterbini
from Il barbiere di Siviglia (1816)
Rosina: Jaeeun Shin, soprano
Almaviva: Seiyoung Kim, tenor
Figaro: Alex Smith, baritone
Wolfgang Amadeus “Bei Männern, welche Liebe fühlen” Emanuel Schikaneder
Mozart from Die Zauberflöte, K. 620
1756–1791
Pamina: Jillian Tate, soprano
Papageno: Finn Sagal, bass-baritone
Georges Bizet “Mêlons! Coupons!” from Carmen (1875) Henri Meilhac &
1838–1875 Ludovic Halévy
Carmen: Ana Mora, mezzo-soprano
Frasquita: Amalia Crevani, soprano
Mercedes: Allison Fahey, mezzo-soprano
Gaetano Donizetti “Cheti, cheti, immantinente” Angelo Anelli,
1797–1848 from Don Pasquale (1843) Giovanni Ruffini &
Donizetti
Malatesta: Korin Thomas-Smith, baritone
Pasquale: Sergio Martínez, bass
Bizet “Leïla! Dieu puissant” Eugène Cormon &
from Les pêcheurs de Perles (1863) Michel Carré
Leïla: Jillian Tate, soprano
Nadir: Ethan Burck, tenorGiuseppe Verdi “Dio, che nell’alma infondere” François Joseph Méry
1813–1901 from Don Carlo (1867) & Camille du Locle
trans. Achille de
Don Carlo: Daniel Espinal, tenor Lauzières & Angelo
Rodrigo: Samuel Kidd, baritone Zanardini
Monk: Alex Smith, baritone
Ensemble: Allison Fahey, Ana Mora, Kara Morgan,
Ethan Burck, Seiyoung Kim, Korin Thomas-Smith,
Finn Sagal, Sergio Martínez
intermission
Pyotr Ilyich King René’s Arioso from Iolanta, Op. 69 Modest Tchaikovsky
Tchaikovsky
1840–1893 King René: Sergio Martínez, bass
Rossini “Ah! Quel respect, Madame” M. Tchaikovsky
from Le Comte Ory (1828)
Countess Adèle: Amalia Crevani, soprano
Count Ory: Seiyoung Kim, tenor
Léo Delibes “Flower Duet” from Lakmé (1883) Edmond Gondinet &
1836–1891 Phillippe Gille
Lakmé: Jaeeun Shin, soprano
Mallika: Kara Morgan, mezzo-soprano
Rossini “Ai capricci della sorte” Angelo Anelli
from L’italiana in Algeri (1813)
Isabella: Allison Fahey, mezzo-soprano
Taddeo: Finn Sagal, bass-baritoneProgram cont.
Jules Massenet “Pleurez mes yeux” from Le Cid (1885) Louis Gallet,
1842–1912 Édouard Blau &
Chimène: Anneliese Klenetsky, soprano Adolphe d’Ennery
Camille Saint-Saëns Bacchanale from Samson et Dalila, Op. 47
1835–1921
Verdi “Bella figlia dell’amore” Francesco Maria
from Rigoletto (1851) Piave
Gilda: Jaeeun Shin, soprano
Maddalena: Ana Mora, mezzo-soprano
Duke: Daniel Espinal, tenor
Rigoletto: Korin Thomas-Smith, baritone
Jacques Offenbach “Hélas, mon cœur s’égare encore” Jules Barbier
1819–1880 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
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 conductor Mo. Lohraseb is proud to have among his
mentors James Conlon, Lorin Maazel,
Since his professional debut in 2019 at the Arthur Fagen, Kevin Murphy, and David
Teatro dell’Opera di Roma, Louis Lohraseb Effron. He was selected as the 2016 Con-
is establishing himself as an exciting young ducting Fellow at the Chautauqua Music
conductor of both symphonic and operatic Festival, where he conducted and assisted
repertoire. His performances have garnered in both operatic and symphonic literature.
praise from Opera News, The Wall Street In 2018, he was an assistant conductor at
Journal, and others, with Classical Music the Glimmerglass Festival, after which he
Daily writing: “Teatro dell’Opera’s good joined the Domingo-Colburn-Stein Young
orchestra was conducted with ability by Artist Program at LA Opera.
Louis Lohraseb, who has, no doubt, a merit
in making this premiere vibrant and full A doctoral candidate at the Jacobs School
of tension.” The 2022–2023 season will see of Music, he served as assistant conductor
Lohraseb make his mainstage debut at Los and opera coach for the IU Opera Theater.
Angeles Opera, where he will lead Tosca, As the 2013 Conducting Fellow at the Yale
starring Michael Fabiano and Angel Blue. School of Music, he studied with Shinik
He will also debut with Sarasota Opera, Hahm and served as assistant conductor to
leading Massenet’s Thérèse, return to Indiana the Yale Philharmonia under such musicians
University’s IU Opera Theatre to lead Don as Peter Oundjian, John Adams, and
Giovanni, and conduct at Yale University, Krzysztof Penderecki. During his time at
leading Yale Opera’s annual Gala Concert. Yale, he founded the Amadeus Orchestra,
served as music director of the Cheshire
Engagements in the 2021–2022 season Symphony Orchestra, and was a conducting
included debuts with the Komische Oper fellow at the Castleton Festival in Virginia
Berlin conducting La traviata and with in 2014. Born to Iranian and Italian parents,
Semperoper Dresden leading performances he earned his Master of Music degree in
of Carmen, as well Indiana University for conducting from Yale University in 2015 and
IU Opera Theatre’s production of La rondine. graduated summa cum laude from SUNY
He also returned to Los Angeles Opera as Geneseo in 2013, where he was an Edgar
assistant conductor to music director James Fellows honors student and a member of
Conlon, as well as assistant conductor to Phi Beta Kappa.
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.Student Profiles
Elana Bell mezzo-soprano Seiyoung Kim tenor
Hometown: Baltimore, MD; Hometown: Seoul, South Korea;
B.M. & B.A. Oberlin Conservatory & B.M. The Juilliard School;
College; M.M. New England Conservatory;
M.M. University of Cincinnati College- Young Artist Programs: Santa Fe Opera,
Conservatory of Music; Wolf Trap Opera, Houston Grand Opera
Young Artist Programs: Des Moines Young Artists’ Vocal Academy
Metro Opera, Music Academy of the West,
Tanglewood Music Center Anneliese Klenetsky soprano
Hometown: Edison, NJ;
Ethan Burck tenor M.M. & B.M. The Juilliard School;
Hometown: Aurora, IL; Young Artist Programs: Music Academy
B.M. Baldwin Wallace Conservatory; of the West, Chautauqua Voice Program,
M.M. Curtis Institute of Music; Ravinia’s Steans Music Institute
Young Artist Program: Santa Fe Opera
Sergio Martínez bass
Amalia Crevani soprano Hometown: Bogotá, Colombia;
Hometown: Milford, NJ; B.M. Juan N. Corpas University (Bogotá,
B.M. DePauw University; Colombia);
Young Artist Program: Aspen Opera M.M. University of Illinois Urbana-
Champaign
Daniel Espinal tenor Young Artist Program: Glimmerglass Opera
Hometown: Sarasota, FL;
B.M. Manhattan School of Music; Ana Mora mezzo-soprano
Young Artist Program: Merola Opera Hometown: Venezuela;
B.M. Pontificia Universidad Javeriana
Allison Fahey mezzo-soprano (Bogotá, Colombia)
Hometown: Sebastian, FL; M.M. & G.D. New England Conservatory
B.M. Stetson Unversity; Young Artist Program: Santa Fe Opera
Young Artist Programs: Seagle Festival,
Chautauqua Opera Conservatory Kara Morgan mezzo-soprano
Hometown: Andover, MN;
Samuel Kidd baritone B.M. Drake University;
Hometown: Ann Arbor, MI; M.M. New England Conservatory;
B.M. The University of Michigan; Young Artist Programs: Santa Fe Opera,
M.M. University of Cincinnati College- Sarasota Opera
Conservatory of Music;
Young Artist Programs: Wolf Trap Opera,
Houston Grand Opera Young Artists’ Vocal
Academy, Music Academy of the WestYale Opera Staff
Finn Sagal bass-baritone director
Hometown: La Cañada, CA; Gerald Martin Moore
B.M. University of California, Los Angeles;
Young Artist Programs: Aspen Music manager
Festival, Curtis Summerfest Erika Niemi
Jaeeun Shin soprano music preparation
Hometown: Seoul, South Korea; Alejandro Roca
B.M. Korea National University of Arts;
M.M. & G.D. New England Conservatory collaborative piano fellows
Curtis Serafin
Alex Smith baritone Anna Smigelskaya
Hometown: Kalamazoo, MI;
B.M. Oberlin Conservatory of Music; voice faculty
Young Artist Programs: SongFest, Gerald Martin Moore
Oberlin in Italy Adriana Zabala
Jillian Tate soprano
Hometown: Fairfax, VA;
B.M. University of Maryland, College Park Yale Philharmonia
Korin Thomas-Smith baritone
Staff
Hometown: Toronto, Canada;
B.M. & M.M. University of Toronto; manager
Young Artist Programs: Music Academy Jeffrey M. Mistri
of the West, Aspen Music Festival,
Ravinia’s Steans Music Institute music librarian
Samuel Bobinski
office assistant
Marty TungYale Philharmonia Roster
Peter Oundjian, principal conductor
Samuel Hollister, assistant conductor
violin i double bass horn
Charlie Lovell-Jones Esther Kwon Stephanie Fritz
Da Young (Rachel) Lim Nicole Wiedenmann Franco Ortiz
Herdís Guðmundsdóttir Hector Ponce Xin He
Amy Oh Jaimee Reynolds
Alexander Franco Goldberg flute William Sands
Evan Johanson Jarrett May Corey Schmidt
Kenneth Naito Michael Huerta Amber Wang
Emily Shehi Nadira Novruzov
Emma Meinrenken trumpet
Zili Sha oboe Anthony Barrington
Will Stevens Eric Evans
violin ii Rachel Ahn Shania Cordoba
Anna Lee Mickenna Keller
Gregory Lewis Alec Chai trombone
Xingzhou Rong Addison Maye-Saxon
Andrew Samarasekara english horn Chandler McLaughlin
Riana Heath Alec Chai Yuki Mori
Yan Li Declan Wilcox
Sophia Steger clarinet
Albert Steinberger Amer Hasan tuba
Nikki Pet Bridget Conley
viola Jonathan López
Joseph Skerik timpani
Cassia Drake bass clarinet Michael Yeung
Madison Marshall Jonathan López
Katie Liu percussion
Matthew McDowell bassoon Sijia Huang
Serena Hsu Marty Tung Mingyu Son
Winfred Felton Jessie Chiang
cello Ryan Goodwin Yukiko Nakamura
Jasmine Pai
William Suh contrabassoon harp
Cheng “Allen” Liang Ryan Goodwin Yun Chai Lee
Hans Emil Sollesnes
Ben Lanners
Jenny BahkYale 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 $5Upcoming 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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If you do not intend to save your program, please recycle it in the baskets at the exit doors.Texts Translations
“Ah, qual colpo inaspettato”
ROSINA ROSINA
(Ah, qual colpo inaspettato! Egli stesso? Oh Ciel! Che (Oh, what a shock! It is he himself! Heavens, what do I hear?
sento! Di sorpresa e di contento son vicina a delirar!) With surprise and with joy I am almost delirious!)
FIGARO FIGARO
(Son rimasti senza fiato, (They are breathless with delight,
ora muoion dal contento, they are dying of contentment,
guarda, guarda il mio talento, che bel colpo seppe far!) oh, how talented I am, what a fine coup I brought about!)
CONTE COUNT
(Qual trionfo inaspettato! Me felice! Oh, bel (What an unexpected triumph! What a happy, wonderful
momento! moment! With love and contentment, I am almost delirious!)
Ah, d'amore e di contento son vicino a delirar!)
ROSINA ROSINA
Mio Signor!...Ma...voi...ma io... My Lord!...But...you...but I...
CONTE COUNT
Ah, non più, ben mio, You are no longer just my love,
Il bel nome di mia sposa, idol mio, t'attende già, sì. the blessed name of wife, my idol, awaits you.
ROSINA ROSINA
Il bel nome di tua sposa! Oh, qual gioia al cor mi dà! The blessed name of wife! Oh, what joy that gives my heart!
CONTE COUNT
Sei contenta? Are you happy?
ROSINA ROSINA
Ah! mio signore! Oh! Good sir!
ROSINA e CONTE ROSINA and COUNT
Dolce nodo avventurato che fai paghi i miei desiri! Sweet, fortunate knot, that rewards my desires!
Alla fin de' miei martiri tu sentisti, amor, pietà. At last, God of Love, you felt pity for my suffering.
FIGARO FIGARO
(Nodo!) Andiamo. (Nodo!) (Knot!) Let's get going. (Knot!)
Presto, andiamo. (Paghi!) Vi sbrigate. Quickly, Let's go. (All desire!) Hurry up.
Via, lasciate quei sospiri. Presto, andiam per carità. This is no time for sentiment. Quick, let's go for goodness sake.
Se si tarda i miei raggiri fanno fiaso in verità. If there’s any more delay my ruses will end in fiasco, for sure.
Ah! Cospetto! Che ho veduto! Oh, damn it! What do I see!
Alla porta una lanterna, due persone! At the door a lantern, two people!
Che si fa? What's to be done?
CONTE COUNT
Hai veduto... You have seen...
FIGARO FIGARO
Sì, signor... Yes, sir...
1CONTE
Due persone? COUNT
Two people?
FIGARO
Sì, signor... FIGARO
Yes, sir...
CONTE
Una lanterna? COUNT
A lantern?
FIGARO
Alla porta, sì, signor. FIGARO
At the door, yes, sir.
ASSIEME
Che si fa? Che si fa? Zitti, zitti, piano, piano, TOGETHER
non facciamo confusione, What's to be done? Softly, softly, piano, piano,
per la scala del balcone, no confusion, no delay,
presto andiamo via di qua. by the ladder of the balcony,
quickly, let us go away.
“Bei Männern, welche Liebe fühlen” Men who feel the call of love
Pamina: Pamina:
Bei Männern, welche Liebe fühlen, Men who feel the call of love
fehlt auch ein gutes Herze nicht. Do not lack a gentle heart.
Papageno: Papageno:
Die süßen Triebe mitzufühlen, To share these sweet desires
ist dann der Weiber erste Pflicht. Is women’s first duty.
Beide: Both:
Wir wollen uns der Liebe freu’n, We shall rejoice in love,
wir leben durch die Lieb’ allein. We live for love alone.
Pamina: Pamina:
Die Lieb’ versüßet jede Plage, Love sweetens every sorrow,
ihr opfert jede Kreatur. All creatures pay it homage.
Papageno: Papageno:
Sie würzet uns’re Lebenstage, Love adds spice to our days on earth,
sie wirkt im Kreise der Natur. Love is at work throughout all nature.
Beide: Both:
Ihr hoher Zweck zeigt deutlich an: Its exalted goal is manifest:
nichts Edler’s sei, als Weib und Mann. Nothing is more noble than man and wife.
Mann und Weib, und Weib und Mann, Man and wife, and wife and man,
reichen an die Gottheit an. Attain divinity.
English Translation © Richard Stokes
2“Mêlons! Coupons!”
MERCÉDÈS, FRASQUITA MERCÉDÈS, FRASQUITA
Mêlons! Coupons! Shuffle! Cut!
Bien, c'est cela. Trois cartes ici. Quatre là! Well, that's it. Three cards here. Four there!
MERCEDES et FRASQUITA MERCEDES and FRASQUITA
Et maintenant, parlez, mes belles, And now, talk, my beautiful,
De l'avenir donnez-nous des nouvelles; From the future give us news;
Dites-nous qui nous trahira, Tell us who will betray us,
Dites-nous qui nous aimera. Tell us who will love us.
Parlez, parlez! Speak, speak!
Parlez, parlez! Speak, speak!
Dites-nous qui nous trahira, Tell us who will betray us,
Dites-nous qui nous aimera. Tell us who will love us.
FRASQUITA FRASQUITA
Moi, je vois un jeune amoureux Me, I see a young lover
Qui m'aime on ne peut davantage. Who loves me more than anything.
MERCÉDÈS MERCÉDÈS
Le mien est très riche et très vieux Mine is very rich and very old
Mais il parle de mariage. But he's talking about marriage.
FRASQUITA FRASQUITA
Il me campe sur son cheval, He's sitting me on his horse,
Et dans la montagne il m'entraîne. And to the mountains he carries me off.
MERCÉDÈS MERCÉDÈS
Dans un château presque royal, In a castle, almost royal,
Le mien m'installe en souveraine. Mine sets me up like a queen!
FRASQUITA FRASQUITA
De l'amour à n'en plus finir, Love never ending,
Tous les jours nouvelles folies. Everyday new raptures!
MERCÉDÈS MERCÉDÈS
De l'or tant que j'en puis tenir, Gold as long as I can hold,
Des diamants ... des pierreries. Diamonds, precious stones.
FRASQUITA FRASQUITA
Le mien devient un chef fameux, Mine becomes a famous leader,
Cent hommes marchent à sa suite. One hundred men are following him.
MERCÉDÈS MERCÉDÈS
Le mien, en croirai-je mes yeux? Mine, can I believe my eyes?
Oui ... Il meurt! Ah je suis veuve Yes ... he is dying! Ah, I'm a widow
Et j'hérite! And I inherit!
FRASQUITA et MERCÉDÈS FRASQUITA and MERCEDES
Parlez encor, parlez, mes belles, Speak again, speak, my beautiful,
De l'avenir donnez-nous des nouvelles; From the future give us news;
3Dites-nous qui nous trahira, Tell us who will betray us,
Dites-nous qui nous aimera. Tell us who will love us.
Parlez encor! Parlez encor! Speak again! Speak again!
MERCÉDÈS FRASQUITA MERCÉDÈS FRASQUITA
Fortune! Amour! Fortune! Love !
CARMEN CARMEN
Voyons, que j'essaie à mon tour. Let's see, let me have a turn.
Carreau, pique ... la mort! Diamonds, spades ... death!
J'ai bien lu ... moi d'abord. I have read it clearly ... me first.
Ensuite lui ... pour tous les deux la mort! Then him ... for both of us death!
En vain pour éviter les réponses amères, In vain to avoid the bitter replies,
En vain tu mêleras, In vain you will shuffle,
Cela ne sert à rien, les cartes sont sincères It is useless, the cards are sincere
Et ne mentiront pas. And will not lie.
Dans le livre d'en haut, si ta page est heureuse, If your page in the heavenly book is happy,
Mêle et coupe sans peur, Shuffle and cut without fear,
La carte sous tes doigts se tournera joyeuse The card under your fingers will turn up happy
T'annonçant le bonheur. foretelling good luck.
Mais si tu dois mourir, si le mot redoutable But if you must die, if the terrible word
Est écrit par le sort, Is written by fate,
Recommence vingt fois, la carte impitoyable Begin over twenty times, the ruthless card
Répétera: la mort! Will repeat: death!
Encor! Encor! Toujours la mort. Again! Again! Always death.
FRASQUITA et MERCÉDÈS FRASQUITA and MERCEDES
Parlez encor Speak again
Parlez, mes belles, Speak, my beautiful,
De l'avenir donnez-nous des nouvelles; From the future give us news;
Dites-nous qui nous trahira, Tell us who will betray us,
Dites-nous qui nous aimera. Tell us who will love us.
Fortune! Amour! Fortune! Love!
CARMEN CARMEN
Encor! Encor! Again! Again!
Le désespoir! The despair!
La mort, la mort. Encor! Death, death. Again!
La mort. Toujours la mort. The death. Always death.
MERCÉDÈS MERCÉDÈS
Fortune! Fortune!
FRASQUITA FRASQUITA
Amour! Love!
CARMEN CARMEN
Toujours la mort! Always death!
TOUTES LES TROIS THE THREE OF THEM
Encor! Encor! Encor! Encor! Again! Again! Again! Again!
4“Cheti, cheti, immantinente”
PASQUALE PASQUALE
Cheti, cheti, Cheti, cheti, immantinente Quietly, quietly, right away
nel giardino discendiamo; prendo meco la mia gente, we’ll go down into the garden;
il boschetto circondiamo I’ll take my servants with me,
e la coppia sciagurata, we’ll surround the grove
a un mio cenno imprigionata, and the wretched couple,
senza perdere un momento captured at my signal, without losing a moment,
conduciam dal podestà. we’ll bring them before the magistrate.
MALATESTA MALATESTA
Io direi . . . sentite un poco. I would say . . . listen for a bit.
Noi due soli andiam sul loco, Let us two go alone to the place,
nel boschetto ci appostiamo, we’ll place ourselves in the grove
ed a tempo ci mostriamo. and show ourselves at the right time.
E tra preghi e tra minaccie And between prayers and threats
d’avvertir l’autorità, to notify the authorities,
ci facciam dai due prometter we’ll make them both promise
che la cosa resti là. that the affair will end there.
PASQUALE PASQUALE
È si fatto scioglimento poca pena al tradimento. Such a punishment hardly fits the crime.
MALATESTA MALATESTA
Riflettete, è mia sorella. Reflect on it carefully, she’s my sister.
PASQUALE PASQUALE
Vada fuor di casa mia, Let her get out of my house,
altri patti non vo’ far. I won’t stand for other solutions.
MALATESTA MALATESTA
È un affare delicatto; vuol ben esser ponderato. It’s a delicate matter; it needs to be well thought out.
PASQUALE PASQUALE
Ponderate, esaminate, Think, examine,
ma in mia casa non la vo’, no, no but I don’t want her in my house, no, no.
MALATESTA MALATESTA
Uno scandalo farete e vergogna poi ne avrete. You’ll make a scandal and be sorry after.
PASQUALE PASQUALE
Non m’importa! I don’t care!
MALATESTA MALATESTA
Non conviene, non sta bene: altro modo cercherò. It’s not right, it won’t do; I’ll look for another way.
PASQUALE PASQUALE
Non sta bene, non conviene… It won’t do, it’s not right…
ma lo schiaffo qui restò. Io direi… but O have the slap to prove it. I would say…
5MALATESTA MALATESTA
L’ho trovata! I’ve found it!
PASQUALE PASQUALE
Benedetto! dite presto. Thank goodness! Tell me quickly.
MALATESTA MALATESTA
Nel boschetto quatti, quatti ci appostiamo, We will place ourselves quietly in the grove
di là tutto udir possiamo. from there we’ll be able to hear everything.
S’è costante il tradimento, la cacciate su due piè. If the betrayal is proven, throw her out at once.
PASQUALE PASQUALE
Bravo, va benone, son contento, son contento. Bravo, that’s excellent, I’m content.
(Aspetta, aspetta, cara sposina: (Just wait, dear little wife:
la mia vendetta già s’avvicina: my vengeance already draws near;
già, già ti preme, già t’ha raggiunto, already it presses you,
tutte in un punto l’hai da scontar. already it has caught up with you,
in a single moment you will have to pay for everything
Vedrai se giovino raggiri e cabale, You’ll see if tricks and plots help you,
sorrisi teneri, sospiri e lagrime; tender smiles, sighs and tears;
or voglio prendere la mia rivincita, now I want to take my revenge,
sei nella trappola, v’hai da restar.) you’re in the trap, you’ll have to stay there.)
MALATESTA MALATESTA
(Il poverino sogna vendetta, (The poor man dreams of vengeance,
non sa il meschino quel che l’aspetta: but the wretch doesn’t know what awaits him:
invano freme, invan s’arrabia, in vain he rages, in vain he gets angry,
è chiuso in gabbia, non può scappar. he’s locked in the cage, he can’t escape.
Invano accumula progetti e calcoli, In vain he piles up plans and schemes,
non sa che fabbrica castelli in aria; he doesn’t know that he’s building castles in the air;
non vede, il semplice, che nella trappola he doesn’t see, the fool,
da sè medesimo si va a gettar.) that he’s about to throw himself into a trap.)
“Leïla! Dieu puissant”
NADIR NADIR
De mon amie, fleur endormie au fond du lac In the deep and clear water, Looking like a slumbering flower
silencieux, j'ai vu dans l'onde, claire et profonde, I saw my beloved´s sparkling brow and gentle eyes
etinceler le front joyeux et les doux yeux! Reflected in the lake
Ma bien-aimée est enfermé dans un palais d'or et My beloved is locked away in a palace of gold and azure;
d'azur
LÉÏLA LEILA
Dieu! La voix se rapproche! God! The voice is coming nearer!
NADIR NADIR
Je l'entends rire, et je vois luire I hear her laugh, and I can see in the shining reflection
Sur le cristal du gouffre obscur son regard pur! of the dark abyss, her pure gaze!
6LÉÏLA LÉÏLA
Un doux charme m'attire! Ciel! Ah! c'est lui A sweet charm is draws me! Heavens! It is he!
NADIR NADIR
Léïla! Léïla! Leila! Leila!
LÉÏLA LEILA
Dieu puissant, le voilà! Almighty God, here he is!
NADIR NADIR
Près d'elle, me voilà! Near here, here I am!
LÉÏLA LEILA
Par cet étroit sentier qui borde un sombre abîme, How did you come along this narrow path
Comment es-tu venu? bound by a dark chasm?
NADIR NADIR
Un Dieu guidait mes pas, un tendre espoir A god was leading me, a tender hope burns within me.
m'anime! Rien, non rien ne m'a retenu! Nothing, no, nothing could have kept me.
LÉÏLA LEILA
Que viens-tu faire ici? Fuis, la mort te menace! What are you doing here? Flee, death threatens you!
NADIR NADIR
Apaise ton effroi, pardonne! Calm your fear, forgive me!
LÉÏLA LEILA
J'ai juré! Je ne dois pas t’entendre, hélas! I have sworn! I must not listen to you, alas!
Je ne dois pas te voir! I must not see you!
NADIR NADIR
Ah! fais-moi grâce. Ah! have mercy on me!
LÉÏLA LEILA
Le mort est sur tes pas! Death is following you!
NADIR NADIR
Ne me repousse pas! Do not spurn me!
LÉÏLA LEILA
Ah! va-t'en! Ah! go away!
NADIR NADIR
Ah! le jour est loin encore, nul ne peut nous Ah! daylight is still far away, nobody can find us!
surprendre! Ah! Léïla, souris à mon espoir! Ah! Leila, grant me what I hope for!
LÉÏLA LEILA
Non, séparons-nous! Il en est temps encore No, let us part! There is still time.
NADIR NADIR
Ah! pourquoi repousser un ami qui t'implore? Ah! Why spurn a friend who is imploring you?
7LÉÏLA LEILA
Ah! va-t'en! Ah! la mort est sur tes pas. Ah! go away, death is following you!
Ah! par pitié, éloigne-toi! Ah! for pity's sake, go away!
NADIR NADIR
Ton cœur n'a pas compris le mien! Your heart did not understand mine:
Au sein de la nuit parfumée, in the thick of the fragrant night,
Quand j'écoutais l'âme charmée, as I listened, with ravished soul,
Les accents de ta voix aimée, to the sounds of your beloved voice,
Ton cœur n'a pas compris le mien! your heart did not understand mine!
LÉÏLA LEILA
Ainsi que toi je me souviens! Just like you, I remember:
Au sein de la nuit parfumée, in the thick of the fragrant night,
Mon âme alors libre et charmée, my soul, then free and bewitched,
À l'amour n'était pas fermée! was not yet closed to love.
Ainsi que toi je me souviens! Just like you, I remember!
NADIR NADIR
J'avais promis d'éviter ta présence, I had promised to keep away from you
Et de me taire à tout jamais; and to be silent forever!
Mais de l'amour, hélas! ô fatale puissance! But, alas, the power of love is fatal,
Pouvais-je fuir les beaux yeux que j'aimais? how could I have fled from the beautiful eyes I loved?
LÉÏLA LEILA
Malgré la nuit, malgré ton long silence, Despite the darkness, despite your lengthy silence,
Mon cœur charmé avait lu dans ton cœur! my heart had read into your heart.
Je t'attendais, j'ésperais ta présence! I was awaiting you, hoping your presence,
Ta douce voix m'apportait le bonheur! your sweet voice brought me happiness.
NADIR NADIR
Est-il vrai? que dis-tu? Is this true? What are you saying?
Doux aveu, ô bonheur! Sweet avowal! O rapture!
Oui! Ton cœur n'a pas compris le mien! Yes, your heart had understood mine!
Au sein de la nuit parfumée, etc In the thick of the fragrant night, etc.
LÉÏLA LEILA
Ah! Ainsi que toi je me souviens! etc Ah! Just like you, I remember! Etc.
ENSEMBLE TOGETHER
Ô doux moment O sweet moment!
“Dio, che nell’alma infondere”
RODRIGO RODRIGO
Questo arcano dal Re non fu sorpreso ancora? Has the king found out your secret?
DON CARLO DON CARLO
No. No.
8RODRIGO RODRIGO
Ottien dunque da lui di partir per la Fiandra. So then get me his to leave for Flanders.
Taccia il tuo cor, - degna di te In an effort worthy of you, allow your heart to break!
Opra farai, - apprendi omai Learn now how to become a king amidst an oppressed
In mezzo a gente oppressa a divenir un Re! people!
DON CARLO DON CARLO
Ti seguirò, fratello. I will follow you, brother.
RODRIGO RODRIGO
Ascolta! il santo asil s'apre già; qui verranno Listen! The doors of the monastery are opening;
Filippo e la Regina. It must be Philip and the Queen.
DON CARLO DON CARLO
Elisabetta! Elizabeth!
RODRIGO RODRIGO
Rinfranca accanto a me lo spirto che vacilla! By my side, let your wavering spirits be strengthened.
Serena ancor tua stella in alto brilla. Your star will again shine serenely in the heavens!
Domanda al ciel dei forti la virtù! Ask God to give you the strength of a hero!
DON CARLO E RODRIGO DON CARLO AND RODRIGO
Dio che nell'alma infondere God, you have pierced our hearts
Amor volesti e speme, Desio nel core accendere with a spark of the same fire, the same exalted love, the
Tu déi di libertà. Giuriam insiem di vivere love of liberty! God, who has made of our sincere hearts
E di morire insieme; the hearts of two brothers,
In terra, in ciel congiungere receive our oath!
Ci può la tua bontà. We shall die in brotherly love!
RODRIGO RODRIGO
Vengon già. There they are.
DON CARLO DON CARLO
Oh terror! Al sol vederla io tremo! Oh terror! I tremble at her sight!
CORO DI FRATI MONKS
Carlo il sommo imperatore Charles the Supreme Emperor
Non è più che muta polve: It is no more than mute dust:
Del celeste suo fattore Of the heavenly his factor
L'alma altera or trema al piè. The alma alters or trembles at the footer.
RODRIGO RODRIGO
Coraggio! Courage!
DON CARLO DON CARLO
Ei la fe' sua! Sventura! He made her his wife!
Io l'ho perduta! I have lost her!
RODRIGO RODRIGO
Vien presso a me; più forte il core avrai! Your heart shall be stronger if you come near.
DON CARLO E RODRIGO DON CARLO AND RODRIGO
Insiem vivremo, e moriremo insieme! Together we will live, and we will die together!
9“King Rene’s Arioso”
Что скажет он? What will he say?
Какой ответ произнесёт его наука? What answers will his wisdom provide?
Увидит Иоланта свет, Will Iolanta see light,
иль суждена мне вечно мука знать дочь мою or, am I forever doomed to be tormented by my daughter's
объятой тьмою! darkness?
О Боже, сжалься надо мною! O Lord, have mercy on me!
Господь, уж если грешен я, за что страдает Heavenly Father! If I am the sinner, why is this pure angel
ангел чистый? suffering?
За что поверг из-за меня во тьму Иоланты взор What have I done, that You have cast Iolanta into the realm
лучистый? of darkness?
О дай мне радостую весть, утешь надеждой I beg You, give me joyful news and bless me with the hope of
исцеленья. a recovery.
Я за неё готов принесть корону, власть, мои In return, I am prepared to give up my crown, my power, my
владенья… possessions…
Лиши меня всего: покоя, счастья. Retaining only peace and joy.
Я всё смиренно претерплю, за всё Тебя I glorify You! In agony, I surrender myself and fall before You
благословлю, смотри, готов во прахе пасть я. in the dust.
Всего лишиться, всё отдать. I am prepared to leave everything, give everything away.
Но, только дай мне не видать Иоланть взор If only you would remove the darkness from Iolanta's eyes.
обьятым тьмою!
О Боже, сжалься надо мной. O Lord, have mercy on me!
Перед Тобой готов во прахе пасть я. I am prepared to submit to you.
О Боже, Боже мой! Сжалься! Сжалься надо O Lord, my Lord! I beg you! Have mercy on me!
мною!
English Translation by Alireza Tousi
“Ah! Quel respect, Madame”
ORY ORY
Ah! Quel respect, madame, por vous vertus Ah, what respect, madame, for your virtue is kindled in me;
m´enflamme; souffrez que de mon âme j´exprime ici allow me to express the ardor within my soul
l´ardeur!
COMTESSE COUNTESS
L´ardeur! The ardor!
ORY ORY
Votre prudence, votre obligeance nous a sauvé Your wisdom, your kindness, has saved our honor
l´honneur.
COMTESSE COUNTESS
Je suis hereuse er fière d´avoir d´un téméraire I am happy and proud that I was able to rescue
Soustrait à la colère une vertu si chère, Your virtue from the wrath of a rash man
ORY ORY
Helas! Alas!
10COMTESSE COUNTESS
Oui,je suis fière qu´asa colère Yes, I am proud that from his wrath
échappent tant d´attraits Can escape such charms
ORY ORY
En mon coeur rien n´efface In my heart nothing can efface
tant de charmes et de graces, such charm and grace
cette main que j´embrasse vous l’atteste à jamais! this hand that I kiss attests it forever!
COMTESSE COUNTESS
Que faites-vous? Ah! De grâce! What are you doing? Ah! For goddness’ sake!
ORY ORY
De ma reconnaissance, quoi! What! Does my excessive gratitude
L´excès vous offence! Offend you!
Et sans votre assistance. Hélas! Lorsque j´y pense And without your assistance, alas, when I think of it, what
Quell était notre sort, hélas, lorsque je pense would be our fate, alas, when I think with fear, I tremble
D´effroi j´en tremble encor! still!!
COMTESSE COUNTESS
Calmez votre âme, quell excés de frayeur! Calm your soul, what excess of fear!
ORY ORY
Ah Madame Ah Madame
COMTESSE COUNTESS
Ah! Quell excés d´ivresse! Ah, what excess of rapture!
D’où vient cette tendresse? Whence comes this tenderness?
ORY ORY
Il faut avec adresse modérer m tendresse I must with prudence moderate my tender feelings
La crainte encor l´opresse de quelle douce ivresse Fear still oppresses her; with what sweet ardor
Comme si près de lui, malgré moi j’ai frémi. As if near him, in spite of myself I trembled.
COMTESSE COUNTESS
Vous pouvez sans crainte braver le Compte Ory You can without fear defy Count Ory
ORY ORY
Ah! Vous osez sans crainte Ah! You dare without fear defy Count Ory
Braver le Compte Ory
On le dit téméraire. They say he´s bold
COMTESSE COUNTESS
Je brave sa colére I defy his wrath
ORY ORY
On pretend qu’il vous aime They say that he loves you
COMTESSE COUNTESS
Lui!....ah, quelle audace extreme! He!... ah. What boldness extreme!
11ORY ORY
Pour obtenir sa grâce, s’il tombait à vos genoux, To obtain his pardon, if he fell at your knees.,
Madame, que feriez-vous? Madame, what would you do?
COMTESSE COUNTESS
D’une pareille audace la honte et le mépris Of such boldness, shame and disdain
Seraient le prix Would be the price
Ce téméraire qui croit nous plaire, This bold man who hopes to please us,
En vain espère être vainqueur In vain hopes to be the conqueror.
Moi je préfère l’amant sincere I myself prefer the lover sincere
Qui sait nous taire sa tendre ardeur. Who knows how to conceal his tender ardor.
Mais on doit rire du faux délire But one must laugh over the sham frenzy
Et du martyre d’un séducteur. And over the suffering of a seducer.
ORY ORY
Beauté si fière, prude sévère, A beauty so proud, prudish,severe
Bientôt j’espère toucher ton Coeur; Soon I hope to touch our heart
Je ris d’avance de la défense, I am laughing beforehand at her defense,
La résistance est de rigueur; Her resistence is to be expected;
Puis l’heure arrive où la captive Then the time comes when the captive woman
Faible et plaintive cede au vainqueur. Feeble and plaintive yields to the victor
COMTESSE COUNTESS
En confiance on peut d’avance In confidence, one can beforehand
Braver, je pense, son insolence Defy, I think, his insolence
ORY ORY
Il faut d’avance être en défense, I must beforehand be on my guard
La confiance n’est pas prudence. Over-confidence is not prudence.
“Flower Duet”
Lakme: Viens, Mallike, les lianes en fleur jettent déjà Lakme: Come, Mallika! The flowering vines shade the sacred
sur le ruisseau sacré qui coule, calme et somber éveillé stream. The noisy birds have awakened the calm and gloomy
par le chant des oiseaux tapageurs! waters.
Mallika: Oh, maitresse, c’est l’eure où je te vois Mallika: My lady, it is the blessed hour when I see you smiling
sourire, l’eure bénie où je pius lire dans le ceour and can read into your heart!
toujours fermé de Lakme!
Lakme, Mallika: Both:
Dôme épais le jasmin, Beneath the dense canopy, where white jasmine and roses
A la rose s’assemble, mingle over the riverbanks.
Rive en fleurs frais matin, Laughing in the cool morning, we are summoned together.
Nous appellent ensemble. Come, let us go down there together.
Ah! glissons en suivant We shall gently slip into the fleeting current.
Le courant fuyant: Upon the quivering waves we will glide free of care; let us
Dans l’on de frémissante, journey to the restful bank where the birds sing.
D’une main nonchalante,
Gagnons le bord,
Où l’oiseau chante, l’oiseau, l’oiseau chante.
12Dôme épais, blanc jasmin, Beneath the dense canopy, where white jasmine and roses
Nous appellent ensemble! mingle over the riverbanks.
Laughing in the cool morning, we are summoned together.
Lakme: Lakme:
Mais, je ne sais quelle crainte subite, I do not know what fear suddenly takes hold of me.
S’empare de moi, My father is traveling to a cursed city.
Quand mon père va seul à leur ville maudite; I am trembling with fear!
Je tremble, je tremble d’effroi!
Mallika:
Mallika: Let us gather the blue lotus from the pond upon which the
Pourquoi le Dieu Ganeça le protège, snow-winged swans live happily.
Jusqu’à l’étang où s’ébattent joyeux Our God, Ganesha, will protect your father!
Les cygnes aux ailes de neige,
Allons cueillir les lotus bleus.
“Ai capricci della sorte”
ISABELLA Isabella:
Ai capricci della sorte io so far l'indifferente. I know how to show indifference to the blows of fate. But I
Ma un geloso impertinente io son stanca di soffrir. am too tired of putting up with this jealous man.
TADDEO Taddeo:
Ho più flemma, e più prudenza I am more calm and prudent than any other suitor. But I
Di qualunque innamorato. Ma comprendo dal understand from past experiences that anything can
passato tutto quel che può avvenir. happen.
ISABELLA Isabella:
Sciocco amante è un gran supplizio. A foolish lover is a great trial.
TADDEO Taddeo:
Donna scaltra è un precipizio. A wily woman is a disaster.
ISABELLA Isabella:
Meglio un Turco che un briccone. Better a Turk than a rascal.
TADDEO Taddeo:
Meglio il fiasco che il lampione. Better to be a cuckhold than a chaperone.
ISABELLA Isabella:
Vanne al diavolo in malora! Più non vo'con te Go to the devil! I no longer want to bicker with you.
garrir.
TADDEO Taddeo:
Buona notte; sì... Signora. Ho finito d'impazzir. Good night, madam. I won’t be driven mad any longer.
ISABELLA Isabella:
(Ma in man de'barbari...senza un amico But to be in a new country without a friend…how can I
Come dirigermi?...Che brutto intrico! manage? What a mess! How shall I resolve this?
Che ho da risolvere? Che deggio far?
Che ho da risolvere? Che brutto affar!)
13TADDEO Taddeo:
(Ma se al lavoro poi mi si mena... But if they make me go to work, how can I stand it?
Come resistere, se ho poca schiena?) I have little strength!
TADDEO Taddeo:
(La furia or placasi.) Her fury wanes.
ISABELLA Isabella:
(Ride il babbeo.) (The buffoon laughs at me).
TADDEO Taddeo:
Staremo in collera? Must we remain angry at one another?
ISABELLA Isabella:
Che ve ne par? What do you think?
A DUE Both:
Ah,no: per sempre uniti, Senza sospetti e liti, Ah, no! Always united without suspicions or quarrels! With
Con gran piacere, ben mio, great pleasure, we will be niece and uncle – and everyone
Sarem nipote e zio; E ognun lo crederà. will believe us!
TADDEO Taddeo:
Ma quel Bey, Signora, But that Turkish official, my lady –
Un gran pensier mi dà. he causes me great concern.
ISABELLA Isabella:
Non ci pensar per ora, Don’t think about it for now.
Sarà quel che sarà. It will be what it will be.
“Pleurez mes yeux”
De cet affreux combat je sors l'âme brisée! My soul is broken from this dreadful fight!
Mais enfin je suis libre et je pourrai du moins However, I at last I am free
Soupirer sans contrainte et souffrir sans témoins. and able to sigh and to suffer in privacy.
Pleurez! pleurez mes yeux! tombez triste rosée Cry, cry these eyes of mine!
Qu'un rayon de soleil ne doit jamais tarir! May a ray of sun never dry this sad dew which falls!
S'il me reste un espoir, c'est de bientôt mourir! If a hope remains to me, it is to die soon!
Pleurez mes yeux, pleurez toutes vox larmes! pleurez Cry, these eyes of mine! Cry all your tears!
mes yeux!
Mais qui donc a voulu l'éternité des pleurs? But who wanted the eternity of tears?
O chers ensevelis, trouvez-vous tant de charmes à Dear buried ones, have you found pleasure in passing on
léguer aux vivants d'implacables douleurs? merciless pain to the living?
Hélas! je me souviens, il me disait: Alas! I remember that he said to me…
Avec ton doux sourire... With your sweet smile, you could only lead to glorious
Tu ne saurais jamais conduire paths…to blessed paths!
Qu'aux chemins glorieux ou qu'aux sentiers bénis!
Ah! mon père! Hélas! Ah, my father! Alas!
Pleurez! pleurez mes yeux! etc. Cry, these eyes of mine! etc.
14“Bella figlia dell’amore”
DUCA Duke:
Un dì, se ben rammentomi, I remember our meeting quite well on that day,
O bella, t'incontrai… beautiful one.
Mi piacque di te chiedere I was pleased to ask of you
E intesi che qui stai. and was told that you live here.
Or sappi che d'allora Now I know from that day forward,
Sol te quest'alma adora. my soul has loved only you!
GILDA Gilda:
(Iniquo!) The villain!
MADDALENA Maddalena:
Ah! Ah!... e vent'altre appresso Ha! And twenty others since then that he is probably
Le scorda forse adesso? forgetting!
Ha un'aria il signorino da vero libertino... This young man has the air of a libertine.
DUCA Duke:
Sì... un mostro son … Yes, I am a monster…
GILDA Gilda:
Ah, padre mio! Ah, father!
MADDALENA Maddalena:
Lasciatemi, stordito. Leave me be, fool!
DUCA Duke:
Ih, che fracasso! What a fuss…
MADDALENA Maddalena:
Stia saggio! - Be good, now!
DUCA Duke:
E tu sii docile, non farmi tanto chiasso. And you, be a bit more docile and don’t make a scene!
Ogni saggezza chiudesi nel gaudio e nell'amore. All wisdom ends in pleasure and in love!
La bella mano candida! What a beautiful pale hand!
MADDALENA Maddalena:
Scherzate voi, signore. You can’t be serious.
Son brutta. I’m ugly.
DUCA Duke:
Abbracciami. Embrace me!
MADDALENA Maddalena:
Ebbro! You’re drunk!
DUCA Duke:
D'amore ardente, I am burning with love!
MADDALENA Maddalena:
Signor, l'indifferente vi piace canzonar? Good sir, do you enjoy teasing me?
15DUCA Duke:
No, no, ti vo' sposar… Not at all, I want to marry you…
MADDALENA Maddalena:
Ne voglio la parola… I’d like your word on that.
DUCA Duke:
Amabile figliuola! Lovely maiden!
RIGOLETTO Rigoletto:
E non ti basta ancor? Is this scene enough proof to you?
GILDA Gilda:
Iniquo traditor! Evil betrayer!
DUCA Duke:
Bella figlia dell'amore, Beautiful daughter of love,
Schiavo son dei vezzi tuoi; I am captivated by your charms.
Con un detto sol tu puoi le mie pene consolar. With just one word you can console my suffering.
Vieni e senti del mio core il frequente palpitar. Come and feel the quick beating of my heart.
MADDALENA Maddalena:
Ah! ah! rido ben di core, che tai baie costan poco Ha! I laugh because words cost nothing.
Quanto valga il vostro gioco, mel credete, so I can appreciate your strategy, believe me.
apprezzar. Sono avvezza, bel signore, I’m used to similar joking, and I laugh heartily, my
Ad un simile scherzar. handsome sir.
GILDA Gilda:
Ah, così parlar d'amore Ah! Speaking of love in this manner…
A me pur intame ho udito! I have also heard him speak to me in this way.
Infelice cor tradito, per angoscia non scoppiar. Unhappy heart, do not burst from anguish.
RIGOLETTO Rigoletto:
Taci, il piangere non vale. Hush, weeping will do you no good.
Ch'ei mentiva sei sicura. Taci, e mia sarà la cura No that you’re sure he is lying, hush and let me take care
La vendetta d'affrettar. Sì, pronta fia, sarà fatale, of the revenge. It will be swift and deadly.
Io saprollo fulminar. I know how I will strike him down.
16“Hélas, mon cœur s'égare encore”
HOFFMANN HOFFMANN
Hélas! mon cœur s'égare encore, Alas! My heart once again wanders,
Mes sens se laissent embraser, My senses are set ablaze,
Maudit l'amour qui me dévore, Cursed is the love that devours me,
Ma raison ne peut s'apaiser. My reason cannot be stilled.
Sous ce front clair comme une aurore Beneath that brow clear like a dawn
L'enfer même vient me griser. hell itself comes to intoxicate me.
Je la hais et je l'adore I hate her and I love her
Je veux mourir de son baiser. I want to die from her kiss.
GIULIETTA GIULIETTA
Mon bel Hoffmann, je vous adore, My beautiful Hoffmann, I adore you,
Mais n'ai point l'âme à refuser But do not have the soul to refuse
Ce diamant aux feux d'aurore This diamond with fire like dawn
Qui ne me coûte qu'un baiser. that does not cost me but a kiss.
Car je suis femme et j'adore For I am a woman and I love
Ce qui me fait plus belle encore What makes me more beautiful
Pour vous griser. To make you drunk.
Poète, il faut vous apaiser. Poet, must appease yourself.
DAPERTUTTO and PITICHINACCIO
DAPERTUTTO et PITICHINACCIO Poor Hoffmann, love again
Pauvre Hoffmann, l'amour encor In vain comes to set you ablaze;
Vainement vient t'embraser; Your beauty of the look of dawn
Ta belle au regard d'aurore has sold to us her sweet kiss.
Nous a vendu son baiser. Because the coquette adores herself;
Car la coquette s'adore; A jewel that can still
Un bijou qui peut encore Embellish it and make us intoxicating
L'embellir et nous griser It's worth a kiss.
Vaut bien pour elle un baiser.
Schlemil
SCHLEMIL This poet whom I abhor
Ce poète que j'abhorre Would soon have his kiss
Aurait bientôt son baiser If I didn’t have here to calm them down A sword
Sans ce fer clair et sonore supple and ringing
Dont je sais fort bien user. Which I know very well to use.
Ami, nous allons causer et je vais apaiser l'ardeur Friend, we will talk and I will appease the mad ardor that
folle qui te dévore. devours you.
NICKLAUSSE AND CHORUS
NICKLAUSSE ET LE CHŒUR Alas! his heart is still burning!
Hélas! son cœur s'enflamme encore! He let himself to be intoxicated -
Par elle il s'est laissé griser. Love burns and devours him.
L'amour le brûle et le dévore. Nothing can soothe him.
Son regard qui l’implore The perfidious he adores
Dit assez qu’il l’adore! Take the hearts to break them.
Rien Helas! Ne pourra appaiser! Flee the beautiful at the dawn front,
Son cœurs va se briser. Because we die of her kiss.
Son pauvre coeur va se briser, Hélas! Nothing can assuage him!
His poor heart will break, alas!
1718
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