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Monday, October 31, 2011

Italian Operettas: Il Pipistrello, La Vedova Allegra, &c

Speranza

1. "LA DANZA DELLE LIBELLULE."
Sandro Massimini, considerato il re dell’operetta
per le energie che nel corso della carriera ha
dedicato a tale genere musicale, è il regista
di questo allestimento in cui interpreta anche il ruolo di Bouquet Blum. Le coreografie sono di Don Lurio.
L’azione si svolge nel castello del signor Piper.
Le libellule del titolo sono Elena, vedova Cliquot (Simona Bertini), Tutù Gratin (Annalena Lombardi) e Carlotta Pommery (Donatella Zapelloni), tre allegre signore simili a libellule che, quando arriva la sera, volano di fiore in fiore ben determinate a non lasciarsi sfuggire nessuna occasione... di Carlo LOMBARDO e Franz Lehar con Sandro Massimini e Simona Bertini

2. "ADDIO, GIOVINEZZA". Il capolavoro di Giuseppe PIETRI proposto nell’edizione 1992 curata da Mario Licalsi per
"Il Festival dell’Operetta", Trieste.
Protagonisti, Maria Grazia Bonelli nel ruolo della modista Dorina e Roberto Bencivenga in quello dello studente Mario. Le scene sono di Mario Catalano, i costumi di Jurgen Aue, la coreografia di Giuliana Barabaschi. Un allestimento accolto da grandi consensi di critica e dagli applausi del pubblico. di Giuseppe Pietri con Maria Grazia Bonelli, Roberto Bencivenga

3. "Clivia." Porta la firma di Gino Landi, uno dei più famosi registi e coreografi della scena televisiva e teatrale italiana, questa edizione di Clivia rappresentata al Festival dell’Operetta di Trieste. L’autore, Nico Dostal, lavorò a lungo come direttore d’orchestra, capobanda e compositore, e scrisse le colonne sonore di molti film.
Non a caso, la protagonista di questo suo capolavoro è l’attrice di cinema Clivia Gray.
E non a caso il sipario si apre su un set cinematografico dove una troupe sta girando un film... di NICO DOSTAL con Elio Crovetto, Tiziana Sojat

4. "Orfeo all’Inferno" (Offenbach).
Il mito di Orfeo riletto in chiave comico satirica.
Nel 1858, quando viene presentato a Parigi, fa il tutto esaurito al botteghino per mesi e mesi. Bande, orchestrine e organetti non fanno che ripeterne i motivi principali. Lo scatenato can can finale diventa subito popolarissimo, trasformandosi in uno dei simboli della Ville Lumière all’epoca del Secondo Impero. Orfeo all’Inferno diverte tutta Parigi e ha in Francia e all’estero un’accoglienza trionfale. di JACQUES OFFENBACH con Daniela Mazzuccato, Mirko Guadagnini

5. "Principesse violini e champagne"
Le ultime due puntate del ciclo Rai sulla “piccola lirica” sono dedicate rispettivamente al repertorio italiano e alla cosiddetta operetta “trepidante”, quella cioè che tra gli anni Venti e Trenta del Novecento si lasciò contagiare dai ritmi travolgenti del jazz diventando ancora più vivace.
Ascolteremo brani e arie da alcuni dei più celebri titoli di questo genere musicale, da Addio Giovinezza a La duchessa del Bal Tabarin, da No, no Nanette fino al popolarissimo Al cavallino bianco, considerato l’anello di congiunzione tra l’operetta e la rivista. Puntate 5 e 6

6. "Principesse violini e champagne".
La terza puntata è dedicata a Franz Lehár, con brani tratti dal suo capolavoro, La vedova allegra, forse l’operetta più celebre in assoluto, ma anche da Il conte di Lussemburgo, Eva, Paganini. La quarta puntata presenta altri due grandi compositori mitteleuropei, il boemo Leo Fall e l’ungherese Emmerich Kálmán, ma non trascura di dedicare spazio alla zarzuela (con La Gran Via di Federico Chueca) e all’operetta inglese (con "La Geisha", di Sidney Jones, uno dei più grandi successi musicali della Belle Époque). Puntate 3 e 4

7. "Principesse violini e champagne".
Il dvd propone le prime due delle sei puntate del programma, dalla Rai, dedicato al mondo dell’operetta e condotto da Lauretta Masiero ed Enrico Viarisio. La prima puntata presenta gli autori francesi con brani da La vie parisienne, La bella Elena, Orfeo all’inferno, Le campane di Corneville, Santarellina (Nitouche), La mascotte. La seconda puntata è un excursus dell’operetta viennese, con raffinate messe in scena di titoli celebri: Sangue viennese, Boccaccio, Il venditore di uccelli, Il cavaliere della luna, Sogno di un valzer, La casa delle tre ragazze, Donne viennesi. Puntate 1 e 2

8. "NO, NO, NANETTE" di Vincent Youmans.
Nanette è stata cresciuta da Jimmy e Susanna, ma ora che è grande mal sopporta la rigida educazione di Susanna, che per rispetto alle convenzioni non la lascia andare al mare con gli amici, a Deauville, dove Jimmy e Susanna hanno una casa per le vacanze. Ma Nanette non ci sta e decide di andare ugualmente. Deauville diventa la scena di una commedia degli equivoci, perché per una serie di coincidenze tutti i personaggi si ritrovano lì, a confrontarsi con le apparenze... che ingannano. Il dvd presenta l’edizione televisiva della Rai del 1955. con Franca Tamantini - Enrico Viarisio - Alberto Bonucci - Gisella Sofio - Sandra Mondaini

9. "IL PAESE DEL SORRISO"
di Franz Lehàr.
Dopo essersi conosciuti è nato un grande amore tra la bella Lisa e il giovane principe cinese Sou-Chong. Ma, dopo aver lasciato l’Europa ed essere giunti in Cina, cominciano le difficoltà. L’amore tra una occidentale e un principe del Celeste Impero non è una cosa semplice: le tradizioni, i costumi differenti, gli obblighi di corte, troppe sono le difficoltà che i due amanti devono affrontare. Il loro amore è destinato a rimanere un sogno, con la consapevolezza però, come canta Sou-Chong che tu che m’hai rapito il cor, sarai per me il solo amor. con Silvia Dalla Benetta - Sung-Kyu Park - Manuela Bisceglie - Andrea Binetti

10. "CIN-CI-LA"
di Carlo Lombardo - Virgilio Ranzato.
La principessa Mjosotis, a Macao, in Cina, è stata educata in modo da preservarla dalle tentazioni. Purtroppo, anche il suo promesso sposo, Ciclamin, è molto, molto ingenuo. E mentre tutti aspettano, come vuole la tradizione, che il matrimonio venga consumato per iniziare i festeggiamenti, arrivano nella città la bella attrice Cin-Ci-Là, che si prenderà cura di Ciclamino, e Petit Gris, che si prenderà cura di Mjosotis. Il dvd presenta l’allestimento andato in scena al Teatro Lirico “G. Verdi” di Trieste nel 2008. con Elena Rossi - Maurizio Micheli - Leonardo Caimi - Giuseppina Brindelli

11. "BOCCACCIO" di Franz Von Suppé. L’autore del Decameron è il protagonista di questo capolavoro di Suppé. L’amore di Boccaccio per la bella Fiammetta è lo spunto per portare sulla scena le farsesche vicende delle novelle del grande certaldese. Travestimenti, arguzie, mariti beffati e mogli intraprendenti, sono i protagonisti di questa operetta, proposta nell’allestimento per il Festival dell’Operetta di Trieste del 1991. con Armando Ariostini - Giovanni Guarino - Graziano Polidori - Antonella Bandelli - Max Renè Cosotti

12. SCUGNIZZA di Mario Costa Condividi In una Napoli da cartolina, gioiosamente viva, con tutti i suoi più classici stereotipi, vive Salomè, una scugnizza bella e vivace. Quando Mister Toby, un ricco americano, la incontra ne rimane folgorato e le chiede di sposarlo e andare a vivere in America con lui. Ma lasciare Napoli è difficile, e ancora di più abbandonare Totò, qualcosa di più di un semplice amico. con Franca Tamantini - Giacomo Rondinella Elena Giusti - Franco Coop - Arturo Bragaglia

13. LA BELLA ELENA di Jacques Offenbach Condividi Elena, poco regina e molto cocotte, non può resistere al fato e alla promessa che Venere ha fatto a Paride di fargli sposare la donna più bella del mondo. Gli austeri miti classici sono arditamente parodiati nel brioso libretto di Meilhac e Halévy. Il dvd propone l’allestimento dell’Opéra de Paris presentato al Festival dell’Operetta di Trieste nel 2000. con Donata D’Annunzio Lombardi - Riccardo Botta - Paolo Rumetz - Francesco Piccoli

14. SOGNO DI UN VALZER di Otto Straus Condividi La giovane principessa Elena si è innamorata del tenente austriaco Niki, da lei conosciuto a Vienna. Ma Niki non ama Elena, anche se, per convenienza, deve sposarla. Niki non può dimenticare la sua Vienna, la vera protagonista di questo ultimo capolavoro di Oscar Straus, qui presentato nella versione televisiva della Radiotelevisione italiana del 1954. con Edda Vincenzi - Nuto Navarrini - Gino Matera

15. SANGUE VIENNESE di Johann Strauss Condividi Nella Vienna del 1814 un conte e una contessa, un cameriere e una cameriera, un ministro e una ballerina, sono al centro di un gioco di equivoci e qui pro quo, tutto a tempo di valzer.
----------- L’ultima operetta di Johann Strauss, rappresentata postuma, è un omaggio alla grande Vienna degli Strauss, evocata dal titolo stesso, che richiama il celebre valzer composto dall’autore nel 1873. Il dvd presenta l’edizione del Festival dell’Operetta di Trieste. con Giovanni Guarino - Francesco Piccoli - Daniela Mazzucato

16. BARBABLÙ di Jacques Offenbach Condividi Nel reame di re Moccolo Barbablù spadroneggia e si concede il piacere della conquista, sposando le donne di cui si invaghisce, per poi farle sparire a ogni suo nuovo amore. Anche re Moccolo ha qualche macchia sul suo comportamento, per gelosia fa uccidere tutti i cortigiani che crede vogliano insidiare la sua sposa. Ma quando Barbablù vuole prendere in moglie l’ultima giovane di cui si è invaghito lui e il re dovranno fare i conti con l’imprevisto. con Francesco Piccoli - Paola Antonucci - Marina Fratarcangeli

17. LA PRINCIPESSA DELLA CZARDA di Emmerich Kàlmàn con Elena Giusti - Alfredo Nobile - Sandra Ballinari Condividi Le vicende della bella cantante Sylva e del principe Edvino, che vorrebbe sposarla ma è impedito dalla volontà del padre, il conservatore principe Leopoldo Maria, che ha pronto per lui un matrimonio dettato dalla ragion di Stato, sono arricchite dal brio del grande umorista e autore teatrale Achille Campanile, che ha curato l’arrangiamento del libretto per questa edizione della Rai del 1955.

18. ROSE MARIE di Rudolf Friml - Herbert Stothart con Madelyn Renée Monti - Alessandro Safina Simona Patitucci - Gennaro Cannavacciuolo Condividi Nel Canada della corsa all’oro Rose Marie, la cantante del saloon di Lady Jane, è innamorata di Jim Kenyon, soprannominato “Jim il selvaggio”. Ma il destino sembra accanirsi sui due amanti. Jim è accusato ingiustamente dell’assassinio di un capo indiano, Aquila Nera, e deve fuggire. Jim e Rose Marie prima di lasciarsi rinnovano il loro giuramento d’amore e di fedeltà, nell’attesa di riunirsi un giorno. Il dvd propone l’edizione del Festival di Trieste del 1999.

19. PARATA DI PRIMAVERA di Robert Stolz con Cinzia Forte - Ugo Maria Morosi Roberto Bencivenga - Tiziana Caminiti Condividi L’oroscopo di una zingara predice a Marika che chi incontrerà sarà l’uomo della sua vita e che lei stessa metterà in moto la ruota della fortuna. Il girotondo leggiadro a suon di valzer e ciarde coinvolgerà gli amori di Marika e Willi, del tenente Gustl e della cantante Hansi Gruser. Parata di primavera è proposta in questo dvd nell’allestimento del Festival dell’operetta del 1998.

20. L’ACQUA CHETA di Giuseppe Pietri con Edda Vincenzi Ricci - Gino Baldi Sandra Ballinari - Achille Millo Condividi Anita e Ida, le due figlie del vetturino Ulisse, vorrebero sposare i loro innamorati. Anita, la maggiore, deve però afrontare l’antipatia di Mamma Rosa per il suo Cecco, mentre Ida, l’acqua cheta, vuole fare tutto di nascosto e fuggire con Alfredo. L’edizione proposta in questo dvd è una registrazione dell’archivio Rai del 1958.

21. Il conte di Lussemburgo di FRANZ LEHÁR con Bruno Lazzaretti - Chiara Taigi - Alessandro Spadorcia Chiara Noschese - Ugo Maria Morosi Condividi Renato, lo scquattrinato conte di Lussemburgo, accetta i soldi offertigli dal principe russo Basilio Basilowitsch per sposare la cantante Angela Didier, per poi subito divorziare, dandole così il titolo che a lui serve per poterla sposare rispettando l’etichetta di corte. Il DVD propone la registrazione dell’edizione del Festival dell’operetta di Trieste del 1998.

22. Lo zingaro barone di JOHANN STRAUSS con Miro Dvorsky - Ildiko Komlosi. Sándor Barinkay vuole rientrare in possesso delle sue terre, ma deve scontrarsi con Zsupán, un allevatore di maiali che se ne è abusivamente impossessato in sua assenza. Zsupán vorrebbe dargli in moglie la figlia per risolvere la controversia. Ma amore e interessi non vanno d’accordo.

23. Al Cavallino Bianco di RALPH BENATZKY Nuto Navarrini - Edda Vincenzi - Anna Campori Condividi La bella Josepha è la proprietaria dell’albergo Al cavallino Bianco, e di lei è innamorato Leopoldo, primo cameriere dell’albergo. Ma Josepha ha attenzioni solo per Giorgio Bellati, un cliente che tutti gli anni trascorre lì le sue vacanze. Il dvd propone un’edizione storica, registrata nel 1954, anno d’inizio delle trasmissioni della Rai.

24. La duchessa di Chicago di EMMERICH KÀLMÀN Paolo Calabresi - Amedeo Moretti - Elena Rossi Condividi Le casse del regno di Silvania sono vuote, ma il principe ereditario non vorrebbe vendere i pozzi di petrolio del Paese. Per evitare il peggio ci vorrebbe un colpo di fortuna, che magari potrebbe avere la faccia di una bella ricca milionaria americana in viaggio per l’Europa.

25. IL PAESE DEI CAMPANELLI di Carlo Lombardo e Virgilio Ranzato con Edda Vincenzi e Nuto Navarrini Condividi Il capolavoro di Carlo Lombardo, maestro indiscusso dell’operetta all’italiana, riproposto in una registrazione Rai del 1954, firmata da uno dei padri dei grandi sceneggiati televisivi, Silverio Blasi. Tra gli attori Nuto Navarrini, Arturo Bragaglia, Edda Vincenzi, Fiorella Carmen Forti, Lola Braccini.

26. WUNDER BAR di Geza Herczeg e Karl Farkas con Isa Barzizza, Enrico Viarisio e Gianrico Tedeschi Condividi Nel locale di Sam Wunder, il Wunder Bar, Harry e Ines sono le vedette dello spettacolo. Harry però ha il vizio di “trafficare” un po’, sia con le donne, alle spalle della gelosa Ines, sia con “affarucci” non proprio puliti, come una certa collana avuta dalla signora Erbach. Ma non è sempre oro quello che luccica...

27. FRASQUITA di Franz Lehàr con Enrico De Zan, Luana Silli, Franco Artioli e Tonino Micheluzzi Condividi Frasquita è una bella gitana ingiustamente accusata di aver derubato Armand. Tra i due sboccia l’amore, ma Armand è preso dalla gelosia per aver visto Frasquita ballare in abiti succinti in un locale e decide di abbandonarla. Ma i due s’incontreranno ancora per poi riconciliarsi a Parigi.

28. IL GATTO IN CANTINA di Nando Vitali e Salvatore Allegra con Raffaele Pisu, Sandra Mondaini e Renzo Montagnani Condividi L’intransigente e moralista zia Giuditta e la sua timida figlia Grazia sono ospiti nella villa dei due giovani sposi Antonio e Carlotta. Ma la zia si dimostra molto invadente, giudicando e criticando il modo di vivere dei due, che decidono di trovare un bel giovanotto (“un gatto”) che si prenda cura di Grazia.

29. LA RAGAZZA INDIAVOLATA di Ralph Benatzky con Gino Bramieri, Sandra Mondaini e Gianni Agus Condividi Paolo è un uomo semplice e gentile, amico da sempre di Felice, che egli ospita nella sua casa di campagna, dove sono attesi anche il capufficio di Paolo e sua figlia, che Paolo vorrebbe sposare. Ma quando per un caso arriva Annetta, la figlia del “re della cioccolata” tutti i piani cambiano all’improvviso.

30. LA ROSA DI STAMBUL di Leo Fall con Gabriella Ravazzi, Gaetano Scano e Sandro Massimini Condividi Kongia Gul, figlia di Kemal Pascià, deve sposare l’uomo scelto per lei dal padre. Kongia, affascinata dalle idee moderne di emancipazione, mal accetta la volontà tradizionalista del padre e sogna di incontrare il poeta André Lery, le cui idee sente come proprie. Ma André Levy forse non è chi sembra...

31. CIAO CIAO di Robert Stolz con Lauretta Masiero, Carlo Campanini e Gianni Agus Condividi Cosa succede se tre ragazze partecipano al concorso di una una casa cinematografica, vengono tutte e tre selezionate per un ruolo nello stesso film e si ritrovano tutte assieme in un albergo svizzero, chiamato “All’uomo selvatico”, dove la produzione le ha invitate a sue spese?

32. ADDIO GIOVINEZZA di Giuseppe Pietri con Romana Righetti, Arturo Testa e Elvio Calderoni Condividi Una tenera storia di amori di studenti e giovani sartine nella Torino del primo dopoguerra. Valentino e Dorina vivono la loro passione, destinata a finire quando, alle soglie della laurea, la spensierata giovinezza diventa un passato che non torna più.

33. SOGNO DI UN VALZER di Otto Straus con Edith Martelli e Carlo Bini Condividi Elena, la giovane figlia del regnante del Principato di Flausenbray, sposa il giovane tenente Niki, non blasonato e amante dell’avventura e delle belle donne. Niki non si sente a suo agio in quel mondo falso, tutto fatto di etichetta, ma Elena riuscirà a riconquistarlo. Uno dei capolavori di Oscar Straus.

34. NO, NO, NANETTE di Vincent Youmans con Elisabetta Viviani, Claudio Lippi, Gianrico Tedeschi Condividi No, no, Nanette è stato il successo americano più rappresentativo degli anni Venti, con il suo celebre foxtrot Tea for Two. Nanette è la figlia birichina di un prospero stampatore di Bibbie, ma il suo fare disinvolto, poco accettato dal padre e dal fidanzato, crea disordine e dissapori. Il tutto con il brio dei ruggenti anni del charleston.

35. SCUGNIZZA di Carlo Lombardo con Daniela Mazzucato e Luciano Lualdi Condividi La scugnizza Salomè incontra Mister Gutter, un ricco e annoiato americano che decide di sposarla. Totò, lo scugnizzo che ama Salomè, non vuole perderla e per convincerla a rinunciare alle nozze cerca di introdursi di notte in casa di Mister Gutter, ma Totò viene arrestato perché creduto un ladro. Ma la fortuna è volubile e l’amore trionfa sempre.

36. NITOUCHE di Hervé con Elisabetta Viviani e Renzo Palmer Condividi Celestino è un timido organista e insegnante di musica in un collegio gestito da religiose, ma ha una seconda vita come compositore di operette, con lo pseudonimo di Floridor. Denise, una sua allieva del collegio, scopre tutto e, attratta dalle luci della ribalta, lo segue di nascosto alla prima della sua nuova creazione, Mam’zelle Nitouche, dove però la ragazza incontra qualcuno che, come lei, non avrebbe dovuto essere lì.

37. BALLO AL SAVOY di Paul Abraham con Antonio Bevacqua, Anikò Felfoldi e Sandro Massimini Condividi Operetta che porta in scena un’epoca particolarmente rimpianta per il lusso, l’eleganza e i suoi hotel da favola: gli anni ’30. Il tutto in uno spettacolo capace di riempire gli occhi con dialoghi spiritosi e situazioni comiche dove gelosie ed equivoci si snodano fra ritmi swing, tip-tap e canzoni di forte presa melodica.

38.

"IL PIPISTRELLO"
di Johann Strauss Jr.
Con Lajos Kozma e Fiorella Pediconi.

**********************************
Il ricco gentiluomo von Eisenstein,
condannato, è pronto per recarsi in
carcere quando il suo amico dottor
Falke lo invita alla festa che il
principe Orlofsky darà la sera stessa.

Sua moglie Rosalinde riceve lo
spasimante Alfred, che verrà
scambiato per il padrone di casa
e portato in carcere.

Ma questo non sarà l’unico
scambio di persona, poiché
la festa sarà ricca di colpi di scena...

************************ (Napoli, 1875).

39. LA PRINCIPESSA DELLA CZARDA di Emmerich Kàlmàn con Sonia Dorigo e Edoardo Guarnera Condividi Nella tipica atmosfera del crepuscolo dell’Impero Asburgico e ispirandosi alle più frequenti conversazioni da salotto, La principessa della Czarda presenta uno degli argomenti più popolari di quell’epoca: quello dei matrimoni impossibili tra rampolli dell’aristocrazia viennese e belle e affascinanti primedonne del varietà.

40. L’ACQUA CHETA di Giuseppe Pietri Nada Malanima e Daniela Goggi Condividi Ida e Anita sono due sorelle, carine e diverse tra loro: quanto Anita è esuberante altrettanto Ida è cheta. Mamma Rosa è preoccupata. Arriva intanto il nuovo inquilino Alfredo, un giovane dai modi distinti che con diverse bugie si fa benvolere. Durante la festa delle Rificolone succede di tutto e tutti avranno la loro ricompensa: due matrimoni in un giorno solo, e in tanta allegria vuol dire che “si beve e si ribeve!”.

41. LA DANZA DELLE LIBELLULE di Carlo Lombrado e Franz Lehàr con Daniela Mazzuccato, Sandro Massimini, Max René Cosotti Condividi Le protagoniste di questa divertente operetta, scritta da Carlo Lombardo su musiche di Franz Lehár, sono tre splendide e disinvolte fanciulle (le “libellule”, appunto). I momenti comici dell’operetta sono affidati al grande Sandro Massimini, qui nei panni di Bouquet Blum, un attore ambulante furbo quanto spiantato: a lui si deve l’interpretazione del Fox-trot delle gigolettes, uno di quei brani che, da sempre, fanno cantare anche tutto il pubblico.

42. CIN-CIN-LA' di Carlo Lombrado con Sandro Massimini e Aurora Banfi Condividi Nel paese di Macao, la giovane Myosotis ha appena sposato il principe Ciclamino. Ma i giovani sono tanto puri e innocenti che il matrimonio rischia di non venire consumato... A movimentare la situazione compaiono la splendida attrice francese Cin-Ci-Là e il suo disperato spasimante Petit-Gris. Sandro Massimini e Aurora Banfi interpretano con talento e brio la più acclamata operetta italiana, sotto la guida del grande coreografo e regista Gino Landi.

43. AL CAVALLINO BIANCO di Ralph Benatzky con Angela Luce, Tony Renis, Gianrico Tedeschi Condividi Siamo in Austria, all’Hotel Al Cavallino Bianco, dove il cameriere Leopoldo ama non corrisposto la bella proprietaria Gioseffa, che però ama Bellati, che ama Ottilia promessa a Sigismondo... Regia di Vito Molinari Con Gianrico Tedeschi, Mita Medici e Tony Renis

44. IL PAESE DEI CAMPANELLI di Carlo Lombrado e Virgilio Ranzato con Sandro Massimini e Renata Fusco Condividi In un tranquillo villaggio olandese, ogni casa ha, sulla porta, un campanello pronto a suonare nel caso in cui uno dei due coniugi dovesse commettere adulterio. Da tempi immemori tutto tace, ma, quando al porto del paese approda una nave di marinai, i campanelli ricominciano a suonare... Il Re dell’Operetta Sandro Massimini propone una divertentissima versione dello spettacolo, uno dei più grandi capolavori della coppia Lombardo-Ranzato Regia di Sandro Massimini Con Sandro Massimini, Renata Fusco, Sara Dilena, Robert Steiner

45. "LA VEDOVA ALLEGRA"
di Franz Lehar.
Con Sandro Massimini e Sonia Dorigo Condividi.
Il conte Danilo è inviato in missione a Parigi per sedurre a scopo nuziale Sonia, ricca vedova sua compatriota, per impedirle di portare all'estero il capitale, prezioso per il regno di Marshovia.
Regia di Sandro Massimini Con Sandro Massimini, Sonia Dorigo, Tamara Trojani, Elio Provetto

In memoriam Enrico Golisciani

Speranza

Il pipistrello (Nicola De Giosa - prima italiana, Napoli 1875, Società Filarmonica, 28 gennaio 1875).

In memoriam Enrico Golisciani

Speranza

Il pipistrello (Nicola De Giosa - Italian premiere at Naples, Società Filarmonica, 28 January 1875).

Saturday, October 29, 2011

Duca Ottavio, not a don!

Speranza



GAZZANIGA'S "DON GIOVANNI" -- In memoriam Antonio Baglioni.
...

Busoni's Turandot, Paisiello's Barber of Seville, Grétry's William Tell, Leoncavallo's La Bohème...

The history of opera is full of narratives and libretti which, although often successful enough in their day, have sunk into obscurity once eclipsed by a more illustrious rival.

"Don Giovanni" as both title and character has long been enshrined as the property of DaPonte/Mozart, and to append an alternative composer - especially one as obscure as Giuseppe Gazzaniga or his librettist, Bertati -- might seem to be an illegal usurpation of entitlement. But it's not!

In choosing the theme of the lascivious Don for his Prague commission of 1787, Mozart was adopting a hackneyed and blatantly commercial theme, already made popular in that city through at least *three* earlier operas of 1723, 1730 and 1776.

Mozart's was the fourth opera on the subject composed in 1787 alone.

Gazzaniga's version for the Teatro San Moisè, Venice, was premiered in February and quickly followed by one by Gardi, written for a rival Venetian company and with many obvious derivations.

Goethe commented on the impressive success of the one-act version by Vicenzo Fabrizi, given at the Teatro Valle in Rome in the autumn, which

"was performed every night for four weeks and so excited the city that the whole family of every last shopkeeper filled the stalls and boxes, and no one could go on living who had not seen Don Juan roasted in Hell".

Notwithstanding the fact that the story offended the rationality of the age of enlightenment and raised the hackles of the polite litterati, there was no doubting the likelihood of box-office success for any dramatic or musical rendering of the theme.

The origins of the story which thus came to possess almost mythological status lie in the 'Golden Age' of Spanish literature, with the earliest surviving edition being "El Burlador de Sevilla y Convidado de piedra" (1637) by Tirso de Molina, a monk whose dramatic activities were condemned by the Council of Castille's Committee for Reform.

Many aspects of the story and characters familiar from subsequent paraphrases are already found in Tirso's original - the long-suffering servant aware of his atheistical master's moral outrages, the Don's seductions of aristocrats and peasants alike, the rape (or at least attempt) in the darkness of the Duca Ottavio's fiancée, the murder of her father whose tomb-statue is bizarrely invited to dinner, and the ultimate penalty which the unrepentant Don pays.

Subsequent versions adapted and moulded this material to their own ends and cultures, amongst which the greatest are undoubtedly by Molière (Don Juan, ou le festin de pierre, 1665) and the Venetian comic writer Carlo Goldini (Don Giovanni Tenorio, ossia il dissoluto, 1738), as well as an English version, The Libertine, by Shadwell (1676).

Around this core of literary masterpieces grew a mass of more popular versions, including fairground pantomimes, the Commedia dell'arte, and puppet-shows.

Indeed, in the libretto of the Capriccio with which Bertati and Gazzaniga prefaced their Don Giovanni, the singers are heard complaining that they are required to perform such a clichéd drama.

Giovanni Bertati, who provided the texts to most of Gazzaniga's opera, was the leading librettist of his day in Venice, and consequently became the victim of disparagement in the memoirs of his compatriot rival the Abbate da Ponte.

In fact Bertati was to briefly succeed da Ponte as Court dramatist in Vienna (1791-1794), where he wrote the text for what has become the most enduring Italian work of the period, Cimarosa's Il matrimonio segreto.

Bertati returned to Venice in 1794 and retired as Archivist at the Arsenale (the statue photographed for the publicity for tonight's performance stands outside that remarkable building).

Bertati's libretto for Don Giovanni maintains many links with the popular tradition but also draws extensively from Molière, with lesser borrowings from Goldoni.

The name of the Don's servant, Pasquariello, who occupies much of the centre-stage and provides most of the comic content whilst also acting as a more serious voice of moral conscience, is drawn from the Commedia dell'arte, as is his catalogue of conquest, the 'list' aria which da Ponte was also to make use of.

Many passages and details of the text are taken from Molière:

the Don's play-off of the rivalling Donna Elvira and the peasant Maturina (which Gazzaniga sets to a brilliantly caustic duet, reminiscent of that of Marcellina and Susanna in Figaro) comes from the French playwright's scene of the two peasant rivals Charlotte and Mathurine; Pasquariello's lavish description of his master as the "Alexander the Great of women", his account of the Don's vices which suddenly changes to a fulsome list of his virtues when the Don walks into sight, and the farcical incident of his stealing a meatball from the dinner table as well as the under-servant changing the plates as soon as his head is turned are closely paralleled. Bertati can thus hardly be credited with originality, and his characters may be little more than ciphers: yet he was undoubtedly an accomplished and successful librettist and his text provided the basis for an opera of effective movement and contrast.

The action unfolds at breathtaking speed, from the opening rape of Donna Anna and the murder of the Commendatore, to the horrifying appearance of the stone guest at Giovanni's supper.

These sections convey the tone of opera seria, as do a number of the solo arias: yet there can be no doubting that the overall mood - in keeping with its origins during the Venetian carnival season - is that of opera buffa, with plenty of potential for comedy and farce.

Gazzaniga was born in Verona and was originally intended by his father for the priesthood, before turning to music studies in Venice and at the conservatory in Naples, becoming a pupil of the successful operatic composer Piccinni.

Although his first opera was for Naples, he returned to Venice and produced a number of works, mostly in the popular genre of opera buffa (a total of at least 40) for cities in northern Italy.

He was also well-known in Dresden and Vienna where several of his operas were produced between 1774 and 1795, including Il finto cieco, (1786) to a libretto by da Ponte.

Four years after the great success of his Don Giovanni, Gazzaniga became maestro di capella at Crema Cathedral, and turned mostly to the composition of sacred works.

His works are now almost entirely forgotten (although Don Giovanni demonstrates the unjustness of this obscurity), as are those by his contemporaries Paisiello and Cimarosa, a group whose lyrical but straightforward classicism was to be eclipsed by the more complex work of Rossini and the subsequent bel canto tradition.

**************

Gazzaniga's score may come nowhere near rivalling Mozart's in emotional depth and maturity, yet it by no means deserves to be dismissed.

Gazzaniga uses his small orchestra of strings, oboes and horns with considerable skill and variety of effect and colour, and the music has a rhythmic vitality and incisiveness which generally compensates for its harmonic limitations.

The extended opening trio is superbly expressed and shaped, moving from the evocative nocturnal mood of the introductory bars, through the fiery altercation between Giovanni and the assaulted Anna, to the callous murder of the Commendatore, whose expiring breaths are superbly captured in the fragmented phrases of the three protaganists.

There are a number of poised lyrical arias (two for Elvira, one each for Duca Ottavio, Maturina and Giovanni, the latter concluding with a sting in its tail).

The comic music has a deft energy and wit, especially the boisterous 'catalogue' aria of Pasquariello, which turns into a malicious duet with Elvira, as well as the snarling duet of Maturina and Elvira which descends to cat-scratching rivalry.

The extensive 'brindisi' or drinking song in the finale, with its lavish praise of Venetian women, must have been especially endearing to the opera's first audiences, but also provides an infectious sense of the mutual friendship between Don and his servant and creates a effective foil to the dramatic climax of the statue's appearance.

Throughout, Gazzaniga maintains interest through swift contrasts of mood, and above all, an energy and freshness which render his Don Giovanni a work of delightful appeal.

*********************

The links between the Bertati/Gazzaniga and the Da Ponte/Mozart operas which have long intrigued musicologists remain unresolved.

There can be no doubt that the Bertati libretto reached Prague and was available to Lorenzo da Ponte (himself a Venetian, and a sometime friend of Giacomo Casanova), who, many years later, stated that it was turned down by Mozart when offered to him by the manager of the Italian Opera in that city, Pasquale Bondini.

In a different account, da Ponte claimed that he himself chose the theme of Don Giovanni, and suggested it to the composer, an almost certain untruth.

Bertati's script undoubtedly lacked the depth of character development which intrigued Mozart and, as a one-act work, was inadequate for his needs.

Nevertheless, da Ponte 'borrowed' extensively from his rival's text, so that the opening and much of Act I in the Mozart, and the climax from the cemetery scene onwards in Act II are barely veiled appropriations.

Some of the characters are renamed by da Ponte.

Bertati's comic yet philosophical servant Pasquariello became Leporello (da Ponte dropped the additional servant Lanterna), the peasant girl Maturina whom the Don takes a fancy to on her wedding-day was renamed Zerlina, and da Ponte did away with the minor rôle of Donna Ximena.

Whether Mozart himself knew the Gazzaniga score is far more controversial.

Mozart's "Duca Ottavio", Antonio BAGLIONI [cfr. Francesco Morella in wiki], had sung the part of Gazzaniga's "Don Giovanni" in Venice (Gazzaniga wrote the title rôle for a tenor), and was a very likely source of transmission.

The knowledgeable listener will detect striking resonances between the two versions.

In the opening trio, for example, in the peasant wedding-scene, the graveyard scene, the use of the wind band during the supper scene, and the concluding hectic ensemble.

Gazzaniga's Don Giovanni was performed successfully not only during the February carnival season in Venice, but also in Rome, Paris (1792), Lisbon (1792) and London (1794) and the opera appears to have continued in circulation until 1821.

Not all of these performances may have been according to the authentic text and score.

The London production, for example, at the King's Theatre in Haymarket, was rearranged by the poet in residence there, da Ponte, who interspersed Gazzaniga's score with music by other composers, including the catalogue aria from Mozart's version.

In recent years and since the Bärenreiter edition was published in 1974, there have been performances in Italy.

In London, the opera was performed by Opera Viva in 1980.

Two excellent recordings were made in 1991: a full edition on the Orfeo label, and a version without the recitatives on Sony Classical.

The opening scene was included in a South Bank concert by the Orchestra of the Age of Enlightenment in 1996.

Friday, October 28, 2011

IL PIPISTRELLO

Speranza


CHOR

Stellt euch zum Tanz,
----- Take your places for the dance,
Ja, ja, ein Tanz, ein wirbelnder Tanz,
------ Yes, yes, a dance, a whirling dance,
Das erhöht des Festes Glanz!
------ Will raise the sparkle of the party!
Ha, welch ein Fest, welche Nacht voll Freud'!
------Ah, what a party, what a night full of joy!

**********************

Liebe und Wein gibt uns Seligkeit!
----- Love and wine will give us bliss!
Ging's durch das Leben so flott wie heut',
----- If life always went at tonight's pace
Wär jede Stunde der Lust geweiht!
----- Every hour would be dedicated to desire!

IL PIPISTRELLO (Napoli, 1875)

Speranza

Die Fledermaus by Johann Strauss



ALFRED
Täubchen, das entflattert ist Little dove who flew away,
Stille mein Verlangen Quiet my longing
Täubchen, das ich oft geküsst Little dove whom I've often kissed
Lass dich wieder fangen! Let yourself be caught again.
Täubchen, holdes Täubchen mein, Little dove, gracious little dove of mine,
Komm, o komm geschwinde, Come, oh come quickly,
Sehnsuchtsvoll gedenk' ich dir Longingly I think of you,
Holde Rosalinde. Gracious Rosalinde.

ADELE
Hahahaha! Ja! Ha Ha Ha Ha! Yes!
Da schreibt meine Schwester, Ida, Here writes my sister, Ida
Die ist nämlich beim Ballett: She's in the ballet:
"Wir sind heut auf einer Villa "Today, we will be at a villa
Wo es hergeht, flott und nett Where all is off and running.
Prince Orlofsky, der reiche Suitier Prince Orlofsky, that rich fast fellow,
Gibt heute abend dort ein grand Souper. Is giving a grand supper there this evening.
Kannst du eine Toilette If you could filch an outfit
Von deiner Gnäd'gen annektieren From your noble mistress
Und elegant dich präsentieren And elegantly present yourself,
So will ich gern dich ein dort führen. I will gladly escort you there.
Mach dich frei nur, und ich wette Just get the night off and I'll bet
Dass wir gut uns amüsieren; We'll have a lot of fun;
Langweile gibt es nie da." There is never boredom there."
So schreibt meine Schwester Ida Thus writes my sister, Ida.
Ach, ich glaub's, ich zweifle nicht, Ah, I believe it, I've no doubt
Wär zu gern von der Partie I'd love to be a part of it,
Aber schwierig ist die Geschicht'! But it's a difficult business!
Könnt ich nur fort, wüsst ich nur wie? If only I could get away: if I only knew how!
Ach, wenn ich jenes Täubchen wär', Ah, if I were that little dove there,
Fliegen könnt' ich hin und her, I could fly about, hither and yon,
Mich in Wonne und Vergnügen And in bliss and p·leasure
In dem blauen Äther wiegen, Swing through that ethereal blue yonder,
Ach, warum schufst du, Natur Ah, Mother Nature, why did you make
Mich zur Kammerjungfer nur? Me only a lady's chambermaid?

ALFRED
(hinter der Szene) (offstage)
Täubchen, das entflattert ist Little dove who flew away
Stille mein Verlangen... Quiet my longing...

2.

ADELE
Was ist denn das für ein Gewinsel? What is that whimpering?

ALFRED
Täubchen, holdes Täubchen mein, Little dove, my gracious dove,
Komm, o komm, geschwinde. Come, oh come quickly.

ADELE
Ich muss ihm was spendieren, I'll have to give him something,
Sonnst hört er nie auf! Otherwise, he'll never stop!

ALFRED
Sehnsuchtsvoll gedenk ich dein, Longingly, I think of you,
Holde Rosalinde! Gracious Rosalinde.

ADELE
Rosalinde? Na, das ist der Verehrer Rosalinde? So, that's the admirer
Meiner Gnädigen! Of my mistress!
(dialog continues in English)

No. 1A
Ach, ich darf nicht hin zu dir! Ah, I cannot come to you!
Und du sehnst dich so nach Ûmir, And you are so longing to see me,
Deiner heißgeliebten Nichte. Your dearly beloved niece,
Gar zu traurig ist die Geschichte. It is far too sad a story.
Ach, warum schuf die Natur Oh, why did Mother Nature make
Mich zur Kammerjungfer nur? Me only a lady's chambermaid?

ROSALINDE
Du darfst heut nicht zu ihr, You cannot go to her today
Und wenn sie sich auch sehnt nach dir. Even if she is longing for you.
Wohl traurig klingt die G'schichte Sad indeed sounds the story
Von der geliebten Nichte Of the beloved niece.
Ja, warum schuf die Natur Yes, why did Providence make
Dich zur Kammerjungfer nur? You only a lady's chambermaid?

(English dialog)

EISENSTEIN
Nein, mit solchen Advokaten No, with advocates like this
Ist verkauft man und verraten, One is sold short and betrayed,
Da verliert man die Geduld. Making one lose patience.


3.

ROSALINDE
Nur Geduld! Just be patient!

BLIND
Nur Geduld! Just patience!

EISENSTEIN
Statt das jetzt die Sach' beendet, Instead of the matter being over,
Hat's doch schlimmer sich gewendet, It's changed for the worse
Und daran ist der nur schuld. And it's all his fault.

BLIND
Wer ist schuld? Who's at fault?

ROSALINDE
Der ist schuld? Der wäre schuld? His fault? Could it be his fault?

EISENSTEIN
Ja, er ist ganz allein nur schuld! Yes, it is entirely his fault!

ROSALINDE
Der Herr Notar? The notary?

BLIND
Das ist nicht wahr. That's not true.

EISENSTEIN
Du wirst schon seh'n. You'll soon see.

ROSALINDE
Was ist geschehn? Erkläre dich! What's happened? Explain yourself.

EISENSTEIN
So höre mich! So listen to me!

BLIND
Nein, erst will ich verteidigen mich! No, first I will defend myself!

EISENSTEIN
Ersparen Sie sich diese Müh', Save yourself the trouble,
So etwas ist nicht zu verteid'gen! Such a thing is not to be defended!

BLIND
Mir scheint, Sie wollen mich beleid'gen! It seems to me you want to insult me!
4.

ROSALINDE
Nur ruhig, Blut! Warum die Wut? Calm down, blood! Why the fury?

EISENSTEIN
Der Herr Notar schwatzt wie ein Staar. This notary babbles like a fool.

BLIND
Herr Eisenstein fing an zu schrein. Herr Eisenstein started to shout.

EISENSTEIN
Sie stottern ja bei jedem Wort! You're stuttering with every word!

BLIND
Sie schimpfen ja in einem fort! You keep on scolding!

EISENSTEIN
Sie krähen wie ein Hahn! You're crowing like a rooster!

BLIND
Sie sind ein Grobian! You're a boor!

EISENSTEIN
Sie sind ein Blödian! You're an idiot!

BLIND
Sie sind sehr inhuman! You are quite inhuman!
Sie rasen wie im Fieberwahn You rant as in a fever frenzy
Und kollern wie ein Puterhahn!! And gobble like a turkey-cock!

EISENSTEIN
Sie reden lauter Lebertran You're spouting codliver oil
Und drehn sich wie ein Wetterhahn! And spinning like a weathercock.

ROSALINDE
Doch schone dein Organ Save your voice,
Es sei nun abgetan. Be done with all this.
Das beste wär', Sie gehn hinaus, It would be best if you went out
Sonst wird noch ein Skandal daraus. Or this will become a scandal.

EISENSTEIN
Ja, sie hat Recht, gehn Sie hinaus, Yes, she is right, go out
Sonst wird noch ein Skandal daraus! Or this will become a scandal!
Ja, gehen Sie, da ist die Tür, Yes, go, there is the door,
Hinaus, hinaus! Out ! Out!
5.

BLIND
Nein, diesen Ton hält man nicht aus! No, this tone can't be tolerated!
Ich geh hinaus! I'm going out!
Ich gehe schon aus diesem Haus! I'm just leaving this house!

ROSALINDE
Das beste ist, Sie gehn hinaus! It is best you go out!
Das beste wär', Sie gehn hinaus! It would be best if you went out!
Hinaus! Hinaus! Out! Out!

(Blind goes out.)
Beruh'ge endlich diese Wut; Calm at last this fury;
Verurteilt bist du, nun denn gut! You have been sentenced, and that's that!
Ergib dich drein, und nach fünf Tagen, Make the best of it, and in five days
Schon nach fünf Tagen ist die G'schichte In five days, the story will be played out.
abgemacht.

EISENSTEIN
Fünf Tage sagst du? Jetzt sind's gar acht. Five days, you say? Now it's already eight.
Man hat mir drei dazu geschlagen. They've added three days.
So weit hat's es dieser Mensch gebracht: This is how far this person has brought this:
Noch heute soll ich stellen mich, I have to present myself still today,
Und komm' ich nicht, so holt man mich! And if I don't go, they'll come and get me!

ROSALINDE
Das ist zu stark, das muss ich sagen! That's too severe, I must say!

EISENSTEI{N
Nicht wahr? Isn't it?

ROSALINDE
Ach mein armer, armer Mann, Ah, my poor, poor husband,
Noch heute musst du dran? So today then, you must serve?
Was kann ich dir zum Troste sagen? What can I say to comfort you?
Wie soll ich das ertragen? How shall I bear it?

EISENSTEIN
Ach, mit solchen Advocaten Ah, with such lawyers
Ist verkauft man und verraten! One is sold out and betrayed!
Da verliert man die Geduld! One loses patience!

ROSALINDE
Und daran ist der nur schuld! And it's all his fault!

6.

BLIND
Wer ist schuld? Who's at fault?

ROSALINDE
Sie sind schuld! You're at fault!

EISENSTEIN
Der ist ganz allein nur schuld! It is only he who's at fault!

BLIND
Wenn Sie nur erst wieder frei, Once you are again free
Prozessieren wir aufs neu, We will go to court again,
Und ich werde Ihnen dann And I will then
Schon zeigen, was ich kann! Soon show you, what I can do!

EISENSTEIN
Ja, ¿was können Sie denn eigentlich? Well, what can you do, actually?

BLIND
Rekurrieren, appellieren Petition, appeal,
Reklamieren, revidieren, Complain, review,
Reziepieren, subvertieren, Prescribe, subvert,
Devolvieren, involvieren, Devolve, involve,
Protestieren, liquidieren, Protest, liquidate,
Exzerptieren, extorquieren Excerpt, extort,
Arbitrieren, resümieren! Arbitrate, summarize!

EISENSTEIN
Hör'n Sie auf! 's ist genug! Stop! That's enough!

ROSALINDE
Hör'n Sie auf! 's ist genug! Stop! That's enough!

BLIND
Exkulpieren, inkulpieren, Exculpate, inculpate
kalkulieren, konzipieren Calculate, draft
Und Sie müssen triumphieren! And you must triumph!
Rekurrieren, appellieren, etc. Petition, appeal, etc.

ROSALINDE
Ob Sie Berge von Papieren If you mountains of paper
Auch dabei zusammenschmieren, Pile together in the process,
Doch Sie werden schliesslich sich blamieren, Still, you will bungle it in the end,
Ja, blamieren! Yes, bungle it!
7‡.

EISENSTEIN
Wenn Sie jetzt nicht retirieren, If you don't now withdraw,
Muss ich Sie hinaus bugsieren, I will have to toss you out,
Und vielleicht noch schliesslich attackieren! And maybe even attack you in the end!
Muss ich Sie hinaus Bugsieren! I'll have to toss you out!

ROSALINDE
Ach, mit solchen Advokaten Ah, with such lawyers
Ist man übel oft beraten One ist often badly advised
Und fürwahr, man braucht Geduld! And truly, one needs patience!
Statt dass jetzt die Sach' beendet Instead of this matter ending
Hat's noch schlimmer sich gewendet, Things have changed for the worse,
Und nur der allein ist schuld! And he alone is at fault!

EISENSTEIN
Nein, mit solchen Advokaten No, with advocates like him
Ist verkauft man und verraten One is sold out and betrayed.
Und verliert man die Geduld! And one loses patience!
Statt dass jetzt die Sach' beendet, Instead of this matter ending,
Hat's noch schlimmer sich gewendet Things have changed for the worse,
Und daran ist der nur sch·uld! And only he is to blame.

BLIND
Ach, wir armen Advokaten Ah, we poor advocates
Sollen immer helfen, raten, Are supposed to always help and advise,
Dazu braucht man viel Geduld! For that one needs lots of patience!
Statt dass jetzt die Sach' beendet, Instead of being ended now
Hat's noch schlimmer sich gewendet Things have changed for the worse,
Und daran sind Sie nur schuld! And only you are at fault!

FALKE
Komm mit mir zum Souper, Come with me to the supper-party,
Es ist ganz in der Näh'! It is quite close by!
Eh' du in der stillen Kammer Before you, in that quiet chamber,
Laborierst am Katzenjammer, Work off that hangover,
Musst du dich des Lebens freun, You must enjoy life,
Ein fideler Bruder sein! Be a loyal brother!
Ballerinen leicht beschwingt Ballerinas lightly floating
In den blendensten Toiletten, In the most dazzling attire,
Fesseln dich mit Rosenketten, Bind you fast with chains of roses,
Wenn die Polka lockend klingt! When the tempting polka sounds!
Freundchen, glaub mir, das verjüngt! Old chap, believe me, that rejuvenates!
Bei rauschenden Tönen To rousing tunes
Im blendenen Saal, In the glittering ballroom,
8

Mit holden Sirenen With charming sirens
Beim Göttermahl, At the divine meal,
Da fliehen die Stunden The hours will fly by
In Lust und Scherz, In desire and jest,
Da wirst du gesunden There you will recover
Von allem Schmerz: From all pain:
Soll dir das Gefängnis nicht schädlich sein, If prison is not to hurt you,
Musst du etwas tun, dich zu zerstreun! You must do something to distract yourself!
Siehst du das ein? Do you see that?

EISENSTEIN
Das seh'ich ein! I see that!
Doch meine Frau, die darf nichts wissen. But my wife must know nothing of this.

FALKE
Du wirst zum Abschied zärtlich sie küssen, You will tenderly kiss her good-bye,
Sagst: Lebe wohl, mein süsses Kätzchen! And say,"Farewell, my sweet kitten!"

EISENSTEIN
Nein, nein, mein Mauserl, sage ich No, no, I'll say, "My little mouse,
Mein süsses Mauserl! My sweet little mouse!"
Denn als Katze schleich ich selbst For, as a cat, I'll creep out myself
Aus dem Hause mich. Out of the house.

FALKE
Süsses Mauserl! Sweet little mouse!
Denn als Katze schleichst du selbst For you, as a cat, will creep
Aus dem Hause dich. Out of the house.
Und während sie schläft ganz fest, And while she is fast asleep,
Gehst du, statt in deinen Arrest, You'll go, instead of to jail,
Mit mir zu dem himmlischen Fest! With me to the heavenly feast!

EISENSTEIN
Mit dir zu dem himmlischen Fest! With you to the heavenly feast!

FALKE
Ich führe dich ein als Fremden: I'll introduce you as a foreigner:
Marquis Renard sollst dort du sein! You'll be Marquis Renard there!
So wird man nichts erfahren können; Then no one will guess;
Willst du? Do you want to?

Eisenstein
Ach, ich wär schon erbötig. Ah, I would be willing.

9

FALKE
Du musst! You must!

EISENSTEIN
Wenn nur ... If only ...

FALKE
Du musst dir's vergönnen, You must allow yourself,
Zur Gesundheit ist's ja nötig. For it is necessary for your health.

EISENSTEIN
Ja, ich glaub' du hast recht, Yes, I think you are right,
Die Ausred' ist nicht schlecht. As an excuse, it's not bad.

FALKE
Soll dir das Gefängnis nicht schädlich sein, If prison is not to hurt you,
Musst du etwas tun, dich zu zerstreun! You must do something to distract yourself!
So kommst du? So you'll come?

EISENSTEIN
Soll mir das Gefängnis nicht schädlich sein, If prison is not to do me harm,
Muss ich etwas tun, mich zu zerstreun! I must do something to distract myself!
Wer kann widerstehn? Who can resist?
Ja, ich b in dabei! Yes, count me in!

FALKE
Zum Teufel mit deiner Leimsiederei! To the devil with your glue-boiling!

BEIDE (both)
Ein Souper uns heute winkt, A supper-party is beckoning us,
Wie noch gar keins dagewesen, Like one never seen before,
Schöne Mädchen auserlesen; An array of beautiful girls;
Zwanglos dort man lacht und singt! Boundlessly, we'll laugh and sing!
Lalala, lalala, etc. La la la la la la la, etc.

No. 4. - Trio

ROSALINDE
So muss allein ich bleiben So I must remain alone
Acht Tage ohne dich. Eight days without you.
Wie soll ich dir beschreiben How should I describe to you
Mein Leid, so fürchterlich! my suffering, so dreadful!
Wie werd' ich es ertragen How will I bear it
Dass mich mein Mann verliess? That my husband has left me?
10.

Wem soll mein Leid ich klagen, To whom shall I lament my suffering,
O Gott, wie rührt mich dies! O God, how this stirs me!
Ich werde dein gedenken I shall think of you
Des Morgens beim Kaffee, In the morning over coffee,
Wenn ich dir ein will schenken, When I want to pour some for you,
Die leere Tasse seh'. And see the empty cup,
Kann keinen Gruss dir winken, No greeting can I wave to you,
Aus Jammer werd ich g'wiss In misery shall I surely
Ihn schwarz und bitter trinken. Drink it black and bitter.
Ach! Alas!

EISENSTEIN
Ach, wie rührt mich dies! Ah, how this stirs me!

ROSALINDE, ADELE, EISENSTEIN

O Gott, wie rührt mich dies! O God, how this stirs me!
O je, o je, wie rührt mich dies! etc. Oh dear, oh dear, how this stirs me!

ROSALINDE

Wo bleibt die traute Gruppe, Where will the homey gro˜up be
Kommt Mittag dann heran! When midday comes around?
Zum Rindfleisch wie zur Suppe, With the roast beef, as with the soup,
Zum Braten keinen Mann! With the roast, no husband!
Und sinkt der nächtige Schleier, And when sinks the nightly veil,
Gibt's wieder mir'nen Riss, It will again be torn for me,
Mein Schmerz wird ungeheuer! My pain will be monstrous!

ALLE DREI (ALL THREE)

Oh, je, o je, wie rührt mich dies! etc. Oh dear, oh dear, how this stirs me!

EISENSTEIN
Was soll das Klagen frommen? Of what benefit is the complaining?
Den Kopf verlier ich schier! I'm utterly losing my head!

ROSALINDE
Mein Kopf ist ganz benommen. My head is quite dizzy.

ADELE
Den meinen hab' ich hier. I have mine right here.


11.

EISENSTEIN
Leb' wohl, ich muss nun gehn. Farewell, I must go now!

ROSALINDE, ADELE
Leb'wohl, du (er) musst (muss) nun gehn! Farewell, now you (he) must go!

ALLE DREI (ALL THREE)
Doch bleibt ein Trost so süss! Yet there remains one sweet consolation!

ADELE
Es gibt ein Wiedersehen! There will be a reunion!

ALLE DREI (ALL THRE)
Es gibt ein Wiedersehen! There will be a reunion!
O Gott, wie rührt mich dies! Oh God, how this stirs me!
O je, o je, wie rührt mich dies! etc. Oh dear, oh dear, how this stirs me! etc.

Finale- Act 1.

ALFRED
Trinke, Liebchen, trinke schnell, Drink, darling, drink quickly,
Trinken macht die Augen hell. Drinking makes the eyes bright.
Sind die schönen Aüglein klar, If your prettylittle eyes are clear,
Siehst du alles licht und wahr. You'll see everything in its true light.
Siehst, wie heisse Lieb' ein Traum, You'll see, how passionate love is a dream
Der uns äffet sehr, Which mocks us greatly,
Siehst wie ew'ge Treue Schaum, You'll see how eternal fidelity is but fluff,
So was gibt's nicht mehr! There is no such thing anymore!
Flieht auch manche Illusion, Should you lose some illusions,
Die dir einst dein Herz erfreut, Which once delighted your heart,
Gibt der Wein dir Tröstung schon Wine will soon give you consolation
Durch Vergessenheit! By forgetting!
Glücklich ist, wer vergisst, Happy is the person who forgets,
Was doch nicht zu ändern ist. What can't be altered anyway.
Kling, kling, sing, sing, sing Ting-a-ling, sing, sing, sing,
Trink mit mir, sing mit mir, Drink with me, sing with me,
Lalala, lalala, etc. la la la, etc.

ROSALINDE
Ach was tut man hier? Oh, what is going here?

BEIDE
Glücklich ist, wer vergisst, Happy is the person who forgets
Was doch nicht zu ändern ist. What can't be altered anyway.
12.

ROSALINDE
Er geht nicht von hinnen He's not going to leave,
Schläft hier wohl noch ein; Might even go to sleep here;
Was soll ich beginnen? What should I do?

ALFRED
Stoss an! A toast!

ROSALINDE
Nein, nein, etc. No, no, etc.

ALFRED
Trinke, Liebchen, trinke schnell, Drink, Darling, drink quickly,
Trinken macht die Augen hell! Drinking makes the eyes bright!
Mach doch nur kein bös' Gesicht, Just don't make an angry face,
Sei hübsch lustig, grolle nicht! Be nice and cheerful, don't frown!
Brachst du einmal auch die Treu', Though you once broke your fidelity,
Das sei dir verziehn; That will be forgiven you;
Schwöre wieder mir auf's neu Promise me again anew,
Und ich glaub' dir kühn! And I will dauntlessly believe you!
Glücklich macht uns Illusion, Illusions make us happy,
Ist auch kurz die ganze Freud; Though short is all joy;
Sei getröst, ich glaub' dir schon Be comforted, I'll believe you all the same
Und bin glücklich heut. And I am happy today.

ROSALINDE
Ach! Ah!

BEIDE (BOTH)
Glücklich ist, wer vergisst, Happy is he who forgets
Was doch nicht zu ändern ist. What can't be altered anyway.

ROSALINDE
Ich höre Stimmen!.. I hear voices!..
Welche Lage! What a position!

FRANK
(p. 56)
Sie seh'n, ich kann auch gemütlich sein, You see, I can also be pleasant,
Nun kommen Sie, mein Herr von Eisenstein! Now come along, Herr von Eisenstein!

ALFRED
Ich bin nicht Herr von Eisenstein, I am not Herr von Eisenstein,
Bin nicht der den sie suchen! I am not he, whom you seek.
13.

FRANK
Sie sind es nicht? You are not he?

ALFRED
Zum Wetter, nein! By thunder, no!

FRANK
Nur Ruhe, nicht gleich fluchen! Just stay calm, don't swear right away!

ROSALINDE (to Alfred)
Sie müssen jetzt mein Gatte sein! Now you have to be my husband!

FRANK (to himself)
Sollt' ich hier hintergangen sein? Am I going to be given the run-around?

ROSALINDE
Mein Herr, was dächten Sie von mir, Sir, what would you think of me,
Säss ich mit einem Fremden hier, If I were sitting here with a stranger,
Das wär doch sonderbar! That would be peculiar!
Mit solchen Zweifeln treten da With such doubts you tread
Sie wahrlich meiner Ehr' zu nah, Too close to my honor here,
Beleid'gen mich fürwahr. And insult me indeed.
Spricht denn diese Situation Doesn't then this situation speak
Hier nicht klar und deutlich schon? Here loud and clear?
Mit mir so spät im tête-à-tête With me so late in a tête-à-tête
Ganz traulich und allein, So familiar and alone
In dem Kostüm, so ganz intim, In that outfit, so very intimate,
Kann nur allein die Gatte sein! It could only by my husband!

ALL THREE
Mit mir (ihr) so spät im tête-à-tête, With me (her) so late in a tête-à-tête,
Ganz traulich und allein, etc. So familiar and alone, etc.

ROSALINDE
Gleich einem Pascha fanden Sie Like a Pasha you found
Ihn mir im Schlafrock vis-à-vis, Him with me in a robe opposite me
Die Mütze auf dem Haupt, With a cap on his head,
Dass man bei solchem Bilde noch That one with such a scene even
Ein wenig zweifeln könnte doch, Could have the slightest doubt,
Das hätt' ich nie geglaubt. That I could never have believed.
Sehen Sie doch, wie er gähnt. Just look how he is yawning.
Wie er sich nach Ruhe sehnt. How he longs for sleep.
Im tête-à-tête mit mir so spät In a tête-à-tête with me so late,
Schlief er beinah schon ein; He already almost fell asleep;
14.

So ennuyiert und so blasiert So bored and so blasé
Kann nur allein ein Eh'mann sein. Can only be a husband.

ALL THREE
Im tête-à-tête mir mir (ihr) so spät, etc. In a tête-à-tête with me (her) so late, etc.

FRANK
Nein, nein, ich zweifle gar nicht mehr, No, no, I longer have any doubt,
Doch da ich fort nun muss, Though because I must now leave,
So geben Sie, ich bitte sehr Give each other, I beg of you,
Sich schnell den Abschiedskuss! Quickly the farewell kiss!

ROSALINDE
Den Abschiedskuss? The farewell kiss?

ALFREDO
Den Abschiedskuss? The farewell kiss?

FRANK
Den Abschiedskuss! The farewell kiss!

ROSALINDE
Nun denn, wenn es sein muss, Well then, if it has to be,
Da haben Sie den Kuss! There you have the kiss!

ALFREDO
Soll ich schon brummen müssen If I have to serve time
Für Ihren werten Herrn Gemahl, For your esteemed husband,
Kann ich für ihn auch küssen, I can also kiss for him,
Komm, Weibschen, küss mich noch einmal! Come, little wife, kiss me again!

FRANK
Mein Herr, ich bin etwas pressiert Sir, I'm somewhat pressed for time,
Da heut' ich selbst noch invitiert; As I've been invited out today myself;
Drum lassen Sie uns gehn, Therefore, let us go,
Ja, lassen endlich Sie uns gehn! Yes, let us finally go!

ROSALINDE (to Alfred)
Sie finden gewiss dort meinen Gemahl. You will certainly find my husband there.

ALFRED
Wir brummen vielleicht in demselben Lokal. We'll serve time, perhaps, in the same place.

15.

ROSALINDE
O, schonen Sie mich! Oh, spare me!

ALFRED
Ganz sicherlich! Quite certainly!

FRANK
(coming back)
Folgen Sie nun schnell, Now follow me quickly,
Der Wagen ist zur Stell' The carriage is in place
Drum fort, drum fort nur schnell! So away, away now quickly!
Mein grosses, schönes Vogelhaus, My nice big birdcage,
Es ist ganz nahe hier! Is very near here!
Viel Vögel flattern ein und aus, Many birds flutter in and out,
Bekommen frei Quartier, And get free lodging,
Drum lad' ich Sie ganz höflich ein, So I quite politely invite you,
Verehrtester, ich bitt', Esteemed sir, I beg you
Dort auch mein werter Gast zu sein, There to be my honored guest,
Spaziern's gefälligst mit! Favor me by strolling down there with me!

ALFRED
Wenn es sein muss, so will ich gehn! If it must be, then I will go.

ROSALINDE
Doch schweigen Sie! Will you be quiet!

ALFRED
Es soll geschehn! So be it!

FRANK
Nun fort, schnell fort! Now away! Quickly away!

ALFRED
Gleich will ich mich bequemen, Shortly, I will submit,
Doch erst noch Abschied nehmen! But first I must take my leave!

ROSALINDE
Genug, mein Herr, es ist schon gut! Enough, sir, that's quite alright!

ALFRED
Ein Küsschen noch, dann hab' ich Mut! One little kiss more, then I'll have courage!

ROSALINDE
Nein nein, genug, wir müssen scheiden! No, no, enough! We must part!
16.

ALFRED
Ein Küsschen gibt Trost mir im Leiden! A little kiss will give me comfort in my pain!

FRANK
Mein Herr, genug der Zärtlichkeit, Sir, enough of the tenderness,
Wir kommen nicht zu Ende heut, We'll never finish up today,
Genug, es ist jetzt Zeit! Enough! It's time now!
Mein schönes, grosses Vogelhaus, My nice, big birdcage,
Es ist ganz nahe hier; Is quite near here;
Viel Vögel fliegen ein und aus Many birds fly in and out
Und finden frei Quartier. And find free lodging there.
Drum lad' ich Sie ganz höflich ein, So I invite you quite politely,
Dort mein Gast zu sein; There to be my guest;
Ich bitte, fügen Sie sich drein I beg you to comply,
Das wird das Beste sein. That will be best.

ALFRED
Sein schönes grosses Vogelhaus His nice big birdcage
Es ist ganz nahe hier; Is quite near here;
Viel Vögel flattern ein und aus Many birds flutter in and out
Und finden frei Quartier. And find free lodging there.
Er ladet mich ganz höflich ein, He invites me quite politely,
Dort auch sein Gast zu sein; There to also be his guest;
Ich füge vorderhand mich drein, I'll comply for the time being.
Das wird das Beste sein. That will be best.

ROSALINDE
Sein schönes grosses Vogelhaus His nice big birdcage
Es ist ganz nahe hier; Is quite near here;
Viel Vögel flattern ein und aus Many birds flutter in and out
Und finden frei Quartier. And find free lodging there.
Er ladet Sie ganz höflich ein, He most politely invites you,
Dort auch sein Gast zu sein; There to be his guest;
Drum bitt'ich, fügen Sie sich drein, So I beg you to comply
Es muss ja leider sein. It must unfortunately be so.
Nun wohlan, das Schicksal will, Now then, destiny decrees
Dass heut allein ich soll soupieren; That tonight I'll eat supper alone;
Ja, ich füge willig mich darein. Yes, I willingly comply.
Warum soll man noch vergeblich Why should one go on in vain
Streiten hier und lamentieren? Quarrelling here and lamenting?
Fort , nur fort, es muss ja sein, Ach! Away, just away, it must be so! Alas!

ALFRED
Ach, wie gern möcht' hier Ah, how gladly I should like
17.

Mit Ihnen ich soupieren! To take supper here with you!
Aber wie mir scheint, soll's nicht sein! But it seems to me it's not to be!
Ach, das Schicksal will mich grausam Ah, destiny will cruelly
Schon von hinnen führen, Lead me away from here now,
Fort, denn fort, es muss ja sein! Away then, away, it must be!

FRANK
Kommen Sie, ich selbst Come, I myself
Will heut abend auch soupieren, Want to have supper this evening,
Fügen Sie sich endlich doch darein! Do, finally, agree to comply!
Lassen Sie sich ohne Umstand' arretieren, Allow yourself to be arrested without ado,
Fort, nun fort, es muss sein, ja, es muss sein, Away, away now, it must be; it must be,
Drum fort! Therefore, away!


ACT TWO

CHOR
Ein Souper heut uns winkt, A supper beckons us today,
Wie noch gar keins dagewesen; None like it has ever been;
Delikat, auserlesen Choicest delicacies
Immer hier man speist und trinkt. Always are eaten and drunk here.
Alles was mit Glanz die Räume füllt, Everything filling the rooms with brilliance
Erscheint uns wie ein Traumgebild'. Seems to us like a dreamlike vision.
Wie in einen Zauberkreis gebannt, As though spellbound in a magic circle,
Ruft alles: Ha, charmant, Everything calls out: ah, charming,
Amüsant, ja charmant! Amusing, yes, charming!
Ein Souper heut uns winkt, etc. A supper beckons us today, etc.

EIN DIENER (SERVANT)
Gefrornes! Ice cream?

MELANIE
Mir ein wenig her! Just a bit for me!

2nd DIENER (2nd waiter)
Limonade! Lemonade!

FAUSTINE
Hier, ich bitte sehr. Here, if you please.

3RD DIENER (3rd waiter)
Confituren! Confections!

18.
FELICITA
Hier. Here.

4th Diener (4th servent)
Schokolade! Chocolate!

MINNIE
Mir Me

HERMINE
Mir eine Tasse Tee! For me, a cup of tea!

NATALIE
Ich bitte um Kaffee! I would like some coffee!

DIENER (all servants)
Sogleich! So gleich! Right away! Right away!

MEHRERE DAMEN (SEVERAL WOMEN)
Hier Kaffee! Here some coffee!

MEHRERE HERREN (SEVERAL MEN)
Hier ein' Tee! Here a tea!

TUTTI

Wie fliehen schnell die Stunden fort, How fast fly by the hours,
Die Zeit wird sicher keinem lang, The time will seem boring to no one,
Es heisst ja hier das Losungswort, The password here will surely be,
Amüs'ment, nur Amüs'ment! Amusement, only amusement!

(extended dialog)

ORLOFSKY
Ich lade gern mir Gäste ein, I like to invite guests,
Man lebt bei mir recht fein, One lives quite well at my house,
Man unterhält sich, wie man mag One enjoys oneself, as he likes
Oft bis zum hellen Tag. Often until the light of day.
Zwar langweil' ich mich stets dabei, Although I am bored most of the time,
Was man auch treibt und spricht; Whatever one says or does;
Indes, was mir als Wirt steht frei, In that, what I allow myself as host,
Duld' ich bei Gästen nicht! I will not tolerate in guests!
Und sehe ich, es ennuyiert And should I see anyone looking bored
Sich jemand hier bei mir, Here in my home,
So pack' ich ihn ganz ungeniert, I will seize him shamelessly
19.

Werf' ihn hinaus zur Tür. And throw him out the door.
Und fragen Sie, ich bitte And ask me, I beg you
Warum ich das denn tu'? Why then this I do?

EISENSTEIN
Ja, warum denn? Well, why then?

ORLOFSKY
'S ist mal bei mir so Sitte, It's simply my custom:
Chacun à son gout! Each to his own taste!

EISENSTEIN (sometimes in spoken dialog)
Na servus, wenn jeder, der sich hier langweilt, hinausgeworfen wird, dann würden sich alle Gäste köstlich amüsieren, Hahaha!

Well now, if everyone who gets bored here is thrown out, then all guests must richly amuse themselves. Hahaha!

ORLOFSKY
Wenn ich mit andern sitz' beim Wein When I sit with others over wine
Und Flasch' um Flasche leer', Emptying bottle after bottle,
Muss jeder mit mir durstig sein, Everyone with me must be thirsty,
Sonst werde grob ich sehr. Otherwise I become crude.
Und schenke Glas um Glas ich ein, And if I'm pouring glass after glass,
Duld' ich nicht Widerspruch; I tolerate no contradiction;
Nicht leiden kann ich's wenn sie schrein: I can't stand it when they yell:
Ich will nicht, hab' genug! I don't want to; I have enough!
Wer mir beim Trinken nicht pariert, Anyone who doesn't keep drinking with me
Sich zieret wie ein Tropf, And refuses like a ninny,
Dem werfe ich ganz ungeniert, I throw, quite unashamedly,
Die Flasche an den Kopf. The bottle at his head.
Und fragen Sie, ich bitte, And would you ask me please,
Warum ich das denn tu'? Why I do that?

EISENSTEIN
Na, da frag' ich nichts mehr. Well, I won't ask anything more.

ORLOFSKY
'S ist mal bei mir so Sitte It's just my custom,
Chacun à son goût! Each to his own taste!

(EXTENDED DIALOG)


20.

ORLOFSKY
Ach, meine Herr'n und Damen, Ah, ladies and gentlemen,
Hier gibt es einen Spass. There's going to be some fun here.

FALKE
Zur rechten Zeit Sie kamen! You've come at the right time!

CHOR
Was gibt's? Was gibt's ? What's up? What's up?
Erzählt doch, was? Do tell, what?

ORLOFSKY
Sehn Sie dies Fräulein zierlich? Do you see that dainty young lady?
Die hält der Herr Marquis für... The marquis thinks she is...
Nein, 's ist zu possierlich! No, it's too ludicrous!

CHOR
Für was denn? She's what?

FALKE
Raten Sie! Guess!

ADELE
Für eine Zofe hält er mich, He takes me for a lady's maid,
Ist das nicht lächerlich? Isn't that laughable?

ALLE
Hahahaha! Das ist sehr lächerlich! Hahahaha! That is quite laughable!

ORLOFSKY
Mein Herr, das ist nicht sehr galant! Sir, that is not very galant!
Wie kann man so sich irren? How can anyone be so in error?
Wie ungalant! How unchivalrous!

FALKE
Wie ungalant! How ungalant!

EISENSTEIN
Die Ähnlichkeit ist zu frappant! The likeness is so striking!
Dass musste mich verwirren! That must have bewildered me!

ADELE
Mein Herr Marquis, ein Mann wie Sie My dear marquis, a man like you
Sollt' besser das verstehn, Should better understand that,
21.

Darum rate ich, ja genauer sich Therefore, I advise you to look more
Die Leute anzusehen! Closely at people!
Die Hand ist doch wohl gar zo fein, hahaha. This hand is surely far too fine, hahaha
Dies Füsschen so zierlich und klein, hahaha. This foot so dainty and small, hahaha.
Die Sprache, die ich führe The manner of speaking which I have,
Die Taille, die Tournüre, My waist, my bustle,
Dergleichen finden Sie These would never be found
Bei einer Zofe nie! On a lady's maid!
Gestehn müssen Sie fürwahr, You really must admit,
Sehr komisch dieser Irrtum war! This mistake was very comical!
Ja, sehr komisch, hahaha, Yes, very comical, hahaha,
Ist die Sache, hahaha. Is this matter, hahaha.
Drum verzeihn Sie, hahaha, So pardon me, hahaha,
Wenn ich lache, hahaha! If I laugh, ha ha ha!

ADELE UND CHOR
Ja, sehr komisch, hahaha Yes, very comical, hahaha,
Ist die Sache, hahaha! Is this matter, hahaha!

ADELE
Sehr komisch, Herr Marquis, sind Sie! You are very comical, Marquis!
Mit dem Profil im griech'schen Stil With this profile in Grecian style
Beschenkte mich Natur: Being a gift of nature;
Wenn nicht dies Gesicht schon genügend spricht, If this face doesn't say enough,
So sehn Sie die Figur! Just look at my figure!
Schaun durch die Lorgnette Sie dann, ah, Just look through your lorgnette, ah
Sich diese Toilette nur an, ah At this outfit, ah
Mir scheint wohl, die Liebe It seems to me that love
Macht Ihre Augen trübe, Has clouded your eyes,
Der schönen Zofe Bild The image of your chambermaid
Hat ganz Ihr Herz erfüllt! Has quite filled your heart!
Nun sehen Sie sie überall, Now you see her everywhere,
Sehr komisch ist fürwahr der Fall! This is truly a very comic situation!
Ja, sehr komisch, hahaha Yes very comical, hahaha
Ist die Sache, hahaha Is this matter, ha ha ha ,
Drum verzeihn Sie, hahaha, So pardon me , ha ha ha,
Wenn ich lache, hahaha! If I laugh, ha ha ha!

ADELE, CHOR
Ja, sehr komisch, hahaha, Yes very comical, ha ha ha,
Ist die Sache, hahaha etc. Is this matter, ha ha ha , etc.

(extensive dialog)

22.

DUET

EISENSTEIN (to himself)
Dieser Anstand, so manierlich Her bearing, so well-mannered,
Diese Taille fein und zierlich, This waist, fine and dainty,
Und ein Füsschen, das mit Küsschen And a little foot, which one should
GlühÑend man bedecken sollt', Passionately cover with little kisses,
Wenn sie's nur erlauben wollt'. If only she would allow it.

ROSALINDE (to herself)
Statt zu schmachten im Arreste Instead of languishing under arrest
Amüsiert er sich auf's beste, He is amusing himself to the hilt,
Denkt ans Küssen, statt ans Büssen; Thinking about kissing instead of atoning
Warte nur, du Bösewicht, Just wait, you scoundrel,
Du entgehst der Strafe nicht. You won't elude punishment!

EISENSTEIN
Ach, wie leicht könnt' es entschweben, Ah, how easily it could flee from sight
Die holde Zauberbild, This gracious, enchanting vision.
Willst du nicht die Maske heben, Won't you lift the mask
Die dein Antlitz mir verhüllt? Which conceals your countenance?

ROSALINDE
Ei, mein schöner Herr, ich bitte, Oh, my lovely sir, I beg
Nicht verwegen, nicht berührt! Not so daring, not to be touched!
Denn es heischt die gute sitte, For it is yielding to good manners
Dass man Masken respektiert! That masks be respected!
(aside) (aside)
Wie er girret, kokettieret, How he coos , flirts,
Wie er schmachtend mich fixiert! How wistfully he fixes his eyes on me!
Keine Mahning, keine Ahnung, No reminder, no hint
Kündet ihm, wer vor ihm steht. Tells him, who is standing before him.
Ja, bald werd' ich reüssieren, Yes, soon I will succeed,
Will den Frevier überführen, I want to convict this transgressor,
Will's probieren, ob er in die Falle geht! Want to see if he falls into the trap!

EISENSTEIN
Halb verwirret,halb gerühret, Half bewildered, half stirred,
Retirieret sie vor mir. She retreats from me.
Lass doch sehn, ob es geht, Let's just see, if it works,
Ob sie widersteht? If she resists.
Ja, bald werd' ich reüssieren, Yes, soon I will succeed,
Ich will doch sehn, ob sie mir widersteht, I just want to see, if she resists me,
Ob sie in die Falle geht! If she falls into the trap!
23Ï.

(Eisenstein sets his watch off.)

ROSALINDE
Ach wie wird mein Auge trübe, Ah, how my eyes are becoming clouded,
Wie das Herz so bange schlägt! How my heart beats with alarm!

EISENSTEIN
Ha, schon meldet sich die Liebe, Aha, already love is setting in,
Die das Herz ihr bang bewegt! Anxiously moving her heart.

ROSALINDE
Leider ist's ein altes Übel, Unfortunately, it's an old malady,
Doch vorübergehend nur. But it will pass by.
Stimmen meines Herzens Schläge Are my heartbeats in time
Mit dem Tiktak einer Uhr? With the tick tock of a watch?

EISENSTEIN
Ei, das können wir gleich sehn! Oh, we can soon see!

ROSALINDE
Zählen wir, ich bitte schön! Let's count them, if you please!

BEIDE (BOTH)
Ja, zählen wir. Yes, let's count them!

EISENSTEIN
Eins, zwei, drei, vier... One, two, three, four...

ROSALINDE
Fünf, sechs, sieb'n, neun. Five, six, seven, nine.

EISENSTEIN
Nein, das kann nicht sein No, that cannot be,
Denn nach der Sieb'n kommt erst die Acht. For after the seven comes first the Ìeight.

ROSALINDE
Sie hab'n mich ganz verwirrt gemacht, You have made me quite bewildered,
Wir wollen wechsseln. Let us change sides.

EISENSTEIN
Wecheln? Wie? Change sides? How?

ROSALINDE
Den Schlag des Herzens zählen Sie, You count the beats of my heart,
24.

Und ich das Tiktak Ihrer Uhr. And I the tick-tock of your watch.
Ich bitt' auf fünf Minuten nur. I ask only for five minutes,
Jetzt zählen Sie, mein Herr Marquis! Now you count, my dear Marquis!

EISENSTEIN
Bin schon dabei! I'm doing it already!

BEIDE (BOTH)
Eins, zwei, drei, vier, fünf, One, two, three, four, five,
Sechs, sieb'n, acht... Six, seven, eight...

ROSALINDE
Neun, zehn, elf, zwölf, dreizehn, Nine, ten, eleven, twelve, thirteen,
Vierzehn, fünfzehn, sechzehn, Fourteen, fifteen, sixteen,
Siebzehn, achtzehn, neunzehn, Seventeen, eighteen, nineteen,
Zwanzig, dreissig, vierzig, Twenty, thirty, forty,
Fünfzig, sechzig, achtzig, hundert! Fifty, sixty, eighty, a hundred!

EISENSTEIN
Hopp, hopp, hopp, hopp, Hop, hop, hop, hop,
Das geht im Galopp! It's going at a gallop!
Sechs, sieb'n, acht, Six, seven, eight,
Neun, zehn, elf, zwölf Nine, ten, eleven, twelve,
Hopp, hopp, hopp, hopp, Hop, hop, hop, hop,
Im Galopp; sechshundert und neun! At a gallop; six hundred and nine!

ROSALINDE
So weit können wir noch nicht sein! We can't be that far yet!

EISENSTEIN
O, ich bin weiter schon! Oh, I'm already further!

ROSALINDE
Nein, nein, nein! No, no, no!

EISENSTEIN
Eine halbe Million! Half a million!
Ja, eine halbe Million! Yes, half a million!

ROSALINDE
Wie kann man gar so grob nur fehlen? How can your count be so grossly off?

EISENSTEIN
Da mag der Teufel richtig zählen! To the devil with counting correctly! 25.

ROSALINDE
(pocketing the watch)
Heut wirst du nimmer repetieren! Today you will not go off again!

EISENSTEIN
Sie will die Uhr sich annectieren! She wants to annex the watch!
Meine Uhr! My watch!

ROSALINDE
Ich danke von Herzen! I thank you from the heart!

EISENSTEIN
Ich wollte nur...! I only intended to..!

ROSALINDE
Belieben zu scherzen! You do love to joke!
Ah...ah...ah..., etc. Ah..ah...ah... etc.!

EISENSTEIN
Sie ist nicht ins Netz gegangen, She didn't go into the net,
Hat die Uhr mir abgefangen; She got away with my watch;
Dieser Spass ist etwas teuer, This fun has been a bit expensive,
Hab' blamiert mich ungeheuer! I've made a frightful fool of myself!
Ach, meine Uhr, ich bitte sehr, ich wollte nur, Ah, my watch, I beg you, I only wanted,
Oh weh! Oh weh! Oh dear! Oh dear!
Meine Uhr ist annectiert! My watch has been annexed!
Ach, ich bin blamiert! Oh, I've been duped!
Weh mir! Woe is me!

(dialog)

No 10 - Czardas
ROSALINDE
Klänge der Heimat, Sounds of my homeland,
Ihr weckt mir das Sehnen, You awaken my longing,
Rufet die Tränen Call forth tears
Ins Auge mir! To my eyes!
Wenn ich euch höre, When I hear you
Ihr heimischen Lieder, You songs of home,
Zieht mich's wieder, You draw me back,
Mein Ungarland, zu dir! My Hungary, to you!
O Heimat so wunderbar, O homeland, so wonderful,
Wie strahlt dort die Sonne so klar! How clearly shines the sun there!
Wie grün deine Wälder, How green your forests,
26.

Wie lachend die Felder, How laughing the fields,
O land, wo so glücklich ich war! Oh land, where I was so happy!
Ja, dein geliebtes Bild Yes, your beloved image
Meine Seele so ganz erfüllt, Entirely fills my soul,
Dein geliebtes Bild! Your beloved image!
Und bin ich auch von dir weit, ach weit, And though I am far from you, ah so far,
Dir bleibt in Ewigkeit Yours remains for all eternity
Doch mein Sinn immerdar My soul, ever there,
Ganz allein geweiht! Dedicated to you alone!
O Heimat so wunderbar, Oh homeland so wondrous,
Wie strahlt dort die Sonne so klar! How clearly shines the sun there!
Wie grün deine Wälder! How green your forests!
Wie lachend die Felder, How laughing your fields!
O Land, wo so glücklich ich war! Oh land, where I was so happy!
Feuer, Lebenslust, Fire, zest for living,
Schwellt echte Ungarbrust, Swell the true Hungarian breast,
Heil! Zum Tanze schnell, Hurrah! On to the dance,
Csárdas tönt so hell! The Csárdás sounds so brightly!
Braunes Mägdelein Brown-skinned girl,
Musst meine Tänz'rin sein; You must be my dancer;
Reich den Arm geschwind, Give me your arm quickly,
Dunkeläugig Kind! Dark-eyed child!
Durst'ge Zecher, Thirsty tipplers,
Greift zum Becher, Grasp the cup,
Lasst ihn kreisen Pass it in a circle
Schnell von Hand zu Hand! Quickly from hand to hand!
Schlürft das Feuer Slurp the fire
Im Tokayer, In the Tokay,
Bringt ein Hoch Give a toast
Aus dem Vaterland! Ha! From the fatherland! Ha!
Feuer, Lebe Fire, Zest for life
Schwellt echte Ungarbrust, Swell the true Hungarian breast,
Heil! Zum Tanze schnell! Hurray! To the spirited dance
Csárdás tönt so hell! The csárdás sounds loud and clear!
La, la, la, la, la! La, la, la, la, la!
(dialog)

Nr. 11.
Finale
ORLOFSKY
Im Feuerstrom der Reben, In the firestream from the vines,
Tralalalalala, tra la la la la la,
Sprüht ein himmlisch Leben, Sparkles a divine life,
Tralalalalala, Tra la la la la la,
27.

Die Könige, die Kaiser, The kings, the emperors
Die lieben Lorbeerreiser, They love laurel branches,
Doch lieben sie daneben But they also love
Den süssen Saft der Reben. The sweet juice of the vines.
Stosst an, stosst an A toast, a toast
Und huldigt im Vereine And in unity pay homage
Dem König aller Weine! To the king of all wines!

ALLE (ALL)

Stosst an! Stosst an! Stosst an! A toast! A toast! A toast!

ORLOFSKY

Die Majestät wird anerkannt, His majesty is acknowledged,
Anerkannt rings im Land; Acknowledged throughout the land;
Jubelnd wird Champagner He is jubilantly crowned Champagne
Der Erste sie genannt! The First!

ALLE (ALL)
Die Majestät wird anerkannt, His majesty is acknowledged,
Anerkannt rings im Land; Acknowledged throughout the land;
Jubelnd wird Champagner He is jubilantly crowned Champagne
Der Erste sie genannt! The First!
Es lebe Champagner der Erste! Long live Champagne the first!

ADELE
Dir huldigen Nationen Nations pay you homage,
Tralalalalala, Tra la la la la la,
Bis zu fernsten Zonen, As far as the most distant places,
Tralalalalala, Tra la la la la la,
Champagner schwemmt mituntòer Champagne washes down
Gar mancherlei hinunter, All sorts of things sometimes,
Drum lassen weise Fürsten So wise monarchs never let
Die Völker niemals dürsten. Their people go thirsty.
Stosst an, stosst an Let's toast, lets toast
Und huldigt im Vereine And unite in paying homage
Dem König aller Weine. To the king of all wines!

ALLE
Stosst an! Stosst an! Stosst an! Let's toast! Let's toast! Let's toast!

ADELE
Die Majestät wird anerkannt, His majesty is acknowledged,
28.

Anerkannt rings im Land; Acknowledged throughout the land;
Jubelnd wird Champagner He is jubilantly crowned Champagne
Der Erste sie genannt! The First!

ALLE (ALL)
Die Majestät wird anerkannt, His majesty is acknowledged,
Anerkannt rings im Land; Acknowledged throughout the land;
Jubelnd wird Champagner He is jubilantly crowned Champagne
Der Erste sie genannt! The First!
Es lebe Champagner der Erste! Long live Champagne the first!

EISENSTEIN
Der Mönch in stiller Zelle The monk in his quiet cell,
Tralalalalala, Tra la la la la la,
Labt sich an der Quelle, Gets refreshment at the spring,
Tralalalalala, Tra la la la la la,
Zu netzen seine Lippen, To moisten his lips,
Muss viel und oft er nippen Must sip much and often
Und holt sich aus dem Glase And gets from the glass
Rubinen auf die Nase. Rubies on his nose.
Stosst an, Stosst an Let's toast, let's toast
Und huldigt im Vereine And unite in paying homage
Dem König aller Weine. To the king of all wines!

ALLE
Stosst an! Stosst an! Stosst an! Let's toast! Let's toast! Let's toast!

EISENSTEIN
Die Majestät wird anerkannt, His majesty is acknowledged,
Anerkannt rings im Land; Acknowledged throughout the land;
Jubelnd wird Champagner He is jubilantly crowned Champagne
Der Erste sie genannt! The First!

ALLE
Die Majestät wird anerkannt, His majesty is acknowledged,
Anerkannt rings im Land; Acknowledged throughout the land;
Jubelnd wird Champagner He is jubilantly crowned Champagne
Der Erst e sie genannt! The First!

EISENSTEIN (to Frank)
Herr Chevalier, ich grüsse Sie! I salute you, chevalier!

FRANK
Merci, merci, merci! Thank you, thank you, thank you
29.

Auf Ihr Spezielles, Herr Marquis! Especially to your health, marquis!

EISENSTEIN
Merci, merci, merci! Thank you, thank you, thank you!

FALKE
Auf Ihr Wohl, Chevalier und Marquis To you both, chevalier and marquis!

EISENSTEIN
Merci, merci, merci! Thank you, thank you, thank you!

ROSALINDE, ADELE
Hahaha! Ha ha ha!

ALLE
Merci, merci, merci! Thank you, thank you, thank you!

FALKE
Halt, hört mich an, was ich ersann! Stop, listen to what I've been thinking!

CHOR
Hört ihn an! Listen to him!

FALKE
Ich seh', dass sich die Paare gefunden, I see that pairs have formed
Dass manche Herzen in Liebe verbunden, That many hearts in love are bound,
Drum lassset uns alle ein grosser Verein So let us all form a great union
Von Schwestern und von Brüdern sein! Of sisters and brothers!

ORLOFSKY
Eine grosse Bruderschaft, es sei! May it be a great brotherhood!

CHOR
Eine grosse Bruderschaft, es sei! May it be a great brotherhood!

EISENSTEIN (to Rosalinde)
Auch Ihr, schöne Maske, seid dabei! You too, beautiful mask, are part of it!

ROSALINDE
Wo alle küssen, werd ich's auch müssen! Where all are kissing, I'll have to as well!

FALKE
Folgt meinem Beispiel: das Glas zur Hand, Follow my example: glass in hand,
Und jeder sing' zum Nachbar gewand: Each turns and sings to his neighbor:
30.

Brüderlein, Brüderlein und Schwesterlein Little brothers, little brothers and sisters
Wollen alle wir sein, We all want to be,
Stimmt mit mir ein! All will agree with me!
Brüderlein, Brüderlein und Schwesterlein, Little brothers, little brothers and sisters,
Lasst das traute"Du" uns schenken, Address each other with the familiar "Du"
Für die Ewigkeit, immer so wie heut, For all eternity, just as today,
Wenn wir morgen noch dran denken! When we think about it again tomorrow!
Erst ein Kuss, dann ein Du First a kiss and then a "Du"
Du, Du, Du, immerzu! Du, Du, Du, forever!

A¡LLE
Brüderlein, Brüderlein und Schwesterlein Little brothers, little brothers and sisters
Wollen alle wir sein, We all want to be,
Stimmt mit mir ein! All will agree with me!
Brüderlein, Brüderlein und Schwesterlein Little brothers, little brothers and sisters
Lasst das traute"Du" uns schenken, Each address the other with the familiar "Du"
Für die Ewigkeit, immer so wie heut, For all eternity, just as today,
Wenn wir morgen noch dran denken! When we think about it again tomorrow!
Erst ein Kuss, dann ein Du First a kiss and then a "Du"
Du, Du, Du, immerzu! Du, Du, Du, forever!
Erst ein Kuss, dann ein Du First a kiss and then a "Du"
Du, Du, Du, Du! Du, Du, Du, Du,
Duidu, Duidu, lalalalala! Duidu, Duidu, lalalala, etc.

Polka: Unter Donner und Blitz

ORLOFSKY
Genug damit, genug, Enough of that, enough,
Einen Waltzer spielt uns auf! Play a waltz for us!
Bei rauschender Weise in fröhlichem Kreise, In a rousing way, in a merry circle
Setzet ·dem Fest die Krone auf! Put a crown on these festivities!

CHOR
Stellt euch zum Tanz, Take your places for the dance,
Ja, ja, ein Tanz, ein wirbelnder Tanz, Yes, yes, a dance, a whirling dance,
Das erhöht des Festes Glanz! Will raise the sparkle of the party!
Ha, welch ein Fest, welche Nacht voll Freud'! Ah, what a party, what a night full of joy!
Liebe und Wein gibt uns Seligkeit! Love and wine will give us bliss!
Ging's durch das Leben so flott wie heut', If life always went at tonight's pace
Wär jede Stunde der Lust geweiht! Every hour would be dedicated to desire!

EISENSTEIN
((to Frank)
Du bist meine Stütze, Freund! You are my prop, my friend!
31.

FRANK
Ja, deine Stütze fürs Leben! Yes, your prop for life!

ROSALINDE, ORLOFSKY, FALKE
Welch ein rührend Wiedersehn What a stirring reunion
Wird das im Arreste geben! There will be in prison!

CHOR
Ha, welch ein Fest, welche Nacht voll Freud'! Ah, what a party, what a night full of joy!
Liebe und Wein gibt uns Seligkeit! Love and wine will give us bliss!
Ging's durch das Leben so flott wie heut', If life always went at tonight's pace
Wär jede Stunde der Lust geweiht! Every hour would be dedicated to desire!

FRANK (to Eisenstein)
Brüderl, Brüderl, meine Uhr geht schlecht, Dear brother, brother, my watch is wrong,
Schau, wie viel's auf deiner ist! Look at what yours says!

EISENSTEIN
Brüderl, meine geht auch nicht recht, Dear brother, mine isn't going right either,
Weil sie schon gegangen ist. Because it's already gone.
(to Rosalinde) (to Rosalinde)
Holde, hier vor allen! You, lovliest of all who are here,
Lass die Maske endlich fallen. Allow, finally, the mask to fall.
Dass ich seh, wen ich besiegt So I may see whom I've conquered,
Und wer meine Uhr gekriegt. And who got my watch.

ROSALINDE
Verlang nicht zu schaun, was hier verhüllt; Don't demand to see what is hidden here;
Erbeben würdest du vor diesem Bild! You would tremble at this image!

EISENSTEIN
Huhuhuhu! Was heisst denn das? Well, well, well! What does that mean?

ADELE, IDA, CHOR
Hahahaha, ein guter Spass, Ha ha ha ha, a good joke,
Fürwahr, ein prächtiger Spass! Really, a marvelous joke!
Bist du ein Mann, schau sie dir an! If you are a man, take a look at her!
Zurück jetzt zu weichen, wäre Blamage! To retreat now would be a disgrace!

EISENSTEIN
O, ich habe schon courage! Oh, I have the courage!
Schätzchen, länger sträub dich nicht! Little treasure, resist no longer!


32.

ROSALINDE
Hab ein Wimmerl auf der Nase, I have a pimple on my nose,
Drum verberg' ich mein Gesicht! That's why I'm hiding my face!

EISENSTEIN
An das Wimmerl glaub' ich nicht! I don't believe in the pimple!

ADELE, IDA, ORLOFSKY
FALKE, FRANK
Nein, das Wimmerl schreckt ihn nicht! No, that pimple doesn't scare him!

EISENSTEIN
Sehen muss ich dies Gesicht! I must see this face!

ADELE, IDA, ORLOFSKY
FALKE, FRANK
Er muss sehen dies Gesicht! He must see that face!

EISENSTEIN, FRANK (hearing the clock strike)
Eins! Zwei! Drei! Vier! Fünf! Sechs! One, two, three, four, five, six!
Meinen Hut, meinen Hut, My hat, my hat,
'S ist die höchste Zeit! It's high time!

CHOR
Seinen Hut, seinen Hut, His hat, his hat,
Hört doch, wie ere schreit! Just listen how he shouts!

EISENSTEIN
Der Arrest harret mein! Prison is calling me!

FRANK
Längst sollt' ich zu Hause sein! I should have been home long ago!

BEIDE (BOTH)
Meinen Hut, meinen Rock, My hat, my coat,
Gebt mir meinen Rock! Give me my coat!

CHOR
Seinen Rock, seinen Hut, His coat, his hat,
Seinen Rock, hahaha! His coat, ha ha ha!
Seinen Hut gebt ihm, Give him his hat,
Seinen Rock, hahaha! His coat, ha ha ha!


33.

FRANK (to Eisenstein)
Eine kurze Strecke gehst du mit mir. Walk a little way with me.

EISENSTEIN
An der nächsten Ecke, da scheiden wir! At the next corner, we'll separate!

BEIDE
So lass uns gehn! Then let's go!

ALLE
Auf Wiedersehn, hahaha! Goodbye, ha ha ha!
Ha, welch ein Fest, welche Nacht voll Freud'! Ah, what a party, what a night full of joy!
Liebe und Wein gibt uns Seligkeit. Love and wine give us bliss!
Ging's durch das Leben so flott wie heut! If only life always went at tonight's pace!
Dann bleibet jede Stund' der Lust geweiht! Then each hour would be dedicated to desire!


ACT THREE

(EXTENSIVE DIALOG, MELODRAMA, ETC.)

# 14 couplets

ADELE
Spiel ich die Unschuld vom Lande, When I play the innocent from the country,
Natürlich im kurzen Gewande, Naturally in a short dress,
So hüpf' ich ganz neckisch umher, I hop about quite playfully,
Als ob ich ein Eichkatzerl wär; As though I were a squirrel;
Und kommt ein saub'rer junger Mann, And if a neat young man comes along,
So blinzle ich lächelnd ihn an, I wink at him, smiling
Durch die Finger zwar nur Though only through open fingers,
Als ein Kind der Natur, Like a child of nature,
Und zupf' an meinem Schürzenband - And I pull at my apron-strings -
So fängt man Spatzen auf dem Land. That's how you catch sparrows in the country.
Und folgt er mir, wohin ich geh', And if he follows me, wherever I go,
Sag ich naiv: Sie Schlimmer, Sie, I say naively, "You wicked man, you,"
Setz' mich zu ihm ins Gras sodann Then I sit next to him in the grass
Und fang' auf d'Letzt zu singen an; And finally start to sing;
Lalalalalala... La la la la la la ....
Wenn Sie das gesehn, When you see that
Mussen Sie gestehn, You must admit,
Es wär der Schaden nicht gering, It wouldn't be less than an awful shame
Wenn mit dem Talent, mit dem Talent If with this talent, with this talent
34.

Ich nicht zum Theater ging'! I were not in the theatre!
Spiel' ich eine Königin, Were I to play a queen,
Schreit ich majestätisch hin, I would stride majestically,
Nicke hier und nicke da, Nodding here and nodding there,
Ja ganz, ja in meiner Gloria! Yes indeed, in all my glory!
Alles macht voll Ehrfurcht mir Spalier; Everyone opens a path in my honor;
Lauscht den Tönen meines Sangs, They listen to the sounds of my song,
Lächelnd ich das Reich und Volk regier', Smiling, I rule the kingdom and the people,
Königin par excellence! A queen par excellence!
Lalalalalala... La la la la la la ...

IDA
(imitating a trumpet)
Tratatatatata... Ra ta ta ta ta ta ...

FRANK
(imitating a drum)
Freem, memm, plemm, prrrrr... Rum, tum, tum, brrr...

ADELE
Wenn Sie das gesehn, When you see that,
Mussen Sie gestehn, You must admit,
Es wär der Schaden nicht gering, It wouldn't be less than an awful shame
Wenn mit dem Talent, mit dem Talent If, with this talent, with this talent
Ich nicht zum Theater ging'! I were not in the theatre!
Spiel ich 'ne Dame von Paris, ah, If I play a lady from Paris, ah,
Die Gattin eines Herrn Marquis, ah, The wife of a marquis, ah,
Da kommt ein junger Graf ins Haus, ah, And a young count comes to the house, ah,
Der geht auf meine Tugend aus, ah! He has designs on my virtue, ah,
Zwei Akt hindurch geb'ich nicht nach, For two acts, I don't give in,
Doch ach, im dritten werd' ich schwach; But, ah, in the third, I weaken;
Da öffnet plötzlich sich die Tür, Then suddenly the door opens,
O weh, mein Mann, was wird aus mir, ach! Oh dear, my husband; what will become of me, oh?
Verzeihung! Flöt ich, er verzeiht , ah, "Forgive me," I squeak; he forgives, ah
Zum Schluss-Tableau, da weinen d'Leut; In the final scene, people are crying;
Ja, ach, ja! Yes, oh yes!

(dialog)

# 15 Trio

ROSALINDE
Ich stehe voll Zagen I stand full of anxiety,
35.

Was wird er mich fragen? What will he ask me?
Darf ich wohl es wagen, Might I indeed risk
Ihm alles zu sagen? Telling him everything?
Die Situation The situation
Erheischt Diskretion. Demands discretion.

ALFRED
Um Rat ihn zu fragen, To ask his advice
Muss alles ihm sagen! (I) must tell him everything!
Warum den verzagen? Why then be faint-hearted?
Wir werden ihm klagen We Shall complain to him
Die Situation: About the situation:
Er hilft uns dann schon. Then that will help us.

EISENSTEIN
(to himself)
Pack ich ihn beim Kragen, If I get him by the collar,
So würd' er nichts sagen: He wouldn't say anything;
Möcht nieder ihn schlagen I'd like to knock him down,
Doch darf ich's nicht wagen, But I mustn't risk it,
Darf nicht einmal drohn I must'nt even threaten
Dem frechen Patron! This cheeky fellow
(imitating Blind) (imitating Blind)
Die ganze Sache jetzt bitte ich, The whole affair now I beg you,
Mir haarklein zu erzählen, Tell me in minutest detail,
Nicht das Geringste zu verhehlen, Don't conceal the least thing,
Indes ich mir Notizen mache! While I take notes!

ROSALINDE
Der Fall ist eigentümlich, The case is peculiar,
Wie Sie gleich werden sehn. As you will soon see.

ALFRED
Sogar verwickelt ziemlich, Even quite entangled
Das muss man eingestehn! That one must admit!

EISENSTEIN
Nun denn, so g-g-geben Sie zu Protok-k-koll, Well then, p-p-put on your rec-c-cord,
Worin ich Sie verteid'gen soll! The evidence for defending you!

ALFRED
Ein seltsam Abenteuer An unusual adventure
Ist gestern mir passiert: Happened to me yesterday.
Man hat mich aus Versehen I was, through an inadvertent blunder,
36.

Hier in Arrest geführt, Brought here under arrest,
Weil ich mit dieser Dame Because I was with this lady
Ein wenig spät soupiert. Eating supper a bit late.

EISENSTEIN
Ein Glück, dass es so kam, Lucky it turned out like that,
Sie handelten infam! They behaved infamously!

ALFRED
Was kommt denn Ihnen in den Sinn? What are you thinking?
Sie soll'n mich ja verteid'gen. You're supposed to be defending me.

EISENSTEIN
Verzeihn Sie, wenn ich heftig bin; Forgive me àif I am sharp;
Der Gegenstand reisst mich so hin, This subject so overwhelms me,
Ich wollt' Sie nicht beleid'gen I don't want to insult you,
Nein ich sol Sie ja verteid'gen. No, I am indeed supposed to defend you.

ROSALINDE, ALFRED
Mein Herr Notar, das war fürwahr My dear notary, that really was
Sehr sonderbar, sehr sonderbar! Singularly odd, singularly odd!
Nur ruhig Blut, denn solche Wut Just stay calm, for such anger
Mach sich fürwahr nicht gut! Surely serves no good purpose!
Gar nicht gut! No good at all!

EISENSTEIN (to himself)
Was ich erfahr', verwirrt fürwahr What I hear really confuses
Mich ganz und gar! Me utterly and entirely!
Drum ruhig Blut, ich muss die Wut So stay calm, my anger must remain
Verbergen jetzt noch gut, Well concealed for now,
Ja, meine Wut verberg' ich gut! Yes, I will conceal my anger well!

ROSALINDE
Das ganze war ein Zufall, The whole thing was a coincidence,
Nichts Übles ist passiert; Nothing wrong happened;
Doch würd' bekannt es werden, Yet should it become known,
Wär ich kompromittiert, I would be compromised,
Da sicher mich mein Gatte Since my husband would surely
Für schuldig halten wird! Consider me guilty.

EISENSTEIN
Da hätt' er auch ganz recht, There he would be quite right,
Sie handelten sehr schlecht! You behaved very badly!

37.

ROSALINDE
Was kommt denn Ihnen in den Sinn? What are you thinking?
Sie soll'n mich ja verteid'gen. You are supposed to defend me.

EISENSTEIN
Verzeihn Sie, wenn ich heftig bin; Forgive me if I am sharp;
Der Gegenstand reisst mich so hin, This subject so overwhelms me,
Ich wollt' Sie nicht beleid'gen I don't want to insult you,
Nein ich sol Sie ja verteid'gen. No, I am indeed supposed to defend you.

ROSALINDE, ALFRED
Mein Herr Notar, das war fürwahr My dear notary, that really was
Sehr sonderbar, sehr sonderbar! Singularly odd, singularly odd!
Nur ruhig Blut, denn' solce Wut Just stay calm, for such anger
Mach sich fürwahr nicht gut! Surely does no good!

EISENSTEIN (to himself)
Was ich erfahr', verwirrt fürwahr What I hear really confuses
Mich ganz und gar! Me utterly and entirely!
Drum ruhig Blut, ich muss die Wut So stay calm, my anger must remain
Verbergen jetzt noch gut, Well concealed for now,
Ja, meine Wut verberg' ich gut! Yes, I will conceal my anger well!
(to others) (to others)
Ich bitt', mir alles zu gestehn I beg you to confess everything to me
Und nichts zu übergehn. And not slide over anything.
Ist kein Detail mehr übersehn, Has no detail been overlooked,
Ist weiter nichts geschehn? Did nothing else happen?

ALFRED
Was sollen diese Fragen hier? What are these questions supposed to mean?

ROSALINDE
Mein Herr! Sir!

EISENSTEIN
Ich bitte zu gestehn, Please confess,
Ist weiter nichts geschehn? Did nothing else happen?

ROSALINDE
Mein Herr, was denken Sie von mir? Sir, what can you be thinking of me?
Was sollen diese Fragen hier? What are these questions supposed to mean?

EISENSTEIN
Ich frag' Sie aufs Gewissen, I ask you to consult your conscience,
38.

Ist weiter nichts geschehn? Did nothing furthur happen?
Denn alles muss ich wissen! For I must know everything!

ROSALINDE
Mein Herr! Sir!

ALFRED
Mein Herr! Sir!

ROSALINDE
Mein Herr! Sir!
Es scheint fast, als empfinden Sie It almost seems, that you feel
Für meinen Gatten Sympathie, Sympathy for my husband,
Drum muss ich Ihnen sagen: Therefore, I must tell you:
Ein Ungeheuer ist mein Mann, My husband is a monster
Und niemals ich vergeben kann And I can never forgive
Sein treulos schändliches Betragen. His disloyal, shameful infidelity.
Er hat die vor'ge ganze Nacht, He spent the entire evening and night
Mit jungen Damen Zugebracht, With young ladies,
Lebt' herrlich und in Freuden! Living the high and sporting life.
Doch schenk' ich's nicht But I'm not letting off
Dem Bösewicht This scoundrel,
Und kommt er wieder mir nach Haus, And if he comes home to me,
Kratz'ich ihm erst die Augen aus I will first scratch his eyes out,
Und dann lass' ich mich scheiden! And then I will get a divorce!

ALLE DREI (all three)
Ich (sie) kratz' (kratzt) ihm erst die Augen aus, I (she) will first scratch his eyes out,
Und dann lass' (lässt) ich mich (sie sich) scheiden! And then get a divorce.

ALFRED
Da Sie alles wissen nun, Now that you know it all,
Sagen Sie, was soll man tun? Tell us, what should one do?
Geben Sie uns Mittel an, State the way
Wie man diesem Ehemann This husband
Eine Nase drehen kann? Can get his come-upance.

EISENSTEIN
Das ist zuviel! This is too much!

ALFRED
Was soll das sein? What is that supposed to mean?


39.

EISENSTEIN
Welch schändlich'Spiel! What a disgraceful game this is!

ROSALINDE
Was soll das sein? What's that mean?

ROSALINDE, ALFRED
Mein Herr, wozu dies Schrein? Sir, why this shouting?

EISENSTEIN
(revealing his identity)
Erzittert, ihr Verbrecher! Tremble, you crooks!
Die Strafe bricht herein, Your punishment is at hand!
Hier stehe ich als Rächer - Here I stand as avenger -
Ich selbst bin Eisenstein! I myself am Eisenstein!

ROSALINDE, ALFRED
Er selbst ist Eisenstein! He himself is Eisenstein!

EISENSTEIN
Ja, ja! Ja, ich bin's, den ihr betrogen, Yes, yes! Yes, I am he, whom you betrayed,
Ja, ich bin's, den ihr belogen! Yes, I am he, to whom you lied!
Aber rächen will ich mich But I will avenge myself
Jetzt fürchterlich! Now, furiously!

ROSALINDE
Hat er selbst mich doch betrogen, He himself betrayed me
Treulos hat er mich belogen, Faithlessly he lied to me,
Und nun tobt er, rächen will er sich! And now he's raving; he wants revenge!

ALFRED
Erst hat sie der Mann betrogen First her hisband betrayed her,
Dann hat ihn die Frau belogen, Then his wife lied to him,
Folglich hebt ja die Geschichte sich! Hence, the story evens out!

EISENSTEIN
Ja, ich bin's, den ihr betrogen Yes, I am he, whom you betrayed,
Ja, ich bin's, den ihr belogen! Yes, I am he, to whom you lied,
Aber rächen will ich mich! But I¨ will avenge myself!

ROSALINDE
Kein Verzeihn, kein Bereun! No forgiveness, no repentance!
Ich allein will Rache schrein, Rache! I alone want to cry vengeance, vengeance!
Kein Verzeihn, Herr Eisenstein, No forgiveness, Herr Eisenstein,
40.

Kein Bereun, Herr Eisenstein. No repentance, Herr Eisenstein.
Rache schreie ich! Vengeance, I cry!
Rache will ich! Rache will ich! I want vengeance! I want vengeance!

ALFRED, EISENSTEIN
Der Eisenstein, der Eisenstein Eisenstein, Eisenstein,
Will Rache schrein, Rache! Wants to cry vengeance, vengeance!
Der Eisenstein, der Eisenstein Eisenstein, Eisenstein,
Will Rache fürchterlich! Wants terrible vengeance!
Rache will ich, Rache will ich! I want vengeance, I want vengeance!
Rararara- Rache will ich! I want v-v-v-vengeance!

(dialog)
FINALE

ALLE
O Fledermaus, o Fledermaus, Oh Fledermaus, O Fledermaus,
Lass endlich jetzt dein Opfer aus; Release your victim finally;
Der arme Mann, der arme Mann, The poor man, the poor man,
Ist gar zu übel dran. Has suffered too much.

EISENSTEIN
Woll'n Sie mir erklären nicht, Won't you explain to me
Was soll bedeuten die Geschicht"? What this story is supposed to mean?
Noch werd' ich nicht klug daraus. I still can't make sense of it.

FALKE
So rächt sich die Fledermaus! This is the way the bat seeks revenge.

ALLE
So rächt sich die Fledermaus! This is the way the bat seeks revenge.
O Fledermaus, o Fledermaus, Oh Fledermaus, O Fledermaus,
Lass endlich jetzt deÅin Opfer aus; Release your victim finally;
Der arme Mann, der arme Mann, The poor man, the poor man,
Ist gar zu übel dran. Has suffered too much.

EISENSTEIN
So erklärt mir doch, ich bitt! Explain it to me though, I beg you!

FALKE
Alles, was dir Sorgen macht, Everything that troubles you,
War ein Scherz, von mir erdacht! Was a joke, conceived by me!


41.

ALLE
Und wir alle spielten mit. And we all played along.

EISENSTEIN
Wie, der Prinz? What, the prince?

ORLOFSKY
Ich spielte mit! I played along.

EISENSTEIN
Und Adele? And Adele?

ADELE
Ich spielte mit! I played along.

EISENSTEIN (to Alfred)
Ihr Souper? Your supper?

ALFRED
War nichts als Mythe! Was nothing but a myth!

EISENSTEIN
Doch mein Schlafrock? But my dressing gown?

ROSALINDE
Requisite! A prop!

EISENSTEIN
Wonne, Seligkeit, Entzücken! Delight, bliss, enchantment!
O, wie macht dies Wort mich froh! O, how happy these wordsÑ make me!
Gattin, lass ans Herz dich drücken! Wife, let me press you to my heart!

ALFRED (To Orlofsky)
War auch nicht grad alles so, Though all wasn't exactly like that,
Wir wollen ihm den Glauben, We want to let him believe it,
Der ihn beglückt, nicht rauben. And not rob him of his happiness.

ADELE
Nun, und was geschieht mit mir? And now what happens to me?

FRANK
Bleiben im Arrest Sie hier, Should you stay under arrest here,
Will ich Sie als Freund und Vater I will, as a friend and father,
Bilden lassen fürs Theater. Have you trained for the stage.
42.

ORLOFSKY
Nein, ich lass als Kunstmäzen No, I will not allow, as a patron of the arts,
Solch Talent mir nicht entgehn; Such a talent to escape me;
's ist mal bei mir so Sitte, It's just my custom,
Chacun à son goût! Each to his own taste!

ALLE
'Sist mal bei him so Sitte, It's just his custom,
Chacun à son goût! Each to his own taste!

(EISENSTEIN (may be spoken)
Rosa, vergib deinem treuen Gabriel. Rosa, forgive your faithful Gabriel.
Du siehst, nur der Champagner war an You see, the champagne was to blame
allem Schuld! for it all!)

ROSALINDE
Champagner hat's verschuldet, Champagne was to blame,
Tralalalala, Tra la la la la,
Was wir heut erduldet For what we have endured today,
Tralalalala, Tra la la la la,
Doch gab er mir auch Wahrheit Still, it also gave me the truth
Und zeigt in voller Klarheit And shows in full clarity
Mir meines Gatten Treue My husband's fidelity to me
Und führte ihn zur Reue. And has guided him to repentance.
Stimmt ein, stimmt ein Join in! Join in
Und huldigt im Vereine And unite in homage
Dem König aller Weine, To the king of all wines,
Dem König aller Weine! To the king of all wines!

ALLE
Stimmt ein! Stimmt ein! Stimmt ein! Join in! Join in! Join in!

ROSALINDE
Die Majestät wird anerkannt, His majesty is acknowledged,
Anerkannt rings im Land; Acknowledged throughout the land;
Jubelnd wird Champagner He is jubilantly crowned
Der Erste sie genannt! Champagne The First!

ALLE
Die Majestät wird anerkannt, etc. His majesty is acknowledged, etc.