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ARIADNE AUF NAXOS. Opera in One Act, with a Prologue Libretto by Hugo von Hofmannsthal First performed in Berlin, 1916 CHARACTERS IN THE PROLOGUE, ‘The Major-Domo: spoken role The Music Master: baritone ‘The Composer: mezzo-soprano (sometimes soprano) The Tenor (later Bacchus): tenor The Prima Donna (later Ariadne): soprano ‘An Officer: tenor ‘The Dancing Master: tenor ‘The Wig-Maker: baritone A Lackey: bass Zerbinetta, a coquettish actress: coloratura soprano CHARACTERS IN THE OPERA Zerbinetta: coloratura soprano Ariadne: soprano Harlequin: baritone Scaramuccio: tenor Truffaldino: bass Brighella: tenor Echo: soprano ‘Naiad: soprano Dryad: contralto Bacchus, a god: tenor ‘THE PLOT PROLOGUE ‘The Prologue takes place in the home of a Viennese nouveau riche. We see actors, singers, acrobats, carpenters, stage hands preparing for the evening's performance of a serious opera which has been especially commissioned by the owner of the house to entertain his guests. There is consternation when the Major-Domo announces that after the opera there will be a commedia dell'arte-type entertainment, moreover, the two shows must not run over their allotted span of time, as the fireworks will begin precisely at nine o'clock! Worse is to come, as a litte later the Major-Domo comes in to inform the two troupes that his master has changed his mind and now wants both entertainments played simultancously, the serious opera being punctuated by intervals of dancing from the comedians, much to the discomfiture of the young and idealistic Composer, who fears this hodgepodge will ruin his noble creation The Composer is upset, the Dancing Master tres to appease the Music Master by explaining that Zerbinewa is a consummate comedienne and will know exactly what to do, but the Composer is disconsolate. He tries to explain to Zerbinetta that Ariadne prefers death to the embrace of any man other than her beloved, and proving unsuccessful in this, he indulges in a duet with Zerbinetta in which he comes perilously close to declaring that he loves her. There is some amusing hickering between the Prima Donna and the Tenor, the latter in an uproar because the wig prepared for his role 350 of Bacchus is not to his liking, The Prologue is brought to a suitable end as the Composer declares his conviction in the power of music, the most sacred of all the arts. ‘THE OPERA The opera is watched from boxes by the owner of the house and his guests. ‘The setting, which we have so far only seen from the reverse side, is now seen from the front. To one side is a cave, at whose entrance Ariadne can be seen asleep, watched by Naiad, Dryad and Echo. ‘These creatures ‘express some sympathy with Ariadne's sorrow, to which however they have become accustomed with the passing of time. Ariadne speaks as if in a dream and takes no notice when the harlequinade quartet and Zerbinetta comment on her distress and try to think of means of comforting her. Ariadne welcomes the idea of death and not even a determined effort by Harlequin to cure her of her sadness can stop her for long. “There is a land where all is pure; it also has a name: The Domain of Death", she says. The comedians make another attempt to cheer her up but their dancing and singing have not the slightest effect, even when they are joined by the sprightly Zerbineita, who eventually dismisses her partners and goes at it solo, in one of the most lengthy and taxing coloratura scenas in all opera, where she explains her own fickle philosophy of life and her attitude towards men in general. Ariadne will not listen to any of this, and halfway through Zerbinetta’s lengthy display stinks into her safe cave The three attendant nymphs return to the stage, bringing the news that a youthful god is coming; Bacchus. fresh from his dalliance with Circe, but eager for new adventures. ‘They call to Ariadne, \who emerges from her cave in time to hear Bacchus off-stage calling for Circe. “The nymphs beg him to continue singing, and Ariadne hails him as the longed-for messenger of death. The opera ends with an extended love duet. In Bacchus’ arms Ariadne finds consolation, and both go together inside the cave, as Zerbinetta appears, making one last comment about the fact that it all tamed out as she expected. Ariadne auf Naxos, Prologue 351 PROLOGUE (A spacious, barely furnished salon in the town mansion of a Viennese nouveau riche. The appurtenances of a stage setting can be seen being erected by stage hands. There are workmen hanging stage drops and actors rehearsing their stances. Trunks with props and costumes are lying everywhere. The Music Master hurries in, almost out of breath, and intercepts the busy Major- Domo, who seems to be in a constant state of annoyance as he supervises the arrangements and the ‘frantic goings-on.) MUSIC MASTER maen her ‘haoshofmaestor == zk zx 1g im ‘gantson ‘haoz> Mein Herr Haushofmeister! Sie suche ich im —_ganzen Hause... My Sir Major-Domo! You T'mlooking for inthe whole house. MAJOR-DOMO' vormit kan iG ‘dinan Womit kann ich dienen? How can 1 (be of) service? mus ‘alodinks ——_bomeakon das 1g —_pkesizot bin Mub allerdings — bemerken, dah ich __pressiert bin, Imust however make you aware that Tam pressed for time. di; formberaeetunon tsuix hoetigan—_'gkosan asable Die Vorbereitungen zur heutigen ——_grofien Assemblée The preparations for today's great assembly im —‘haoss des 'Raeegston ——‘mannas ms vin im Hause des ten Mannes in Wien, inthe house of the richest man in Vienna, vi: 1g ‘mmenan = “‘gnesdigan.=—shean vorl_batitaln danf wie ich meinen gnidigen Hern wohl betiteln dart... as my noble master well may designate (as my noble master may well be designated...) MUSIC MASTER gen vort mus Ig zoebon Ein Wort nur! Ich —hdre soeben One word only! I heard just now vas ig allordims.«=—migt’_—_bo'graefon kan was ich allerdings nicht _begreifen kann. what I however not can comprehend. (Ijust now beard something that I cannot quite comprehend.) MAJOR-DOMO (bored and uninterested) ont das 'VerRo Und das wire? And that would be...? " The Major-Domo is a spoken role. ‘The phoneties will reflect the Vienmese accent. See the front matter under "Viennese Variants". Consult Der Rosenkavalier in this same volume where Baron Ochs and Faninal both speak in pure, unadulterated Viennese dialect. One further point: since the Major-Domo is spoken roe, 1 will frequently use the [x] symbol forthe letter r. This isthe guttural sound of conversational German. In most cases I will not show a doubled consonznt in the spoken lines, unles itis for emphasis. 352 Ariadne auf Naxos, Prologue MUSIC MASTER ont vasomig_n——erklesrliga —‘aofreguy fer zetst wad was mich in erkliirliche —Aufregung —_versetzt. and what me in understandable annoyance places. (cand which has understandably upset me.) MAJOR-DOMO (impatiently) mm kyrisa ven 1G ‘bitan dart In Kiirze, wenn ich bitten darf. Be brief, if 1 may beg. (Make it short, if you please.) MUSIC MASTER das bae der ‘hootigan ‘festligon ——ferzamluy itr wda® bei der heutigen festlichen Sammlung hier that at today’s festive gathering here ax der ‘opera ‘seria ‘maenas {fyslors nach der Opera seria meines Schiilers ~ after the opera seria of my pupil. {after the [presentation] of my pupil's opera seria...) koom ‘ra09 1g ‘maenon oon kaum traueich meinen Ohren— barely can Ibelieve my ears - nox‘aena'vaetora ont tsvar ——_‘glaegfals noch eine weitere, und zwar —_—_gleichfalls, yet another, and likewise ‘rotsuzagon — muzikaclif> —‘daxrbitun sozusagen Musikalische Darbietung socalled musical presentation mm Goszigt gonommen ist ‘aena art fon “zinfpitl in Aussicht genommen ist, eine Art von _Singspiel is being readied, some sort of operetta odor ‘posse m der —_italjemifan oder Posse in der _italienischen or buffoonery inthe Italian das kan nigt gofen Das kannnicht —_geschehn! That cannot happen! MAJOR-DOMO (infinitely sneering) kann nigt itso: Kann nicht? —Wieso? Cannot? How so? * This French loan word Palais is pronounced [pa] in French, but in Ge mm pale: im Palais... inthe palace. “ouffo matnir Buffo-Manier! buffo-style! mnan it acquited a closed final [e Ariadne auf Naxos, Prologue 353 MUSIC MASTER dart nigt Darf nicht! Htmust not! MAJOR-DOMO (deliberately slow and questioning) Vie bollcpt Wie beliebt? Theg your pardon? MUSIC MASTER das vit dex kompomist vont ‘nimmar gaftatton Das wird der Komponist nie und = nimmer —_gestattent That will the — Composer not and_—_ never allow! (The Composer will never, never permit this to happen!) MAJOR-DOMO (with overweening hauteur) ve vint iG homme gaiftatton Wer wird? Ich hore: gestatten. Who wil? I hear allow! (Did I hear right? Who "will not allow"...) ty vysta mgt. = vem ‘gos ‘maenam = 'gnesdigan eon Teh wile nicht, wer aufler meinem —gniidigen Hera, 1 wouldn't know who, outside of my noble master, deson pal sig bofindan dessen Palais Sie sich befinden, whose palace you find yourself, ont ira kunstfeatigkaeetan —“hoota su: produtsitnon dis e:Ro__hasbon und ihre Kunstfertigkeiten heute. zu —produzieren die Ehre haben, and your artistic skills today to exhibit the honor will have, (and where you will have the honor of exhibiting your artistic skills today.) ‘etvas su; gaftattan ——_gofvmego den ‘antsuontnan ‘hetts etwas zu gestatten— —geschweige denn anzuordnen hatte! something to allow~ let alone to order had! (had the right to allow ~ let alone order anything!) MUSIC MASTER cs st fertapre:dun di: “opera'seriaariaidno Es ist wider Verabredung. Die Operaseria Ariadne nis contrary agreement. The operaseria Ariadne ‘worda ‘aegans fy diszofestligan——_fer?antalton komponiat wurde eigens fiir diese festlichen—_-Veranstalltung komponicrt. was expressly for this’ festive function composed (was expressly composed for [tonight's] festive function.) MAJOR-DOMO (condescendingly) unt das ‘gosbeduganohomona:r Und das ausbedungene Honorar And the stipulated honorarium 354 Ariadne auf Naxos, Prologue viet ‘ne:pst ‘wena munifitsenton gratifikatsjon wird nebst einer munifvzenten Gratifikation will, inadditionto a handsome —_—_gratuity, doo ‘maceno hon nm div ikeigo——_galagan dureh meine Hand in dieThrige _gelangen, through my hand into yours arrive. (pass from my hand into yours.) MUSIC MASTER 1g tsvaefla nigt an dex tsaclunsfeagkaet_—‘aenas_‘ftaenraegoen "mannas Ich zweifle nicht ander Zahlungsfhigkeit eines _steinreichen | Mannes. T— donotdoubt the paying ability ofa filthyrich man, MAJOR-DOMO fye den zit zam_ “inon_elewan fino notan?arbwcet t5u: lisfon Fir den Sie samt ihren Eleven? ihre Notenarbeit' zu liefern For whom you and your pupil your notework to provide dit “aostsmegnunk “hattan vas dan fiet nox tsus ‘dinston die Auszeichoung hatten— was noch steht noch zu Diensten? the honor had - what else is there in which Ican serve you? (And for whom you and your pupil had the honor of providing your "note-work" ~ what else can Ido for you?) MUSIC MASTER ‘diva ‘notangarbaet 1st aen_“emstas badoptondas —_verk Diese Notenarbeit ist cin __ernstes, bedeutendes Werk, Uhis note-work isa serious, significant work cs kan uns ait Fs kann uns nicht _gleichgiltig sein, Ie can forus not be indifferent, mn velgam, va:mman ‘diszas. ‘darrgoftelt vird in welchem — Rahmen _—dieses_dargestellst wird. in what (sort of) setting it will be presented, MAJOR-DOMO jetdennox lazept es maeenon ‘gnedigon —hean Jedennoch bleibt es ——_-meinem gnidigen —Herrn Nonetheless itremains tomy gracious master ‘suming et ‘uniko ‘lo:ko yibo‘lason —'velga anton fon fpektarkol summo et unico loco liberlassen, welche Arten von Spektakel ssummo et unico loco" lefttodecide what kinds of performances es ‘seman ‘ho:xanseinligan igestan er seinen hochansehnlichen _Gaisten he this most distinguished guests > The Major-domo is getting fancy, using the French loan word éiave, "germanized” as Eleven + an offputting and insulting way of referring tothe opera. "Note clusters" “sharps and flats", “crotchets and uavers", “clef inventions", “melodious mishmash’, are possible alternates. * Latin for "in the frst and foremost place” Ariadine auf Naxos, Prologue 355 nax forwsetson ‘ena Tealigan —kolatsjon tu bistan_ gosonan ist nach Vorsetzung einer feierlichen _Kollation —u_—bieten_gesonnen ist. after presentation ofa festive repast to offer has in mind. (Nonetheless, it remains for His Lordship to decide what kinds of performances he has in mind to present to his most distinguished guests, afer setting a festive repast before them.) MUSIC MASTER tsu: n dit ferdaouy ‘feerdandan gainysson Zu diesen, die Verdauung fordenden Geniissen To these, the _digestion-promoting sratifications regnon zi; ‘demnax —di:_—_hetoufo coxpararjaidno rechnen Sie demnach —die_—heroische Oper Ariadne? do youcount then the heroic opera Ariadne? (Do you then include the heroic opera Ariadne as one of the gratifications that promote digestion?) MAJOR-DOMO tsusfeerdast —‘diza danaxx das fy@ —ponkt noon wr Zuforderst diese, dapach das far Punkt® neun Ubr ‘Tostart, this one, then the for _punctually nine o'clock ‘anbafolana —fooovesk — ont tsvifan bbaeedon anbefohlene Fewerwerk, und zwischen —_beiden ordered fireworks, and _ between the two dic ‘wengoforbana ‘opera ‘buffa die eingeschobene Opera buffa the interpolated opera buffa. (To begin with, Ariadne, then the fireworks which have been ordered for nine o'clock punctually, and squeezed between [these two events], the opera buffa harlequinade.) (with sneering condescension) vormtt ie dit “emo. ‘harbo_rmg tsu empferlon Womit h die Ehre habe, mich zu empfeblen. With which 1 the -—honor_have, to take my leave. (With which I have the honor to take my leave.) (The Major-Domo exits.) MUSIC MASTER vis zal das ‘maenam ‘fyilar ‘bacbrinan Wie soll ich das meinem Schiiler beibringen? How shall [it tomy pupil impart? (How shall I break {this news] to my pupil?) (He leaves in the opposite direction as a young footman ushers in an Officer.) © Punctuality being one of the salient characteristics of Germanic peoples, the word pun has to be prono with a very audible [p) need 356 Ariadne auf Naxos, Prologue THE LACKEY bir —findan ‘ger ‘gnaidan di; mam'sel_—serbinetta ier finden Euer Gnaden die Mamsell Zerbinetta. Here finds Your Excellency Mademoiselle _Zerbinetta (Your Excellency will find Mademoiselle Zerbinetta here.) Mistening at her door) Ist bae dex twaleta tg ‘Verda ‘anklopfan Sie ist _bei der Toilette. Teh — werde anklopfen. Sho is _ getting dressed. 1 will knock. (He knocks on Zerbinetta's dressing room door.) OFFICER las ex das zaen unt gerea tsum tool LaB Er das sein und gehEr zum Teufel! Leave that be and go tothe Devil!” (He pushes The Lackey violently aside and enters. The Lackey stumbles, rescues a lamp on the wall- table berveen the rwo doors and regains his composure.) THE LACKEY das ist dis ‘fpraxxo der ‘laedanfatt Das ist die Sprache —der_—_—Leidenschaft, That is the language —of,-—_passion, ferbundan mat ‘genom “unrigugay——_opijekt verbunden mit einem unrichtigen Objekt. fettered to an unworthy object. COMPOSER (entering hwriedly, to the Lackey) Aisbor froont ferfaffon zi: mir “dix ‘gaegan Lieber Freund, verschaffen Sie mir die Geigen, My dear friend, get me the fiddies. rigton mm fas. dass aug hi ferzammain ‘zollon Richten Sie ihnen aus, daB_siesich versammeln sollen Inform them that they here should assemble {sur “aenor‘etston ‘kurtson fer ftendigunspro:bo meiner letzten kurzen Verstindigungsprobe. for a last, — short understanding-rehearsal."” ” Zerbinettais an Italian word meaning "little elegant, comely girl’, It is pronounced in Italian [dzerbinetta] However, in German all 2's are pronounced [ts], so Germans pronounce it {Iserhine ta], using a voiceless [{s), sound and disregarding the closed (e] of the ltalian form and using instead [e]. The same happens with peasant girl Zerlina in Mozart's Don Giovanni, The Italians pronounce her name [dzerlina], whereas the Germans (for the same reason). say liserlina], * Raire sa toilede is French for "getting dressed", "putting on one's makeup", etc. In English one could say "she's at her (oile”.but chs will most probably engender images of plumbing usage, which is definitely not the case, "The Officer is the frequent beneficiary of Zerbinetta's favors. He feels he can get into her dressing room any time he wishes to without knocking. Ariadne auf Naxos, Prologue 387 THE LACKEY (malicious and coarse) di: “gaegon ‘verdon Jverly ‘komman Die Geigen werden sehwerlich kommen, The fiddles will find ithard to come, “esstons vaels ‘kaeno fy:s —nict ‘ha:bon erstens weil's keine FiO" niebt haben, first because they no feet not have, (first because they (the fiddles] have no feet,) ont ‘tsvaetons. vals m de ant zint und zweitens, —_weil’s in der Hand sind. and secondly because they in the and are, (and secondly, because [the musicians] are holding them with their hands.) COMPOSER (naively, pedantically, not realizing he is being mocked) ven 1g "zaigo di'gaegon zo: 'maena i¢ a Wenn ich sage: die Geigen, so meine ich die Spieler. When T said “the fiddles", I meant “the (fiddle) players" ‘THE LACKEY (arrogant and malicious) ax 20: ‘aibor jewst ‘Ach so! aber jetzt Ise! however now dott vo: Ig cox hin zalt dort, wo ichauch hin sollt! there where Talso should be going! ont vo; ge glaegvaen vert —anftat und wo ich gleich sein werd~ —_anstatt and where [soon will be ~ instead of mig da: mit ‘imam ‘Goftsubatton mich da mit Ihnen aufeuhalten, There with you staying, (instead of standing around with you here.) COMPOSER (naive, gently) vor ast das Wo ist — das? Where is that? THE LACKEY (rudely) bae de: tasfol Bei der Tafel! AL table! "° Verstandigungsprobe, a German word meaning a rehearsal where a composer (or conductor) gets the players together so that they may have a final understanding of the leader's musical intentions, how he is going to beat certain measures. how he is observing fermatas, ete 358 Ariadne auf Naxos, Prologue COMPOSER (agitated) jewt wena fistaljunds fox ‘anfay maenor ——2oxpor_baem 'esson Jetzt? Kine Viertelstunde vor Anfang meiner Oper beim Essen? Now? Aquarter of an hour before the beginning of my opera, cating? THE LACKEY ven ig zag dae dex'tafal zo: maen ig nattyrlig Wenn ich sag bei der Tafel, so mein ich natiirlich When Tsay at table, mean to say, naturally, bue dex —herfafiligon ‘aifol mgt baem —muzikantontif bei der herrschaftlichen Tafel, nicht beim Musikantentisch. at His Lordships table,” not the musicians’ counter." COMPOSER was zal das ‘haeson Was soll das heiflen? What do you mean by that? FOOTMAN aoffpilan tun zi: Aufspielen tun sie. Capito?” ‘They're fiddling (at dinner). D'you petit? zint alzor fyer zi ‘deatsact_ «= migt asus fpregon also fir Sie derzeit nicht. zu sprechen. therefore for you atthistime not tobe _ spoken to. (So you can't speak to them now.) COMPOSER (uneasily) zo ‘veda gs mitder——domwa'zelta So werdeich mit der Demoiselle Then Twill with mademoiselle di; asjo der ajadno repetizron die Arie der Ariadne —_repetieren ~ the aria of | Arigdne rehearse ~ (le makes as ifto go towards the dressing room occupied by Zerbinetta) FOOTMAN (stopping kim) swt omigt diz damwazella nin “ruxon er ist’ nicht die Demoiselle drin, die Sie suchen, Here is not the mademoiselle inside whom you are looking for, (The mademoiselle you are looking for is not inside here,)"” ‘jeamgo domwazele —‘arba: Jenige demoiselle aber certain mademoiselle however \ Notice the class distinetion. ‘The nobles eat at a herrschafilichen Tafel, whereas the common rabble of musicians eat ata Afusckantemtisch, a "music-makers’ counter, An ttalian word meaning "do you understand”, “do you get it?" but said with an offensive tone of voice assuming that this composer must be some sort of “inferior upstart from Italy, across the Austrian Alps J other words, “this is not the dressing room of the lady singing Ariadne" Ariadne auf Naxos, Prologue di hirdnn ist ist fy zi: ‘esbonfals die hier drinist, ist far Sie ebenfalls the one who isinsidehere is for you _ likewise (and you can't speak to the lady who is inside this room either." COMPOSER (naive and proud vaes er ver ig bin. ver in Weib Er, wer ich bin? Wer Doyouknow who 1 am? Whoever wt fye mig jesdonsaet su: Tpregon ist. fir mich jederzeit’ —_2u sprechen. is for me_—atanytime —_to speak. (Lean speak at any time [E want] with whoever sings in my opera.) THE LACKEY he: he: he: Hehehe! ‘maenor 359 nigt tsus ‘fpregon nicht zu sprechen. not to be spoken to. Ropar rink Oper singt, opera sings (He knocks on the door to the right, gets no answer, then, suddenly enraged, shouts after the Lackey) COMPOSER ealsgouigt —zex_—“‘unferfeimtor fregar Eselsgesicht! Sehr unverschiimter frecher Donkey-facet Very shameless saucy dex ‘ezolsker} lest. «mig aillaen ir foxr Der Eselsker! Ht mich allein. hier vor hie for dex ty mig'ften unt hier vor der Tir mich stehn und here before the door (he leaves) me standing and (His expression shifts from anger to one of deep thought.) oe meet ‘filas ‘enddarn nox Oh, ich macht! vieles andern noch On wouldlike much tochange still (Oh, there's still so much I'd like to change at the eleventh hour -) vat hogt—virt_—‘maens ‘orpar dex ‘ewal und heut wird meine Oper-o — der_—_Esel! and today will my — opera- oh the-—ass (He takes up the melody which has just occurred to him.) du: almegtigar gat Du allmichtiger Gott! You almighty god! Rewal dew der That insolent fellow leaves me alone here before the geht. goes (off. in at the dis The donkey! yr Tair — door ~ ‘svorlfter —— flunt mwolfter ——Stund - twelfth hour frat Freud! joy! Zerbinetta and the Officer are presently engaged in an amorous dalliance which it would be unwise for the Composer to interrupt. 360 Ariadne auf Naxos, Prologue o: du maen ‘tstttamdas ert © — du_— mein zitterndes_—_ Herz! Oh you, my — throbbing heart! Du allmichtiger Gott! (He thinks over the melody. looks in his coat pocket for a piece of music paper, finds it, crumples it up, and slaps himself on the head.) dem ‘baxus ‘aentrigtorn, das ex zen got Dem Bacehus _eintriehtern,'* dab er ~— ein. Gott ist! That Bacchus, to hammer into his head that he a god is! (How do [ manage to hammer into that tenor’s head that he is Bacchus, a god!) gen “zelligorknarbo kaen ‘zelpsigofeliigar ‘hansvurst —mit_—_“aenam ‘pantorfel ein seliger Knabe!kein selbstgefilligerHanswurst mit einem Pantherfell! A blessed youth, not aconceited — buffoon in a panther skint mix faent das ist’ “zaena tyr Mir seheint, das ist seine Tiir. 1 think that is his door. (He runs to the second door left and knocks ~ meamehile continues the melody in full voice.) du; knazba dus kant du: almectigar got © du Knabe,du Kind, du allmichtiger Gott! Oh — you boy, you child, you almighty god! (The door flies open, the wig-maker staggers out, gets a box on the ears from the Tenor, who is dressed in his Bacchus costume, but with bald head and the wig in his hand.) ‘THE TENOR das fy ‘aenan ‘baxus as misr‘aoftsuzetson ——‘mustot esr tou: Das! Fir einen Bacchus! Das mir aufzusetzen, ——mutet Er zu, This for a Bacchus! —This_ to puton you expect! (You expect me, the god Bacchus to put this [wig] on!) da: hater lump fy “zaenan ‘baxuskopf Da hat Er, Lump, fiir Seinen Bacchuskopft There. take that, (you) scoundrel, for_~—-your~—-Bacchus-head! (He gives him a kick, while contemptuously throwing the wig to the floor.) COMPOSER (springing backwards, utterly amazed at the Tenor's behewior) maen ‘vextastor zit allordringants mus ‘[pregon Mein Wertester! Sie _allerdringenst muf ich sprechen! My valued Sir! You most urgently must [speak to! ‘THE WIG-MAKER (to the Tenor) ‘dexo ‘mishelligas —batragan = kan ig——_balegalnt Dero miBhelliges Betragen kann ich —_beliichelnd Your unmannerly behavior can. |_—_smilingly °* Einmrichtern also means "to pour through a funnel". Imagine that! Even back in Hofimannsthal’s time tenors had a reputation for being stupid and slow to learn, Ariadne auf Naxos, Prologue 361 nur ‘aenor “angobo:ranan gamy:tsaofvalloy ——_tsuuregnan nur einer angeborenen Gemiitsaufwallung — zurechnen! only toa hereditary instability of character attribute! (1 can only smilingly attribute your unmannerly behavior to a hereditary instability of character!) COMPOSER (coming nearer again) Mein Wertester! (The Tenor slams the door in his face.) ‘THE WIG-MAKER (towards the Tenor's dressing room door) ‘hatbo ‘maenarzaets ‘Kaen “uirzaxo vvergon ‘maenar'laestogen Habe meinerseits keine Ursache wegen meiner Leistungen Thave, formy pan, no cause for’ my workmanship for ‘imon wu: etretan vor Ihnen zu crrdten! before you to blush! (I, for my part, have no cause to be ashamed of my workmanship before you!) COMPOSER (approaching the Wig-Maker) hat der her laegt en ‘fivkkarl {fraeppapise Hat der Herr leicht ein Sticker! _—_-Schreibpapier? Has the gentleman maybe a litle piece of writing paper? (Do you, si, by any chance have a piece of paper on you?) hee mist gern vas ‘aofnotist Hatt mir gern was aufnotiert! Vd like something to jot down! (V4 like to jot something down!) 1 ferges ‘nesmlie gar laegt Ich vergeB niimlich gar leicht. 1 forget <0 very easily. THE WIG-MAKER (roughly) kan migt ‘disnan Kann nicht dienen. Teannot help (you). (running off) ZERBINETTA (stil in her negligée, coming out of her dressing room with the Officer) east naa dex ‘par ‘kommen vir davan Est nach der Oper kommen wir daran. Only after the opera do we go on es vit ‘kaena ‘klaena ‘mys ‘kosten Es wird keine kleine Mihe Kosten, It will no little trouble cost (It will be no easy matter) 362 Ariadne auf Naxos, Prologue di: “herfaftan ‘Vidor Jaxon tsu; ‘maxon die Herrschaften wieder lachen zu machen, the ladies and gentlemen again laugh to make, (to make the illustrious guests laugh again) ven zi aig erst ‘geno vaclo gplanvaelt ha:ban wenn sie sich erst cine Weile gelangweilt haben. when they first fora long while have been bored, (after having been bored for such a long time.) fcoquettish) cdot “maenan zis es virt mir galigon Oder meinen Sie, _ es wird mir gelingen? Or, doyouthink, I'll manage to do it? (The Officer kisses her hand and they go to the back of the stage continuing their conversation. The Prima Donna and the Music Master come out of the door on the lef, She wears a dressing gown over her Aviadne costume. The Music Master is about to take his leave.) PRIMA DONNA fel Yichor frognt ‘aenan lakae su: Schnell, lieber Freund! Einen Lakai mu Quickly, dear friend! A lackey to (Send a lackey to me!) x mvs unbadigt = “zofort dem Ipregan Ich mu umbedingt sofort den sprechen. 1 must without fail right away with the speak (1 must speak right away without fail to the Count!) (She closes her door. The Composer, who has seen them, steps forward) MUSIC MASTER (holding him back) du: kanst jetst mgt ‘aentreton. zx, ast_—baem frizison Du kannst jetzt_ nicht eintreten. Sie ist_—_beim Frisieren. You can now not goin, She is having her hair done, (The Dancing Master comes from the back and joins Zerbinetta and the Officer.) COMPOSER (noticing Zerbinetta for the first rime, 10 the Musie Master) vex ist disras.‘mestgan Wer ist dieses Miidchen? Who is this young girl? DANCING MASTER (to Zerbinetta) zi: ‘verdon Taegtas Jpilha:bon — madmwa’zela Sie werden leichtes Spiel haben, Mademoiselle, You will have an easy time of it, mademoiselle, "She is referring to the nouveau riche Monsieur Jourdain, the wealthy gentleman for whom the performance is being prepared. Ariaiine auf Naxos, Prologue 363 di ‘opar ist lanvaehg—'yibar die Oper ist langweilig ber the opera is boring beyond all measure, unt vas di: aenfello ——‘antant und was die Einfille anlangt, and, as far as the inspiration __concems, (and as far as inspiration,) zo: ftekt m'maenam —‘ingkan “Yuapratst mex — melodi: so steckt inmeinem —_linken Schuhabsatz mehr Melodie there is inthe left heel of my shoe more melody als m —dizzar_gantson arjadna aof ‘naksos als in dieser ganzen "Ariadne auf Naxos". than inthis entire “Ariadne on Naxos". MUSIC MASTER (at the front of the stage. with the Composer) ae 2i: ver ‘immer i sie wer imme ‘Never mind who she is! COMPOSER ver ist ‘dizzas_entsvkkondo Wer ist dieses entziickende Who is that enchanting young girl? MUSIC MASTER om 20: bessor ven zit dir gafelt es i: serbineta Um so besser, wenn siedir gefallt. Es ist die Zerbinetta, All the better if youlikeher. It is Zerbinetta vit zt unt tantst omit fisr = partnom = das lustiga ‘na:xJpi:l Sie singt und tanzt_ mit vier Partnern —das_lustige Nachspiel, She sings and dances with four partners the comic epilogue das man nacx daenar Rowpar_gi:pt das man nach deiner Oper gibt. that they after your opera will perform (She'll sing and dance in the comic epitogue that's being given after your opera.) COMPOSER (recoiling) ax 'maenor Popper aen —‘lustigas ‘naxfpi Nach meiner Oper? Ein lustiges Nachspiel? After my opera? A comic epilogue? tentso unt trillar Yrega gatbenda unt tsvaedootge rexdon Tanze und Triller,freche Gebiirde und —_zweideutge Reden Dances and trills, lewd gestures and double-meaning talk naxx atfjedna zack mizrs nach "Ariadne"! Sag mir'st afier "Ariadne"! you tell me that! ER (timidly) bit dig umes Ich bitte dich um alles! 1 beg you for alllour sakes! COMPOSER das gahaemmis —des_—_leibons Das Geheimnis des Lebens The — mystery of life zi: bae dei ant sie bei der Hand ~ them by the hand — ont zis balftellon zag 'aena und sie bestellen sich cine and they order for themselves (and they order a buffoonery for themselves,) dex Ariadne auf Naxos, Prologue uit an zi: heran tritt am sie heran, is revealed to them therein, ‘affonkome:djo Affenkomédie, monkey-comedy, um das ‘naixgofyl rewigkaet aos ‘irom unzackbair um das Nachgefihl der —-Ewigkeit | aus ibrem unsagbar for the aftertaste = of eterity out of their unspeakably laegtfertigon ‘fextal ‘Torttsujpy:tan og Peal leichtfertigen Sehidet fortzuspiilen! O ich Eset! frivolous skulls to rinse out! Oh what an ass (1am)! (10 rinse out the aftertaste of etemity out of their MUSIC MASTER tunspeakably frivolous skulls!) borg dig Beruh’ge dich! Calm down! COMPOSER (firious) ig vil mig nigt barwgan gen ‘haetaros nnasx pit Ich will mich nicht beruh'gen! Ein _heiteres Nachspiel! [— donttwanttocalm down! = A—comic epilogue! aen'yiborgaq ts: ister gamaenhaet Ubergang — u_—ihrer Gemeinheit! A pathway to their vulgarity! (a comedy to follow [my opera] to serve as a pathway to their valgarity!) dias ‘massloss ordinera folk vil_—_zig ‘brvkkon baon Dieses mablos ordinire Volk will sich Bricken bau'n These immeasurably ordinary people wish to build a bridge for themselves feos 'maenar velt—hray:bor mm dis 'zaeniga aus meiner Welt hindiber in die seinige! from my world over to theirs! Ariadine auf Naxos, Prologue 365 das erle:pr tsu:harban—_fergiftat ‘maena ‘zeila immer O Mizene!'” das erlebt zu haben vergiftet. meine Seele mer! Oh Maecenas! To have gone through this poisons my — soul forever! esist undenkbar das mist vidat aeno melo: ‘aenfelt Esist undenkbar, dad mirje wieder eine Mel Itis unthinkable that tomeever again. a melody (i's unthinkable that a melody will ever again come to me!) m ‘dizer velt kan ‘kaena melo: Jvagen ‘rexgon In dieser Welt kann keine Melodie Schwingen regen! In this world can no melody wings put in motion! (ln this kind of world no melody can ever take wing!) (changing his tone, in good humor) ont gara:da ‘fryer st mir‘aena rest foro ‘aengofallon Und gerade friher ist mir eine recht schdne eingefallen! And yet earlier did a really prettyone come to me! ({ came upon a really lovely one!) te habe mig 'y'bor_‘aenon ‘regan lakaean ertsvint Ich habemich fiber einen _frechen Lakaien erzirnt, 1 had over an impudent lackey lost my temper, da: st zi mise ‘aofgablust da _—_istsie mir aufgeblitzt ~ there did it come to me in a flash ~ dan hat der tenor dem —_pervkkanmaxor ‘aena ‘orfaego gage:bon dann hat der Tenor dem Periickenmacher eine Obrfeige —_—_gegeben ~ then did the ‘Tenor tothe wig-maker @ box onthe ears give - (then the Tenor boxed the wig-maker's ears - ) da; hab ig da hab ich at that moment 1 acn ‘libasgafy zen zy:s_—afacdanas—aen__fertraoon Ein Liebesgefiihl, ein sii escheidenes, cin Vertrauen, ‘A feeling of love, a sweet, modest one, a ‘faith vi: ‘diva vet es omigt vent. ast, das wie se Welt es micht wert ist- da— as this. world it’ not worth_ is~ this ~ (such as this world is unworthy of — here itis...) improvicing the text) du: ‘vemuszom —_ gispst zzyson lon Du Venussohn —_gibst siifen Lohn You, Venus-son give sweet reward ” Marcenas, a patron of the ats, 366 Ariadne auf Naxos, Prologue fyx ‘onzar “zenon nt ‘fmaxton fir unser Sehnen und — Schmachten! for allour pining and yearning! la Ha: La maen jones herts unt al maen_‘zinnion ont traxton Ja,ta,la, mein junges Herz und all — mein Sinnen und Trachten: fa, la la, my young heart and all ~— my — aspirations and _—_ striving: (0 du Knabe, du Kind, du allmichtiger Gott! O du michtiger Gott! (quickly, cheerfully, to the Music Master) hast aen —ftvkkorl ‘novtonpapist Hast cin Sticker! Notenpapier? Doyouhave 2 little piece of music paper? (The Music Master gives him a scrap. The Composer starts to write. Zerbinetta, in conversation, laughs. Harlequin, Scaramuccio, Brighella and Truffaldino goose-step out of Zerbinewta's room.) ZERBINETTA (introducing them) ‘maeno ‘partnar ‘maeno erproipton —froenda Meine Partner, meine erprobten Freunde! My partners, my trusty friends! jetst ‘maenran ‘fpigal maen rot ‘maenan krejo Jetzt meinen Spiegel, mein Rot, Meinen Crayon! Now (bring me)my mirror. my — rouge, my lipstick! (The four of them run into her room and soon return bringing a title straw stool, mirror, boxes and a powder puff) COMPOSER (glancing at Zerbinetta, suddenly understanding, to the Music Master) unt du: hast es gavust Und du hast es gewubt! And you knew this! MUSIC MASTER maen frognt ebm halt “draesig'jairoeltar als. dus ‘Mein Freund, ich bin halt dreiBigJahre alter als du My friend, 1 am almost thiny years older than you, ont harp galemnt mig m dis velt tsu:“fikkon und hab gelernt mich in die Welt zu schicken, and have teamed to get along in this world. COMPOSER ver zo: an mis ‘handalt der ist maen__froent govezon Wer soanmirhandelt, der ist mein Freundgewesen! Whoever treatsmelikethis, he. is_—smy_—_ friend no more! (Furious, he tears up his music paper. Zerbinetta has taken her place on the little straw stool at the front of the stage and finishes applying her make-up assisted by her partners: Harlequin kolds the tight, Brighella the mirror.) Ariadne auf Naxos, Prologue 367 PRIMA DONNA (opening her door and beckoning to the Music Master) hhaibon zi: na:x des ‘gracfan gafikt Haben Sie nach dem Grafen geschickt? Have you sent for the Count? (She steps forward a litle and notices Zerbinetta and the rest.) pfuj vas girpts den da: fysr er faenuypn Pfuit"* Was gibt'sdenn da fiir Erscheinungen? Phooey! What kind of apparitions (are those)? (10 the Music Master, not exactly in a low voice) uns mit “dizzar “zorta fon Iodtan tm “‘aenan_topf Un mit dieser Sorte von Leutenin einen Topf? We with this sort. of people in ‘one pot!” vaes man his mgt. ver i bin vis 'konta: dew graf Weif man nicht, wer ich 2 Wie konmeder Graf... Knows noone here not who I am? How could the Count (Doesn't anyone here know who 1 am?) ‘ERBINETTA (with an impudent look at the singer and in a purposely loud voice) ven das ts90k ianvaelig Ist Wenn das Zeug so langweilig i If that stuff is so boring, dan ‘hetta man dox ons tsuexst‘goftretan —Tasson ‘allan dann hatte man doch uns zuerst auftreten lassen sollen, then they ought to us first perform have — should?” {then we ought to have been allowed to appear first,) (then they should have called us to perform first,) bofor zi: ‘y:ballomg ‘verrdon bevor sie fibellaunig werden. before they get inritable. ‘haibon zit zig exst ‘ana ‘ftundo galanvaelt Haben sie sich erst eine Stunde gelangweilt, If they have first (for) an hour been bored, (If they've been bored for a whole hour before,) zo: ist es doppolt Iver zit Taxon tu: ‘maxon so ist, es doppelt schwer sie lachen zu machen. then is it doubly difficult them laugh to make (then it becomes twi as hard to make them laugh.) pfit isa very German interjection connoting utter disgust, as when something smells bad, or Looks disgusting, or engenders a revulsive reaction. ' A metaphor comparing vegetables and meat cooking in one pot together, and by extension “are we supposed to perform together with these lowly creatures in the same show?" ® This is a perfect sentence to indulge oneself in that most Mark Twain-ian pastime of ridiculing the German language with al ofits dangling auxiliary verbs: damn hatte man doch uns zuerstanfieten lassen sollen haben durfen misfien 308 Ariadne auf Naxos, Prologue DANCING MASTER (io Zerbinetta) mn ‘gegamael man komt fom Im — Gegenteil. Man kommt vom ‘On the contrary. They've gotten up from the ont —'veinig ‘aofgolekt = man maxt_‘unbomerkt und wenig aufgelegt, man macht unbemerkt and — little” inclined, they take, unnoticed (and disinclined for anything save forty winks.) uj man Tisch, man table, they aen‘flevigon ist bolfvert ist beschwert feel t00 full ein Schlifehen, a Tittle nap. wach zu machen. tserbineta Zerbinetta Zerbinetta ‘tenison ‘Tanzen, dances, klatst dan gos ‘hovfligkaet_ unt um. ig vax tsu:'maxan Klatseht dann aus Hoflichkeit und um ‘They clap then outof politeness in orderto wake themselves up. anidesson ast man gants ‘muntor gevordan Indessen ist man ganz munter geworden. In the meantime theyhave quite lively become. vas komt jetst zackt man zig di: ‘ungotrogo “Was kommt jetzt"? sagt man sich. Die —_ungetreue “What comes next?” isk themselves, The Fickle ont gen haetras'na:xfpic mit und ihre ein heitres Nachspiel_ mit And Her — Four Suitors: A memy epilogue with ‘laegta_gafelga melodin ja: ‘gene ‘hantlon leichte, gefill'ge - Melodien, ja! Eine Handlung light, tuneful melodies, yes! «A plot Klar vii dew taik da; vaes man —_vovran man ist Kiar wie derTag; da weiffman = woran man ist. clear as daylight where one knows where one is. das 1st unzor fal zackt man 21 da; vaxt man oof Das ist unser Fall, sagt man sich, da wacht man auf, "That's what we like", they say to themselves; "now we can wake up", da; ast man bae dest ‘2axo da ist man bei der Sache! “now we know where we are with this!” ont veniam iam karosson——“antsan Und wenn sie im ihren Karossen _sitzen, And when they in their carriages sit, (and when they are driving home in their carriages,) ‘vissan Zi: “yibarhaopt nigts mer als das wissen sie fiberhaupt nichts mehr alsdaf they know absolutely nothing more than that tserbinetia, ‘ha:bon ‘tantsan, zen Zerbinetta haben tanzen seho. Zerbinetta have dancing, seen. tit sie they the ‘onferglaegliga unvergleichliche incomparable (and they don't know a single thing, except that they saw the incomparable Zerbinetta dance.) Ariadne auf Naxos, Prologue MUSIC MASTER (to the Prima Donna) ertsyman zi: 21g nigt om nigts Erziirnen Sie sich nicht um nichts Do not be angry about nothing (Do not be annoyed about anything at all.) arjaidno ist das er?aegns Ariadne ist das Ereignis Ariadne is the high spot om arjacdna su: heron um Ariadne zu ——hren In order Ariadne to hear, ont formema ——_pet203 im und vornebme Personen im and fashionable persons inthe 369 ont \Visder nists und wieder nichts. and even less than that, cacbants Abends, evening; des des of the kennor Kenner connoisseurs fer'zammain 21¢ versammeln sich there are gathered “haozs ‘aenas Hause eines home ofa metsens Mizens, Meecenas; raegon reichen rich, (Connoisseurs and fashionable people are gathered in the home of a rich Maecenas to hear Ariadne:) das ataxéna ist To:zoysvart Ariadne ist das Losungswort. Ariadne isthe rallying ery. ont morgan virt 'y:horhaopt und — morgen wird iberhaupt and tomorrow there will absolutely das es ‘aosor arjadno nox daBes auber Ariadne noch that besides ‘Ariadne also a: int arjaidna Sie sind Ariadne, You are Ariadne, mei ‘Visson. niemand —_mebr wissen, nobody know anymore “etvas gagebon hat etwas gegeben hat something presented was. (and tomorrow absolutely nobody will even remember that anything other than Ariadne was performed.) THE LACKEY (running through) di: ‘herfafton —‘Jteran fom tf Zaof Herrschaften stehen vom Tisch auf! The — company is getting up from the dinner table! man ‘zalta nig hisr — ba?aelan Man solltesich hier _eeilen. You — should here make haste (Everybody should hurry up in here!) (He exits) MUSIC MASTER ‘maend damon unt ‘hem = ania Meine Damen und Hern, an ‘Thre Ladies and gentlemen, take your ‘pletso Phitze. places! (Everything is set in motion. The workmen at the rear have finished. The Tenor. as Bacchus, as well «as the Nymphs ~ Dryad, Naiad and Echo ~ come out of their dressing rooms. The Major-Domo reappears. and pompously struts to the middle of the stage with great importance.) 370 MAJOR-DOMO. iimon ‘alan ‘harbe 1 habe ich Thave Ihnen allen For all of you from His Lordship Ariadne auf Naxos, Prologue weno plostsliga—_‘an?oetnunk ine pldtzliche — Anordnung a last-minute command ‘aostsunigton auszurichten, to announce. (have to announce to all of you His Lordship's last-minute command.) MUSIC MASTER 1st fon gofe:n vir mt boreet im drae—mifuuton Istschon geschehn, Wir sind bereit in drei Minuten It's been done! We are ready in three minutes mit der ‘oper atjasdna ‘antsufayon mit der Oper "Ariadne" —anzufangen. with the opera Ariadne to begin MAJOR-DOMO (grandly) dei ‘gnesdiga hea harbon sig nunmes——vitdagum = ‘andas_bosonon Der gnidige Herr haben sich ~— nunmebr —wiederum —_ anders besonnen. His Lordship has since then once again changed his mind, MUSIC MASTER es zal ‘alot mgt. mit, der ‘orpor_‘bo'gannan ‘verrdon Es soll also. nicht mit der Oper _begonnen werden? It will then not withthe opera be begun’? (Does this mean we will not begin with the opera?) PRIMA DONNA vas ist. das Was ist das? ‘What is that? MAJOR-DOMO (always overweeningly grand) um feo'gerbunk vo: Ist dese hea tantsmivesto ‘Um Vergebung. Wo ist der Herr Tanzmeister? Pardon me, where is the Dancing Master? te hab "wenon ‘aoftwa:k ‘maenas ‘gneidcgon hean —fy:r_—_ sis bareda Ich babe einen Auftrag fiir Sie beide. 1 have instructions from His Lordship for both of you DANCING MASTER (approaching, with an elegant balletic flourish) fon vas wnt man Was wilnscht man von What do you want from mir? me? Ariadne auf Naxos, Prologue 371 MAJOR-DOMO™ mazen ‘gne:dige hea ballcbon das fon ism belieben —das_-von— ibm His Lordship desires the by him sejpst gonermito —-pRogRam = ‘UmIsuftoson. selbst genehmigte Programm —_umzustofen... self approved program rearrange... (His Lordship desires to rearrange the program which he himself approved...) MUSIC MASTER (appalled) jetst im Tetston moment das ast dx aen ‘fearkos fevkl Jett im letzten Moment? Das ist’ ~— doch _ein starkes Stliekl! Now, atthe last minute? That is really going too far! MAJOR-DOMO (annoyed at the interruption, and pointing out the first word pedantically) ‘umtsufto:son ‘unt fojgondamosan ‘apisutendon .--umzustoBen, und folgendermaBen abzuindern. rearrange. and in the following manner modify (Ccrearranged and modified in the following manner.) DANCING MASTER das ‘naix{pi vin forpit vir ‘geibon tsuterst Das Nachspiel wird Vorspiel, wir geben zuerst The epilogue will become the prologue; we will give first di: ungotroga tserbinetta = dan ajaxdno vex fernynfiug "Die Ungetreue Zerbinetta", dann “Ariadne”. Sehr _verniinftig. The Fickle Zerbinetta, then Ariadne Very _ sensible. MAJOR-DOMO ‘om fea'ge:bunk ‘anismaskerads —viat ved js ‘naxfpitl Um Vergebung. Die Tanzmaskerade wird weder als Nachspiel Tbeg your pardon. ‘The dance bufoonery will neither as epilogue nox gis forrfpil ‘aofgefyat —‘sondanmit dem traoe-Jtvk noch als Vorspiel aufgeftihrt, sondern mit dem —Trauerstiick nor asprologue be presented, but with the —_ tragedy glaeegtsazeuk gleichzeitig. simultaneously. (The harlequinade will be played neither as prologue nor as epilogue, but simultaneously with the tragedy Ariadne.) (general consternation) THE TENOR ha ist divar_Taego her barzesson Hat Ist dieser reiche Herr besessen? Ha! Is this. rich gentleman —_out of his mind? ® During the many years when I used to perform this role at the Metropolitan, at this point, when the Dancing Master (and what Dancing Masters they were: Andrea Velis or Joseph Frank) approached with a graceful and ‘most foppish pirouette and asked the previous question, I used (o utter a subdued, yet audible grunt of disgust. 372 Ariadne auf Naxos, Prologue Will man sich fiber uns lustig machen? Do they want to make fun of us? PRIMA DONNA ' mnt di: ‘I¢ta‘varznnig Sind die Leute _wahnsinnig? Are these people mad? 1 mus ‘aoganbhiklig dein ‘graifan ‘[pregon Ich mu augenblicklich den Grafen sprechen! 1 must immediately with the Count speak! (The Composer approaches in alarm, as Zerbinetta listens.) MAJOR-DOMO (ironically, enjoying his power) es Ist ganaoso: vit ges saga, Es ist genauso, wie ich _—es sage. nis exactlyso |= ast sayit. vi: sives‘maxan veisdan das ist —naltyrolig imma. ‘saxo Wie Siees machen werden,das ist natiirlich ‘Thre Sache. How you will do it, that is ofcourse your affair. MUSIC MASTER ‘un7rs “zax9 Unsre Sache! Our affair! MAJOR-DOMO. | maeen ‘gnediga her ist dem fy si Jmaegolhafton ‘maeenonk Mein gnadiger Herr ist der fir Sie scbmeichelhaften Meinung” dl His Lordship is ofthe (to you) flattering opinion, : das si: bweds io = hontveak ——gotnurk fea ftein daB Sie beide ‘Ihr Handwerk —_genug_verstehn, that you both your _business enough understand om ‘wena ‘soja ‘klens'endaronk ——_aof wens tsvaee duo xtsulfy:non um cine solche Kleine Anderung auf eins, zwei durchzufiibren. to one such small alteration” —_innexttonotime —_to cary out. (lis Lordship is of the flattering (to you, that is] opinion that you both understand your business well enough to carry out this trifling alteration in no time at all.) (very self-important and pompous) es ist num 'wenma:l dea ‘villa maenas gne:digan hean Es ist’ numeinmal der Wille meines gnidigen Herrn, Kis also the wish of His Lordship. ® For those who recoil in horror at the phonetic transcription of the word Meinung as [rmazcnunk. tet me ‘quickly add that this is strictly @ Vienna-ism, certainly never condoned in pure Hochdeutscht Ariadne auf Naxos, Prologue 373 dic bwedon —fivk> das ustigs unt das "traoRge die beiden Stiicke,das _—_lustige und das_—_traurige, both pieces, the comic and the tragic one, mit “allsn pee'soman unt dex» "rigtigon musik mit allen Personen und der_—richtigen © Musik, with allthe characters andthe correct music, so: vir © cm Sir baiftelt ont _—_battserlt hat so wie er —siebestellt. und _—_ezahit hat, just’ ashe ordered and paid for, ‘glaeegisieetik oof —‘saena- ‘by:naserviat ‘su: bakomman gleichzeitig auf seiner Bihne serviert mu bekommen. at the same time on his stage served wo be, (to be served up on his stage simultaneously.) MUSIC MASTER varom glaegtsaetre Warum gleichzeitig? Why simultaneously? ‘ZLERBINETTA da: mus 1g mig ja baaelan Da —muBich mich ja __beeilen! Then I must bury! (She runs into her dressing room.) MAJOR-DOMO unt tsvarso: das di: ‘gantsa fozrftellogk —“desvexgan aox Und awarso, —daB_—die—-gamze Vorstellung — deswegen auch And moreover, thatthe -— entire performance for that reason mgt ‘wenan moment Tena: ‘daoat den fy pupkt noon fue nicht einen Moment ——Hinger dauert, denn fiir Punkt neun Uhr not one moment longer lasts, since at ine o'clock sharp ist wen fodoveokim —‘garton ‘anbaforlan ist cin Feuerwerk im Garten anbefoblen. there are fireworks inthe garden ordered. (fireworks have been ordered in the garden.) MUSIC MASTER Ja: vis Um alloigcetto. villon Ja, wie umaller Gotter willen Well, how — in God's name felt axe ‘zaena ‘gna:don das for stelitsich Seine Gnaden das vor? does His Lordship imagine that this can be done? (---) (wor/stelten isa separable prefix verb meaning " ‘to imagine") 374 Ariadne auf Naxos, Prologue COMPOSER (to himself. softly) ‘geno ‘annare ‘summa hat mix fon der Viigo. an Eine innere Stimme hat mir von der Wiege an An inner voice did me from the —_csadle_on fetvas ‘dextartigas —_forwosgazaikt ‘etwas derartiges _vorausgesagt. something like this foretell, (An inner voice at my cradle foretold that something like this would happen.) MAJOR-DOMO es ist vol nigt dit ‘zaxo__'maenas‘gnevdigan hea. Es ist wohl nicht die Sache meines gniidigen Herra, Ie iscertainly not the affair of His Lordship, ven er gen [pektarkal c wenn er ein Spektakel_—_bezabilt when he fora performance pays, (when he pays for a performance) sig cox. nok “darmut“aptsuge:bon sich auch noch damit abzugeben himself also yet with it coneem vis es ‘eosgafyxt—vendan sj wie es ausgefiihrt werden soll. how it carried out shall be. (10 also concern himself as to how it shall be carried out.) ‘seeena ‘gna:don st ge voint ‘antsuoktnon. Seine Gnaden { gewshnt ——anzuordnen His Lordship is accustomed to give orders, unt ‘smena ‘an?oatnunan bafdjk su sem und seine Anordnungen befolgt mm sehn. and his orders carried out to see (and to see his orders carried out.) (He makes as ifto leave, but turns back yet another time, showing signs of even more boredom and infinite condescending impatience.) ‘onde st meen ‘gnexdiga he» fon sweet dre ‘targon Zudem ist mein gnadiger Herr schon seit drei ‘Tagen Moreover is_——-His Lordship already since three days ‘ungahajtan da'ny:be- das zeenam so: ‘voil2cosgoftattatan ungehalten dariiber, a8 einem so woblausgestatteten most displeased, that in such a richly furnished vir das swemigo en so: jemmeriga —_fooplats wie dasseinige ein so jimmerlicher Schauplatz as his, sucha miserable stage setting Ariadne auf Naxos, Prologue 375 vir wena ‘vyssta ‘salam fora goftelt vvedon $9} wie cine —_wiiste Insel ihm vorgestellt werden soll, asa desert island presented before him should be, (Moreover, His Lordship has for three days been displeased, that such a miserable-looking stage setting as a deserted island should be presented before him in a house as richly furnished as his,) ont ast ‘erbon om desn ‘aptsuthelfon und ist eben, um — dem abzuhelfen, and has justnow, —to.—_remedy matters, cof den sutbliman ——gadankon ——_gatkoman auf den (sublimen)” Gedanken —_gekommen, upon the sublime thought hit upon, (hit upon a sublime thought,) iso “vysto ‘sol duxx das peasoinail diese wiiste Insel durch das Personal this desert island, by the characters os dem ‘andaron—ftyk—“wenigama:son fanftendik —'Jtaficxan tsu; ‘lasan aus dem anderen Stick einigerma6en anstindig _staffieren zu lassen. from the other piece to some extent presentably to be decorated. (to have this desert island presentably decorated, at least to some extent, by the characters out of the other piece.) (He goes off to the side) DANCING MASTER das finds 1g rex “nigug Das findeich sehr _ richtig. This [find very proper. (In my opinion [ find this quite right, t00.) es nigts _ga'fmaklowzaros als ‘geno vysta‘nzal Es gibt nichts —_geschmackloseres als. eine wiiste Insel. There isnothing so tasteless as a desert island. COMPOSER (to the Dancing Master, pridefully) ijjacdno aof ‘naksas her Ariadne auf Naxos, Herr, Ariadne on Naxos, sir, zis st das “zat dex ‘menfligen—‘aenzaimkaet sie ist das Sinnbild_ © der_-—menschlichen _Finsamkei she isthe symbol of human solitude. DANCING MASTER (quick, witty) ‘ecbon daram brooxt zi gozelfaft Eben darum braucht sie Gesellschaft, ‘That's just why sheneeds company! 25 The word sublimen (sublime) was the late great conductor Dr. Karl Bohm's idea. It has been adopted by Heaushofineisters everywhere and thus added to the text, but with a Viennese hard (s). 376 Ariadne auf Naxos, Prologue COMPOSER nigts um 2g als das me dz flaena di: "bogme Nichts um sich als das Meer, die Steime, die Baume, Nothing, around her but the ~—sea,—sthe ~— stones, the trees, das fyello:za ‘ego: das fibllose Echo. the unfeeling Echo. ait zis cn ‘menfligas ——gozigt Siehtsie ein. mensehliches Gesicht, Should she see a human face, (then) vin ‘maens mizik “zinloss wird meine Musik sinnlos. would be my music meaningless, (vere she to see a human face, then my music would become meaningless.) DANCING MASTER acbor des —tswhgror——_untorhelt 219 0: vi Aber der Zuhdrer ——_unterhailt sich. So wie es jetzoist, But the spectator -—is amused, ‘The way it isnow. ites um ‘fteont istesum ——stehend itisto conone’s feet fall asleep. {it wil put [the audience] to sleep on its feet.) (He performs a nimble pirouette ) MAJOR-DOMO (coming back to the group of people) vom fea'ge:bunk ‘abr 1g ‘bio sig ‘hoxgtg tsu: boseelon Um Vergebung, aber ich bitte sich hécblich zu beeilen, Tbeg your pardon, buts} —begyou tomake haste, di: “heafafton —verwdon sofglees ——‘wentreston die Herrschaften werden sogleich ceintreten. the company will immediately come in. (the [distinguished] company will be here in a moment.) (He exits.) MUSIC MASTER ie Vaes mgt——_Vo: mir dex Kopf ftex Teh weil nicht, wo mir der Kopf stebt. 1 donitknow where I have my head! (lam truly in a quandary!) ven man tsvae‘ftundan tsaet hetta Wenn man zwei Stunden Zeit hatte, If one two hours’ time had es fetzor ast Ariadne auf Naxos, Prologue 377 om yiber di o:20n, nnarxtsusdenkon um fiber die Lisung nachzudenken. to about the solution think about. (If we only had two hours to think of a solution...) COMPOSER dary:bor vilst du: ‘naxdenkon vor 'menfliga_——gamaenhaet Dariiber —_—willstdu—nachdenken, wo — menschliche Gemeinheit, About it you want —tothink?. When human vulgarity, fiir vir dis medurza__“aenom entge:gangrinst font stier wie die Medusa einem entgegengrinst. Fort! staring like Medusa trrins at us in the face? Let's go! vas ‘habon vir his ferlorran Was haben wir verloren? What have we here _ to lose? (What do we stand to lose here?) MUSIC MASTER Was wir hier verloren haben? ‘What do we stand to lose? di: fynfistg dufkactan ‘ontar‘andarm fon ‘demon du: Die famfeig Dukaten unter anderm, von denen du The fifty Ducats among other things, on which you das ‘neigsta ‘halbo jax tsu:—‘lesban_gadaxtast das niichste halbe Jahr zu leben gedachtest! inthe next half year to live intended! (on which you intended to live for the next six months!) COMPOSER (to himself ie Thabo nugts mit ‘dizzat_ velt— gomaen Teh habe nichts mit dieser Welt gemei [have nothing with this world in common. vortsu: febon mitt Wozu leben in ibr. Why live init DANCING MASTER ie vaes‘virklig nigt. —-varum zit ‘baeda ‘aenam zo: fernynfuganTosrflack Ich wei wirklich nicht, warum Sie beide einem so _verniinftigen _Vorschlag 1 know reallynot why you both atsucha_—sensible suggestion zalgytbartritbana ‘virigkaeton ent ge:gonzetson solch iibertriebene Schwierigkeiten __entgegensetzen! such exaggerated difficulties put up! (Lreally don't understand why both of you put up such exaggerated difficulties over so sensible a suggestion’) 378 Ariadne auf Naxos, Prologue MUSIC MASTER ‘maenon zi: im emst es ‘maxan Meinen Sie imErnst, es machen? Do youthink imearest. it managed? DANCING MASTER migts "laectar als das enthelt Tenan Niches enthiilt Lingen - Nothing has long stretches, gofeshgo man test zi: vek gefitrrliche man 1a6t sie weg. dangerously longstretches. We leave them out dizza oot visson tsu:—improvitzisran ‘findan zig ned. zitwatsjos Diese Leute wissen zu improvisieren, finden sich in jede Situation These people knowhow — toimprovise, they're athome in any situation, MUSIC MASTER Jul ven ex ons hort bages ex zelpstmnort Still, wenn er unshdrt, —_begeht er Selbstmord. Hush! If he hears us he will commit suicide. DANCING MASTER fragan zi: smo ex —"zaena ‘oper irbor ‘hogto Fragen Sie ihn, ob er seine Oper lieber heute Ask him whether he his opera rather today acn ‘Veimtg ferftymmalt ‘heen vil ein wenig verstimmelt hiren_ will, a fittic mutilated to hear wishes, (Ask him whether he rather wishes to hear his opera today somewhat mutilated.) ‘oda op er zi: nial hhoxron_ vil oder ob er sie niemals hiren wil. or whether he it’ never tohear wants (or whether he never wants to hear it at all.) ‘Jaffon zis im ‘tints fexdor ‘aenan ‘rostfft vas immar Schaffen Sie ihm Tinte, Feder, einen Rotstift, was immer! Get him ink, quill, a redpencil, —whatever__-—he needs! (to the Composer) es ‘handalt zig darom in verk su: rettan Es handelt sich darum thr Werk zu retten! Itis a mater of your work to save! (itis a question of saving your work!) COMPOSER (passionately elasping the score of his opera to his breast) ‘bor ms ‘fovor Lieber ins Feuer! Rather into the fire! (Ud rather bum it!) Ariadne auf Naxos, Prologue 379 (He is brought ink, a quill and a light. A table is pushed forward.) DANCING MASTER fhundart (gro:so. ‘maestor di: vir cof dem —‘knison_ bovondam Hundert —groBe Meister, die wir auf den —-Knien bewundera, Ahundred great masters, whom we on our —-knees_revere, ‘harbon ‘ir eusto ‘aoffyun ——mit_—nox gants‘andom = 'apforn erkooft haben ihre erste Auuffihrung mit noch ganzandern — Opfern erkauft, have their first performance with far greater sacrifices paid, (have paid for their first performances with far greater sacrifices than this.) COMPOSER (touchingly helpless) ‘maenon zi: hat ex rect du: darf ag den mos ig den Meinen Sie? Hater recbt? Du? Darfich denn? MuB ich denn? Do you mean it? Ishe tight? You! Ought Ito do it then? Must I? (The Dancing Master leads him gently o the table where the music paper is laid out and the light arranged ) DANCING MASTER (to the Music Master) veon zi: tsu: das er gainuk ftraegt Sehen Sie zu, da er —_genug_ streicht. See to it’ that he enough cuts, (cuts enough). te rust mides tserbinetta Teh rufe indes Zerbinetta. 1 willeall in the meantime Zerbinetta erklexan tsvaeVortan di: thandlun erkliiren rin zwei Worten die Handlung. canexplain toher in two words the plot. ris ist ‘ena ‘maestrin = m_—mprovi'ziran Sie ist cine Meist'rin im —_Improvisieren: She is | a master at improvisation, da; zis ummor nur ‘zig'zelbor pile da sie immer nur sich selber —_spielt, since she always only herself plays (plays herself,) ‘findot zi: mg in Sjexdar_zitwattsjomn —_tsuitegt findet Sie sich in jeder Situation _—_aurecht, findsherself in any situation athome, dit ‘andsen zint_—aof zis aengofpist am ‘fnysrgan die andernsind auf sie eingespiclt, _es geht alles am Schniirehen. the others are used toher timing, it willallgo like clockwork (He summons Zerbinetta from her dressing room and speaks to her, The Composer, by the light ofa candle, furiously begins to delete music passages from his score.) 380 Ariadne auf Naxos, Prologue ‘THE TENOR (going stealthily up to the Composer and bending over him) dex arjaidna‘mysson zi: 'ftraegon—imant helt es aos Der Ariadne missen Sie streichen. - Niemand—_ilf es aus, From Ariadne you must cut Nobody cean stand it (You must cut Ariadne's part.) ven ‘dia frao ‘ontaofhe:tlg oof dex bymna_ tet wenn diese Frau unaufiérlich auf der Bahne stebt. when that woman interminably on the — stage stands, (No one can endure having that woman on the stage forever.) PRIMA DONNA (to the Music Master) zen Ti: ts; das ex = dem ‘baxus ‘aeniges Seb'nSie zu, das er = dem_—_ Bacchus einiges See toit that he — from Bacchus something (he cuts some of Bacchus’ part;) ‘wegnimmt; takes away; man ertre:kt es mgt ‘dion man 20; fil ‘hot>— tenon “zion ¢sui“ho:ran man ertriigt es nicht en Mann so viel__-hohe Tone singen zu hiren. one cannot bear this man so many high notes to hear sing, (It’s unbearable to hear this man singing so many high notes.) MUSIC MASTER (whispering to the Prima Donna} zi: bathaltan ‘alles Sie behalten _alles. You — keep everything, (There won't be any cuts in your music.) (turning to the Tenor on his other side) ex mmt ir tsvae ‘axjon vek —‘iman kaeno nots Er nimmt ihr zwei Arien weg, Thnen keine Note. He takes from her two arias. away, fromyou not one. note. (He will cut two of her arias, but not a note from your part.) ferraston zit ou Verraten Sie Dont give me away gt nicht. (to the Prima Dorma exo mmt dem "baxus di: halbo olla Er nimmt dem Bacchus die halbe Rolle, Hell cut from Bacchus halfof the role, (He'll cut Bacchus’ role in half,) asson zi: zig migts—_"merkon lassen Sie sich nichts merken. don't let on that you know. DANCING MASTER (to Zerbinetta) ‘diva atrjardno Ist ‘aena_‘ké:migstoxtar Diese Ariadne ist eine‘ Kénigstochter. This Ariadne isa —_king’s daughter. Ariadne auf Naxos, Prologue 381 zis ist mit. ‘aenam govissan 1e:2095 entflom Sie ist mit einem gewissen Theseus entflohn, She did with a certain Theseus elope, dem ric Tomthesr das fetbon_garettar hat dem sie vorher das Leben gerettet hat. of whom she previously the life saved had. {whose life she had previously saved.)"" ZERBINETTA zw: ‘etvas gest ‘zeltan_gutt aos, So etwas geht selten gut aus, Such things tum seldom well out. DANCING MASTER e905 virt unt lest’ zz ae naxt Thesews wird ihrer berdriissig und 14Bt_ sie —bei_—-Nacht Theseus becomes _tired of her and leaves her by night oof ‘aenar ‘vysston snzal_tsuryk auf einer wiisten Insel zuriick. ona desert island back. (back on a desert island.) MUSIC MASTER (io she Composer) nox das es mus zaen Noch das, es mut sein! Thattoo, it must be! (You must cut that as well, you must!) BINETTA (understandingly) Klaenor fot Kleiner Schutt! (The) litle scoundrel? DANCING MASTER zi: fertse:tt gm wuxt unt yn den tort herbae Sie verzebrt sich in Sehnsucht und wainscht_ © den Tod herbei. She languishes in longing and wishes fordeath ——_tocome. ZERBINETTA den tot das zaxkt man zo: Den Tod! Das sagt man so. For death! That's what they say nattysltg maent zi: “aenan ‘andor ferexar Natiirlich _meintsie einen andernVerehrer. Ofcourse she means another lover. * tris advisable t0 consult a book on mythology and read about Ariadne, Theseus, Bacchus, The Labyrinth, the Minotaur, Circe, and all such references thal erop up in this opera 382 Ariadne auf Naxos, Prologue DANCING MASTER natyrlig zor —-komts ja: aox Natiirlich, so Kommt's ja auch! Ofcourse, that's how it tums out! COMPOSER (having overheard and coming closer) naen her 70: komt es nigt den her Nein, Herr, sokommtes nicht, Denn Herr, No," sir, itdoesn’t For sir, vii ist’ ‘aena fon dem —fraoen mux ‘aenom sie ist eime_ von den Frauen, ie nur einem she is one.-«of,~—those women. who only tone (man) im ‘letban gehewen unt darna:x kkaenom mer im Leben gehdren und — danach keinem mebr. intheir life belongs and afterwards to no other. ZERBINETTA Ma! COMPOSER (confused, staring at her) kaenam mer als deim tot Keinem mehr als dem Tod. Tonoone else, save death ZERBINETTA der to:t komt a:bor nigt ‘zondam. das ‘geigontael_—_"vetton vitr Der Tod kommtaber nicht. Sondern —das_—Gegentell,—_wetten wir. Death doesn't come, however. Quite onthe contrary, I wager. filaegt ox aen'blassor —_dunkol?>egigor ‘burfa vir dus ‘aenar bist Vielleicht auch ein blasser, dunkeliiugiger Bursche _—_wie du einer bist. Maybe even apale, datkeyed lad, someone like you. MUSIC MASTER vii fermuston = gamts rect es ist «dex ‘jy:ganthga got Sie vermuten ganz recht. Es ist der_—_jiigendliche Gott You — guessed quite righ It isthe youthful god baxos dex tut Bacchus, der zu Bacchus, who 0 ZERBINETTA (merrily, mockingly) als op man das migt vysta— mun hat zis_fyas ‘ne gst ja: Als ob mandasnicht wiifte! Nun _ hat sie flir's niichste ja ‘Asif onedidn'tknow that! Now she gets for the moment vas zi braoxt was sie braucht. what she needs. Ariadne auf Naxos, Prologue 383 COMPOSER ri: helt fy den toxdasgot. =n ren ‘aogan Sie halt ihn fir den Todesgott. = In._—ibren Augen, She takes him for the ~— godof Death, In her eyes, in ‘iver “zerlo ast ex es unt ‘daxrum ‘aentsig dairum in ihrer Seele ist eres, und = darum, enzig darum — in her — soul, he isit, and for that reason, that reason only ZERBINETTA (from the door, very gently) das vil zi: dir 'vaesmaxon Das will sie dir weismachen. That's what she'd have you think, COMPOSER ‘aentsig nucr ‘darum gest zi: rut cof zaen if Einzig nur darum geht sie mit auf sein Schiff! For that reason only she goes with on his shipt zis maent tsu:'fterbon —naen Sie meint misterben? Ne She believes she will die? Not really dies! ZERBINETTA (while she slips something on) tata du; virst mig “maenasglaegon enon ‘e:ron Tata! Du wirst mich —_meinesgleichen kennen fehren! Tut tut! You will my kind (of woman) teach what itis like! (You are trying to teach me what my kind is like) COMPOSER (darkly) 1st ‘irasglaegon ist Ihresgleichen! is your kind! (shouting) 1 vaes es, das ric furpt Teh wei es, dab sie stirbt. 1 know that she dies. (softly) atjaxdna ist dit “ena ‘Untar—millfo:nan Ariadne ist’ die eine unter Millionen, Ariadne is the one among millions, st dit frao mgt fergtst sie ist’ die Frau, die nicht vergift. she isthe woman who doesn't forget. ‘ZERBINETTA kintskape Kindskopft Child's head! (What a child you aret) 384 Ariadne auf Naxos, Prologue (turning her back on him and saying to her four partners, who have joined her) merkt ?oof vir Jpn mit’ in. dem —_ftvk_—_attja:dna aof ‘naksos Merkt auf: wir spielen mit in. dem_— Stick "Ariadne auf Naxos" Take notice: We — willtake part in the piece "Ariadne on Naxos". das Jivk get 20: ‘nena printsessin Das Stlick geht so: Fine Prinzessin The piece goes _ like this: A princess ist fon ‘tram ‘broetigam —_-zxtsan galasson. ist von ihrem Briutigam _sitzen gelassen, has by her — bridegroom —_been deserted, ont ‘negstor ferPeror st. forest migt_“angokomman und nichster -Verehrer~—ist'—_-vorerst nicht angekommen, and next over has not yet turned up. di; ‘byna_fielt ‘ana vysta ‘mzal dir Die Bithne stellt eine wiiste Insel dar. The stage represents a desert island (-~). (daristellen is a separable prefix verb meaning "to represent", (0 put on stage”.) vir zint “gene ‘muntoro gezelfat dag surfelhg Wir sind eine muntere Gesellschaft, die sich zufillig We are oa merry company | who by chance oof ‘diszar'vysstan ‘zal bafindot auf — dieser wiisten Insel on this desert island er istat 90g nasx mist unt Zobalt zig ‘aena gallexgenhaet “bittat Thr richteteuch nach mir, und sobaldsich eine Gelegenheit_bietet, You take your cues. from me, and as soon as an opportunity presents itself, ‘weston vis Zoof ont 'mifon uns =m dis handlun treten wir auf und = mischen uns in die Handlung. well get on stage and join in the action, COMPOSER zi gipt zug dem tot hin st mgt mer daz Sie gibt sich dem Tod hin—ist nicht mehr da She surrenders herself todeath- she's. no.—_longer_ there ~ vekyouft —fvrtst zig tnaen ms gahaemnts der fer'vandlun weggewischt - stiirtzt sich hhinein ins Gebeimnis der Verwandlung ~ disappears throwsherself into the mystery of | transfiguration ~ virt no gabon entftest ‘Visder an “zaenan ‘artnon wird neu geboren — entsteht wieder in seinen Armen! she's reborn — renews (life) again in his arms! Ariadne auf Naxos, Prologue daran_vut ex tsum got vorrybor om der Daran wird er zum Gott! Worlber in der Thus hebecomes a god! Howelse inthe (Thus he wins his godhood!) koenta ‘aenas tsum got'verdon als. ytbor ‘ditzan kénnte eines zum Gott werden als iber_ diesem could one become a god except through such an ZERBINETTA (looking into his eyes) 385, velt Welt world erle:pnis, kuraso jetst komt fernunft m di: ferftixganhaet Courage! Jetzt komme Vernunft in. die _—_-Verstiegenheit! Courage! Now comes commonsense in such eccentricity! (Your common sense will bring you down to earth!) COMPOSER lebendig vars fram da: 20; Lebendig war's, stand da... so! She once was alive... stood there... thus! (He describes it with his hand in the air.) ZERBINETTA ont ven ig —shrnaen ‘komma virts ‘lector Und wenn ich hinein komme, wird's seblechter? And when 1 come into it, will tbe any worse (for that)? COMPOSER i yiberle:ba—disza’‘ftunda ict Ich itberlebe diese Stunde nicht! I survive this hour — not! (will never survive this hour!) ZERBINETTA du: Virst. nox gants ‘andra ycborleban Du wirst noch ganz andre dberleben! You will still many others survive! COMPOSER (forlorn) yas ‘vallan zx, sn dizam ‘aoganbitk damit. ‘za:gan Was wollen Sie. in diesem Augenblick... damit sagen? What doyoumean... at this. moment. bby that to say? (What do you mean, at this moment, by a thing like that?) ZERBINETTA (apparently quite sincere and very coquettish) en ‘aoganblik ist en blk ist —_fis Bin Augenblick ist ein Blick ist viel A moment is a glance is too much, isla 'macnan das mig kennan Viele meinen, dat mich kennen, Many think that know me, 386 Ariadne auf Naxos, Prologue aibor iar Pooge ast ftumph aber ihr Auge ist stumpf. but their eye(s) are unseeing (but their eyes lack perception.) of dem teaitor di: koketto ver zai Auf dem Theater die Kokette, wer sagt, On the stage the coquette; who says das maen herts datbae m‘fpida ist 1g ‘faena muntor daS— mein Herz dabei im Spiele ist? Ich _scheine munter that omy — heart isinthe part! play? 1 appear merry ont bm dox ‘traong ‘gelia fyr — gozellig und bin doch traurig, gelte fiir gesellig, but am however sad, Tpass for being fond of company, unt bm dox— 0; “‘aenzaim und bin doch so einsam, and am yet 80 lonely, COMPOSER (naively enraptured) "zysos ‘unbagraefliges ‘mesigan SiiBes, unbegreifliches Miidchen! Sweet, incomprehensible girl! ZERBINETTA ‘wirigtas mestgan must du: ‘zaigan Térichtes Madchen, muBtdu_——_ sagen, Foolish irl youshould say, gas__z1g'mangmatl tsu:'zeman ferfiynda max dem ‘anon. das sich manchmal musehnen verstiinde nach dem einen, who sometimes allows herselfto long for that one (man) dem zi: tro zaen ‘keenta tre bis. ans. endo dem sie tren sein kinnte, treu bis ans Ende, to whom she true could be, true to the end, COMPOSER ver es maen‘dyrfta den du; erzemast du: Wer es seindiirfte, den du erschnest! = Dut Whoever it, ——smay be for whom you _ long for! You! du: bist ty das ‘wdifa ‘unforhandan im ‘daenor "ze:!o Du bist ich... das Irdische unvorhanden in deiner Seele. You are like me... earthly things haveno place in your soul. ZERBINETTA (tenderly) du: fprigst vas og fyla mus fort Du sprichst, was ich ‘file... ieb mu fort. You say what [feel 1 must go (You put into words what I feel...) Ariadne auf Naxos, Prologue 387 fergissast dus glace vitdar —‘di:zan ‘aenon ‘aogenbltk Vergiessest du gleich wieder diesen einen Augenblick? Are you going to forget right away this. one moment? COMPOSER vergist 21g in evoman en ‘aentsigar—“aogonblik VergiBt sich in Konen ein cinziger ‘Augenblick? Can itbe forgotten in wons such a single moment? (Can such a moment [as this} be forgotten in ail eternity?) (Zerbinetta breaks away and runs off. The Music Master, as the stage manager of the opera, has directed the other characters...the Tenor, then the three Nymphs, to the back where the stage is to be,and comes busiling to the front to fetch the Prima Donna, who had disappeared again into her dressing-room,) MUSIC MASTER an ina pletso.‘maeno ‘damon ont ‘herran—atrjaxdn Iserbinetta ‘An ihre — Pliitze, meine Damen und Herren! Ariadne, Zerbinetta, ‘Take your places, ladies and gentlemen! Ariadne, Zerbineta, skaramutfo harlekin oof diz ‘stse:na ven 1g bitton darf Scaramuceio, Harlekin! Auf di Szene, ‘wenn ich bitten darf! Scaramuccio, Harlequin! On stage if you please! PRIMA DONNA (to the Music Master) aol dizor person of ‘aenar ‘siserna ften Teb soll mit dieser Person auf einer Szene stehn? T should with such a person in a scene stand? (Me, on the same stage as a person like that!) voran ‘degkon zi: Woran denken Sie? Whatever are you thinking of! MUSIC MASTER zaen zis barmhertstg bin 1g ix ‘altar ‘lexar Sein Sie barmberzig! Bin ich Thr alter Lehrer? Be merciful! Am your old teacher? PRIMA DONNA jargan zi: misr dis kreatwir fon dex “byino Jagen Sie mir die Kreatur von der _BBiihne, Drive the creature off the stage, oder 1g vaes mgt vas tu: oder ich wei nicht, was ich tu! or 1 wontanswer (for) what «1 (miay) do! MUSIC MASTER vo: ‘hetton zi ‘geno ‘bessora gale:ganhaet Wo hitten Sie eine bessere Gelegenheit, Where would you have a better opportunity 388 als cof dex'byma = iy (su: tsaegan als auf der Bie = ibr zu m than on stage toher to show, velg on?enmeshiger ‘apftant vsvifon iinan welch unermeblicher Abstand zwischen —_Thnen what unbridgeable gulf between (Where could you find a better opportunity t Ariadne auf Naxos, Prologue Lnbridgeable gulf exists between the two of you!) PRIMA DONNA ‘apftamt ha hat Abstand! Haha! Gulft Haha! MUSIC MASTER legan zi: diz Legen Sie Convey this inon anbexont Ihnen anbetend to you adoringly ‘ena velt Eine Welt, A world, vel on Welt in world in su: fy m — Fiibe at your feet hoffe 1g hoffe ich! I should hope! ‘jexdo gobexda vat jede Gebiirde, und every gesture, and “zagkon sinken! sink! {and everyone will adoringly fall at your feet!) bafestigt ist befestigt ist! the two of you exists! than how to show her [on the stage} what an man virt man wird they will (He kisses her hand, leads her a few steps (othe rear, then returns to ferch the Composer, who embraces him impetuously.) COMPOSER zaen Vir Vidar gut 3g "29 jetzt allos ‘mi“andaron“aogan Sein wir wieder gut. Ichsehe jetzt _allles mit anderen Augen! Let's make up! Isee now everything with different _ eyes! (Ise everything differently now!) di; tion des ‘davzaens- = zint_—_unermeslig Die Tiefen des Daseins sind unermeBlich! The depths of existence -—are_-—_—immeasurable! maen ‘liar froent es spt ‘mangas cof der velt Mein lieber Freund! Es gibt. manches auf der Welt, My dear friend! There is much inthis world das lest zig nit ‘vargan di; digtor bontarle:gan ja: dah lat sich nicht sagen. Die Dichter unterlegen ja that cannot be put into words. ‘The —_ poets set down regt ‘(gusta ‘vorte regt ‘gusto jedox jedox recht gute Worte, recht gute. jedoch... jedoch! quite good words, quite goodones... and yet. and yet! must st nmi mut front di; velt rst Tiephig Mut ist in mir, Mut, Freund! Die Welt ist —_lieblich Courage is ine, courage, (my) friend! The world is lovely Ariadne auf Naxos, Prologue 389 unt mgt fvrgtorlig dem ‘mutigen und nicht firehterlich dem Mutigen, and notatall fearful tothe bold man, vas ist den muzik muzik 1st “aend‘haelign kunst Was ist denn Musik? Musik ist eine heilige Kunst, What is then music’ Music is a sacred an, tsu:ferzammaln alla ‘artan fon mut za versammeln alle. Arten von Mut which brings together all varieties of courage vir ‘gerubim = om ‘aenan 'fra:landon tron wie Cherubim um einen strablenden Thron, like cherubim around a shining throne, unt darum ist zit diz haeiga ‘untor den ‘kynstan und darum istsie die heilige unter den Kiinstent and forthis reason itis the the most holy among the arts Die heilige Musik! (Zerbineta appears at the back and, with an impudent whistle, calls her troupe onto the stage. Harliquin comes hastily out of the room on the right, buckling his belt as he runs on stage } vas Ist yobin Was ist ia Wohin? What is that? Where (are they running to)? (Scaramuceio arrives, like Harlequin, putting the final touches on his costume.) diszo kreaturran Diese Kreaturen!, These creatures... (Truffaldino and Brighella also come out.) im maen ‘haeligtom hinaen ia “bok fprygp ax In mein Heiligtum hinein ihre Bockspriinge! Ach! Imo my —sanetuary (doing) their sommersaults! Ah! MUSIC MASTER du; hast es erlaopt Du — hast es erlaubt! You did allow! COMPOSER (fvrious) re Murtfta es mgt erlooban = du: Ich durfte es nicht erlauben; du __—_durftest mir nicht erlauhen, 1 shouldn't have allowed it; you shouldn't have allowed me his word is sometimes pronounced (ke:rubism]. It is @ pattern discemible in modern German, because so ‘many Germans cannot pronounce the palatal sricative [¢]. The words for China and chemistry which should correcily be pronounced as [gina - ce‘mi:] are now generally pronounced [ki:na | ke'mi:] by many. It is the ever-present pattern of “simplification” going on in many languages, 390 Ariadne auf Naxos, Prologue es tsut erloobon es 7u erlauben! toallow itt ver his dig “tserranmig m= dizza velt hrnaen Wer hieB dich —zerren mich diese Welt hinein? Who asked you todragme into _ this sort of world? las mig erfrizran ferhupm —ferftaenan met 'maenigan La® mich erfrieren, —_-verhungern, versteinen in. der meinigen! Leave me tofreeze, —tostarve, —toturntostone in my own! (He runs off in despair. The Music Master looks after him, shaking his head.) END OF THE PROLOGUE Ariadne Auf Naxos, Opera 391 THE OPERA (Ariadne lies prostrate on the ground before the mouth of a cave. The nymphs! Dryad, Naiad and Feho stand at her side and towards the back of the grotto.) NAIAD flestt zi: Schlaft sie? Is she sleeping? DRYAD Schlift sie? NAIAD naen zis ‘Vaenot Nein! sie weinet! No, she _ is weeping! DRYAD vaent im —‘flaifa hhorg ‘tosnat Weint im Schlafe. Horch! stohnet. She's weeping in her sleep. Listen! She is moaning. NAIAD Sie weinet! DRYAD ‘vaent im flat Weint im Schtafe. She's weeping inher sleep. NAIAD, DRYAD ax 70% mint vir zit govont Ach! so sind wir sie gewohnt. Ah! Likethat are. we =~ toher accustomed. (We're used to seeing her like this.) NALAD tak um wk om tarror trooer Tag um Tag in starrer Trauer. Day after day in benumbed —_ sorrow, DRYAD ‘eg ‘nog ‘bitra‘kla:gan Ewig neue bittre Klagen — Ever new bitter laments ~ NAIAD nogan kramp unt fisborfaoar ‘ewig naga ‘bitra‘klaxgen‘unferzoint Neuen Krampf und Fieberschauer, ewig neue ttre Klagenunversihnt. Fresh spasms and shivering fever, evernew _bitter laments _inconsolable. " Deyaad, in classical mythology, was a tree nymph. Naiad was a nymph of fountain, lake or stream, 392 DRYAD ‘wondas, herts cof‘ewig —‘unferzo:nt Wundes Herz aufewig —_unversdhnt. Wounded heart forever inconsolable. CHO Ewig, ewig unversohnt. NAIAD, DRYAD, ECHO ax vir aint es ‘aengovesnat vis Ach, wir sind es eingewdhnet, wie Ab, we are —_useditoit, like dex ‘blettar ‘laegtas ‘Jookaln der Blatter leichtes Schaukeln the leaves’ lighty tossing, ira ‘iva ‘kla:gan ax Thre ihre Klagen, ach, Her her laments, ah, ris ba'fverran kaom den xin sie beschweren kaum den ‘Sinn! they hardly bother our mind! (we scarcely pay heed to them!) Ach! wie der Wellen sanftes Gaukeln, ete. ARIADNE (on the ground) Ariadne Auf Naxos, Opera des vellon ‘zanftas gaokaln der Wellen sanftes Gaukeln, the waves’ gentle rocking, ‘glactats yebor uns dathun gleitet's fiber uns dain, it flows above us away. zaet seit wieviel for so many ax ‘Ach! Abt ECHO Ach! ARIADNE vo: var 1G tot unt lesbo teibo unt ‘le:be nox. Wo war ich? Tot? Und lebe, _lebe und tebe noch? Where was I? Dead? And live, live and — I'm still alive? ont ja: dox Kaen lesbon das 1g Und jadoch kein Leben, das ich —_lebe! And itis certainly no life “that =«T——_amliving! tserfivkkalt—herts vilst ewig ‘aetar ‘fla:gan Zerstiickelt Herz, _willst ewig weiter schlagen? Broken heart, will you forever g0 on beating? half raising herself) vas hab ag den gatrogmt fon fergesson Was hab ich denn_getriumt? Schon vergessen! What have 1 then dreamt? Woe is me! Already forgotten! (Wha was I dreaming?) Ariadne Auf Naxos, Opera 393 maen kopf — bahelt nigts mest Mein Kopf bebiilt nichts mehr. My head retains nothing any more, nur fattan {ftraegon dure ‘aenon ‘attan hn Nur Schatten —_—streichen durch einen Schatten Only shadows sweep across a shadow (hin/streichen is a separable prefix verb meaning "to sweep across".) unt ‘dennox fetvas tsukt dan Jaof unt tut zo: ver ax Und dennoch, etwas mucktdann auf und tutsoweh! Ach! And yet, something blazes up and hurtsme so! Ah! ECHO Ach! HARLEQUIN (from the wings) juy unt’ fon unt mas traorig jung und schén und — mafilos tram How young and fair, and immeasurably sad! ZERBINETTA (from the wings) fonforma— vis =—aen skint’ dox_—untarm took vis ‘dugkal Vonvorne wie ein ‘Kind, doch unterm Aug’ wie dunk Fromthe front like a child, yet. underher eye. how — dark! (How child-like is her face, yet how dark-ringed her eyes are!) HARLEQUIN, TRUFFALDINO ont vex ver fvex su; trosston ‘frrgto 16 Und sehwer, sehr schwer m — trésten, fiirehte ich! And difficult, very difficult to console, Tear! ARIADNE (without taking any notice of them, talking as if m a monologue) aen fonas y hiss Schdnes wart ies Theseus ~ Ariadne, ‘A thing of beauty there was: it wascalled Theseus — Ariadne, unt g im unt —froata zig, des “Tesbons, und ging im und freute sich — des_—-‘Lebens. that walked in light and rejoiced in lie, varum vaes 15 dafon evil fergessan Warum weif ich davon? Teh will vergessen! why dolknow —aboutthat? — T——want to forget! (Another idea occurs to her poor deranged mind.) mus 1g usr nox ‘tndon es ist max muB ich nur noch finden: es ist’ Schmach This (one thing) mast | still find: it is shameful tservttat zaen vi gman mus ‘ag f¥ttaln zerriittet sein wie ich! = Man muB sich schiitteln: tobeso confused as_—sTam! «TI haveto rouse myself 394 Ariadne Auf Naxos, Opera ja nox fimdan das ‘me:tgan das 1g var Ja, noch finden: das Miidchen, das ich war! Yes. still find the girl that I used to be! (the maiden I once was!) erst das igs nur bothalta Jetzt t a6 ich's nur —_behalte! Now Ihave it gods! If only Teould hold on to it! dein ‘naman mgt = deit_—‘natma ist fervaksan Den Namen nicht! Der Name ist —_verwachsen Not the name! ‘The name has grown together mit aenom ‘andoron ‘naman aen din mit einem anderen Namen, ein Ding, another name, one thing vekst. 20; laegt ins ‘andor veo wichst so leicht ins andere, wehe! grows so easily into another, woe is me! NAIAD, DRYAD, ECHO (trying to awaken her) Ariadne! ARIADNE (motioning them away) nigt nox ‘aenma:t zi lespt_ hi gants _alllaen Nicht noch einmal! Sie lebt_ hier ganz _allein. No, not again’ She lives here quite alone atmat laegt Ti get 0; —taegt atmet leicht, sie geht so leicht, breathes, lightly, she walks so lightly, kaen alm boveskt 2 kein Halm bewegt vor tk gest wo sie geht, no blade stirs where she treads, ir flat ist raen itn st, klar itr Schlaf ist rein, ibr Sinn ist’ ar, her sleep is chaste, her mind is clear, ir hens 1st lootar vi dex kvel ihr Herz ist lauter wie der Quell: her heat’ is aspure asa spring: helt zig gut dum komt ox balk der tak halt sich gut, drum kommtauch bald der Tag, Keepsherself undefiled, for comes also soon the day. (for the day is soon to come.) ‘mantal vikkaln Mantel wickeln, mantle wrap herself, da: darf zit zig om da darfsiesich when she can Ariadne Auf Naxos, Opera 395 darf in gozigt mit ‘aenam tux badekkan dart ihr — Gesicht it einem Tuch bedecken can her face with a cloth cover, (cover her face with a cloth,) unt darf— dar ‘dnnnan—liggan unt ‘aeng“toxta zacn und darf dadrinnen fliegen und eine Tote sein! and can insidethere lie and. =a dead woman bet (and lic there, dead!) HARLEQUIN (from the wings) Be Frrgto ‘grosor Jmerts hat zm fervirt Ich fiirchte, grofer Schmerz hat Sinn verwirrt. I am afraid (a) great sorrow has her mind unhinged. {has unhinged her mind.) ZERBINETTA ferauxt es mit mw Versucht es mit Musik. Try with (some) music (Let us try [to cheer her up] with some music!) SCARAMUCCIO, TRUFFALDINO (from the wings) gants ‘aigar zh at tal Ganz sicher, sie ist toll Quite assuredly, she is mad, ARIADNE (10 herself, as if she had heard the last words in her dream) tol ‘aber 'vaeza ja: ig vaes. vas guit ist Toll, aber weise, ja! Teh wei, was gut ist, Mad, but wise, yes! [know what is good, ven man es‘fernhelt fon dem armen hertsan wenn man esfernhilt von dem armen Herzen. when one cankeepitfar from one's poor heart. LERBINETTA (still from the wings) ax zo:ferruxat dox —aen_—_‘Klaenos list ‘Ach, soversuchet doch —ein_—_kleines Lied. Ab, then try alittle song. HARLEQUIN “lisbon hasan hhoffan lust ont allo kval Lieben, Hassen, Hoffen, Zagen, alle Lust und alle Qual, Love (and) hatred, hope (and) fear. every joy and every pain, ‘alls kan ae herts— ertraxgon alles kann ein Herz ertragen allthis can a heart endure ‘aenmal om — das ‘andra mail einmal um = das andre Mal. once andthe — other time. (once and many times again.) 396 Ariadne Auf Naxos, Opera (Echo repeats it soullessly, like a bird, without words.) vedor lust cacbar dex nox 'fmertson —‘apgaftarbon ox paen Aber weder Lust noch Sehmerzen, abgestorben auch der Pein, But not joy nor sadness, beingdead also. the pain das ist teitlig ‘daenam hertsan das ist tdtlich deinem Herzen, that is fatal for your heart, {But to feel no joy nor sadness, even pain itself being dead, that is fatal to your heart,) unt zor most dus m mgt zaen und so mutt, du mir nicht sein! and thus must youforme — not_—_be! {this you must not be for me!) must dig aos dem —“dunkol hhe:ban Must dich aus dem Dunkel heben, You must yourself out of the darkness “lift, (You must lift yourself out of the darkness.) ver es gox. um ‘naa kvail wir es auch um neue Qual! were it but to.—_—_—fresher pangs? ecbon most dus ‘Ttbos. ‘esbon Leben mulitdu, ——liebes Leben, To live you must, lovely life, (You must live, for life is lovely.) lesban_ nox. ‘dis Paena leben noch dies eine live onee again, this one (Echo, as before; Ariadne, unmoved, dreams on to herself) ZERBINETTA (softly) zi: he:pt- aox mgt ‘aenmarl den kopf Sie hebt auch nicht einmal den Kopf. She lifts even mot —_ once the head, (She doesn't even raise her head once!) HARLEQUIN (the same) es ist alas fer'gecbans Es ist alles vergebens. his all invain, is fyilta es ‘Vexrant des "zumans Ich fihlte es wihrend = des_—Singens. T felt it during my — singing. (Echo repeats again the melody.) Ariadne Auf Naxos, Opera 397 ZERBINETTA du: bist ja: gants aos desr Yassun Du bistja ganz aus der Fassung. You are quite upset. HARLEQUIN ni: hat aen—'menfligas—'vezan mig zo: gorystt Nie hat cin mensehliehes Wesen mich so geribrt. Never has a human being me so touched. (Never have I been so touched by a human being.) ZERBINETTA 70: gest es di mit jedar_froo So geht es di mit jeder Frau. So goesit with you with every woman. HARLEQUIN unt dit filaegt mgt mit erdam man Und dir vielleicht nicht mit jedem Mann? And you maybe not with everyman? ARIADNE (to herself) es gispt aenraeg vo: ‘alas raen st Es gibt’ ein Reich, wo allles_reinist: There is a2 realm where all is pure: es ox aenon ‘tottanraeg Fs hat auch einen Namen: Totenreich. has also name: Realm of Death hir ast migts raen hit —_ka:m'allos tsu: ‘allo Hier ist nichts rein! Hier kam alles zu allem. Here is nothing pure! Here all is finished. balt ‘aber nat aen bota ‘hermes “haesan zi: in Bald aber naht cin Bote, Hermes heifen sie ihn. Soon however, draws nigh messenger. Hermes they call him, ‘zaenam fap register dit zetlon seinem Stab regierter die Seele his staff he rules all souls: vic ‘laegta foigal vis elke ‘blettar traept ex zis hin Wie leichte Vogel, wie welke Blitter treibter sie hin. Like light birds, like dry leaves he drives them before him. dus ‘Jullor gat zis arjaidno vartot Du schéner, _ stiller Gott! _siebt Ariadne wartet! You beautiful, serene god! Behold! Ariadne is waiting! ax fon allan vildan “Jmertson mus das_—sherts.gatmaenigt. = zaen Ach, von allen wilden Schmerzen muB das Herz gereinigt sein. Ab, of all wild grief must my — heart cleansed be 398 Ariadne Auf Naxos, Opera dan vit dacn gait Dann wird dein Gesicht Then will your face vit daen fiat for'maenar ‘hola wird dein Scbritt vor meiner Hahle, will your steps (approach) my cave, sdonkel virt cof —'maenan “aogon dunkel wird auf meinen Augen, dark will it be over my eyes, daeno hant oof —'maenom = hertsan zaen deine Hand auf meinem Herzen sein; your hand upon my heart be: (and you will place your hand upon my heart;) m dem fornon ‘facarklaedam di; mix 'maena ‘muttar ga:p In den sehen Feierkleidern, die mir meine Mutter gab, In the beautiful festive robes that tome my — mother gave. ize glixdor ‘veirdon “blaebon {fullo ‘hota virt_—-maen grap diese Glieder werden bleiben, stile Hoble wird mein Grab. this body will remain; (this) silent cave willbe my grave aibar ‘lootlors maeno zeila ‘folgat som ‘nodan_ hem Aber tautlos meine Seele folget rem neuen Herra, But mutely my — soul willfollow its new lord, en ‘aegtas bla m= vindo wie cin —_leichtes Blatt im Winde, like alight Jeaf inthe wind, folkt hhinuntar folkt zo; gern folgt hinunter, —folgt_ so. gern. follows downward, follows so gladly. (pladly falling.) Dunkel wird auf meinen Augen, ont in ‘maensm hhertson zen und in meinem Herzen sein, and in my heart be, (Darkness will cover my eyes as well as my heart,) diese Glieder werden bleiben fom gafmvkt unt gants_allaen sehin geschmiickt und ganz _allein. richly adored and all alone. du: virst_— mig bofraean micr zelbor mig ‘geben Du wirst_ mich befreien, mirselber mich geben, You will set me free, tome give myself, (you will give me to myself.) Ariadne Auf Naxos, Opera 399 dis ‘lastonds Tebon du; nim es fon dies lastende Leben, du nimm es von this burdensome life, you, take it, from (and take this burdensome life from me.) an dig verd ig = mig_—_gants ferlisan An dich werd ich = mich ganz verlieren, In you will I myself entirely lose, (1 will lose myself entirely in you,) bae dir vit arjardna zaen bei dir wird Ariadne in. with you will Ariadne abide. (She stands lost in thought. Echo, Naiad and Dryad have vanished during Ariadne's monologue. Harlequin {audacious}, Brighella |young, awkward), Scaramuccio [trickster, about 50 years old), Truffaldino {a foolish old man), come out and try to enliven Ariadne with a dance, Zerbinetta remains to the side in the wings.) BRIGHELLA, SCARAMUCCIO, HARLEQUIN, TRUFFALDINO dis ‘dasa mit trysbom in Die Dame mit tribem Sinn The — lady with heaviness. of mind rag ‘alisuizesr dex ‘trovsr hin sich allzusehr der Trauer hin. to yield much too much to misery. () h/hingeben is a separable prefix expression meaning "to give oneself over" to something (in this case, mourning.) vas ‘immor —‘bgvzas_‘vitderfurr ‘Was immer Bises_widerfubr, Whatever evil may befall, dis tsaet get hin unt lke di: [pur die Zei geht hin und tilgt die Spur. time goes on and _blots out its traces. vir “visson su; ‘axton dex ‘laedon Wir wissen zu achten der Liebe Leiden, We know howto respect love's pangs, ox ‘try:bas ‘fmaxton das ‘vollon vir maedan doch tribes Schmachten, das wollen wir __meiden. yet doleful pining, that we wish to flee from. zis‘vofisuhaetom nat 21g bofaedon Sie aufzuheitern, nabt sich —_hescheiden To cheer you up approaches discreetly mt dem —boiglaetom — diss ‘hypfa kine mit den Begleitern dies hiibsche Kind. with her companions this pretty child This pretty child [Zerbinetta] is approaching discreetly to cheer you up.) 400 Ariadne Auf Naxos, Opera (They dance.) es gult 2p tantsan 2p ‘ajo taoga Es gilt, ob Tanzen, —ob-_—_Singen tauge, TThe questions is whether todance or _—_tosing will help fon ireman teu: trokran aen ‘foros Paoge von Tranen zu frocknen ein. schimes’ «=== Auge. of tears to dy in _ pretty eyels) (The question is whether dancing and singing will dry the tears from your pretty eyes.) es woknet tresnan dix Jmaegainds “roma Es trocknet_ = Trinen die schmeichelnde Sonne. k dries tears the flattering sun. (The flattering sun dries tears.) es roknat treinan dex oza Es trocknet —-Trdinen der lose Nn dries tears, the free-blowing wind. ‘ZERBINETTA Vis zit zag fumman tantson ont ‘zujan Wie sie sich schwingen, tanzen und singen, How they go whirling, dance and sing, gafitle der'aens —odar_ dex ‘andora efile mise fox gefiele der eine oder der andere gefiele mir schon, Trather fancy one ofthem or the other one-—_'m beginning to like. ALL Es gilt, ob Tanzen, ete. ZERBINETTA Wie sie sich schwingen, ete. SCARAMUCCIO, HARLEQUIN, TRUFFALDINO Die Dame gibt mit tribem Sinn, ete, ZERBINETTA Wie sie sich schwingen, ete. dox di: prantsessm fer flist ire ‘taogan Doch die Prinzessin _verschliefit_ ihre Augen, Yet the princess closes her eyes, vi: mak mgt dit ‘vaeza tit dem ton sie magnicht die Weise, sie liebtnicht den Ton. she cannot stand the melody, she doesnttlike the tune. (as she steps between the four dancers) gost dox lasts dox ir alt tsus last Gebt doch, IaBt'sdoch! Thr —_fallet zur Last! Go then, let it be! You are getting tiresome! Ariadne Auf Naxos, Opera 401 THE OTHER FOUR Es gilt, ob Tanzen, ob Singen tauge. ti: “‘aoftsuhaetarn bofa:] den — taiglaetam Sie aufvuheiternbefabl den Begleitern, You tocheerup commanded the companions, o:“raorige idama dis o —traurige Dame, dies hiibsche oh sad lady, this pretty (This pretty child, oh sad lady, commanded her companions to cheer you up.) ZERBINETTA Geht doch, Ihr fallet zur Last! BRIGHELLA dox vivir tantsan dox vivir 'zigan Doch wie wir — tanzen, doch wie wir ingen, Yet as we dance, yet as we sing, vas ‘00x ‘bran + ‘harbon kaen glyk was auch bringen, wir haben kein Gliick. whatever do we have no luck. "ARAMUCCIO, HARLEQUIN Es gilt, ob Tanzen, etc. ZERBINETTA drum last das tantson fast das zigon tsit 99g tsutryk Drum labt das Tanzen, — lat das _—_Singen, zielt Euch zurick. Then stop your dancing, -—stop_-—your singing, go away THE OTHERS Doch wie wir Tanzen, ete. ‘TRUFFALDINO Es gilt, ob Tanzen, ete. (Zerbinetia shoos them away. The four go off) ARIA ZERBINETTA (with a deep bow to Ariadne) ‘grossmegtiga prntsessin ver ferftvndo mgt Grofimachtige Prinzessin, wer _verstiinde nicht, Most powerful Princess, who would not understand, das 20: erlooxtsr unt’ —erhachonar_—per'zonen—_“traorigkaet dal so erlauchter und erhabener Personen Traurigkeit that such an illustrious and noble personage’s sadness mit ‘aenom ‘andoran mass gemesson —_‘Vertdan mus mit einem anderen Mab gemessen werden mul with a different standard measured must be 402 Ariadne Auf Naxos, Opera als dex — gamaenan —‘fterpligan.——_jetdox als der gemeinen—Sterblichen. Jedoch, than that of common mortals, However, (aking a step forward, though Ariadne pays no attention whatsoever) not vir migt_—frooan ‘untor ons ont_—_‘fleskt den mgt sind wir nicht Frauen unter uns, und —_schligt denn nicht are we = not. = women undemeath, and does there not beat im jerdar brust aen —‘unbograeflig herts in jeder Brust ein unbegreiflich Herz? in every breast an unfathomable heart? (She moves still nearer with a curtsey. Ariadne covers her face in order not 10 see her.) fon unzror ‘[vaxhaet ——‘fpregon zi ons ‘zelbor ‘aengoftemn Von unsrer Schwachheit sprechen, sie uns_—_selber eingestebn, Of our weakness. tospeak, = it to.— ourselves to-adimit (To speak of our weakness and to confess it to ourselves.) it es omigt_fmertslig—ayts ist es nicht schmerzlich si? is it not painfully sweet? unt tsukt ons migt dex zn dana: Und —zuckt uns nicht der Sinn danach? And — do we not long (our mind) for it? (And do we not long for it?) ai ‘allen mig alge Sie wollen mich nicht horen— You want me not tohear— (You don't want to hear me —) Jon ont fists unt ‘regopslos als vexran zi: Schon und stolz und —regungslos, als. wiiren Sie Beautifil and proud and motionless, as._—_—if you were di: flatua aof rar “‘aegnan groft die Statue auf Threr _eignen Graft. the statue upon your own tomb. 7x ‘vollon ‘kaena ‘andara fertroota Sie wollen keine andere Vertraute You want no other confidante als divan fels unt ‘disza_‘vellan ‘hacban als diesen Fels und diese Wellen haben? than this rock and these waves have? (You want no other confidante than this rock and these waves?) (Ariadne retires to the mouth of the cave.) Ariadne Auf Naxos, Opera 403 pruitsessin —‘hosron zis mig an allaen Prinzessin, héren Sie mich an - Sie allein, Princess, listen to me- you alone, Vie ‘alla ax vas iv hens erftart wiralle, ach, was Thr Herz erstarrt~ all of us, indeed, all ofus- whatever == your_ heart benumbs ~ ver ist di frag dis_ es migt’‘durggalition ‘hetia wer ist die Frau die es bt durchgelitten hatte? who is the woman who it’ not -—_ suffered has? (whatever it is that benumbs your heart, who is the woman who has not suffered it?) ferlasson —m_—_fertsvaeflun_‘cosgazetst Verlassent in -—-Verzweiflung! Ausgesetzt! Abandoned! In despair! Marooned! ax zolgar ‘vysston ‘inzaln zt ‘ontsergo Ach, soleher wisten Toseln sind unzahlige Ah. such desert islands are numberless cox ‘mitten unter ‘menfon te zelbor auch mitten unter Menschen, ich selber even inthe midst of people, 1 myself te harbo_itrar ‘mesrora bovo: ich habe ihrer mehrere bewo I have several of them inhabited — ont ig gofemt di:'mennor su ferfluzxon und habe nicht _gelernt die Manner za —_verfluchen. and have not eared men to curse. (and haver't yet learned to curse men.) (Ariadne withdraws completely into her cave. Zerbinetta addresses her words of consolation to the now invisible Ariadne) aslo zit zmts‘ongahogar— ‘oma ‘grentson ‘Truelos sie sind's! Ungeheuer ohne Grenzen! Faithless they are!» Monstrous. without, bounds! ‘aena ‘kuriso naxt aen‘hastigar tak aen ‘ven dew tuft Eine kurze Nacht, ein hastiger Tag, cin Wehender Luft, A short night, a hasty day. a put of air cn ‘flisondor bik fervandalt. = itr heerts ein flieBender Blick verwandelt. ihr Herz! a fleeting glance transforms their heart! ‘aber zint vir den gafaet ‘gegen di; ‘graozarmon Aber sind wir denn gefeit gegen die grausamen, But are we then immune tothe cruel, 404 Ariadne Auf Naxos, Opera entsykkondon dis ‘unbagraefgligan fervandlonpn entziickenden, die _umbegreiflichen Verwandlungen? delicious, (the) _ inexplicable transformations? nox glaob dem ‘aentan gants mug gahesront Noch glaub’ ich dem einen ganz mich gehirend , Still (when) [believe to one entirely to belong, (When I think I still belong entirely to one man,) nox maen ig mix zelbor zo: ‘zigar ts: zaen noch meinich -—mirselber so sicher zu sein, and I think ofmyself quite sure to be, (and think I feel quite sure of myself.) da; mift zig im ‘hertson ‘lacza batasront da miseht sich im = Herzen leise betdrend there steals into my heart, amildly deluded, Jom ‘aenor jokostaton frachact schon einer nie gekosteten Freiheit, and asyet —_untasted freedom, fom aenar —‘nogan ferftorlonon tbo schon einer neuen verstohlenen Liebe a new, stealthy love ‘fvacfonndas ‘fregos gotyla ‘ag aen sehweifendes, freches Gefiihle sich ei (and) roving, shameless emotions! (=) (sich ein/mischen is a reflexive verb with a separable prefix meaning "to steal into". "to erowd in",) nox bing var unt dox st es goloigen Noch bimich wabr, und doch istes gelogen, Still Tam true, and yet, its allie, te halt mig trop unt bm fom lege ich halte mich tren und bin schon schlecht, 1 think myself true and am ~—_ already wicked, mit falfon govigton vist alla gavowen mit falsehen Gewichten wird alles ‘gewogen with — false weights is everything weighed (everything is weighed with false weights) unt halp mig vissont_ unt hal im ‘taomal und halls halb im = Taumel and half consciously and half ina frenzy botrysa tg ently unt fib ism—nox regt betriigich ihm emi und lieb ibn noch recht! Tdeceive him = intheend while loving him truly! (I deceive him in the end and yet love him truly!) Noch mein ich mir selber so sicher zu sein, ete, Ariadne Auf Naxos, Opera (suddenly breaking off) 405 20: vair es mit palljattsy unt mettsetin So wares mit Pagliazzo und So it was with Pagliaccio and. dan vares kavikkio ont burattin dan paskvarrjello Dann wares Cavicehio, und Burattin, dann Pasquariello! Then it was Caviechio and Burattino, then __Pasquariello!” ax unt tsurvaelon les mix 'faenan—‘varranes ——tsvae Ach, und zuweilen wills mir scheinen, warenes zwei! Ah, and attimes, so itseemedto me, there were two! dox —‘nismacls Jaonan ‘immer aen —‘mysson Doch niemals Launen, immer ein —-Miissen! Yet never caprice, always a compulsion, immar aen ‘nodes baklommanas ‘taonan immer ein neues beklommenes Staunen: always anew — apprehensive wonder; das aenherts zo.gar zig zelbor —_nigt ferftet da cin Herz sogar sichselber nicht versteht, that a heart really itself cannot understand, (that a heart should have so little understanding of itself,) gar sich selber nicht versteht. RONDO als aengot__kaim jedar gagaqan Als cin Gott kam jeder gegangen, Like a god each of them came to me, ont 7aen Jt Jon 'maxto mig ftom und sein Schrite schon machte mich stumm, and his (very). step already rendered me _—_ speechless, *kysta eit mir Jun unt ‘vagan Kate er mir Stirn und — Wangen, then he kissedmy brow and cheeks, vax i fon dem got gofanon unt govandslt_ om ont om war ich von dem Gott gefangen, und gewandelt. um und um. andiwas by the ~— god captivated and transfigured completely. Als ein Gott kam jeder gegangen, ‘jestor ‘vandalta mig um. jeder wandelte mich um, each one transfigured me, These are all Commedia dell'arte characters. 406 Ariadne Auf Naxos, Opera kite mir Stirn und Wangen, war ich vou dem Gott gefangen, Ingoge:bon vase ng ftom hingegeben war ich stumm. Isurrendered silently (without a word.) HARLEQUIN (springing from the wings) hypf gapresdigt 1 "taobon Poxran Hiibsch gepredigt! Aber tauben Obren! Nicely preached! But deaf cars! (Pretty sermon. ..but fallen on deaf ears!) ZERBINETTA (quickly tuning t0 him) ja’ es faent di: ‘dana ont ig pregan ferfiedona —‘fpraxon Ja, es scheint, Dame und ich sprechen _verschiedene Sprachen. Yes, _itsseems lady and 1 speak different ——_Tanguages HARLEQUIN ss Jacnt 20: Es scheint so, seems so. {So it seems.) ZERBINETTA es stds frasge 2p vir mgt flishg lemnt Es ist die Frage, ob sie nicht schlieBlich —_ernt, ft isthe ~— question, whether she not intheend leas ag im dex ‘maenigon ‘aostsidrvkkon sich in der meinigen auszudriieken. herself in mine to express. (The question is whether in the end she will lear to express herself in mine.) EQUIN vallons ‘apvarton, «vas vir—migt—‘abvartan ‘vollon wollen's abwarten. Was wir nicht abwarten wollen... will wait and see. What we not wait for will (But what we will not wait for...) (He reaches her side with a single bound ) ZERBINETTA vofy:r helist dus mig Woftir haltst du mich? For what take you me? (What do you take me for?) HARLEQUIN fyr an entsvkkandos ‘mestgon ——desson_batsivvgan entaiickendes Madchen, —_dessen Beziehungen enchanting young girl whose. relationship Ariadne Auf Naxos, Opera 407 teu; mir ‘drigent ‘aenor bolle:bon ——_boidvrfon mu mir dringend ~—einer_Belebung —_bediirfen ~ to me _—_urgently a iif requires ~ (with whom [ urgently desire to become better acquainted — ) (He tries to embrace her but she frees herself ) ZERBINETTA onferfe:mtar ont ‘oosardesm hie Unverschimter! Und aufierdem: hier! Shameless one! And ofall places here! sve frtta fon der ‘vonuy dex printsessin ‘Zwei Schritte von der Wohnung —der__—_Prinzessin! Two steps before the dwelling of the Princess! HARLEQUIN pa vomun es st aeno ‘hail Pah! Wobnung, es ist © Hohe. Pah! Dwelling! = It’ is, aca ZERBINEITA vas ‘endort das Was dindert das? What difference does that make? HARLEQUIN zer vil zi:—shat—kaenfenstor Sehr viel, sie hat_—kein Fenster. Quite alot; it has no window. (arying to kiss her again) ZERBINETTA (wrenching herself free) 1¢ —‘glaobo dus ‘vesast “varklig feag Ich glaube, du wirest wirklich fibig... 1 think youd be really capable. HARLEQUIN ‘tsvaefla mgt sur “allem Lweifle nicht, zu allem! Doubt not,” of everything! (Of everything, have no doubt about it!) ZERBINETTA (sizing him up with a glance, half to herself) ‘su: denkon das es frooan gi'pt Zu denken, —da_es Frauen gibt, To think that there are women denon ex mn ‘darum gafila denen er eben darum gefiele. to whom he even on that account is pleasing, (To think that there are women to whom he is pleasing for that very reason.) 408 Aviadne Auf Naxos, Opera HARLEQUE unt tsu‘denkon das fon ‘orbon bis Und zu denken, dal du von oben _ bis, And to think that you, from top 10 ‘aena voles — fruo bast eine solche Frau bist! such a ‘woman are! tunton, unten, bottom BRIGHELLA, SCARAMUCCIO, TRUFFALDINO (sticking their heads out) pst Pst! tserbinetta Zerbinetta! pst Pst! (Having extricated herself from Harlequin, Zerbinetta runs forward; to herself, almost to the spectators.) ZERBINETTA mennar ‘liar got ven du varkig ‘oltast Manner! Lieber Gott, wenn du wirklich —_—_wolltest, Men! Dear God, if you really wished das vier vidarfte:on “Zoltan da wir widerstehen sollten, that we resist should, varom hast du: zit zo_—ferfirdan ——_galfaffon warumhast du sie so._—_verschieden_geschaffen? why did you them so different create? (Men! Dear God, if it had been your intention for us women to resist them, then why did you create them all so different?) (She ends in the middle of the text, with a roulade.) THE FOUR MEN faena 'ftoerfa su: trasstan last das Eine Stdrrische zu ten, at das An obstinate woman to—console, give up the (Give up the painful business of consoling an obstinate woman!) vil zit ag mgt ‘upsston Tasson sie sich nicht —_trdsten lassen, Wishes she notherself to be consoled, (If she won't let herself be consoled,) Jas zis vaenon vi hat ret Jae sie weinen, sie. hat recht! let her weep, she has aright to! (Zerbinetta dances from one to the other, cajoling each one in turn.) BRIGHELLA (in a foolish tone) dox 1g bin oer ntgt gipst du: aen Doch ich bin _stdrriseh nicht, gibst du cin But [am —notobstinate,(if) ——youputon a (you'd just smile at me.) paenliga ——gaifeft peinliche —Geschaft! painful business! gut golzigt gut Gesicht. pretty face. Ariadne Auf Naxos, Opera ax ferlan nigt mei roo mig Ach, ich verlang! nicht mehr, freu mich Ah 1 ask for no more, Tim happy SCARAMUCCIO (with a sly expression) aof —divzar ‘inzalgitpts ‘tepfo pletso Auf dieser Insel gibts hiibsche ——Phitze. On this island these are preity spats. kom las dig ‘tyson fa Komm, IaB dich fiihren, ich Come, let yourself be led, 1 TRUFFALDINO (covkwardly lascivious) ver nur aen‘vargon gen ‘pfesrtgan Wir nur ein Wagen, ein Pferdchen Were only a cart, a pony (If Lonly had a cart or a pony.) het ig di: ‘klaena balt vo: itt ich die Kleine bald wo Td have that little one soon somewhere HARLEQUIN (discreetly in the background) vii zi fergopdat —‘aogan ont thenda Wie sie vergeudet_ Augen und Hinde, While she squanders eyes and hands, laor rg im ftilian hi —aof das. aur’ ich im Stillen hier auf das Tiiliein wait in silence here until the 409 vex so sehr. so much. vaes bafact weil Bescheid! know my way! nur maen only mine, alllaen allein! alone! ‘endo Ende! end! (While she squanders her favors all around, Ill silently lie in wait here until she's done!) LERBINETTA (dancing from one to the other) ‘immar en 'mysson ‘ni:mals Immer cin’ Massen, niemals Always a compulsion, never immar aen —‘na¢as ‘unzergligas —_“ftaonan immer ein neues _unsigliches Staunen! always anew, _inexpressible wonder! BRIGHELLA bin mig oer Teh bin nicht stOrriseh. Tam not obstinate. HARLEQUIN Ieh laure im Stillen. SCARAMUCCIO. Hilt ich das Miidchen — TRUFFALDINO Ich wiiBite Bescheid ~ aonan Launen, caprice, 410 Ariadne Auf Naxos, Opera ZERBINETTA So war es mit Pasqua lo und Mezzetin, dann mit Caviechio und Burat ete. HARLEQUIN Wie sie vergeudet Augen und Hinde, ete. BRIGHELLA, SCARAMUCCIO, TRUFFALDINO Hatt’ ich das Madchen, ich wOBte Beseheid, (While she is dancing, Zerbinetta pretends to lose her shoe. Scaramuccio quickly seizes the shoe and kisses it. She allows him to put it on her while she leans on Truffaldino who, rushing up to her from the other side, has fallen at her feet.) ZERBINETTA vik er foorig 2g ernidart Wie er —_ feurig sich erniedert! How he impetuously stoops! (She has extended her hand for Scaramuccio to kiss and begins again to dance.) dex dwk den druk —ervisdort Wie der Druck den Druck erwide How the caress tothe caress responds! (How he responds to my caresses with his own!) max i im of ‘ditea‘naedig Mach ich ihn auf diese _neidig, Make T him of this jealous, (if make him jealous of them,) vin der raefa vit gafmacdig wird der Stei wie geschmeidig, will the stiffone be yielding, (how yielding will the stiff one be,) vin dex flaefo. borf cag dresn wird der steife Bursch sich drebn! will the stiff — lad twist himself around! (how the stiff lad will twist and tum about!) BRIGHELLA (dancing stiffly and singing) maxt 7: mig cof ‘di:za ‘naedr Macht sie mich auf diese _neidig, Makes she me of them jealous, ax vi viligmig —gafmaedig = um dis hyp fa ‘pupa dren ach, wie will ich mich geschmeidig um die _hiibsche Puppe drehn! Ah, how Vd yieldingly around the pretty doll spin! (if she makes me jealous of them, oh how yielding I will be, how I will spin around the pretty doll!) SCARAMUCCIO (also dancing) maxt’ zi uns of ‘dian ‘naedi ‘Macht sie uns auf diesen nei Makes she us of them —_jealous, Ariadne Auf Naxos, Opera au hae vir alla —_zig gofmaedig hei, wie alle sich geschmeidig ho, how all___most yieldingly hoi um xa gunst ag dre: hui, um ihre Gunst sich dreba! whoosh, for her favors will spint (ifshe makes us jealous of this, how obligingly would we then do sommersaults to win her favors!) TRUFFALDINO (likewise) zis ‘jexdon zig goifmaedig ‘aenan gof dem —‘andoron naedig Wie sie jeden sich geschme einen auf den anderen —_neidig, How she makes everyone yield toher, one of + the -— other one —_jealous, ‘oma ‘puoz> vaes tsu: dren ohne Pause wei zu drehn! without pause knows how to tum! (How she makes everyone continuously turn about her and yield to her, each jealous of the other,!) (While the three dance, Zerbinetta, in the back, throws herself into the arms of Harlequin and hurriedly disappears with him. Scaramuecio, Brighella and Truffaldino find themselves alone.) TRUFFALDINO mir di: hant das var das tsaegan Mir die Hand, das war das Zeichen! She gaveme her hand, that was the token! floo aos dem ‘kraezo mus mig ‘flaecon Schlau aus dem Kee ich mich schleichen! Craftily out ofthe circle must 1 steal out! SCARAMUCCIO mise der fas das. var das ‘tsaegon Mir der Schuh, das war das Zeichen! She gave me her shoe, thet was the token! mig ervartat das ‘humbyfo ‘ven Mich erwartet das himmlische —Wesen, Me — awaits that heavenly creature, mig tsum —froendo hat zi: erlevan mich zum Freunde hat sie_—_erlesen! me — forher sweetheart has she -—_chosen! (That heavenly creature awaits me, for she has chosen me to be her sweetheart!) BRIGHELLA mist dex bik Mir der Blick, She gaveme a glance, das war das Zeichen! Mich erwartet das himmlische Wesen, mich zum Freunde hat sie erlesen! (All three slink into the wings. Immediately after, Scaramuccio reappears on the scene, in disguise.) a2 Ariadne Auf Naxos, Opera SCARAMUCCIO pst vor st zit, Ssh vo; mack zit, zaen Pst, wo ist sie him? «Wo = mag sie sein? Pst. where has she gone? Where can she be? (He looks around himself and goes around the stage to the right) BRIGHELLA (disguised, coming from the left, cunning yet foolish) Pst, wo ist sie? Wo mag sie sein? (Turning to the right and running into Scaramuccio, who is coming back } TRUFFALDINO (disguised, from the left corner, at exactly the same time as Brighella) Pst, wo ist sie? Wo mag sie sein? (He runs into the other two, who have run into each other; all three stagger around in the middle } BRIGHELLA, SCARAMUCCIO, TRUFFALDINO (fo themselves) ferdamtor —‘tsurfal ‘abor man erkent mig mict Verdammter Zufall! Aber man erkennt mich nicht! Damned Tuck! But they don't recognize me! ZERBINETTA (unseen, in the back) das aen—herts_ zogar zig zelbor muigt— ferftest Da® ein Herz sogarsichselber _—nicht_versteht! That a heart _ not even itself can —_ understand! (To think that a heart should not even understand itself) (Brighella, Scaramuccio and Truffaldino look at each other.) HARLEQUIN (likewise unseen) ax raetsant faen gagl Ach, wie reizend, fein gegliedert! ‘Ah, how charming, finely _ shaped! BRIGHELLA, SCARAMUCCIO, TRUFFALDINO ne ae ae ae Aiyai, ai, ZERBINETTA, HARLEQUIN hant unt ‘lippo munt’ unt —hant_velg—aen—_“‘tsukkont tsaoborbant Hand und Lippe, Mund und Hand! Welch ein zuckend = Zauberband! Hand and fips, mouth and hand! What a quivering magic union! BRIGHELLA, SCARAMUCCIO, TRUFFALDINO (dancing off. angry and depressed) ae ac dex ‘nisdortregigo i Ai, ai, der _niedertriicht’ge ‘Ai, ai, that Jow wicked thie! ZERBINETTA, HARLEQUIN Sieh, wie reizend, fein gegliedert, wie derDruck den Druck erwidert, ete. (They go off, Naiad, Dryad and Echo appear hurriedly, almost simultaneously, from left, right and rear) Ariadne Auf Naxos, Opera DRYAD (excitedly) aen—“fornos vondor Ein schénes Wunder! A radiant wonder! NAIAD sen raetsondar—kna! Fin reizender —-Knabe! An enchanting youth! DRYAD aen uae got Ein junger Gott! A young god! ECHO Ein junger Gott! DRYAD mw: vist itr So wit ihr...? Then know you? NAIAD den ‘namon Den Namen? The Name? DRYAD "baxus Bacchus! NAIAD Ein reizender Knabe! DRYAD mig ‘hoxrot dox 2am Mich iret doch an! Listen to me, then! NAIAD Mich héret! Hear met DRYAD di ‘motor tarp bac dew Die Mutter starb bei der His mother died at his ‘kounystoxtor KGnigstochter! king's daughter! gaburt Geburt. birth, 413 414 Ariadne Auf Naxos, Opera DRYAD ‘aenas ‘gottas lispsta Eines Gottes Liebste! A god's beloved! NAIAD vas ft ‘aenas ‘gottos Was fiir eines Gottes? What kind of god? ECHO (enthusiastically) Eines Gottes Liebste! DRYAD ‘abor den ‘klaenan hort dox —‘nymfon ‘tsorgan iin Zaof Aber den Kieinen- hort doch!-Nymphen _—_zogen iltm auf. But the littleone-__listen_ then! Nymphs brought him up. ECHO Nymphen zogen ihn auft NAIAD, DRYAD. ‘nymfan das ‘tsarta ‘goetliga kant Nymphen das zarte gittliche Kind! Nymphs that gentle, godlike child! ax das_—omgt_ vires gaverzon 2mt ‘Ach, da nicht wir es gewesen sind. ‘Ab, that not we were the ones. (Ab, if only it had been us!) ECHO (bird-like) Ach, dal nicht wir es gewesen sind, DRYAD er vekst vi dit flamma ‘untorm Er wiiehst wie Flamme unterm He waxed like flame in the NAIAD ist mkaen — kint mest knaba ont man schon kein. Kind mehr - Knabe und Mann! He's nota child anymore- a youth, a Man! ECHO Ist schon kein Kind mehr ~ DRYAD Jel isu: iff mit ‘vildon_gofe:rtan Schnell ma Schiffe, mit —wilden Gefiihrtent Swifily ona — ship, with wild companions! Ariadne Auf Naxos, Opera vint ‘zeal goftelt Wind die Segel gestellt! wind his sails set! (Mightily setting his sails to the wind!) NAIAD ‘megtig im. Michtig im Mightily in the DRYAD Er am Himself at the NAIAD ky:n der kna:ba Kiihn der Knabe. Bold the boy das vexsto iw Das erste? Thr The first? You NAIAD, ECHO tsirtse an Circe! An ihrer Cire! On her su iram —pallast za ihrem Palast to her palace {ftovor Steuer! wheel! hael ‘exston ‘a:bont{tem Heil ersten Abendstern. Hail tothe first evening star. Vist vases var wiBt, was es war? know what it was? ‘mzal ‘landat das if Insel landet das Schiff, island lands the ship, fact dex fuss ‘negtlig mit fakkoln schweift der Fu, _nichtlich it Faekeln ~ stroll bis feet’ by night with —torehes— (his fect bear him to her palace by night with torches ~ ) DRYAD an der ‘fvella emipfent 2 An der Schwelle —empfiingt_ sie At the threshold welcomes she him, an den uf sit im fun an den Tisch zieht’ sie ihn hin, tothe table draws she him. (She welcomes him at the threshold and leads him to the table,) di: “paez> raect dem trank die Speise, reicht den Trank. the food, serveshim to drink. ECHO Reicht die Speise. NAIAD (eagerly) dein ‘tsaobertrank den tsaoborlippon Den Zaubertrank, den ‘Zauberlippen! The — magic drink, the enchanted lips! ECHO Den Zaubertrank, 416 Ariadne Auf Naxos, Opera asus ‘zyisoTichasga:bo allzu siiBe all-too sweet gift of love! DRYAD (iriumphant in tone) dox der ‘knarbo vi zk freg unt —_y:borhe:blig Doch der Knabe! Wie sie frech und — iiberheblich But the youth! How she bold and —_haughily in tu: ‘iron fyison_vikt iho zu ihren FiiBen winkt— him to her _—feet_—_-beckons~ ALL THREE ‘ive kynsta amt fergeblig —vael_skaen tir tsusr_ ‘eda zight Thre Kinste sind vergeblich, kein Tier zur Erde sinkt! Her arts prove unavailing, for no beast tothe ground falls!” DRYAD aos dem ‘armon i entvondan ‘Aus den Armen ibr entwunden, Out of her arms _ freed from the embrace, (Freed from her encircling arms,) blas unt ftaonant ‘ona Spot blaB und staunend, ohne Spott, pale and wondering, without scom, migt fervandalt —migt gabundan tex. for = ier gen juypr gat nicht verwandelt, nicht gebunden steht vor ir ein’ junger Gott! not transfigured, not bound, stands before her a young _god! ECHO Nicht verwandelt, nicht gebunden, ete. NAIAD, DRYAD (at the mouth of the cave) Ariadne! ECHO Nicht verwandelt! DRYAD Scbliift sie? ‘CHO Nicht gebunden - > tn Geeck mythology Circe was the mistress ofa palace in the island of Acaea. Greek men were invited there to banquets, but immediately upon arrival, Circe would touch each with a magic wand turing them into dogs, pigs and lions, each in accordance with their fundamental character and disposition, but not Bacchus. Singers ase advised to look up a book on Mythology that explains this section, Ariadne Auf Naxos, Opera DRYAD naen zi: hoat uns Nein, hort unst No, she hears us NAIAD (addressing Ariadne) Ein schines Wunder! ECHO Nicht verwandelt — DRYAD Ein schénes Wunder! ECHO Ein Knabe! NAIAD Ein Gott! DRYAD (addressing herself to the cave) igestom nox der gast. dexr Gestern noch der Gast der Yesterday still” the «= guest. of mrt ise Tisgant bae dem mit ihr tiegend bei dem with her lying atthe (lying with her at the banquet,) “orppont fon dem “tsaobortrank nippend von dem —Zaubertrank - sipping from the magic drink - ECHO Nicht gebunden, ein Knabe! NAIAD ‘hota aster hir —-bae uns Heute ister bier bei uns! Today heis here with us! DRYAD Ein Gott! NAIAD, DRYAD hoast du: arjaxdne Horstdu? Ariadne! Do youhear? Ariadne! tsmtso Cire, Circe, ‘mala Mahle, banquet, 47 (Ariadne, as if drawn by magic, comes, listening, out of her cave. The three Nymphs, also listening, retreat 10 the sides and rear. Bacchus, young, magical, dreamy. appears on a rock but is unseen by Ariadne and the Nymphs.) 418 Ariadne Auf Naxos, Opera BACCHUS tstse kanst du; mighosren Ciree, kannst du mich bbreu? Circe, can you hear me? du; hast’ «mir fast migts getan Du hast mir fast nichts getan— You have tome almost nothing done - (Your magic hardly touched me —) dox di dir gants gahosran vas doch die dir ganz gehren, was tust du denen an? but those who are totally in your thrall, what do you do to them? tsutse 1 Kanto ‘lion Circe, ich konnte fliehen, Circe, 1 was able to escape, zi ig kan degoln unt nu Sieb, ich kann Uicheln und rubn, Look, I can smile and be at peace. tsmso vas var daen ‘villa aan mise tsu: tw: Circe, was war dein Wille, an mir zu tun? Circe, what was it you wished to do with me? ARIADNE (10 herself) es graeft dure ‘alla ‘Jmertsan ——‘uoflaxzant alto Es durch alle Schmerzen, auflisend alte It throughall suffering, "dissolving the old ans hers. im ‘hertsan graefts Ans Herz im Herzen greift’s. From heart to heart it strikes. NAIAD, DRYAD, ECHO toma Zysa_Jumme ‘fremdor Fogel ‘ze ‘viedar Tone, siife Stimme, _fremder Vogel, singe wieder, Sing. sweet voice, strange bird," sing on, ‘daena ‘klagan zit ballesbon uns enttsykkan deine Klagen, sie beleben, uns entzticken your plaints, they reviveus, we're enchanted by BACCHUS (sadly) dox da: ig——onfervandalt fan ge'ganan bit Doch da ich —_unverwandelt von dir __gegangen bi Yet though I unchanged from you _did leave, (And yet, while I was able to leave your side unchanged.) vas hafton di: vy! gptylo an dem was haften die sebwillen —Gefiible an dem why weigh the oppressing feelings (down)upon my (why do feelings of oppression weigh down on my benumbed senses?) k Qual pain: algo solche sdor ler! such songs! bonommonan benommenen Sinn? benumbed an senses? Ariadne Auf Naxos, Opera 419 als ver 1g fon ‘flefamdan—‘krogtan batoept aen ‘valdostir Als wir ich von sehliifernden Kriutern —_betubt, ein Waldestier! Asif were I by sleep-inducing herbs drugged, a wild beast! (As if | were a wild beast, drugged by sleep-inducing herbs?) tire vas du:—nigt ‘dorftast Circe, was du nicht durftest, Circe, what you were not able to do to me (then), gafit es dox an mir geschicht es doch an mir? isit then happening (now) to. sme? ARIADNE (as above) 0 toidasbota zys st ‘daena ‘ftumma © Todesbote! Si® ist deine Stimme! ‘Oh messenger of Death! Sweet is your voice! ‘balzam ins blut unt flummar mix “zetlo Balsam ins Blut und Schlummer in die_—_Seele! Balsam tomy blood and slumber to my _—_ soul! NAIAD, DRYAD, ECHO (after which Ariadne's voice appears to die away) Taine, sie Stimme, slifle Stimme tne wieder, etc, BACCHUS (more cheerfully, with someshing like graceful mockery) Circe, ich konnte fliehen! Circe, du hast mir fast nichts getan, ete, ARIADNE (her eyes closed, her hands raised in the direction of the voice) bolade mgt tsi YP mit negtligam = enitsykkan Belade nicht zu iippig mit niichtlichem — Entzlicken Donot woo too exuberantly with nocturnal enchantment fo‘ra0s dem ‘Jvaxan zn voraus den schwachen Sinn! inadvance my —_ weak senses! (Do not at first woo too exuberantly my weak senses with your noctumal enchantment!) di: ‘daenar ‘Taga ‘harrat nm 7s dathin Die deiner lange harret, nimm sie dabin! She (who) for you solong has waited, take her away! (Bacchus steps forward, stands before Ariadne who, in sudden terror, covers her face with her hands.) texz00s naen maen es ist der Joina fli got Theseus! Nein, nein! Es ist der _—_schdne stille Gott! ‘Theseus! No, no! tis the ‘beautiful, quict_god! te arysa dig du: bosto ‘allor boston Teh griife dich, du Bote aller Boten! 1 greet you, you messenger of all__ messengers 420 Ariadne Auf Naxos, Opera BACCHUS (very youthfully) du: “Jomnas ewan bist du: dix goettm inzal Du schdnes Wesen! Bist du die Gottin Insel? You beautiful creature! Are you the —_ goddess island? ist ‘dio ‘hola daen —patlast ant ‘diva ‘daena ‘dinarmnan Ist diese Hoble dein Palast? Sind diese deine Dienerinnen? Is this cave your palace? Are these your maidservants? zagst du am ‘veipftusl tsaobearli:dor Singst du am = Webstuhl Zauberlieder? Do yousing at the loom (your) magic songs? {ina shy tone, still bewildered by the adventure with Circe, the frst in his life) nimst dus dein fremehn da: hrnaen Nimmstdu den Fremdling da binein Will you take the stranger inside uot tikkst mit im baem rad und liegt mit ihm beim = Mahl, and lie with him at the banquet, ont ‘egkost du: isn da: mit ‘aenam ‘tscobartrank und — trdnkest du ihn damit einem Zaubertrank? and would you give him to drink there with a magic draught? ont Jax ver dir 21g gipt fervandalst du 2aox Und ach, wer sich gibt, verwandelst du ibn auch? ‘And ah, who to you giveshimself, do you transform him —_also? (And whoever gives himself to you, do you also transform him?) ve: bist du; cox ole 'aena_‘tsaobarin Weh! Bist du auch solch eine Zauberin? Woeisme! Are you also. sucha sorceress? ARIADNE (ofily, as one ready for death) 1 -vaes mgt’ «was du: rexdast Ich wei nicht was du_—_redest. 1 know not of what you talk. mes her das du: rm prysfon vast Ist es, Herr, da8 du mich _priifen willst? Is it (my)lord, that’ you” me _—totest want?” (that you wis test me?) maen zn str fon id trot Mein Sinn ist wirr von viel ‘Trost! My — senses are confused from —solong lying without solace! 1g Tetba hte ont “harra._‘daenar Ich tebe hier und harre deiner, T live here and wait for you, Ariadne Auf Naxos, Opera 421 ‘negton ‘targon zaet filon ax iy vaes es mgt mes Nichten, Tagen, seit, wie vielen, ach ich _—_weilb es nicht mebr! for nights(and) days, for how many, ah, no longer know! BACCHUS vi: kenst du: mig den Wie? Kennst du mich denn? What? Do youknowme then? du: hast mit “aenam ‘naiman mig gegryst Du hast’ mit einem Namen mich gegriiBt. You did with a name greet me. (You greeted me with some name.) ARIADNE naen der bist dit mgt’ so maen in ast taegt_fervart Nein, der bist du nicht, mein Sinn ist leicht verwirrt. No. he are you not; my — senses are easily confused. (you are not he.) eden ich denn? Who am 1 then? ARIADNE (bowing) du: bist’ der her ycbor gen ‘dunklos {if Du bist. der Herr iiber cin dunkles Schiff, You are the master over. a dark ship, das fet. dem —dunklan pfa:t das fart den dunklen Pfad. that sails the dark course. BACCHUS (nodding) binder her yibor aen if Teh bin der Herr— ber ein Schiff. Tam the master~ over a ship. ARIADNE (imperuously) nim — mig hiny:bor fort fon hie mit ‘diszam “hertson. Nimm mich! Hintiber! Fort von hier mit —_ diesem Herzen! Take met To yonderside! Away from here with this heart! cs ist Suro migts. mer nvtsa. aof_— der velt Es ist zu nichts mehr niitze auf der Welt. is of ~— no more use = inthis. world, BACCHUS (sofily) zo: vilst du: mit mis 'geon aof —maen fit So t du mit mir gehen auf mein Schiff? Then youwish with me — togo. on — my __ ship? 422 Ariadne Auf Naxos, Opera ARIADNE, 1% bin_betraet du: frackst Ich bin bereit. Du fragst? Tam ready. You ask? (Why do you ask?) wt es das dus—_mig ‘pryifan valst Ist es, da du mich priifen willst? Is it that you. want to test me? (Bacchus shakes his head) vis fafse du: di: fervandloy mit dem hendon Wie schaffst du die Verwandlung? Mit den ‘Htinden? How do you accomplish the transformation? With your hands? mt ‘daenan ‘oder gen trank Mit deinem oder cin Trank, With your Or a potion dem du; su: trgkon gi du: fprazast fon aenam trank den du zwtrinken gibst? “Du sprachst’ © von cinem rank! which you give to drink? You spoke of a draught! BACCHUS (gazing at her, entranced) Jorax iy fom aenam trank ie aes nigts mer Sprachich von einem Trank, ich weil nicbts mebr. UTspoke of =a draught, = T.-——_don't know anymore. ARIADNE (nodding) ie vaeszoristes dart volun du: mug Yysrast Ich wei, so ist es dort, wohin du mich fabrest! T know howitis there, where you are taking me! vex don fervaclot dex fergist_ gar nel Wer dort verweilet, der vergit gar schnell! Whoever there abides, forgets quite quickly! das vot dex 'atamtsu 1st glaeg datum Das Wort, der Atemzug' ist gleich dabint Speech (and) breath soon ‘cease to be! man rut’ ont rut fom ‘tuan Visdor aos. Man rubt und rub vom Ruben wieder aus; One rests. and rests from resting again. (One resis on and on:) den dot st’ Kaenarmat fom ‘Yaenan denn dort ist einer matt vom —Weinen, for there is noone tired of weeping, 1g literally means “the intake of breath” hat Vt for one has aigts Nichts Nothing fergessan vergessen, forgotten gute gilt, ‘matters that vas Ariadne Auf Naxos, Opera vas was what here 423 isn 'Jmertsan ‘zalta ihn schmerzen sollte. should give one pain gegolton hat te vaes gegolten hat — ich weif - mattered I know ~ (J know that nothing matters that mattered here ~) (She closes her eves.) BACCHUS (deeply moved, solemnly) bing aen got fur mg aen got ftarp ‘maena ‘imotiar in flammon dathin Gott, schufmich ein Gott, starb meine Mutterin — Flammen dahin, god. agodereatedme, | died my mother in flames. (my mother perished in flames.) als aig mn flammon man faitar ir 'tsaekto als sich in Flammen mein’ Vater ihr zeigte, as himself in flames my father manifested to her, (as my father manifested himself to her in flames;) ferzackta der wurtse tsaober an mi versagte der Circe Zauber an mir, Refused to work of Circe (the) magic on me, (Circe's magie refused to work on me,) vael 1¢ — gafaet bin balzam ont ‘tar weil gefeit bin, Balsam und Ather because 1 amimmune to it; balsam and ether fy Jterbiges —blut’ in dem ‘adam mir fist far sterbliches Blut in| den Adern mir flicBt, instead of mortal blood in the veins. inme flows. (balsam and ether flow through my veins instead of human blood.) her mig 'vewan das fox mix flew Hor’ mich, Wesen, das vor mir steht, Hear me,” creature, who before me stands, hor mg dus dik fterbon vil hor’ mich, du, die sterben will: hear me, you who wish to die: dan terban ear dit ‘ewigan ‘frema dann Sterben eher die ewigen Sterne, for will die sooner the eternal stars als das du: fevrbast cos ‘maenan arman als da\du —stirbest. aus meinen Armen! than you woulddie out of my arms! (sooner will the eternal stars die than you should die in my arms!) 424 Ariadne Auf Naxos, Opera ARIADNE (drawing back in fear before the authority of his voice) das ‘Vaxran ‘tsaoborvorts. ve: zo: fnel Das waren Zauberworte! Web! So schnell! Those were magic words! Alas! So soon! nun — gist es Kaen tsurvk gi:pst du: —_fer'gessonhaet Nun kein Zuriiek, Gibst du Vergessenheit Now there is no turning back. Do you give oblivion zo: ‘tsvifon bunk ont blak so mwischen Bick und Blick? thus from one moment to the other? entfemt 2g allos fon mir dis ‘zomna di: ftemo Entferat sich alles von mir? Die Sonne? Die Sterne? Passes away everything from me? The sun? The stars? (Do all things pass away from me? ‘The sun? The stars?) leh mir selber? | from myself? zant_—‘maena‘fmertsan mise oof mmar ——_getnommon ax Sind meine Schmerzen mir aufimmer — genommen? Ach! Are my pains from me forever taken? Ah! (is all my pain taken from me forever? Ah!) (expiring) blaept nicts fon atjadna als aen—haox Bleibt nicbts yon Does nothing remain of als ein. Hauch? but a breath? (She sinks to the ground. Bacchus holds her. Everything disappears and a star-filled sky stretches above them) BACCHUS (more fouched than loud) maga dix nun he:pt zig erst das Tlesbon an Ich sage dir, mun hebtsich erst das Leben an 1 say toyou, now begins only life fy om mig fir und mi for you and met U say to you, only now is life beginning for you and me!) (He kisses her.) ARIADNE (frees herself from him; half aware and frightened. gazing around her) lark migt di: velt oof ‘maensr brost Lag nicht die Welt auf meiner Brust? Lay not the world’s (weight) on my breast?” Ariadne Auf Naxos, Opera 425 i hast du: is Yortyablavzan Hast du sie fortgeblasen? Have you — blown itall away? (pointing 10 the cave, with childish fear) da; tnnan lack ‘arma hhyndin Da innen Ing die arme Handin, There inside lay the wretched —_creature, an boxdon gadrvkt cof ‘kaltan ‘nessaln an Boden gedriickt —auf_—_kalten Nesseln, tothe ground pressed. on cold nettles. mit vorm unt ‘asso ont ermar als zis mit Wurm und — Assel, und rmer als sie with worms and wood-lice, and poorer than they. : BACCHUS nun ftaekt ‘daenar ‘Jmertsan —“nnarsta lost Nun steigt deiner Schmerzen innerste Lust ‘ Now soars of your pains innermost joy m — daen unt ‘maenam = ‘hertson aof in dein und meinem Herzen auf! to yours and my heart (Now your sufferings soar to utmost joy in both your heart and mine!) (auf/steigen is a separable prefix verb meaning “to soar up".) J | ARIADNE du: tsaoborar du; fervantior «du: Du Zauberer, du!_—-Verwandler, di You magician,” you! Transformer. you! i (still anxious, like a frightened child) blikt mgt aos dem ‘fatten ‘daenas ‘mantals Blickt nicht aus dem Schatten —_deines- Mantels Peers not out ofthe shadow of your mantle der ‘muttor der Mutter the mother's jcogon aot mig her Augen auf — mich her? eye on me’ (From the shadow of your mantle does not my mother's glance peer upon me here?) 10) daen ‘fattantant ‘alzo: gazesgnat Ist so dein Schattenland? Also gesegnet? Isit likethisin your land of shadows? This blessed? zo: onbadvifug der “ardifan velt So unbediirftig der —irdischen Welt?” So fee ofthe earthly world? 426 Ariadne Auf Naxos, Opera BACCHUS du; ‘zelbar du; bist unbadyefug dur 'maeno tsaoborin Du selber! Du bist unbediirftig, du meine Zauberin! You — yourself? You are fee, you, my — enchantress ARIADNE. git es Kaen byny:bor ant vir form da: Gibt es kein Hiniiber? Sind wir schon da? Js there no passage? Are. «we = already thei vi komt es gaferan aint vir fom dry:ban ie konnt es —_geschchen? Sind wir schon driben? How could it have happened? Have we already crossed over? ox ‘maene ‘hela fon gpveelpt cn ‘zeiligas largar Auch meine Hohle, sehin gewolbt ein seliges Lager, Also. my cave, beautifully arched a sacred couch. facnan ‘haeligan ——altaur einen heiligen Alta a holy altar vi vondor ‘vondarba:r —_fervandalst du: Wie wunder- — wunderbar —_verwandelst du! How wonder- wonderfully you transformed it! BACCHUS du: “allas du: te bm aen‘andaror als Var Dut Alles du! Teh bin einanderer als. ich war! You! All your doing! Tam — quite other than «1 was! der zn des ‘gottas ist vax. nmi Der Sinn des Gottes ist. wach in mir, The sense ofthe god is awake in me, (My godhood is awakened in me.) daen ‘herhg ‘ve:zan gants tsu:fassan dein herrlich Wesen ganz za fassen! your — glorious being completely to grasp di: ‘glisdar reg ig (goethigor lust Die Glieder reg’ ich gittlicher Lust! My limbs: Imove god-like joy! di: ‘hota da: las—mig._— diz hasta ‘daenar ‘fmertson Die Hable da! La mich, die Hable deiner Schmerzen That cave there! Let me, this. cave _of your suffering sic ge tse lust om dig ont mig rich’ ich zur __tiefsten Lust um dich und mich! pull 1 for ourdecpest joy around you and me! (Let me change the cave of your sorrows to a bower of deepest delight for you and me!) (4 canopy descends from above over the lovers and encloses them.) Ariadne Auf Naxos, Opera 427 NAIAD, DRYAD, ECHO (unseen) ‘Tone, tone, sie Stimme, fremder Vogel, singe wieder, et ARTADNE (clinging (0 his arm) vas hent fon mir in Waenom = ann Was deinem Arm? What am still in your arms? o: vas fom mise — dis ferges Oh, was von mir, die ich vergebe, Oh, what becomes of me, as T cease tobe, figast ds gehaemas mit ‘daenas smundos haox Fingest du Geheimes mit eines Mundes Hauch? Can you capture a secret with your ‘mouths breath? (What secret can you capture with the breath from your mouth?) vas blaept vas blaept fon arjaidna Was bleibt, was bleibt von Ariadne? What remains, what remains of Ariadne? las 'maena ‘fmertsan. ——nigt—_ferlosran zaen Lab meine Schmerzen nicht _verloren sein. Let my — suffering not be in vain! (Zerbinetta appears from the wings, pointing over her shoulder to Bacchus and Ariadne ) ZERBINETTA ‘Kommt der neue Gott gegangen, hingegeben sind wir stumm. (disappearing again) BACCHUS ‘daenor ha:b 1g om ‘alas boidurft Deiner hab’ ich umalles —bedurft OF you Thave above all the need! (Ineed you above anything else!) ‘Nun bin ich ein andrer, als ich war. ARIAD! Lafb meine Schmerzen nicht verloren sein, ete, BACCHUS dong ‘dacna ‘fmertson bn ig raeg Dureb deine Schmerzen bin ich reich, ‘Through your suffering = Lam rich, aun reg’ ich die Glieder in gitticher Lust!, ete END OF THE OPERA