393 DIE ENTFUHRUNG AUS DEM SERAIL. Singspiel in throo acts. Libretto by Gottfried Stephanie the younger, froin a play by Bretzner First performed at the Burgtheater in Vienna, on July 16, 1782 CHARACTERS: Konstanze, a Spanish lady: soprano Blondo, her English maid: soprano Bolmonte, a Spanish nobleman, in love with Konstanze: tenor Pedrillo, his servant: tenor Pasha Selim: speaking part Osmin, overseer of Pasha Solim's harem: bass Klaas, seaman: speaking part’ ‘A Guard: speaking part Soldiers, Guards, Janissaries, ‘Turkish women ‘The time is the middle of the sixteenth century. ‘The location is Posha Solim’s palaco on the coast of Turkey. ‘THE PLOT acti Belmonte, a Spanish nobleman, arrives in Turkey in soarch of his boloved Konstanze who was carried olf by pitates. He is outside of Pasha Selim's house, where he believes she, along with her maid Blonde and his servant Pedrillo are being hold captive. Osmin, the Pasha's harem overseer is heard singing a love song. Belmonte asks him if this is the house of Pasha Selim, and if he could possibly speak to the servant Padrillo. ‘This last request produces a rather surly answor from the blustering Osmin, who obviously feels no love for the cheeky servant, who is his rival for the affections of Blonde, whom the Pasha has given to Osmin as a present, Osmin chases Bolmonto away and is immediately confronted by Pedrillo in person, saucier and more impudent than ever. Osmin minces no words about his feelings for him, listing o serics of infinitely cruel tortures that he will gladly inflict on the rascally Spaniard. Bolmonte returns and finds Pedrillo. Each is dolighied at the other's news: Belmonte to hear that Konstanze has remained tre to him despite the Psha's persuasive powers and Pedrillo that there isa boat waiting offshore to take them to safely if they can manage to abduct the women safely out of the harein. ‘The Pasha returns from an outing with Konstanze, He assures her of his love for her, and expresses his determination io win her love in return, She sings of the love she knew before her captivity and firmly protests that she will be true to heronly love. The Pasha is amazed al hor steadfastness, and muses that it makes his love for her even stronger. Podrillo intorrupts the Pasha to introduce Belmonte as an architect of high standing, as he knows that architecture is one of Selim’s favorite hobbies. The Pasha seoms impressed and commands Pedrillo to se2 to his new guest's lodging. ‘The two rejoice at the successful completion of this first successful slage of their plan, As they are about to enter the palace, Osmin hars their way in no uncertain terms, However, they manage to trick the old overseer and gain access, nost produeitons, the pasts of Klaas andl the Guoud ere omitted394 ACT II Inside Blonde’s apartment, Osmin agressively woos her although to no avail. Ie is no match for the wily maid and after she threatens out his eyes, he is loft to grumble about how silly it is for the English to allow their women so much freedom. Konstanze sings of her sadness. ‘The Pasha enters and presses his suit, She protests that she will always, honor him, but love him, never! ‘The Pasha now gets angry and throatons tortures of all kinds, to which she defiantly replies that she awaits them all, and even death rather than submit to him. Pedtrillo rushes in to inforzm Blonde of Belmonte’s arrival and of their plans for escape. Osmin is to be drugged and thon at midnight they aro to abduct the women. Blonde is delighted and rushes off to tell her mistress. Pedrillo is left alone to ponder how to deal single-handedly with the dangerous Osmin, ic cleverly entices Osmin to drink some wine, convincing him that ie Mohammedan doctrine of abstinence Isa serious mistake. Osimin gives in and is soon in a drunken stupor. Pedrillo drags him out, leaving the coast clear for a reunion between Konstanze and Belmonte, ‘The act ends with all four expressing their varied sentiments of joy ACT IIL Pedrillo arranges with Klaas, one of the ship's seainen, for the escape ladders to be brought ashore, The signal for the escape is to be Pedrillo’s serenade, which he sings at the appropriate moment. ‘The abduction proceads as planned, but the song unfortunately awakens Osmin out of his drunken sleep. He realizes what is happening and calls the guards to arrest the Europeans. He gloats about how he will dolight in sooing them be strangled. ‘The Pasiia is roused by the commotion and comes out to investigate the cause. Konstanza pleads her love for Belmonte as justification for the attempted escape and Bolmonte assures the Pasha that lus father, Lostados, will pay a high ransom for his release, ‘The Pasha isdumbfounded: Lostadost "You aro the son of my greatest enemy, the man who stole from mo my love, iny career and my right to live in my native country.” Konstanze and Belionte realize they are facing death at the hands of the Pasha and they sing together of the approaching tragedy. The Pasha returns and surprises everyono by saying that ho scorns the idea of returning evil with evil, and that they are free to return to their native Spain, and in one last moving moment gazes upon his beloved Konstanze and tells her "may you novor rogrot having rejectod my heart”. ‘The couples thank their benefactor in a final vaudeville, and go off in their ship, while Osmin rushes off fuming in frustration and the chorus sings the praises of the Pasha and his clemency.Dio Entfahrang aus dem Sorail, Act 1 395 ACTI Scone Ono [Bolmonto is alona in a square in front of Pasha Selim's palace.) NO. 1 ARIA BELMONTE, hir ‘zal igi den— eran Hior soll ich dich donn sehen, Here shall 1 you thon 500, (Here am Ito see you, then) konstantso ‘dig maen‘glvk Konstanzo, dich mein Gliick! Konstanze, you my tas ‘hummel ‘es gafean ‘ mir dre tsutrvk: La8 Himmel vs geschohon! = Gib_s mir die. Ruh zuriick! Allow heaven it tohappent Give. mo the —_peace of mind back! (Let it come about, oh heaven! Give me back my peace of mind!) (Zuriick/geben is a verb with a separable prefix meaning "to give back", "restoro",) ig doldata ‘der ‘laedan ° lisbo —altsufi Ich duldete dor Leiden, oh Liebo! Allzuviel! 1 endured (of) suffering, «= oh_— dove! Yoo much! ‘fenk dye ‘nur ‘frogdan Schenk dafiir nur Froudon Grant for it only joys ‘ont "bra ‘mig ‘ans sil und —bringe mich ans Ziel. and bring me — tomy. goal DIALOGUE ‘abo vi ole dem pallast ‘koman Abor wie soll ich don Palast kommen, But how can the Palace enter, ‘wis ‘zit "evan vi spregan wie sie sehen, wie sprochon? how her to see, how — speak? (But how can I get into the palace and see her and spoak to her?) {END OF DIALOGUE) Scene Two (Osmin appears with a ladder, which ha leans up against a fig tree in front of the palace. He climbs it and starts picking fruit.) NO. 2 ARIA OSMIN ver 'aen —“lipgon hat gafondan Wer ein Livbchen ——hat_—_gofunder Who a swoetheart has found396 Dia Eintfiahrang aus dem Serail, Act 1 es ro ‘ot testhg ‘maent dios treu und —redlich meint, who it true and_—_ honest means, (Ie who has found a sweetheart who means to be true and honest.) fom es tie “dure "tuozant ‘keys John’ 0s thr durch _tausond Kiisso, roward It toher with athousand kisses max ist ‘al das. Tesbon‘zy:sa mach’ ihr all das_— Leben siifo, make toher all the life sweet, (reward your sweetheart with a thousand kisses and make her life sweet.) vac ie tnstor ‘ae te Trownt wrallallera soi ihr Troster, soi ihr Freund. Trallalora! be her comfort, be her friend, ‘Trallaleral DIALOGUE BELMONTE fitlacgt ‘das 1 durg dian “altan velvas eafarea Violleicht, — da® ich =~ durch Alten etwas orfahre. Perhaps that 1 from this old man something find out (Perhaps 1 can find out something from this old man.) ‘he: froont sidas mgt “das. Tanthoos: des basa “erm He, Freund! Ist dos? nicht das Landhaus des Bassa Selim? Hey, friend! Is this not the country houso of the Pasha Selim? (END OF DIALOGUE) OSMIN (paying no heed, continuing to pick figs} ox tit ‘oe aie ‘isu erhaltan Doch sic trou sich zu othalton, But (iu onder to) hor true for him to keep, (But in order to koop hor true to bim) ‘flis er kspgon Paen schlio® er —_Liobchen lock up ho sweetheart (ho should lock up his sweetheart:) (Ein/schlioBon is a separable prefix meaning to “lock up") ‘den di “Toxzan ‘dnpraffon Donn die losen Dingor haschon asthe frivolous things. soiza Jedan‘fmettorlig unt naff jedon Schmottorling und — naschon every butterfly and nibble ®Annalgnnnte the ist das tl combination as ono sound as in hot dogiit down. Soo pamgraph 15 in the Intioduction. From now on, all such easns will simply bo seforted back to this footnoteDio Entfthrung aus dom Sorail, Act 1 397 ‘gar ‘tau ‘yom Tom fremédon wvaen rallalera ger zu gern vorn — fromdon Woin, ‘Trallalora! all too gladly of someone else's wine. Trallalora! DIALOGUE BELMONTE ‘het alto he: hyrot “ko mgt Ho, Alter, hol Hart ihr nicht? Hey, oldman, hey! Hear you nol? st him des ‘basa zeslim pallast Ist ior dos Bassa Solim Palast? Is here of the Pasha Selim (the) palace? (Hey, ol man, “zondorlig Sonderlich Especially ‘Trovnda Froundo, hey! Can't you heai? Is this the palace of Pasha Selim?) (END OF DIALOGUE) OSMIN (looks ai him bul resumes his work and continues his song) ‘baem —‘monclanfaens heim —Mondenscheine, by moonlight, ‘nesmt ‘vi Votl tm axt nohmt sie wohl in acht! koop them particularly undor observation! friends, (Pay particular atteution to them, friends, espacially by moonlight) ‘aft aoft da ‘gen jogs heergan OA lauscht da ain__jungos Horrchon, Often is listening there a young dandy, kik ‘unt okt “das ‘Klacna “neergan Kint und lockt das Kleine Niirrchen, tempts and entices the litle foolish girl, ‘unt dan trad ‘pote “naxt trallalera und = dann Treue gute Nacht! ‘Trallalore and then fidelity, good night! ‘Trallalera! DUET BELMONTE fervynft vaest ‘du ‘zamt Verwiinscht seist du samt Cursed be you alongwith your song! ” doen “zman ‘nun ‘Jorn imysda Ich bin dein Singen nun schon miido; 1 ain (with) your song now already tired; zo thar ox nur “aen—aentsig ‘vont So ir doch nur in —_einzig Wort! So hear then only one single word! Gust listen to on single word!)308 Die Enlfithrung aus dem Sorail, Act 1 OSMIN ‘was ‘henkor ast ir ‘oy golvston Was Honker InBt thr Euch geliisten, Why the dovil do you allow yourself, ‘Ist ertaefam DG ‘isu “bryston mu ereifern, Euch zu briisten? to gotexciled, (..) to boast? is a reflexive verb ineaning "to boast”.) (Why the devil do you allow yourself to get excited, and boast?) vas volt ir horig yw mus ot Was wollt Ihr? Hurtig! Ich mu fort. What want you? Quick! T must go. BELMONTE ‘st das des ‘basa “zechim ‘hoos Ist das des Bassa Selim Haus? Is that (he Pasha Selim's house? OSMIN {not heaving well) he: Ho? Hoy? BELMONTE Ist das des Bassa Selim Haus? OSMIN Hoe? BELMONTE Ist das des Bassa Solim Haus? OSMIN ‘das ist’ “des. bassa_‘zeshm “haos Das ist’ dos. Bassa Selim Haus. That is tho Pasha _Solim’s house, BELMONTE ‘zo: wartat “ox So wartet doch - So wait then - OsMIN ‘kan niet waclon Ich kannnicht — woilon. 1 cannot slay. BELMONTE ‘aen vor Ein Wort - One — word -Die Enifiahrung aus dem Serail, Act I 399) OSMIN gefvint den ‘ig mus “elon Goschwind, donn ich mu oilon. Quickly, for 1 must hurry. BELMONTE ‘met kr froant Soid thr in soinon Diensten, _—_‘Fround? Are you in his employ, friend? OSMIN Ho? BELMONTE, Seid Thr in soinon Dionston, Fround? ‘OSMIN He? BELMONTE (a bit loudor and sharper) Soid Thr in seinen Diensten, Fround? OSMIN 1@ bin m_—“zaenan ‘ditnston froant Ich bin in Fround. 1 m in employ, friend. BELMONTE ‘wit ‘Kenn ‘ig Wem — peril ‘vol spree:an Wie kann ich den _Podrill’ wohl sprechon, How can 1 to Podritlo. possibly speak, dex im "zaenan ‘dinstan ‘fen dor hier in soinen Dionsten —_stoht? who here in his employ is? OSMIN den forkan der dem hals zl regan Den Schurkon?- Dor don Hals soll brochon? To the scoundrel?- He whose neck shouldbe broken zest ‘zelbar ‘su ‘vens —‘andors ‘gest Sot selbor zu; wonn’s anders geht. See for yourself; if itisn'tas I say BELMONTE (to himself) vas Paltar ‘gro:bar “benyal Was alter, grober Bongol! What an old, mde boor! OSMIN das ist ost, z>‘aen—_galgan'fveyal Das ist just. so oin_—Galgonschwengel! He is exactly sucha ——_gatlows-lout!400 BELMONTE itt ew Thr int, 0s ist You are wrong, he is OSMIN 79 ‘brat das mam im So brav, daS = man ihn So good, that one him (He's so good as to put him ona spit.) BELMONTE ir myst in "varie mitbt il wahrlich You must him — really Die Enifuhrung aus dem Serail, Act | ‘aen ‘braver ‘mano ein braver Mann, a goodman, ‘Jpison spiofon put on a spit ‘kann (You really musn’t know him very well.) OsMt rogt “gut igs Ree eae, Very woll: 1 would have BELMONTE ‘ex Tit fyrvar “een Er ist’ fiirwahr ein He is really a OSMIN (starting to leave) wot ‘aenen plat galt Auf cinon Pfahl geht On a pole — belongs BELMONTE ‘20 ‘blaebat ‘dx So _bieibet doch! So stay thoi (Stay a minute!) OSMIN was voll ir nok Was wollt thr noch? What want you _ slill? (What else do yon still want?) BELMONTE, ‘ie toxgta Ich méchte : 1 would like very much. OSMIN (mocking him) “20 hyp on Tema Sohibsch von feme Nicely from a distance regt Kennan recht kennon, nol well know. ‘im ‘hogt__-verbrennan ihn heut —_verbrenn him today burned to death igutor troph gulor Tropf. good fellow zaen ‘Kopf sein Kopf. his head. ‘ums hoos —rum'flaegan ums Haus rumschloichon around the house to creepy‘unt ‘mestgan und — Madel and — girls (know what you tho girls?) Dia Enifahrang aus dom Serail, Act I ‘fiedan mm —_stohlon? steal? 1 would like: to creep around the house and from a s: 401 fe distance nicely steal away fort aerasiglaegan boraoxt man ‘hi ‘nigh Fort, Euresgloichon braucht man hior nich. Go away, the likos of you ed we nother. BELMONTE, i “zaet_—baeesson “Ipregt tollar ‘gall Thr seid —_bosossont ——-Sprocht vollor Galle You aro possessed! © To speak —_—full of gall mie ‘zo Fefmesson ins angstzigt mir so —-vormossen ins Angesicht! tome so impudently tomy facet OsMIN nut fugt mn efor Nur nicht in Eifor! Just notin (such) ——_rashnesst BELMONTE ‘fot ‘9¢ran“gacFor Schont ouren Geifer! Spare your venom! OSMIN 6 ‘ken ‘vg ‘fom Ich ken’ Euch schon. I know you — already, BELMONTE last ‘a¢ar_—“droin LaSt Ever Drohn. Stop your threatening. OSMIN Jem ‘20g sum ‘todfal 1 vere Schert Euch zum — Toufel! thr ich schwore, Go you tothe devil! You — will get 1 swei ans ‘om9 ‘gnada ‘dis —bastonads = nox hap itt sae sonst ohne Gnado dio Bastonade; noch abt thr Zeit! else, without merry the bastinado; still have yon time! {Go to the devil! 1 swear you will otherwise get the bastinado without mercy; you still have time to leavel] “pastinudo: an Oriental fortune consisting of caning on the soles ofthe Feet402 Die Enlfabrang aus dem Serail, Act F BELMONTE ‘es ‘blaept kaen tsvaefal it ‘zaet_— ‘fon “zinnon Es bleibt kein Zwoifol, Ihr seid von Sinnen. It remains no doubt. you are out of your mind. (There remains no doubt that you are out of your mind.) velg ‘gen battraxgan ‘uof ‘meena ‘raxgon Welch sin Botragen auf meine Frogon, What (a) behavior (in answer) to my —_quostions, ‘act ‘lox gafaet soid doch goscheid be sensible. OSMIN Schort Euch zum Toufel, etc {Belmonie leaves.) ‘Scone ‘Thro DIALOGUE OSMIN (alone) ent ig ‘mio dox ‘nox ‘zoszenan‘Jurkon Konnt_ ich mir doch noch so einen Schurken Should 1 then another scoundrel ‘vol ‘i: natza.etsan ir dem pedailjo aut dio Nase sotzen wie don —Padrillo infront of the nose put like that Pedrillo,, {Should [ then have another scoundrel in front of my nose like that Pedrillo,) {Should I then allow another scoundrel (Belinonto) like Pedritlo to be around me under my very nose] ‘zo: ‘aenan ‘gaodisp ide ‘nigst re so einen Gaudiob, der_nichts tut Tag und Nacht such a rogue who nothing docs day and night ‘als ‘naxx ‘maenon ‘vaeban heRumtsuflaeca als nach meinen Weibem herumzuschleichen but after my women creep about (such a rogue who doos nothing else night and day than to creep about after my women} ‘om tsa foorban ‘ops ‘miets ‘ty “zaenon “fnabal vetst und zu schnobomm, —_ob’s. nichts fiir seinen Schnabel’ —_satzt. nd to. snoop whother there anything for his beak is, (and to snoop whether there's anything to his taste.) ‘abo 1 ‘Toons im ‘2g “aot dem ‘ditnst Abor ich laure ihn sicher auf den _—_Dionst, But 1 lie in wait for him surely al his work, Schnabel means *benk", but also “mouth, us 0 slangy mik! pejorativeDio Enifuhrung aus dem Serail, Act I 403 unt vol bakom dis ‘dit “paysgalzapa und — wohl bokomm dir dio Priigolsuppe and good mayitdo you the thrashing ‘dig ‘aenmatl ‘baem ‘kanthakon dich cinmal boim Kanthaken you someday by the scruff of the neck (and if 1 some day catch you by the scruff of the neck, may the thrashing do you good!) ‘het emg “nur gt Hatt er sich nur nicht Had he himself only not ‘vaem basa “zo: ‘aengamaegalt baom Bassa so jgoschmeichelt, with the Pasha so ingratiated, (if only he hadn't ingratiated himself so with the Pasha,) ‘ex roll, den ‘fimik_“lenst um ‘den ‘hals-—haban or sollte den Strick langst um don Hals haben. he would the — rope long since around the neck havo, (he would have had a rope around his neck long since.) (Pedrillo enters.) PEDRILLO mun ‘wit Stes asin Nun, wie steht's, Osmin? Well, how — goes it, Osmin? ist dea basa ‘nox nigt_—_ suv Ist der Bassa noch nicht zurick? Is the Pasha not —yet_—_—back? OSMIN ‘ait ‘zelpst Gaw'na: ‘ven “dus “Visa ‘vilst Sich selbst darna wonn du's_— wissen willst. Look — yourself after it, if youit. want tn know (Go look for yourself, if you want to know.) PERDILLO {fon vide ‘stunm um kallendr Schon wieder Sturm im Kalonder? Already again storm in the almanac!” (In a rage again?) ‘hasta. lis galrigt faegon fy: gopilykt Hast du? dies Goricht Faigen fiir mich gopfliiclt? Have y, this dish (of) figs. for == me_—_ picked? (Have you picked this dish of figs for me?) SKolondor stands for “calendar” or Yainanac’ In the olden days, the ovdi ‘The Biblo und tho olusinsc. The lator gava, among other things, weather predictions and Information about crops. el. just bout as the modern Farmers Alipange does. Pedeill i asking whelhor Osmnin’s akeanae is predicting « bad storm again, and, by axtansion, "are you in a stormy rage agaln” xy pope hd two printed books available: See footnote #2 on page 386.404 Dio Knifidhrang aus dem Serail, Act I OSMIN ‘gift fy “dig Fea'vynsta——_matpats. Gif’ fiir dich, verwiinschter Schmarotzer! Poison for you, damned moocher! PERDILLO was mals vel ig ‘dt® me gatam ‘ha‘bon “mus Wes in allor Welt ich dir nur_—_gotan haben muf, What in all the world 1 you only done have must (What in the world must I have done to you,) ‘das dus baftendig ‘mit ig tsaykst da& du —bestindig mits mir zankst. that you continually with me quarrel. las uns. doe “acnmast rida ‘maxan La& uns doch —oinmal Friede machen. Let us then for once peace make. (Lot us for once make peace.) ‘OSMIN Yricda —‘mitdizo 20: ‘flaegondan Frisdo mit dir? Mit so schloichendon, Peace with you? © With such = sneaky ‘Ipusby:byfn_‘pastoot ‘den mu pinot spitzbiibischon PaSaut, dor nur spioniort, scampy watchdog, who only spies about, vit em mig “gens fexzetson kan wie er mir eins vorsotzon kann? how he tome something put over can? (to soe how he can pul one over on me?) reidrosain ——moegt « Erdrossoln macht ich Strangle woultl like I (would like to throttle you!) PERDILLO ‘abe ‘zak ‘muy va'Rum Aber sag nur, warum? But toll mo only, why? OSMIN ‘vael ie dig gt Taedon kan Weil ich dich nicht leiden kann. Because I you not stand can. (Because I caunot stand you) (END OF DIALOGUE) NO. 3 ARIA OSMIN ‘zalga ‘heirgolavfna —‘laffon Solche hergelaufne —Laffon, Such roving dandies,Die Knifiihrung cus dem Serail, Act t 405 i: ‘nur ‘max den 'vaebam ‘gaffan die nur nach den — Woiberm gaffon, who only atthe — women gape, (Such (despicable) roving dandies who only gape at the women,) ‘mak ‘ig Tor dem “toga mag ich vor don ‘Toufol abide I by the — devil not (I cannot abide, by the devil!) ‘éen “gantsas ‘tun “ont asso ist Denn ihr ganzes Tun und Lassen ist, For their whole doing and — notdoing is, ‘ons ‘aot dem ‘dimst_ tzu ‘passon uns anf den Dienst zu —_passon, forus of the service to get out of, (for their only doing or not doing is to get out of serving us.) dox mig “uy:kt kaen zag gotagt doch mich triigt koin solch Gosicht. But me deceives no, such face. (But no such face can deceive me.) ‘sera twkkon. ero reyko ‘ero finton ero “Jvenko Euro Tiicken, ours Ranke, eure Finton, oure Schwanke, Your tricks, your schemes, your pretenses, your _ pranks, ‘mnt mir ‘gants__-bakant sind mir ganz bokannt. are tome quite known, (aro well known to me.) ‘mig ‘ts hintarges it ry: ‘aoffiezon Mich zu hintergehen, mitt ihr frith_—_aufstehon, Me to — double cross, must you early get up, (You have to get up early in the morning to be able to double cross me,)? ie chap oox ver ftant Ich hab! auch Verstand. have also brains. (Lalso have brains.) (Lam not so dumb.) ‘drum tbacm barta ‘des profeton Drum boim Barto dos — Prophoten! Therefore, by the beard of the Prophet! ie fndsra twk ont naxt Ich studiore Tag und Nacht, 1 study day and night. to double oross "The inforence have is tlt “you must yet up very easly in the morning while F aan still wsloep to be ah406 me mig tbis tg the zer muh’ nicht, bis ich dich sol Trest not, till you see (won't rest Ul Tec you killed.) fmm ig vis dist mn nimm dich wie du willst in } as yon will) (Watch yourself as you will.) Die Enlfihrang aus dem Seruil, Act “estan téten, killed, ‘axl acht. watch out for yourself. (mn acht nehmen is an expression meaning "to watch out, "be on your guard”, "be watchful’) DIALOGUE, kel Kor - fellow - gotan gotan. done, st ganuk 1 gonug. is enough (END OF DIALOGUE) PEDRILLO was ‘bisfllu ‘fy2‘aen—‘graozan Wes bistdu fiir in grausamor What are you a cruel (What a crudl follow you are.) unt ig harp dio migts Und ich hab’ dir nichts And 1 have to you nothing (And I have done nothing to you.) OSMIN ‘dw hast "aen—galgongazigt— ‘das Du hast ein Galgongesicht. Das You have a gallows-puss. That OSMIN ‘erst gakeepft ‘dan gshayon Erstgokipit, dann gohangen, First beheaded, then hanged ‘dan ferbrant ‘dan gabondon dann vorbrannt, dann gebunden, then burned then bound, [Ho goes into the house.) Scono Six PEDRILLO ‘ge wy fex'vynfix ——Paofpase Geh nur, vorwiinschtor Aufpassor, Gothen, damned watchdog. dan galpist ‘oof ‘haesa dann gospio8t auf hoiBe then spitted on hot ‘unt gataoxt tsuiletst und —gotaucht,’ ——_zulotzt and drowned, and finally DIALOGUE, ‘tagon Stangon, > skewers, geJondan goschunden, skinned. "To this list of tortures must bo added the oe ! lovingly have invented, for when ono fs coached with infinite zaal by one ‘of the Metropolitan Opera's vatoran sont coachos, Waller Taussig. [call x Golaussigl. Waller Taussig a legend emiong coaches. a punstilious career where ! have been Gelaussigl. Servis Walla! 1skmastor vhoso loons and corrections one remneinbors for life. | cherish all the times in my MetDie Entfihrung aus dem Serail, Act | 407 es st ox migh— al tag Pabant os ist noch nicht allor_ Tago Abend. it is-_—-yet not of all days evening, {I's not the evening of all the days.) (he world hasn't come to an end.) veo 'vaes vers “den Pandan ytboclistot Wer woif, wor don ander iiberlistot; Who knows who the other oulwits; (Who knows who will outwit the other) ‘unidize ‘mistraoifam gathesigam: ‘menfanfacnda Und dir miBtrauischom, gohissigom — Monschonfoinde And for yon — mistrustful malicious misanthrope ena ‘gawba ‘tau “grarban eine Grubo zu grabon, a pit to dig (And to dig a pit for you, you malicious, mistrustful misanthrope,) ‘volta Taen areas fest tyr mig "zaen sollte cin wahres Fost fiir mich — sein. should a true pleasure for me be. {should bo a roal ploastire for me.) {Belmonte enters.) BELMONTE pe'tiljo ‘gut» _pedailjo Perillo, gutor Podrillo! Pedrillo, good Pedrillo! PEDRILLO ax maen “best ‘her ‘ists moglig ‘ant "zis “viRkLig Ach, mein bestor Hor! Ist's méglich? —Sind_—Sio's___ wirklich? Ab, my — dear master! sit possible? it" you really? “bravo matdam fortuna das thaest dax_ vor! gathaltan Bravo, Madam Fortuna, das-_—sheift doch Wort _gehalten! Bravo, Lady Luck, that means really word kept! (Bravo, Lady Luck! ‘hat really means keeping your word!) ‘Jorn fea'tsvactalta 1g 9p ‘gene ‘macne-‘brisfa Schon vorzweifolto ich ob sinor moiner Briofo Already was doubting whether some of my. letters zit gatrofan ‘heta Sie gotroffon ——_—hitto. you reached had. (was already doubting whether some of my letters had reached you.) BELMONTE atk ‘guia peiriljo ‘expt maena Konstantse ‘nox Sag, tor Pedrillo, lobt meine Konstanzo noch? Yell me. good Pedrillo, lives my Konstanzo still? (Vell me, good Pedrillo, is my Konstanze still alive?)408 Die Enifidhrang aus dem Serail, Act 1 PEDRILLO Tepe unt nox hof_ ig fue zis Lebt, und noch, hoff ich, fir Sie. Lives, and still, hope 1 for you. (She lives, and still, I hopo, for you.) "Rekligon nage schrecklichen 1 that terrible day ‘an velgam das glvk_— uns ‘aenan 79 ‘hesligan an welchem das Glick uns —oinen so —_—hBlichon. in which (the) fate onus a such ugly (when fate played such an ugly prank on us) ‘unt unze fit! fon dem ZeRogben — ea?obon li und unser Schiff von den — Seerdiubern erobern: lie’, and our ship by the _ pirates selae allowed. (and allowed our ship to be seized by pirates.) habon ‘vie —'mangalae ‘danza: earfarnan haben wir manchorloi_ —Drangsal erfahren. have we all sorts (of) hardship experienced. (we have experienced all sorts of hardship.) iglvkligovacza trail “21gs ‘nox das dex ‘basa Zech Gliicklichorweise traf sich’s noch, de® der Bassa Solim Fortunately, it so happened, thatthe Pasha Selim uns Pala ‘drae‘kaofta uns alle drei_—_kaufte: us all. three bought, (bought all three of us.) ‘ina konstantso——_nesmmltg ‘maena ‘blonds ‘unt ?mmig thre Kenstanzo —nahmlich, —moino Blonde und mich. your Konstanze, namely, my — Blonde and me. ‘en lis, tums oiglaeg his ‘aot "zaen_‘lunthaos Er lio8 uns sogleich hier auf son Landhaus He had us atonce here to his country house brought. (Ho had us brought at once here to his country house.) ‘dona konstaniss ——vart zaens ‘aosferve:is— gelispto Donna Konstanzo ward seine ausorwahlte Goliobte. Donna Konstanze became his chosen beloved, (Donna Konstanze became the chosen (woman) object af his affections.) BELMONTE a ‘was zarksidu Ak! Wes sagst du? Ah! What are you saying? PEDRILLO. ‘ou Thue gt zor Nu, nur nicht so Now, (only) not 50 Strich spiclteDio Enifiahrung aus dom Serail, Act 1 409 : vist 'nox mgt mit fumston ‘hens gofalen Sie ist noch nicht. in die schlimmsten Hinde gofallen. Sho has yet not into the worst hands. falle (She hasn't yot fallen into the worst hands.) deo "basa st rene'gatt uot hat nox 20 fi delikatteso Dor Bassa ist Ronogat und hat noch so viel Dolikatosse, The Pasha is renegade and has still sufficient —_ delicacy, kaens “zene ‘vacbo ‘tsa aena. “litba teu tyuiyon. koine seiner Weibor zu seiner Licbo zu zwwingon. none of his women into him'to love to foree. (The Pasha is @ renogade® and still Las sufficient delicacy not to forco any of his women into loving him.) mt zo Ig ‘vaes ‘pill ea ‘nox ma ‘den untearhsrtan abo und —soviel ich waif, _spielt er noch immer don unorhirten —_Liobhaber. And asfaras! know, heis playing still the unrequited lover. BELMONTE ‘vex es igsklig ‘ve Konstantso “nox "UO War es -moglich?. «= War Konstanze noch trou? Couldbo —t—sopossible?’. = Could be Konstanzo— still faithful? PERDILLO “tiga ‘nox leba “her Sicher noch, licber Horr! Certainly still, dear —-mastert abo ‘mit ‘maenam ‘blontgon ‘fies waes ‘deo ‘hima! Aber wie's mit — meinem Blondchon steht, wei der — Himmel! But how it with my little Blonde stands, knows the heaven! (But how things stand with ny little Blonde, only heaven knows!) das Panma ‘diy ‘Jinaxtat bae taenam Palton “hesligan ex! Das arme Ding schmachtot bei einem alton hiGlichen orl, ‘ho poor thing languishes —_in the houso of, an old ugly follow, ‘dem vis “der basa ga|fenkt ‘hat filaegt dem sio der Bassa _geschenkt h vielloicht.. to whom her the Pasha _has given; perhaps. (to whom tho Pasha has given her; and perhaps...) axe ‘dane gt ‘dean ‘éenkan Ach, darf garnicht = dran donken! Ah I dare not even about it think! BELMONTE ‘dox 'migt ‘deo Palla ‘ken! zotebon ‘ins hoos ‘gin Doch nicht der alte Kerl, sooben ins Haus ging? Not the old follow who into the house went? Vhat is, he has fommsworn his Ch ign hwritage and become a Moslem,410 Dio Entfahrang aus dem Sorail, Act ! PEDRILLO ‘ethan ‘dea, Ebon dor. The very one. BELMONTE, i ist tisphny des “basa ist Liebling des Bassa? is darling, of the Pasha? PEDRILLO ipl Jpiom ont ‘aosbont ‘alo ptsburhon Lisbling, Spion und Ausbund ——allor_Spitzbuben, Darling spy and quintessence of all rogues, dex mig mat den Ponogan Fer gufton smeegia ens ungighy "vee der mich mit den Augen vorgifien —_—machto, wonn's méglich ware. who with his eyes poison would like, if it wem possible. (Whold like to poison me with his eyes, it that were possible.) BELMONTE i 0: ‘ptuty —pedrtjo was ‘zarksidu © gutor Perillo, was sagst du? Oh, good Pedrillo, what are you saying? PEDRILLO num ‘migt‘glaeg fertsackt Nur nicht gleich vorzagt! Don't quite yet despair! ‘unte Tons yaizakt = ig hacba “aox_—‘aenan ‘taen ‘im ‘breve ‘baem ‘basa Unter uns gesagt: Ich habe auch ian Stein im Brotte beim Bassa. Just between us: 1 have also an advantage with the Pasha. (Just betweon us, [am in the good graces of the Pasha.) ‘dune ‘maen ‘bison gohk m dex ‘gertnarae Durch mein bifchen Goschick dor Gartnerei Through my — little skill in (the) gardening hat ‘ig zaend ‘yonstvekyokaikt hab! ich seine Gunst_ wokgekriogt, have I his favor gotten frou bh (Ihave managed to obtain his favor.) ‘onfdadorg ‘has e zor ‘tsimhig. ‘raehaet und dadurch hab’ ich so ziomlich Froiheit, and thus have 1 considerable froedom, di: ‘twozanda ‘andoro ‘nig! “hacban ‘vyrdan dio tausonde andere nicht habon_wiirdon. which athousand — others not have would, (and thus I have the da “zonst Da sonst When othorwise eda tmanspeazon ‘sig entfeman ‘mos jedo Mannsperson sich entfemon mu8, every male leave must iderabile freedom (hal a thousand others would vever have.)Dio Entfahrung aus dem Serail, Act 1 ‘ven ‘acne “zane ‘vaeb " wenn cine seiner Weiber in when one of his women into kan 16 kann ich can I stays “den don the att "ganton ‘komt Garton kommt, garden comes, (When otherwise every malo must loave when one of his women comes into the garden, I (on the other hand) am ‘redon redon talk Sie They fraclig Freilich Of course bazondas besondors especially (Of course, old Osmin grumbles, especially if my Blondchen must follow her allowed to stay.) zogar ‘mit mio “ont sogar mit mir, und even with me and ‘maolt ‘dex Yalta mault dor alte grimbles the old ‘ven ‘maenblontgan wenn moin Blondchen if my Blondchen ‘ex wakt mets datey:bo- or sagt nichts dariibor. he says nothing about it. osmis Osmin, Osmin, ito gabittarm ——falgon mus ihrer Gobioterin —folgen muB. her mistress follow. must mistress.) BELMONTE ‘ists wsiklig ‘du hast i yafproxon Ist's maglich? = Du_— hast sio. gesprochan? Isit- possible? You have with her spoken? oak iptv mig Bok O sag: sie mich noch? Oh tell mo: Loves she mo still? PEDRILLO ‘hmm das "zis dan ‘tsvacfain Hm, da8 sie daran zwoifoln! Hminn that you about it doubt (Hum, that you should doubt it!) ig degta te ‘Kenton “ ‘guia konstantss als ‘isu ‘gust Ich dachto Sie kennton die gule Konstanze als zm_ gut, 1 thought you — knew the — good Konstanzo all to welll, ‘hetan‘pRosban ga'nurk ina tbo hatton Proben genug ihrer Liebe. had proof enough of her love idox ‘dammit “éynfon vizo ‘uns ‘ga ‘mgt ‘aothalton Doch damit diirfon wir uns gernicht —_aufhalten. But with that must we not at sll waste time, his st bos rarga Hier ist bloB die. Frage, Here is only the question, (is merely the question)412 Die Entfihrang aus dem Serail, Act 1 ‘vis ‘antsufaqan ist hie ‘Yektsukoman wio's anzufangon ist, hior — vegzukommen? how — to begin hora to get away? (what to do to get away from here?) BELMONTE, oda habe tyso Pals gvzorkt Oh, da hab’ ich fiir alles ‘gosorgt! Oh, there have 1 for everything arranged! (Oh, 1 have arranged for everyting!) "@ hap thio gen ffm “aeniga entfernog fom ‘hafon Ich hab’ ior ein Schiff in oinigor Entfernung vom Hafon, I have here a ship at some distance from tho port, das uns ‘of dem —“erston Vink “uenmumt ‘ont das uns auf den ersten. Wink einnimmt und... which us atthe first sign on board will take and. (which will take us on board at the first sign and...) PEDRILLO a vaxlo ens tnrsan di mesdals Ah, sachte! Erst — miissen wir dio Madols Ah, — easy! First. must we the girls 2 vie ts ffo gen cho wir zu Schiff gohon, bofore we tothe ship go, (Ab, easy, easy! First we must have the girls before we can go to the ship.) ‘oniidas ‘yet ‘mgt ‘zor ‘hof ‘hoy vi “ait ‘maenan und das geht nicht so husch husch, wie Sie and that goes not as quickly as you BELMONTE, oleh ‘gusts petdaio imax ‘nure das tg “zis Zeon © ——lieber, guter Pedrillo, chur da®_ ich ~— sie. soon, Oh — dear, good Pedrillo arrange that 1 her see, ‘das ‘a Jpregan ‘kan deB ich so sprochon kann! that 1 to her speak can. (Oh, doar, good Pedrillo, arrango it so that I can sex and speak to her! das ‘hets fleckt mio foxx Panst ‘unt. froada Das Herz schligt mir vor Angst und — Froude!.. My — heart beats inme out of anxiety and joyt. The umlaut Gertman 6 according to Siebs is an open [e-e} sound, either short as in Bdchlein or long, as in Mékdchen. Ia conversation one offen heats 9 much more closed sound [mets]. esperilly in Soulliern Gestnnny and Austria. Lingulstc pattorns are constenly in a stata of flux. and evan Germ yields to tho pressure of hnbit. My advice is to choose an inlerspadiate sound for the long a sillables, such as wre, Kase, gabe, Mivichen, ete, The short A as in Bachlem, Kampfon, Bande, krieken, stndon, otc. must tain tho short open fel souredDio Enifithrung aus dom Sorail, Act 1 PEDRILLO pfifig‘myson vis ‘das Pfiffig miisson wir das Slyly must wo the ‘om "Raf ‘mysan und —rasch miisson and quickly must (We must begin the thing slyly and c: ‘dm “anfayon Ding —anfangen, thing begin, vies ‘oosfynan wir's ausfihren, we lt carry out, ry it out quickly.) damm ‘vio den altan Paofpase yybortoelpain damit wir don alton Aufpassor —_tibertélpeln. sothat we the old watchdog dupe. (so that we can dupe the old dog Osmin.) ‘blaeban Shien dea ‘nese Bloiben 0 hier in dor Naho. Stay you here close by jewst—virides ‘pasa ‘ball Yon ‘acne ostfarnt Jetzt wird dor Bassa bald von oinor_Lustfahrt Now — will the Pasha soon from a pleasure trip uo! dem "vaso tsvieykkoman auf dem — Wassor zuriickkommen. on — tho water raturn. (he Pasha will soon return from a pleasure trip on the water.) ie lth mals ‘aenan_ge'fikton boomaest Ich will Sie ihm —als_—einen_geschickton I ant yon tohimas a skilled (1 want to introduce you to hitn as @ skilled architect) ‘den ‘unt gertnatra ‘ant ‘zaena_‘stekonpfeinda don Bauon und Girtnerei_ sind sine Stockenpfarde. for architecture and gardening == are_—shis__—_hobbis. ‘abo isd: ‘goldne “her hhaltan ‘zi 21g Aber liobor, goldnor Horr, halten Sio sich But — dearest, golden master, hold yourself ‘den Konsiantso st bae fim donn Konstanzo ist’ boi ihm... for Konstanze is with him... BELMONTE Konstantso—“bae vas ‘zarksid ‘~ al Konstanze bei 7 Was sagst du? Ich soll Konstanze with him? What _ are you saying? 1 am PEDRILLO gemax ‘um ‘hinvals vilan ‘tebs‘her Gomach, um Himmels ——willen, liebe Hert! Gently, for heaven's sake, dear master! 413 fostelan vorstellon, to introduce, 1m ‘Jrankon in Schranken: undor control sie sohen? ho414 Div Entfithrung aus dem Sorel, Act 1 “zonst “ftolpon ‘view ‘ox tg ‘glaoba Sonst stolporn wir. Ach, ich — glaube Otherwis we will stumble. Ah. I think ‘dort ‘ze: ‘Jorn ‘angaifarran 'koman dort seh’ schon angefahron kommen. there see them already being brought here. ‘yen zi muss oof «di “zaeta Ven ‘eo “komt Geh'n Sie mur auf dio Seite, wenn or kommt; Go you only to tho side whon he comes: (You stay to the side when he comes.) blachon ‘ti Thieme VL Sim entgergonge:an Bloibon Sio hier, ich will ihm _ontgogongohen. Stay yon here, 1 will him go to meet (You stay lore, “I will go to moat hi (He goos off) {END OF DIALOGUE) NO. 4 RECITATIVO AND ARIA BELMONTE konstantsa ‘dig. Visdor tsu— "zeae Konstanzet Dich wieder zu soon! Dich! Konstanze, You again to saet!—-You! ovis ensth ov faerie © wie angstlich, oie fourigh Oh how anxiously, oh_~—how passionately! ‘ktopft maen ‘herts Klopft_ mei Herz! Beals my —love-filled heart vont des ‘Visdarzerans—_"tsexra Und des Wiodorsohens Zihro And the reunion tear tomnt der “trenny bbagon ‘Jmerts lohnt dor Tronnung banger Schmorz. mipensates of the separation the anxious pain (And a tear at our reunion will compensate for the anxious pain of separation.) ‘fon ‘tsling ‘ont "vayks Schon zitts’ ich und — wanke, Already Ttremble and waver, Yon ‘ak Ig ‘ont 'fwanks schon zag’ ich und — schwanke; already Thesitate and falter es hept zig i: Jwellonds ——‘brost Es hobtsich dio. schwollondo Brust. It isheaving my swelling bosom (My swolling bosom is heaving.)Die Entfiihrung aus dem Sorail, Act 1 415 st das ‘ir uspatn ‘es vit mir 20: bana Ist das ihr —_Lispoln? Es wind so ange. Is thal her whispering? «It makes me = so0—measy. war ‘das “zaofisan es gly mir vane Wer das Soufzon? Es ghiiht mir Wange. Was that her —_ sighing? IK glows me check. (8Vas that her sighing? My cheeks are flushed.) ‘oat ‘mg Wis iba war tes “gen trom ‘Tauscht mich die Liebe, war 0s ein. Traum? Deceives me — (the) love, was it = area? (Does love docoive mo, was it all a dream?) DIALOGUE PEDRILLO gofvint ‘oof dis zacta unt ver flekt ‘dew ‘basa komt Goschwind, auf dio Seite und vorstockt! §=—- Dor_-—-Bassa_ kommt. Quickly, to tho side and hido! The Pasha is coming. (END OF DIALOGUE) Scene Six (Pasha Selim and Konstanze appear amid a retinue of slaves and Janissaries, who place themselves in ranks, and sing the following chorus.) NO. 5a MARCH AND CHORUS CHORUS ‘ant "dea ‘grossan ‘basa ‘lisdar waa ‘Toorigar gpa Singt dom — grofen Bassa Liodor, tine, fourigor Gosan Sing tothe great Pasha soi ring out fiery song: {Sing songs to the great Pasha, let flery songs ring ont) ont Yom twfar “hallo Vidor unzrar ‘isdor —‘jubolklan und von Ufor halle wieder unsror Liodor Jubelklang! aud fromthe shore. may it echo our song's jubilant ring! (and may our song's jubilant ving echo from the shore!) FOUR SOLOISTS vet im entyexjon kyslonds vind Weht ihm — entgegen, —Kiihlende Wide, Blow to him towards, cooling winds, no ‘diy vzanftar ‘vallands ‘vst obne dich sanfter, wallendo Fh make yourselves calme: roiling wators! (Blow towards him, cooling winds, becalm yourselves, roiling waters!) ‘amt sm entgegan janda ea Singt ihm ontgogen, —‘fliogondo——Chare, ing to him towanis, flying choirs.416 Dio Enifihrung aus dem Sorail. Act 1 ‘nfm der iba Trogdon ims ‘hens singt ihm der LioboFrouden ins Horz! sing tohim the love's joy into his heart! (Sing towards him, flying choirs, sing love's joy into his heart!) CHORUS Singt dom grofen Bassa wieder, etc. Scene Seven DIALOGUE SELIM [Io Konstanze} sma ‘no, galispta Koustanso ‘ime 'm_— Reman Immer noch geliebte Konstanze? immer in Tranen? Suill beloved Konstanze? Still in tears? nis Wise fens Parbant aetsonds ——_‘gergnat Sioh, dieser schéno Abond, diese reizondo ——_Gogend. Behold, this beautiful this charming locale. ‘di:za—stsavbands muzik ibs tya dig diese bozaubomde Musik, meine zirtliche Lisbe fir dich. this enchanting music, my tender love for you, atk kan 'nugls. fon Zalam = te Fentig bortigon Sag, kann nichts von allem dich endlich boruhigon, Vell me, can — none of those you — finally calm, (Tell mo, can none of these finally calm you,) ‘ently ‘daen ‘herts—Ry:on endlich doin Horz rihron? finally your heart touch? vit "ig Reena bafeclan “gnooza:m fenfarzon Sich, ich konnto bofohlon, ——_grausam. vorfahren, Look, I could commiand, cruelly with yon deal, (Look. | could order you, deal cruelly with you.) ‘aug tsviypn ‘aby ‘naen —_komstantsa dich —zwingon.. aber nein, Konstanze, you — force but no, Konstanze, ‘dio zelpst vile “daen“herts'tsudankon ‘habon ‘ie: ‘zelpst dir selbst will ich dein Herz zu danken haben - dir selbst. to you yourself want 1 your heart to thank have - only you. (Lwant to have only you to thank for (the gilt of) your heart - only you.) KONSTANZE ‘grosmy:tigo ‘man 0 das yes keen Grofmiitiger. Mann! O — daB_— ich os,—_ikdnnt! Most gonerous man! Oh, that 1 it could! (Most generous man, if only { could do itt)Die Entfihrung aus dem Serail, Act 1 a7 das gs eavidan eenta “abo Da8 ich’s orwidem = —_—kénnto.. aber... That Lit respond Teould, but {if only I were able to respond to your love...but..) SELIM atk Konstantsa "zak ‘vas ‘helidig tsuievk Sag, Konstanzo, sag, was halt dich = zuntick? Tell me, Konstanze, tell me, what is holding you back? KONSTANZI du: “vist mig “hasson Du —wirst’ mich _hasson. You will me hate. ‘SELIM naen 1 vera ‘dios Nein, ich — schwore dir's. No, 1 swear it to you du: vaest vis zee ig dig litha Du woiBt wie sehr i dich lisbe, You know how much 1 you love, viel trachaet ig dis wioviel Freil i dir how much freedom 1 to you fox alm 'maenon vaebon aiftato vor allen meinen Weibern gostal from all. my wives allow, (You know how much I love you, and how much freedam I allow you compared to my other wives) ‘dig Vir ‘macna ‘aentsiga "fetso dich wie moine Einzige schiitzo, yoo as my only 01 treasure, {how I treasure you as if you were my only one.) KONSTANZE ° ‘wor —vertsae Oo s0 Oh, — then forgive me! (END OF DIALOGUE) NO. 6 ARIA KONSTANZE ‘ax ig lila var 20: ghvklig Ach ich —liebto, war so gliicklich, Ab 1 loved, was s0 happy. antag der "Teba Imerts Kannte nich der —Liobe knew not of love's pain: (didn't know the pain of love.)418 Dio Entfahrung aus dem Serail, Act 1 ‘vu ‘im tro dem — galispton Schwur ihm Troue, dom — Goliobton, 1 swore to him faithful to my beloved (I swore my beloved that I would be faithful to him) ‘gap dain —‘maen _'gantsas *herts gebdahin mein ganzos Horz. surrendered my whole heart. {dahin/gobon isa separable prefix verb meaning "lo surrender") ox vi ‘fuel “Jvant maena frogs Doch wie schnell schwand meine Froude, But how — qui vanished my joy. ‘rennon, ‘var ‘maen ‘bamos ‘oss Tronnung war moin _bangos Los; Separation was my —_bitler fate; ‘om ‘June ‘maen ‘ook "t twemnan Und nun schwimmt = moin Aug in Trinen, And now — swims my eye in tears, (and now my eyes aro swimming in tea . ommor ‘stm manam Joss Kummer ruht in moinen SchoB. Somow resis. in my lap. (and 1 aun filled with sorrow.) DIALOGUE KONSTANZE ax iG zakU'es vol “du vwRdast mig. ‘hasson Ach, ich sagt’ es wohl, du wiirdest mich hesson. Ah told you, you would me hate. (Ab, [told you you would hate me.) ‘abo fenttsae ‘dem —Tebaskeaykon —mestgan Abor vorzoih dom — liobeskrankon Midchon! But forgive the lovesick girl! du: ‘bist‘ia zo: ‘grossmyig "zo ght Du bist ja so grofimiitig, so. gut. You are so generous, sooo, ig wh in diman——“daena‘sklarwin aen Ich will dirdionon, deine Sklavin soin I want {a serve you, your slave bo ‘is ‘ans Fenda ‘maenas ‘le:bans bis ans Endo moines Lebens, till the end of my life. ‘nur fexlane ‘mgt ’aenherts ‘fom tito aur vorlange nicht oin Hore von mir only ask not from mea heart‘das ‘aof Pevig das auf ewig which forever Dio ‘feezaiki ‘st vorsagt ist. promised Is, Fnifidhrang aus dem Serail, Act 1 (only ask not 2 hoart of me that is forever promised to someono else.) SELIM ‘ha ‘undankba:ra Ha, — Undankbare! Ab, thankless om KONSTANZE ‘wita mig "ze mich, Selim! me, Selimt ‘nox tsulletst Noch zulotzt, At the last, ‘aos det aus don Armon from the —anns vas ‘varksidu ‘su Was wagstdu zu What dare you to nua ‘avin mig gt Nur — zwinge mich nicht Only force me not ‘mig “dea 'zerRovba mich dor Seordubor me the pirate 5 galizpion ‘us moinos Goliebton iB of my beloved tore baton bitton? ask? macnaedig ‘1s meinoidig zu perju lo (At the last, as the pirate tore me from the arms of my beloved) ‘Jue schwur ich ‘swore 1 ‘SELIM ‘halt Zaen——_angt Halt ein! Nicht Stop! Not aetso inaenon, Roizo meinon Provoke my badenke ‘das Bedenke, das Consider that (Consider that you are KONSTANZE ‘ie bin ‘es ‘abo Ich bin es, aber Tam, but ie ‘kena ‘daen ich kenne dein 1 know your hheto igs onst Hato ich’s sonst Could Tit otherwise ‘aofs facaliysts aufs foiorlichsto... solemnly... 419 ‘vemdon worden. become. Paen‘vort n Wort! word! (corn ‘nigl nox mieim Zora nicht noch —mohr. angor not still fusthor. dun msene gavalt bist du in meiner Gowalt bist... you in my power aro... in my power...) ‘du vinsiihig ‘ima nigh bad du wirstdich ihrer nicht bedionon, you — will of it not take advantage, ‘gutos “daen ‘mitlactfalos_—_heris gutos, dein mitleidvolles Herz. good, your compassionate heart ‘vaigon‘koenon wagen kénnen, have dared420 Die Enifitbrang aus dem Sorail, Act L ‘die ‘das waemgs ‘su exidekon dir das moinige zm deckon? to you the mine to reveal? (Could | have dared otherwise to reveal my wart to you?) SELIM vatk ? es wnigt‘maena 9) ‘isu misbraoxan Wag es nicht meine Giite zu mi8brauchon.. Donot dare my kindness to abuse. KONSTANZE ‘ima Zaoffuep (gens mie her Nur Aufschub —gdnno mir, Herr, Only reprieve grant me, lord, (Grant me reprieve, my lord,) nue ‘sacl maenst fments ta fes’geson nur Zeit, moinen Schmerz zu_—_vergosson! only time my grief to forget! SELIM vi Pot Jon gaverst im diva “buls Wie off schon gewahrt) h diese Bitte? How often already granted 1 this request? KONSTANZE ‘nu nox ‘dirsmatd Nur noch diosmal! Only again this time! (Only this one snore time!) SELIM ‘es 'zae “ison Tetston ‘malo ‘ye: konstaniso Es soi Zum letzten Male! Goh, Konstanzo! So be it! For the last timel, Go, Konstanz! bovzina ‘dig ‘genes ‘beson ‘ont ‘mpage Besinne dich eines Bossern, und morgen... Think better of it, aud tomorrow: (Change your mind for the better, and tomorrow...) KONSTANZE (leaving) tungivkligas—mestgon 0 —__betmonte Ungliickliches Madchon! © —_Bolmonte! Unhappy maiden! Oh, Belinonte! Scone Soven SELIM (to himself) im ‘fmerts ina “tReenon ima “ftanthaftigkaet thr Schmerz, ihre —‘Triinon, ihre Standhaftigkeit Her pain, hor oars, her steadfastness batsaobyn —'maenherls ma mea bozaubom —moin Herz immer mehr, enchant my heart @ more,Die Entfishrung aus dem Serail, Act f 421 ‘maxon ‘min Pika lisboa ‘nox machen mir ihro Liebe nur noch make tame her love even more desirable, more desirable to me.) (make her love ev ‘ha vem olla ‘gexgou ‘sen zolgas iweuts go'valt ‘brooxan Ha! Wer wollte gegonoin—_solches Hore Gowalt brauchen? Ab! Who would against a such oat force use? (Ah! Who would want to use force against such a heart?) ‘naen kon'stantsa —‘ngen“aox.—“Zerhim “hat ‘gen “hents Nein, Konstanze, nein, auch Selim hat ein Herz, No, Konstanze, no, also. Selim has a heart, ‘aox “zee “Kent tba auch im kent Liebe... also Solim knows love. (Podrillo, with Belmonte close at hand, appears and addrossos the Pasha) Scone Eight PEDRILLO ther featsae ‘dus ees Horr, vorzoih, dS ich os Lord, forgive that it dig ‘m—‘daenan batnaxtugan su ‘ftveRon, dich in deinen Botrachtungen zu stren, you in your _ thoughts to disturb... (Lord, forgive wie if [ dare to disturb your thoughts...) SELIM was “vilst@u peidrilio Was willst du, Podrillo? What do you want, Pedrillo? PEDRILLO dize juja man ew "ag ‘nm — Madjan mt filam Maes Diosor jungo Mann, der sich in Italion mit violom Floi® This young man, who _ himself in Htaly with much diligence ‘oof di "bookunst gpllekt ‘hat auf dio Baukunst —_gologt hat, to the architec! applied has, (This young man, who has appliod himself ditigontly to architocture in Taly,) hat on “daen>maxt fom “daenam rracgtt:m gahoat hat — von deiner Macht, von deinon Roichtum geht, has of your might, of —_your wealth heard, (has heard of your might and of your wealth.) ‘unt komt there die als "boomaests und kommthor, dir als_-—-Baumoistor and comes here, to you as archilect422 Die Entfuhrung aus dem Soil, Act 1 “zaena dissta Pantsubistan seine Dionsto anzubioton. his services to offer, [and has come here to offer you his services as architect.) BELMONTE. ‘her 'koenln “ie 20 glvklig ae Her, kénnte ich so gliklich sein, Lord, could so fortunate be, “dong ‘maend goRigon feugkaetan ‘dacnan ‘baefal is durch meine geringon Féhigkoiten doinon Boifall m through my modest talents your approval to Lord, could 1 be so forlunate as to carn your approval through my modest talents!) SELIM mm ‘du gafelst mim yh ven ‘vas “du ‘kanst Hm! Da gofillst mir. {ch will sehen was du kannst, Hm! You please me.I want to see what you can do. (To Pedrillo.}) pedailjo aonga Ty ‘zaerion Zuntohalt Podrillo, sorge fiir soinon Unterhalt. Pedrillo see to his accomodation. ‘mongon vernd tg ‘dye vidos “Rufantason Morgen words ich dich wieder rufon_ lassen. ‘Tomorrow 1 will you again called have, (Tomorrow I will have you called again.) (he Pasha exits, followed by his retinue.) Scone Nino PEDRILLO (lo Belmonte) ha tniumt thew deo Pewsta ‘fat “verno wan Ha, Triumph, Herr! Dor ersta. Schritt ware getan. Ab, triumph master! The first’ stop has been BELMONT! ax las mies my Zelpst koman ‘Ach, Ia8 mich —2u mir selbst kommen! Ab, fot me—_return to my senses! ig haba "zi gazen harp das gla IRopa Ich habe sio—_gesehon, hab’ das gute, _trowe 1 have her sean, Thave the good. tree. ‘best ‘mestgon gvzeon haste Médchen —_gosohon! bost girl seen! co Konstaniso was keemt tg ye dig tu O — Konstanze, was—kénnt ich fiir =~ dich tun, Oh — Konstanze, what could 1 for you do, fex'dinon vardionen! carn!Enlfiihrung aus dom Serail, Act 1 423 was ‘tye die "vaigan was fiir dich wagon? what for you dare? (Oh, Konstanze, what [ could do for you, dare for you?) PEDRILLO ha gamax ‘best ‘her Ha, — gomach, boster Hort! Ah, easy dear mi ‘Seiman “i dem tom ‘aen—‘biscan heap Stimmen Sio den Ton ein _ bichon horabs; Lower the tone a little ( (Herab/stimmen is a separable profix ver meaning "to lower the tons") (Lower your voice a little.) feo'ftelog vint ‘ons Vaet_—"besara idisnsta aestan Vorstellung wird uns weit bossoro Dionsto loiston. Protense will us far better service, give. (Pretense will sorvo us far better.) vie ‘zm 'migt = in_——Unsowom Fata lands Wir sind nicht in unserem Vaterlande. We are notin our fathorland. ‘his —Trargan "i= ‘dem henkor davenacx Hier fragon sio den Honkor damach, Hore ask thoy the hangman —_—_ afterwards, “ops ‘enon ‘kopf ‘mea ‘ol Verniga mean velt—'gkpt ob's einen Kopf mobr oder woniger in dor Wolt gibt. whether a head more or less in the — world is, (Here they ask the hangman afterwards whether there is one head moro or less in the world.) bastonada = ‘ont fiat zit ‘hist gen" mongenbaoit Bastonade und Strick sind hier wie ein Morgenbrot. Baslinado and rope are here ‘ike © a ~——_brwakfast. (Beatings on the sole of your feet and a rope around your neck are as tistal here as the bread they eat in the morning.) BELMONTE, ‘ax pedailjo ven ‘du di cba ist Ach, Pedrillo, wenn du die —Liobe_konntest Ab, Pedrillo if you the love knew! (Ah, Pedrillo, if only you know about lovet) PEDRILLO ‘hmm als "Vens. mt ‘onze-?aenam yar ‘nits 'veRO Hm, als wonn mit unsorvinom gar nichts ware! Hmm! As if with — our kin! ther wore no such thing! ig batho "20 "gust ‘maend ‘seetligan——“flondan als Pandan Ioota Ich habe so gut moine zirtlichon —Stundon als andoro Loute. 1 have aswell my tender hours like other people.424 Dia Entfahrung aus dem Sorail, Act | ‘onfeykon zis ‘den ‘das mos mgt “gox_ mao ‘grime Und donkon Sie denn, daS = mirs nicht auch im Bauch grimmt, And think you then, that = meit not also in my belly gripes, ven ‘iy mae ‘blontgon fon ‘zo ‘aenam alton “[pitsbu:bon wonn ich moin Blondchen von so_—_—ainem alton Spitzbuben, when 1 my Blondchen by — such an old rascal vi ‘dea smi ‘ast bavant seon mus wie der Osmin ist, bewacht sehen muB? as (the) Osmin is, soo must? (And do you think that it also doesn't gripe me in my belly when 1 must see my Blondchen watched vor by such an old rascal as Osmin?) BELMONTE oven es gh vero "a tsi "Jpregan O wenn midglich ware, sio zu sprochen.. Oh, if — it’ possible were withher to. speak. PEDRILLO ‘vite ‘vaton vemn ‘was sn tut Wir wollen sohen, was zu tin isk, We — want to 0 what to dois, (We want to see what there is to be done.) komen ‘zim mit— mam den 'yarton Kommon Sic nur mit mir in den Garton: Come just with me — into the gardon Gust come with © into the garden.) abo Zum Talos in dex welt Tosrmigtg ‘ont Taen Aber um alles. in dor Welt: vorsichtig und _—_fein. But by all inthe — world: carefully and tly. ‘den ist “alas Fook unt ‘ow Denn hier ist alles Aug’ und Ohr. For hore is everything = eye and ear (For everything here has eyes and cars.) Scone Ten (Osmin bars their way, as they are both about to go inside.) OSMIN vornin Wohin? Whereto? (Where are you going?) PEDRILLO Inside!Die Enifadhrang aus dem Serail. Act I 425 OSMIN (to Belmonte) vas vil ‘das geil suRrk Was will das Gesicht? Zuriick What wants the — face? Rac (What does that fellow want? Stand back, you!) PEDRILLO ha gomax ‘macsta ‘grosbian Ha, — gomach, Moistor Grobian, Ah, — gently, Mister Boor, ‘en tst ‘des ‘basa ‘ismston or ist’ = in. dos_—-Bassa_Dienston, et ieee the Pasha's servi OSMIN in des ‘henkos ‘dinstan ‘wk In dos Henkers Diensten mag In the hangman's service may ‘eval mgt heraen er soll nicht. herein! He isnot coming inside! (He may woll be in the hangman's PEDRILLO ‘ex ‘tol 'aba heeaen Er soll abor horein! He is coming int OSMIN komt mix ‘mua “aenan fait ‘ai Kommt mir nur (Just come one step over the thresholi...) BELMONTE ‘onfefemte trasidu ‘gt ‘mew Unverschamter! Hast du nicht mehr Insolent one! Have you no more yx ‘aenan ‘man ‘maenas ‘lands fiir einon Mann meines Standes? for a an of my standing? OSMIN, fae te ‘maki mio fon ftanda Ei, thr mgt mir von Tuk! Youboth may of ort ‘o> igi 9 Dana muxon Fort, oder ich will euch Beine machen. Be off, or 1 will got you moving! nen Schritt iiber die Come only ono step over the Stande standing midi tsuvk mit dir, zuriick! with you. back! gamax gomach! gently! ee zen or sein! he bet service, for all I care, bu he isn't coming inside!) fvela Schwelle... threshold ‘axtog Achtung respect (You hoth may be of standing, but Tl] got you moving if you won't be off!)426 Die Enlfithrang aus dem Serail, Act 1 PEDRILLO ‘alt ‘dumkopf ‘es asta “dex—buomaesto Altor Dummkopf Es ist ja der — Baumeister, Old Dumbhoad! it isthe architect ‘dem ea “basa_“angonomon h den der Bassa angenommon hat. whom the Pasha taken into service has. (whom the Pasha bas teken into his sorvice.) OsMIN imacnathalbon "zae "eo ‘Jokmaeste Meinethalben soi or Stockmoistor, For all care let him be a master cane, muy ‘kom ex mie thism mgt tou ma nur komm’ or mir hior nicht zu naho. only should come he tome here not Ino close, (only he shouldn't come too close to me.) ig nvsta ‘mgt zen ‘das es 20 ‘zen kumpan Ich miBto nicht sehon, da es 50 Kumpan 1 wouldn't wantto see that’ she = sucha crony ‘dacnos galigtos rst doines Golichtors of your rabble : (Lwoulin't want to soe that he ts just a erony from your rabble.) ‘onidas ‘das ‘70 'aena_‘apgarextata ‘kato ist und da& das so einoabgerwdete Karle ist, and that this such a concerted plan is, (and that this is all a concerted plan,) ‘uns tau ytbo"iston uns zu iiborliston. us to outsmart. (Wo outsmart us.) ‘deo ‘basa vaeg ‘Vit ‘bulo Dor Bassa ist weich wie Butler, The Pasha is soft as —_butter, ‘ynflewn ‘kent ‘ky ‘maxon vas iw mit dom kénnt ihr machen, was ihr with him can you do what you want ‘abs Tig haba ‘aenafaeno nurza Abor ich — habo vine foine Nase. But 1 have a keen nosa. ‘quonazae ists “um ‘dem ‘gantsot ‘kraam mit '9a¢femdan ge'zindal Gauneroi ists. um don ganzon Kram mit ouch fremden Gosindel; Choating is the chief business with you foreign rabble:Die Enifiohrung aus dem Serail, Act I ‘unt ‘im “epgafaemtan —boty:g Und ihr —abgefvimten _Betriigor And you wily tricksters hhapt “lane ono ‘pleengan angale:kt habt Jango eur Planchon —_—_angelegt, have fora long time your little plan laid ont, ‘eno phil “aostsuly:xan eure Pfiffe auszufithron. your tricks to carry out. wba wart ‘gen "bisgan osimizn “Jlesft ange Abor wart't'' cin biBchen! Osmin schlift nich But wait, a iittle! Osmin slosps_ not! (But just wait! Osmin isn't sleeping!) vere basa is vert lenst War Bassa, ihr wart Tangst Wore Pasha, you two would have been long ago ja "Ynact ‘nso gelagto j schnoid't nur Gesichter, Yes, go ahead and make faces Haxt ms. toon ‘nen “bak enaen cht nur hohnisch in. don_—Bart’_hineint goaliead and laugh spitefully in. your beards into! (Go alwad and laugh spitofully into your beards!) PEDRILLO ‘eataefors “diy ‘alto. Ereifere dich nicht so, Alter, Work up yourself not so, old man, (Don't work yoursulf up like that, olel man,) es thilfidiso- ‘dox “ungts os hilft dir doch nichts. it helps you nevertheless not. (nevertheless, i! won't do you any good.) ‘rie “zoeban vewdan view hrnaenfpatsiean ich, soobon wordan wir hineinspazieron. Look, this very moment will we walk in. (Look, we're walking in this very moment.) OSMIN ‘ha das 1g Sevan Ha, das will ich soher Hat ‘This want I to soe! (Hat This T want to see!) (Ho places himself in froat of the door) BSpepeeereeeege peony spitted. 427428 Dio Entfthrung aus dem Soil, Act 1 PEDRILLO ‘max ‘Kacna ‘umstenda Mach keine Umstande... Make no — trouble... BELMONTE vek —‘nisdotne: Weg, Niodortrichtiger! Away, you wretch! {END OF DIALOGUE} NO. 7 TRIO OSMIN marf ‘walt 9 fort ‘zanst "zal “di_——_asto'nada Marsch! Trollt ouch fort! Sonst soll die Bastonade Marcht Trot yourselves off! Else will the —_bastinado ‘og ‘glace su dimston lem ouch — gloich zu Dienston —_stohn! to you immediately al your sorvice et! (March off! ‘Trot yourselves out of here or olse the bastinado will be pul at your service!) BELMONTE, PEDRILLO me ‘das. ver ‘ja ‘jada ‘mi ‘uns "20 ‘umtsuge:n Kil Das wa’ ja schade, mit uns so umzugelin! Hey! ‘That would bea shame, to treat us like that! ‘OSMIN komt mir oigt near Konmt mir nich nithor! Come tome not closer! (Don't come any closer to me!) BELMONTE, PEDRILLO ek fonder ys Weg von der —_ Titre! Away from the — door! OSMIN ‘zanst_ flak ig “draen Sonst schlag ich droin! Or olse 1 will use force! BELMONTE, PEDRILLO plats ‘fort vir ‘gem —hinaen Platz, fort! © Wir gohn —hhinein! Make way! We're going inside! (They somehow got around him and scurry inside,) END OF ACT IDio Entfidhrang aus dem Sorail, Act I 429 ACT IL Scone One (Osmin and Blonde are having a conversation in ono of the palace rooms.) DIALOGUE BLONDE or des ‘tsankons bafe:ians font ‘morxons O des Zankens, --Bofohlens._ und Murrons Oh, the quarreling, ordering and grumbling, “vin ‘a0% ‘kaen Zenda wird auch kein Ende! will there be no end! (Will there ever be an ond to this quarreling, ordering and grumbling!) ‘aenmal fy ?alomal ‘das flex mia ‘mgt 7an ‘inmal far allomal; das steht mir nicht ant Once and) for all; hat doesn't suit me! ‘denksithr ‘alt= ‘morkopf eva Denkst du alter, Murrkopf ata, Think you, old gronch, perhaps ‘geno ‘ivekifo ‘klarvin fox ‘dice au “hatban eine tiirkische ——-Sklavin vor dir zu haben, a Turkish slave gill before you to have, (Do you think, you old grouch, that you have @ Turkish slave gir] bofore you,) ‘di ‘bac “daenan batfeslan sito die boi doinen Bofohlon zittort? who at your commands trembles? oda tinsitn hg ‘em 0, da_—_irrst du dich sob! very much! Oh, — in that are mistaken yé (Oh, in that you ate very mistakent} mit o@aoipessfon z ‘print ‘man ‘mgt "70: he’xom Mit ouropaischon Midchon —_springt man nicht so herum; With European girls fone does not treat them like tha desman bsige-gnot ‘man jgants ?’andos Denen bogognet man ganz anders. They are tobe approached quite differently. (END OF DIALOGUE) NO. 8 ARIA BLONDE “dorg ‘isertligkaet ‘ond ‘Jmaegain gafrlligkaet ont fertsan Durch Zirllichkeit und — Schmeicheln, Gofillichkeit und — Scherzon ‘Through tenderness and flat pleasantness and joking430 Die Enifahrung aus dem Serail, Act Ht efforbart mandi hertsan ‘der ‘gustan ‘mestgan Taegt erobert man dio Herzonder —guten Madchen —_eicht. conquers one the —hearls of the good girls casily (one can easily conquer tho hearts of good girls.) ‘ox mymtfos hafeslon ‘ont potter ‘tsankan lagen Doch miirrisches —_Befohlon und Polton, Zanken, Plagen But bad-tempered commanding, and thundering, — quattrling, bothering, ‘maxt “das in vermig Tagan "20 Tip als "toe entvaegt macht, da8- in wenig Tagen so. Liob’ als Trou’ ontwoicht. causes that in afew days both love and faithfulness disappear. DIALOGUE OSMIN ae ‘zedox ‘mal vas das “mextgaln forrfracben ‘kan Ei saht doch mal, was das Madchen —vorschreibon kann! Oh, — just see what the girl slictate lo me can! (Oh, just so what the gis} can dictate to me what to dol} (serntligkact misa ‘Vir fparra ‘Isezeligkaet Zarllichkeit! tholn! Es ist mir wie pure Zairllichkeit! Tendomess! Flattery! feel like really using tenderness! vem to@fal ‘haf. das ts90k ‘den ‘kopf_—_gazetst Wor ‘Toufol hat dir das Zoug don Kopf _gosotz Who (the) devil has to you that stuffy = your head put? (Who the devil pul thal stuff in your heal?) ‘deo twekae thie zm vie ‘im Hier sind wir in dor Tiirkei, Here are we = in. Turkey, ‘unfa igeits ‘00s ‘aenam Yandon und de goht’s aus einem andom and there things take on another ty ‘deen "hee ‘du: tmaena skla:vin Ich doin Horr, du meine Sklavin. 1 your master, you my — slave. ie bofeda ‘da: must gahangan Ich bofehle, du mu8t_gehorchon! 1 command, — you must obey BLONDE "daena ‘sklawvin ne daena ‘sklacvin Deine Sklavin? Ich deine Sklavin! Your slave? 1 your slave! ha ‘aen feng ‘skla:vin He, ein eine SKlavin! Ha, a a slave!Dio Enifihrung aus dom Serail, Act It nox Pacnmatl zak ‘mi ‘das Noch oinmal sag mir das! Once more say to mo thal! {Say that to me just once more OSMIN (10 himself) ie moxgta tal veodon Ich macht toll werden, 1 could crazy become, was das “moxtgan tye “ae was das Madchen fiir. oin what the girl for a (This girl is so pigheaded that sho could drive (Aloud.) ‘du ‘hasitlox ‘vorl “migt Du —hastdoch wohl nicht You have hopefully not das ig deo basa min wu daS dich der Bassa mir zur that you the Pasha tome asa (that the Pasha gave you In me as @ slave?) BLONDE ‘basa hm “Dasa “hes ‘mestgon Bassa hin, Bassa her! Madchen Pasha bere, Pasha there! Girls ebm “aena—elendonin Ichbin eine _Englndorin, 1 am an Englishwe (Lam a free-born Fnglishwoman,) ‘unt twats edn dea und —trotz _jodom, der mich and defy anyone who mo (and will defy anyone who wants to forcs 431 flarkeepfigos ‘dy st starrkipfiges Ding ist pigheaded thing is. mo crazy.) fea'geson vergessen, forgotten, ‘sklawin gefenkt hat Sklavin goschonkt hat? slava given has? ‘amt kaens ‘vara 'tsum_—_fea"fenkan sind keine Ware zum — Verschonken! awe no goods to give away! sire Trachaet gsboskan zur Froihoit geboren, for freedom bo isu ‘elvas ‘svion “i mm otwas zwingen will! to something force wants! OSMIN ‘at “uniale ‘ybe ‘das ‘mestgon Gift und Dolch —tiber_- das Madchen! Poison and daggers on the _ gill ‘baem ‘mahome:t “zt maxt_ mtg 'Ra:zont Boim Mahomet, macht mich rasend! By Mohammed, she — makes me —_ frantic! wonfiox ii ie ‘i Jpnsby:bin Und doch —Tisb_ ich die.—_Spitzbiibin, And still love 1 the little rascal, ots "imas—tolan ‘kop trotz hres tollen Kopf! despite her crazy head! me do do anything?)432 Die Entfahrung aus dem Soroil, Act I (Aloud) ig baffesa Paogonbhiklie ‘img tu tiban Ich bofehle augonblicklich mich zu i command = you this minute me to love, BLONDE “hahaha kom mia me Zaenvemig new Hahaha! Komm mir nur ein wenig_ niher, Hahaha! Come tome just a bil nearer, ‘ev disw—yelbare bavaez dafon ‘geben ich will dir fidhlbare Beweaise davon geben. t will you palpable proof of it give. {Hahoha! Just come a bit closer to me and I'l give you palpable proof of that.) OsMIN ‘obs ‘dn ‘vaesi@ das dy maen “bist Tollos Ding! WeiGtdu, da du _—_—moin_ bist Crazy thing! Know you that you mine are unt ‘ae day ‘sygtigan kan und ich dich dafiir ziichtigon kann? and 1 you for that punish, can? (You crazy thing! Do you know that you are mine and [ ca punish you for saying that?) BLONDE yaks ‘mgt mig “antsury:non ven “dis aena ‘aogon “tik "aint Wag’s nicht, mich anzurihren, wonn dir deine Augen lieb sind. Daro not onme tolayahand if — toyou your eyes dear are. (Dont you dare lay @ hand on mo, if you value your eyes.) OSMIN vit ‘du uma'ftesg Wie? Du untorstehst dich... What? You — have the impudence. BLONDE da 'st vas isu unta*fteran Da ist was, zu untorstehen? ‘There is something to.—_be impudent about? du: ‘bisfdea: Punfeo femita Du bist dor Unverschamte, You are the shameless one ‘der ng tus Tid rachaet he aosmmt dor sich zu viol_—Froihoit horausnimmt, who too many _libortios takes, (You are the shameless one who lakes tov many liberties.) {sich Froihoit horausnehmon is an idiomatic expression with a reflexive particle 4 NOTE FOR PASHAS: At the eid of the opera the Pashe uses this exact phiress "Don't you value your eyes") in dismissing Osmin's protests of Blonds being fiead slong with the othors.Die Entfiihrung aus dem Sorail, Act I zo ‘gen Palllas._“hesligas cin altos, ha6liches an old ugly ‘aenam ‘mestgan veg einem Madchen = wie ich a girl like me, vit ‘ae. markt ‘tou wie eine Magd mu like a maid to (Such an old, ugly follow has th she were a maid!) warmhatug ‘das Wohthaftig, das Honestly, that ons gshest “das Uns — gohért das Tous belongs the (We ‘to in control!) gazigt Gosicht untersteht sich, faci has the nerve jon Jon ‘ste Tropa jung, schén, zur Froudo young, pretty, in happiness bafesion bofohlon! onder around! ‘fornda ‘mica: ‘augt Zan stiinde mir nicht an! would not suit me! regiment Rogiment! regiment! 433 gaborran geboren, hor, we nerve to order about a young, pretty and free born girl like me, as if ia "zaet_—onzora sklawvan ‘unt ‘glyklie Tys seid unsore Sklaven und gliicklich, You are our slaves, and you're lucky, ven ‘te Tea ftant genuk “harpt wonn ihr Verstand = genug hat if you sense enough have, neg “dit Keton ‘ts: a‘laegtan euch die Kotten zu arleichtorn. you the make lightor. (You are our slaves, and you're icky if you have enough seuso to lighten your chains.) OSMIN ‘bae — ‘maenom ‘bart "zit ‘sill ‘hie tin ‘deo tyrkae Boi moinom Bart, sie ist toll! Hie, in dor Tiirkei? By my beard, she is crazy! Here, in Turkey? BLONDE tyrkae ‘hin tyrkae ‘hes vaep Mist ‘vaep es zae 'vo'es Vola Tiirkei hin, Tiirkei hor! Woib ist Weib, 2s soi wo os wolle! ‘Turkey hore, Turkey there! A woman isa woman, —_—_ wherever she may be! ‘amt Zo9Ro_vaebs ‘alga ‘herman Sind eure Weiber solcho Narrinnen, Are your women such fools, gain ono soos the wont Ge sn the dinlogus right bofore ht (fv#) applied pojovatively to a person one disiains, Osinin said i Belmonts in Act 1 ial to, 34 positive feminist iow wing miliary bn434 Dio Enifahrung aus dom Serail, Act Ut ng Yon ‘96g. unlatjoxon ts ason ‘esto “lima. tym sich von euch unterjochen zu —_dassen, dosto schlimmor fiir sie. thomselves by you subjugated to. allow, so much the worse for them, (If your women are such fools as to lel themselves be subjugated by you, so inuch the worse for them.) im aBRo-pa fea'fteimn visas ‘dy In Europa versishon sie das Ding In Butope understand they better. (In Europe they understand things botter.) las ‘mig ‘muse 7aenmatl fuss gofast tan [a8 mich nur — sinmal FuB gofabt haben, Let me just onice foot here grabbed (Lot mo just once grab a foothold here.) ris "zalan ‘gants Pandas vversdan sie sollon ganz andors worden. they would very — different become, (and they (your women) would become very different.) OSMIN bee 7ala di: VER ‘am tends Boi Allah! Dio witr imstando, By — Allght She would be capable ‘ons alan dis_—_vaebo rebelyf zu ‘maxon uns allon dio Weiber rebollisch — zu_——machen.. us allof our women rebellious ty make. (of making all our women re ollious against us..but..) BLONDE ‘oofs ‘brian myst 996g Aufs Bitten m@Bt ihr euch logon, To pleading should you rosort, (You shoutd resort to pleading.) ven iy etvas fon ons eathalton wonn ihr etwas von uns orhalton when you something from us tw obtain want (whon you want to obtain something from us,) bozondos Tisphacbo daenos galigtrs besonders —Licbhaber eines Golichters. particularly lovers of your sort OSMIN Teac ven tg ——_pe'driljo vere Freilich, wonn ich — Podrillo war, Ofcomse, if I Podrillo wore, zo: ‘gen “dwatprpgon Vi Pew so ein Drahtpiippchon wio or, such a marionette like him,Dio Entfidhrung aus dem Sorail, Act It ‘ ug fearmuthg ——_vetkomon da wax’ ich vormutlich then would I probably ‘den ‘> ‘mimanfpi hhab ig ayo 'vek donn eur Mionens; hab’ ich lango wog. for your pantomimas I figured out tong since, BLONDE ex'nacton ‘gute alt ex'natton Ervaton, gutor Alter, orraton! You guessed it, good old man, you guesswa it! das “kansilu ‘dit "Vol “wenbikdon Das kannst du —dir_—wohl_einbilden, ‘Thal can you () _ well imagine, (Sich otwas einbildon is a reflexive expression moaning "to imagiv das mia dea ‘nithigo klacna _pe'dailjo ib. da& mir dor —_niedliche, —_—Kleine Pedrillo liobor that tome the cu hile Pedrillo dearer (You can well imagine that cule, little Pedritlo is dearer to me,) als ‘daen_—‘blaisbalkyazigt ‘azo ven ‘dU ‘kluck als doin Blasbulggesich Also. wonn du klug than your blow-bellows face, So, if you smart OSMIN zag ‘di fraehaet ‘geban Sollt ich dio Froihoit geben, Should I you the freedom give tu tun “onisu: maxon was au zu tun und zu was du to do and to you BLONDE ‘beso ‘vvrdasidlu uma dabae ‘fa:an Bossor wiirdest du immor daboi fahron: Better you should always with that be better of; (You'd be botter off that ways) vinsidt den "0: ma botnoxgon denn 80 wirst du immer botrogen. because like this youll be always deceived. OSMIN vonfilslg ‘nun ‘raest mia di gaidolt und Dolch! Nun vit mir die Geduld! and Daggers! Now 1 ain losing my patience! den —Pooganblik —hénaen ‘ins ‘hos um vor “du Den Augonblich hinein ins Has! Und wo du ‘This minute inside the house! And if you 435 vast ist, ‘voltast he: wolltest? Ho? want? Hey? ‘varkst wagst... dare,436 BLONDE max ‘mig ‘gli axon Mach mich nicht zu lachen. Make me — nol to laugh (Don't make me laugh.) ‘osMi ins hhoos "vargig Ins Haus, sag’ ich! Into the house, say I! BLONDE mgt fon des “tela Nicht von der Stelle! Not from this spot! (I'm not moving fram this spot!) Die Entfahrung aus dem Serail, Act It OSMIN ax ‘nigTas ig val “bons Mach nicht daf ich Gowalt brauche. Don't make that 1 fore use. (Don't make me use force.) BLONDE govalt vera ig mk —_gavalt_feerinaebon Gewalt wordo ich mit Gowalt vertreiben. Force will [with force turn away. (1 will turn away force with force.) ‘maeno ‘ysbittorm = hat mig iso Moine Gobioterin hat mich hier My mistress has me here st Wi gaint ides sie ist dio Goliobte dos sho is the beloved of the “zacn ‘aogtapfal vaen Palos sein Augapfel, sein _ alles, his eye apple, his __ everything: (My mistress has summonod me hy his everything:) cunt ‘es Kosta 'miza Paen und es kostet_ mir oin and it needs from me one {and all I need is ono word,) ‘so, “hasty Fenftsry ‘aot so hast du fiinfig aut and youhave fifty on (and you'll have fifty cane blows! on the soles of your feet “This i the hastinade seve boon reading about am ‘den ‘garton baftelt don Garton bostollt; in the garden summoned: bbassa Bassa, Pashia, in the garden; she is tho Pashe's beloved, the apple of his eye ‘vont Wort, word. di tuseotlon ‘alo ye! die FuBsohlon, Also geh... your foot soles, Now go. st get out of hore!)Dio Fntfithrung aus dem Serail, Act HT OSMIN {to himself) das st gen “zaitan Das ist ein Satan. That is a _ satan. (She is a fiend.) emus naxgebon 40 van ie “agen Ich muB nachgeben, so wahr ich in 1 have to give in, as truly as i a (Limust give in, as truly as Tam @ Muslim) ‘zonst ‘kounta ‘ia “drow saentaefon sonst kénnte ihre Drohung ointroffon. alse could her threat become real, (or elsa her threat could become real.) (END OF DIALOGUE} NO. 9 DUET OSMIN 1G geo “doe « Ich goho, doch rato Tm going, but —adviso 1 you, (im going, but f advise you,) ‘den {forkan peidriljo ‘tu 'macd don Schurkon —_Podrillo mu moid from the rascal Podrillo to slay away. BLONDE ° pak ‘iy Dofid mgt mt mise 0 pack dich, —efieht nicht mit — mir, Oh, — goaway, order not with me, (Oh, be off, don't order me about.) ‘du vaest fa ‘ken ‘nigtTaedan du woiBt ja kann. nicht leiden. you know verywell I can not stand. OSMIN verfong ‘mise Vorsprich mi Promise me. BLONDE was ‘felt 'dir'da ‘acn Was fallt dir d What has come over you! 437 ‘muczalman Muselmann Muslim (Binyfallon is an expression with a separable prefix meaning “occur in one’s mind”, "come into someone's head’) OSMIN ‘sum ‘henkar Zum Henker! Hang it all!438 Dis Enifthrung aus dem Serail, Act tt BLONDE ‘on las tmg_—allaen Fort, la — mich all ‘Away, leave me alonol OSMIN varhattig ‘keen yrit fon ‘der “Stella Webrhaftig kein Schritt von der Stelle, Truly not one step from this spot bis du: ts: gahorgon mir fuserst bis du zu_—gehorchon —mir_—_schwarst, until you to oboy me swear BLONDE mgt ‘ze: ‘du amar ga’zella Nicht so viel, du armer_Geselle." Not this much. you poor fellow. nd vender ‘grorsmorgul —“vertst amd = wonn du der GroSmogul —_warst. and if you the Great Mogul wore. (Bven If you wore the Great Mogul” himself.) OsMIN oO Penlaendar = vaet it ‘tigt_— “Toran O —Englindor, seid ihr ~— nicht Toren, Oh, Englishmen are you not fools, ur last “3#ran"vaebam ‘den vlon ike lat ouron Woibem den Willen! you allow your women Uneir way! SPhote isa move singnble txt for this live of Osi ‘paem allay Weed mgt ‘gen Boim —Allsh ich wwardo nicht gebe By Allah, 1 will not leave, Por the last port of Blonds’ Une du armer Gesell, thoro is un lena tox: das zal ‘all ze=n dos sollst da held schon. that will you soon 00 Mogul (or Mughal) ise very important parson, Origivelly teas atibuted to the great Songplian {Mughal} chieftains during their Asian conquests, Nowadays one heats talk about the Hollywood "moguls those important people who rule inDio Enifihrung aus dem Serail, Act 439 BLONDE acn ‘hers 20m gsborra Ein Hore, so in gobore A heart thus in froedom born, lest ‘nimals ‘ag 'sklawif bohendaln la6t —niemals sich sklavisch behandeln, allows never itself ina slavish way to be treated, blacpt ‘ven ‘Jon ‘div_—fraehaet fetlosran bleibt, wenn schon die Froihoi verloren, stays, even if when the freedom (is) lost, ‘nox ‘ftolis ‘aot laxat dex veld noch stolz anf sie, lachet der Welt! still proud of | horsolf, laughs at the world! OSMIN vit st man gaiplackt ‘und gaforran Wio ist man _goplagt und goschoron,” How is one. tormented. and troubled, ven ‘zale ‘ae tsuxt ‘man evhelt wonn solch ino Zucht man orhil if such a lecture one ree ist {Oh how it torments and troubles me to receive such a levture!} BLONDE nun “tral ‘dX Nun troll dich! Now trot of Thor is 9 mote singuble, altornato text for this line of Blonda's en mean Em Madchen A aie est WiBt ie allows never und ist and ie doch vel Wie ist How is fone sich herself ‘auch, also also has an alterna text for His Tne tous Trachact gabon zur Fretholl geborva, for freedora_ bo, ‘ls Selansin bated ok Skluvinhefehlen, as ashwe to be onlered, i feachaet fertoran io Froioit verloren, tho froodon Tost yeti er owett och Firstia a Welt still princoss of the world pplaks und gaforan seplgt und gischoren, tormented od Troubled sen trgtgan cet cia Frichichen ooh a lle frit gets hold of. {Having gotian a held of such @ Ite fruit like Bloude, hour lortnento aru! troubled one is.)440 Die Entfithrung aus dem Serail, Act It ‘OsMIN ‘zo ‘fprigsia iat So sprichstdu mit — mir? So speak you with me? BLONDE ‘mgt Pandars icht_andors. No other way. OSMIN nun ‘blaeb 4p erst hte Nun bleib ich orst hior. Now stay 1 decidedly here. BLONDE ‘aenandermal —jetst_—musflu ‘gern Bin andormal, tat. muft du gehen. Ono more time, now you must go, OSMIN ‘ver hat "zalgafreghaet gave: Wer hat — solch Frochhoit ——_gosohe Who has such insolence seen! (Who has ever seen such insolence!) BLONDE (in an attitude of wanting to scratch his eyes) ‘es ist ‘um ti Paogan gaferan Es ist _um dio Augon goschohon, is going to be the end of your eyos. vofem du nox lenar fervaeilst woforn du noch linger verweilst. astongas you sill Jonger_ say. (Im going to scratch out your eyes if you slay any longer.) OSMIN (timidly retreating} ‘nus nu i¢ vil ja gem ‘geran Nur ru will ja gom gohon, Only be calm, 1 will gladly go, befor du yar “legs ertaelst bovor du gar Schlaigo ortoilst. before you even blows bestow. (before you bestow your blows on me.) (before you siart swinging!) Scene Two DIALOGUE, BLONDE viz "teoorig Was "gurta_“tetygon. daherokomt Wie traurig das guto. Madchen —dahorkommt! How sadly” the — good utaiden approaches!Die Falfithrung aus dom Sorail, Act It 441 rach ‘uts ve idem su fertliwan Froilich tut’s woh, don zu verlieren Ofcourse it hurts your beloved to lose ‘ont 'sklawm ‘su und Sklavin mu and aslave wo es ged mits vol ‘oo gt fil beso Es geht mir wohl auch nicht viel__bosser, It goes forme truly also nol — much better, (1 also isn't going any better for me.) abo ig harba “ox nox das eagnygan aber ich habe doch noch das —_Vergniigen but 1 have then still the pleasure ‘maenan peeriljo ‘mangmail tn “zeran meinen Podrillo manchmal — zu_—_—_sohon, my Podtrillo now and than 10 se, ‘ps'glaey —aox "mage ‘ont fearftoston ob’s gleich auch und — vorstohlon although also and on tho sly ganwk ‘mus gonug mu, enough happen must, {although it happens scarcely often enough and on the sty.) dox vem ‘kan vids ‘dem ‘rom Jvunan doch wer kann wider den Strom sch yet, who can against the current swim! {and yet who knows how long one can go on resisting the tide! (END OF DIALOGUE) NO. 10 RECITATIVE AND ARIA KONSTANZE (not sooing Blondo} velyar veksal therft im ‘maenar zea Wolchor Wochsol horrscht in meiner Seole What change prevails in my soul maet dem wk ‘da ons, das'fikzal rent seit dem Tag da uns_—_ das Schicksal _trennte!"” since the day that us fate separated! ‘belmont bm ‘amt di frogddan Oh Belmont! == Hin. sind die. Froudon, Oh, Belmont! — Gone are the joys, "rte ate some alternate words in Aria No. 10: ‘kernmr 1g miaen yk feels Wolehor Kuramor horrset in melnse Sool, seit denn Tag da feb et sorrow lost my442 Die Enifithrung cus dem Serail, Act IL dit te oust "an acnar ‘zaela ‘Kanto die ich sonst an_—doinor Seite kannte; which | once al your side know; ‘eaypr senzoxt laedan vouen men datyer Bangor Sehsucht Leiden wohnen nun dafiie Anxious longing pangs dwell now instead ‘mer baklemton —“brust in dor boklommten Brust. in the (my) oppressed bosom traorigkact art mie tsom loves Traurigkoit ward mir zum Lose, Sariness bocame tome the — fate (Sadness has become my fate.) vael ug die entrissan ‘bm ich dir ontrisson in. because 1 from you tom away ain, 50 L have beon torn away from you.) glacy ‘der ‘vurnitsernackton roa Gloich der wurmzernagten Rose, Like by the worm guawed rose, (Liko a rose gnawed by the wort) lacy “dem gras ‘im ‘wintormo:za| gloich dom Gras im Wintermoose Tike the grass among the winter moss velkt ‘macn ‘bays ‘letbon ‘hin wolkt moin banges Lobon }. jo wither away") withers away my uneasy life {hin/wolkon is a soparablo prefix vork moaning, ‘elbst der loft dart ig rayon Solbst der Luft darf ich sagen Even tothe ait must I tell maensor ze:l9 bittom ‘finerts meiner Sool bitte Schmerz, my — soul's bitter ‘den convillig im tu ragan denn unwillig ihn zu tragen, for, unwilling it) to (for unwilling to lear it (my sulfering,) “haoxt ‘zit alla imaena ‘kia:gon hauch sio alle — meine Klagen breathes it all, my —_ lamentations, (tho air) breathes all my Ismentations) visdor iy mgen “astmas ‘herts dor in mein armes Herz wok) again into my poor heartDie Entfishrang aus dem Sorail, Act It 443 DIALOGUE BLONDE ‘ex 'macn‘bestay_Trovlaen ‘nox ime 'zor—“tRanRIg Ach, mein bestes Friuloin, noch immor so traurig? Ah, my dearest lady, still always so sad? KONSTANZE ‘kansid “Traxgan ‘di ‘du ‘maenan kom Kannst du fragen, dio du meinen Kummor Can you ask, — you who my sorrow knows? Viele Paen —Zarhand ‘unt nox ‘Kaen naneragt Wieder in Abend und noch keine Nachricht, Again an evening and still, no news, (Another day and still no news,) nox ‘kaend ‘hofnuy ‘ont. 'margon und — keine Hoffnung... und morgen... and no hope... and tomorrow, ax ‘got ie dart niet da'ran ‘denkon Ach Gott! Ich darf_— nicht eran donken. Ah, God! 1 must not about it think. BLONDE ‘haeton ‘tis-g vemigsins —‘aen—“bisgan ‘oof Hoitorn Sie sich wonigstens ein bi8chen auf, Choor yoursolf at Toast a litle up. (AL least cheer up a little!) (Auffhoitem is a soparable prefix vorb moaning "to chevr up’) zem ‘zis vii Yn deo Zarbomt st Sehn Sie, wie schén dor Abend ist, Soe how lovely the evening is, vi “bly:ant ‘ons Palos entgeiganlaxt wie blithend uns allos ontgegenlacht," how blooming us everything —_(lauglis) smiles back, (how everything that blooms seems to sinile back at us,) Vi road “uns ‘Fogat isu ‘iam gatzany wie froudig uns die Végel_ zu throm Gosang einladent How — joyfully us the birds to their singing invite! (How joyfully the birds invite us to listen to their singing!) ferbanonzi “di gnalan ‘ont Tasan zi mut Verbannen Sie die Grillon und fasson si Mut! Banish the molancholy thoughts and take courage! KONSTANZE vir ‘glykirg av ‘mestgan Wie ghicklich du Madchon, How lucky you alr "Tho translation “sniles back" is uso ber sd 1 “lough back’, the tue literal translation of emtgegenlacht lias a odisive444 Div Enifihrung aus dem Sorail, Act IT ‘vac ‘daenam ikea! 20 glason iso zaen bei deine: Schicksal so_—_gelasson zu sein! about your fate so calm to bel (lo be s0 calin about your fate!) o dase es 00K Keen Oh, daB_ ich os auch _kénnte! Oh, that 1 it also could do! (Oh, if only 1 could do it too!) BLONDE des ‘let bae ton “hofan * Das steht boi Ihnon. Hoffon Sio, ‘That doponds only on you. Be hopeful. KONSTANZE ‘nugidles ‘mndasta Jaen fon “hofuwn nicht der mindesto. “Schein von Hoffnung not th slightest ray of hope mess isa ex'bhikan st mehr zu exblicken ist? any longor tobe seen is? (When one can't see the slightest ray of hope any tonger?) BLONDE ‘horan ‘zi‘mna ig feRtsa:ue ‘man ‘e:piaigo sgt Horon Sio nur: Ich verzago mein Lobtago nicht, Just listen: 1 despair my — daysalive not. (lust liston: As long as Lam alive I don't despair) fes'mack ‘gens "zaxo“MDx "20 ‘fun Paosreon es mag eine Sache noch so schlimm aussohon. it may a hing even more bad Jonk (even if somthing may look bad.) (Es sieht sohr schlimm aus is an expression meaning "it looks bad”) den verre meds“ flamstu foro felt donn wer sich immor das schlimmste —_vorstollt, for who (+) always the worst imagines. (Sich vorstellon is a soparable reflexive werb meaning "to imagine") 1st “ox varrhatrg ‘any ‘flmiston “dant ist auch wahthaflig am schlimmsten dran, finds herself truly in the worst of i (She who always imagines [he worst, will truly find herself in the worst of it.) KONSTANZE ‘ont ‘vel um mit “hofnoy Jmaegolt Und wer sich immor Hoffnung ——_schmoichelt And whoover horself always with hope fatters, ‘ont tsuletst botno itt und —zulotzt botrogen sioht, and attheend deceived sees, (And whoovor flatlers herself with hope and al the end sees herself deceived.)Die Entfuhrang aus dom Serail, Act I 445, hat alsdan iets 0 'ybaig als th feartsvaeton hat alsdann nichts mehr iibrig als dio Vorewoiflung. has then nothing more left than despair. BLONDE jedes “nax —"zaen> wuete Jedes nach seiner Weise. Fach after his own inaianer. (To each his own.) 1¢ —‘glaoba “bae ‘ear ‘macnigan ‘am ‘estan ‘st farkon Ich glaubo, boi dor meinigon am besten zu fahren. t believe through mine to bo bettor off {I believe my manner is better off for mo.) alt kun ——_betmonta mt Wezagelt en facnan bald kann thr Belmonte —mit_—‘Lsogold orscheinen soon can your Belmonte with rimsom money show up, ‘ols Pons “stig vaezo entfy:ran oder uns —_listigorw ontfiihren? ngly abduct? (ow soon can your Belmonte show up with ransom money and cunningly abduct us?) vewan Vier “di “errstan‘Traoantsima Witron wir die erston Frauenzimmor, Wouldbe we the first. femalos, wen trkifan Fitfracson rntkeman dio den tirkischen —VielfraBon—_ontkimmen? who from tho ‘Turkish gluttons escaped? (Wonld we bo the first females to escape from these Turkish gluttons?) dont ‘ze: wy ‘dem “asa Dort seh’ ich den_—_Bassa, There see 1 the Pasha. KONSTANZE las ‘ons im ‘aos dem Paogan ‘yen La8 uns ihm aus den Augon gohn. Let us from him out of £0. (Lot us get out of his sight.) BLONDE ‘swt fpet em hat it fon pazeran zu Fr hat Sie. schon gesohon. Too late. He has you. alroadly seen, wy dan ache ——_gotra:st gos em Veiga “talon Ich darf aber ——_gatrost aus dem — Wego trellen, fd etter confidently out of the way trot off (Fd better trot confidently out of the way:) eo faltamig onan to or schaffte mich ohnohin fort. ho would pack me anyway away. (we'd send me packiug off anyway.)446 Die Enifahrung aus dem Sorail, Act HT kuinaiso ‘view komon gov's nox Courage! Wir kommen gowi noch in Courage! We — willcome certainly still to our (We will for sure still return to our homeland.) Scone Throo SELIM nun Konstantsa densa ‘maenam bayernan Nun, Konstanze, —_denkst du moinom Bogohron Now, Konstanze, are you considering — my desira (Naclvdonken is a soparable prefix verb meaning "to consider’, "to ponder’) dey tek ist alt fearftaigen morgan ‘musi der Teg ist bald vorstrichon, morgen must du the day is. soon past, tomorrow you must KONSTANZE imusvelg—Palbanies bayernon Mu8? Wolch albornes Bogehron! Must? What a ridiculous commandt als op man bafetlan “koxnta Als ob) man Liebe —_bofehlon kénnte, As if one ove onder could, i aon tRaxt fey wie eine Tracht Schlag like a sound beating! (As if one coulkl command love like one orders a sound beating!) ‘abo Thaclig vi > tynkan ta verk ‘get bor frvilich, wie ihr Tiirken au Worke goht, But really. how you Turks go about it, ‘tests ‘zig “aox—_‘alanfals bat YaGt sich aux allonfalls_ ——_—bofoblon... lets itself also even (be} commanded. (i1 Lovo) lots itself also be commanded.) abo react “vankhig {su baklargan Abor ihr — seid wirklich zu boklagen. But you are truly to be pitied. ity Kenko di 'gerganflenta ‘oon bagimdon Ihr korkert dio Gogonstinde —ourer Bogiordon You imprison the objec! of your desire (Ein/kerkem is a separable profix verb meaning "to imprison’, “to put in jail’, und “zaet_—_tsuteitdon ona ‘sto tu bysson und seid zufriedon, eure Liste zu biiBon. and are content your pleasures to satisly. SELIM ‘unt ‘glaobsidu ‘ea ‘umzara ‘vaebo Und glaubst du etwa, ‘unsore Weibor And — dy you think perhaps our women Ponzana unsore hhaemast Hoime homeland. ‘mig ‘Tuban “ord. mich lisbon, odor... me love, or ‘zen oinDio Entfubrung aus dom Serail, Act I 447 verwan vemniy> ‘alvklig als nn Poean ‘tendon waren wonigor glicklich als. ihr in. euren_Liindorn? were less happy than you in your countries? KONSTANZE di ‘aigts "besawos enon Die nichts bossoros konnon! Vhey nothing better know! (They haven't known anything better!) SELIM ‘oof ‘dias Part ‘vera ‘vo kaena ofnon Auf — dioso Art wairo wohl keine Hoffmung, From this way (of talking) there would be really no hope das lu je: Manda ‘denkon ‘inst daB du ja——anders donkon wirst that you ever another way think will, (Therefore. there is really no hope that you will ever think otherwise.) KONSTANZE her "ig mus ‘die trae gaffteon Her, ich muS dir —_froi__gostehan... Sire, I mst to you freely confi zal gig. Teye—nhaltan soll ich dich Iingor hinhalton, should 1 you — longer put off, ‘mig mit Tera “ofa Jmacgatn mich mit leerer Hoffnung —_schmeicheln. myself with empty hope flatter, (Sire, I must conte: with emply hopes) freoly to you, why should I keep putting you off any longer and Matter myselt das dust “dons ‘maen vtan daS = du dich durch moi Bitton that yon yourself through my pleading ea'vaegon “ssa erwoichom lioBost.. to be moved allowed. (that you would allow yoursalf to be moved by my pleading?) te Verda ‘ftets “20 deqkan vir st Ich worde stots so denken wie itz I will always so think as now: (1 will always think as I do now:} ‘dig ftctis feateman ‘abo trban ‘ni dich stets verehren, abo... lisbon? Nie. you always honor but... love? Never tet is vory oll Farm of jt2t spooning "now"448 Die Entfahrung aus dom Serail, Act I SELIM ‘unin ‘itest ‘ig fom dere gavalt dk tg ytbe “dig “habo Und du zittorst nicht for der Gewalt die ich ibor dich habe? And you tremble not before tha power that over you have? KONSTANZE tim gseagstan Nicht im goringsten, Not in the slightest ‘fterban ‘st Palas vase su etvarton hab Storbon ist alles. ~was ich © zu_—orwarton hae, Dy is all «thats to expoct have, ‘unt je Tew dis gefia ‘je tebe. ‘vit es und je chor dios geschioht, je lieber wink os and the sooner this happens. the botter will it for me be. (Dying is all T expect, and the sooner it happens, the better.) SELIM ‘eslends inaen ‘mgt fterban imarton ‘on Paton Parton Elondo! Nein! Nicht storbon, Martem von allen Arton. Wretched woman! No! Not death, but tortures of all kinds... KONSTANZE ox dis lg eatagan Auch die will ich ortragen; Also them will I endure; ‘du ea'Jaekst igh tg eavarta ales Du orschrockst mich nicht, ich orwarto allos. You testify me nots await anything (END OF DIALOGUE) NO. 11 ARIA KONSTANZE ‘mario Mallor ‘artan "mgigan ‘maenar ‘varton Marton allor Arton migen meiner warten, ‘Tortures ofall sorts may ome await verlaxs kvail unt ‘paen vorlac Qual und Poin. laugh at suffering and pain. ‘mig er tte mich orschiittemn, me shake. (Nothing will shake tne.) nur dan ‘kent tg sittorn Nur dann kinnt ziltorn, Only then would [ tremble,Die Entfahrang aus dem Serail, Act tt wen 1g “untae ‘koenis “zaen wenn ich — untrow kénnto sein. HeEeeaeL unfaithiul ~—coukt be. (I would only tromble if I were unfaithful.) ‘as die bavergan ferfoma ‘mg La® dich bowogon, —vorschone mich: Let yourself be moved spare me. des tummals “regan batoma ‘tig Des Himmels ——_-Segon bolohne dich! Tho — heavon's blossing may it roward yout! (May heaven's blessing reward you!...) ox du ‘bist entflossan Doch du bist entschlosson."* But you are determined. ville unferdrossin vel geo ‘paen om not Willig, unvordrosson wil! jodo Poin und Not. Willingly, undanntod, choose | every pain and hardship. ‘dna ‘mur gabitta lena ‘obs vyta Ordne nur, — gebiete, Jarmo, tobe —wiite!”* Onter just, command, roar, storm, rage! (st order and command, you can roar, storm and rage!) Isuletst bafract ‘my ‘dox Zulotzt bofreit mich doch Finally frees me then (Finally death will thon free mo.) (Sho goes off, leaving tho stunned Pasha alone on stage.) DIALOGUE SELIM wsidas “gen tRaom vor hat ‘zi: nofaenmarl “den mut Ist das oin Traum? Wo hat sio—aufaonmal = den Mut Is thisa dream? Where gets she suddenly tho courage, “hore isan allernatetaxt for this section af th ata: dx he ryt ken Tes Doct dich rant hein Fleben, Yos, you. anaves no. pleading L¥es, you'io not moved by say plening) amit alt du te.an stand rolls! sehen funy will you see ‘ut sed wat mt “aot did ich odo Qual utd Not withstand ' every suffering nnd ud tasted of firme, tobe, there are also alternate woul vcs fafa robe, staf, rmonece, punish, 449 ‘he. hor from,450 Die Entfahrung aus dem Sorail, Act Il ze or 'gegon ‘aug su batargan sich so gegen mich zu _—_betragen? (-) so toward me ~— 10 behave? (is this a dream? Whore does she suddenly get the courage to behave that way toward me?) (Sich botragon is a reflexive verb meaning “to behave oneself’, “to comport onesel!".) hat zt——filaegt hhofnon ‘ su entkoman Hat si jolloicht Hoffnung, zu ontkomumen? Has sho pethaps hope from m to ha das vil 'te_——_ea'vernon Ha, das will ich ~—_verwohron! Ha, that want I to prevent! dox ‘das ists gt, dan 'Wyrdo ‘zi “zig crm fe'ftelon Doch das is’s nicht, dann wirdo sio sich chor _vorstellen, Yet that itis not, then would she (~}_—_ rather hide her feelings, (Yet, that is not it, she wonld rather hide her feslings then) (Sich verstollon, is a roflexive verb meaning “to hide one's feelings", "to dissimulate’) ‘mg ‘aentsuflesfon fex'zuxon ja. es tst_—_Feaisvaeftun mich einzuschlaforn versuchon.. Jal Es ist’ Verzweiflung! me — to putoff my guard bry. vesleeilceanis sspair! (try to put me off my guard...Yes! It is despair!) ‘mit thenta rg ie mes Fa0s Mit Harte richt ich nichts au With cruelty accomplish 1 nothing ( (aus/richton is @ soparable prefix verb meaning "lo accomplish") ‘mit biton ‘ax ‘nigh mit Bitten auch nicht. with pleading also nol ‘lao: ‘vas “dRo:an ‘ont “brtan nigt_—_feamegon also, was Drohon und — Bitton nicht vermigon, so,’ what threatening — and —_ pleading not achieve, (so, whal threats aud entreaties cannot achieve,) ‘zak is st Isuverga ‘barman soll die List ruwege bringon, must cunning bring about (ito exits.) ‘Scone Five (Blonde enters) BLONDE ‘kaen ‘basa kaen9konstantsa mesa ‘dat Kein Bassa, keine Konstanze mehr da? No Pasha, no Konstanzo still here? aint ‘zi mttae’nand ‘sens gavordan Sind sie _miteinandor oins gewordon? Havo they come to terms with each other?Die Enifiihrung aus dem Sorail, Act It 451 vero ‘gas gta ‘kant ‘hent tou zee an itkom "belmont Schwerlich, das guto Kind hangt zusehr an ihrem Belmont! Hardly; the good child is far too fond of her Bolmont! te —_-badaono vis fom ‘grunt ‘maenas ‘hertsons Ich bedaure sie vom Grund_meines Horzons. 1 pity her from the bottom of my heart wis st tour sempfintzam = Ty: ima lage Sie ist zu ompfindsam fiir Lage. She is too __ sensitive for her situatfon. ‘fraclig ‘het ig ‘maenan pedaaljo wich ‘an ‘de> "zeta Froilich, hatt ich meinen Podrillo nicht an dor Swit Indeed. had 1 my Pedrillo not by my __ side, ver ‘vaes vis ‘mits gine wer woif wie mir's gingo! who knows how — with me it would go! ‘dox wrt ig migt— “genta wits Doch wird i nicht zirteln wie sie. But — would I not be tenderhearted like her. ‘ai: mena fexdimans —varrltg mgt Dio Manner verdionon’s wahrlich nicht, (The) mon deserve it truly not, ‘das man "21g imathalbon —tsu—toxla_gke:mt de® — man sich thalbom zu Tode grit. that wo (+) death grieve. (Sich grimon is a roflexive verbs mé laegt ‘ved ‘wy ‘mutzalmentf ‘denkon. Vielloicht = wiird!” ich mmselmiinnisch donkon. Perhaps would I as a Moslem think, (Perhaps I would think ike a Moslom.] Scone Six (Pedrilio enters.) PEDRILLO pst ‘pst “blantyan st dea Vek kaen Bst, st! Blondchen! Ist «= dor Weg rein? Pst, pst! Blondclien, isthe = way —cloar? BLONDE kom “nix “kom ery ‘basa ist vids tsi Komm nur, komm! Der Bassa ist wieder zuriick, Come then, come! The Pasha has returned, ‘one iaenam alton ‘habs 1g dde:n ‘kopt govafon Und meinem Alton habe don Kopf gewaschon, And tomy old ma have 1 just now given a drossing down.452 Dio Entfidhrung aus dem Serail, Act H was ‘hasidu den Wes hast du donn? What have you, then? (What have you to tell me?) PEDRILLO ©: ‘nopigkaeton ‘dig enitsykan ‘ve:sdon 0, —Nouigkoiton, die dich ontziickon worden. Oh, — news that you delight will (Oh, news that will delight you) BLONDE ‘nun ‘hortig he'Raos damit Nun! Hurtig heraus damit! Wall! Quick, out with it! thentsonsblontgon las “dio Horzonsblondchon, la® dir Blondchen of my heart, lot yourself ‘senon ‘Regt ‘hertsligan kus “gerbon einon recht horzlichon — KuS_geben. aright heartfelt kiss be given, (bo kissed ina truly heartfelt manner.) ‘du vaest. ja Vi gaforlanas Du weit ja, wie _gestohlones You know well, how — stolen BLONDE foi ‘ven ‘das “daena_‘nodigkaeton Pfui! Wenn das doino Nouigkeiten Pshaw! If that your news (Pshaw! If that is all the news you have...) gut ‘Tmekt Gut schmockt. goods taste. vale alle all Yor Zalon ‘éigon vor allen Dingen bofore anything oo01 ‘uns “Ziea ‘oof dem ‘dimst lauert uns sicher auf den Di is suroly watching us at his post PEDRILLO rnengan ‘max dalwum —‘kaenon ‘Term Narrchen, mach darum —keinon Lirm, Lite fool, make no noise, deo Fall ‘spusbybyf>_—_osmin dor alto, spitzbubische Osmin the old Ostnin BLONDE ‘num “uni nopigkaetan Nun? Und Neuigkeiton?... Well? And the ows’. PEDRILLO “vint Was ‘das Pend ‘unzmy sklavanae Tox Sind, da das Endo unsror Sklaversi vor His, that the end (Hlo looks around cautiously.) of our slavery (The uews is that the end of our slavery is just outside the door.) before the iyo Pst Tar ist. door is,Die Enifishrung aus dam Serail, Act U1 453 belmonta —_—konstanisons Fangakomon Belmonte, Konstanzens Gobiotor ist angekommen, Belmonte, Konstanze’s__ master is arrived, ‘ond 1g ha ‘umys ‘dem: ‘naman uenas ‘boomuestas und ich hab! ihn untor_ dom = Namon eines Baumoistors And 1 have him, under the — nemo of an architect, ‘hie im pallast ‘aengafy:ot hier im Palast singofiit. here into the palace brought {And I have brought him into the palace under the guise of an architect.) BLONDE a vas ‘zaksidu betmonta ‘dat ‘Ah, was sagstdu?-—Belmonto da? Ah, — what say you? Belmonte ete? PEDRILLO ‘mt ‘lep unt “zerlo Mit Loib und So In body and soul! BLONDE ha ‘das mus komvtantso_—Visan Hal Das muBKonstanze—_wisson! Hal ‘That must Konstanze know! (Sho is about to ran off.) PEDRILLO hese ‘nue “blantyan hose ‘nur Hor nur, Blondchen, hdr nur Just listen, Blondchen, just listen eo hat wen if hit mem nee ‘in batkaetfatt Er hat ein Schiff hier in dor Nahe in Boroitschaft, He has a ship here in the —_vieinity in readiness, ‘unt ban be'flosan ‘ag naxiisu entfy:ran und wir haben beschlosson, euch dies Nacht zu _—_ontfiihren. and we — have decided you this night to abduct BLONDE oO —Palatispst hhektsonspediljo ‘das wea'dismt facnan “kus Ol Horzonspodrillo! Das einon Kus! Oh, — dearest! Darling Pedtrillo! That a Kiss! konstantsan Konstanzent Konstanze! gefvint ‘su Geschwind zu Quickly to [Again about to run off)454 Dig Entfaihrung aus dem Serail, Act It PEDRILLO halt ‘mu halt unt ‘las mst ‘miidlisa ‘eton Halt nur, halt, und la8—orst-__ mit dir redon. Just stop slop, and let first_—-me talk to you ‘om ‘mtonaxt komt belmont mt acna‘lact Um — Mitlornacht kommt Belmonte mil oiner Leiter At midnight will come Belmonte witha ladder ts “fensto ig Tsu derm ‘aentgan au Fensta ich zu dom deinigon to window, (and) 1 yours. onilan iyets “hae dafan und dann ——_goht’s, heidi davon! and then i's off we go! BLONDE 0: fesptnefhng “arb smisn © vortrofilich! Aber Osmin? Oh. splendid! But Osman? PEDRILLO Tis aen—flasftrunk tye den altan ‘nokopf ist ein Schlaftrunk fir den Schlaukopf, is a sleeping potion for the smact-alec, den mfg im faen—manisnlig ins gotrenko don misch ich ihm foin—maniorlich ins Gotrinke, this mix I him — very properly into his drink, veo flesstau verstehst du? do you understand? te tharbo dort nox fous ‘en fle[gan Ich habe dort auch schon ein Flaschchen —_angefillt. 1 have there also already a litle bottle filled up. yes ‘tke nigl—vintsoet vot ges Geht's hier nicht, winl's dort wohl gehon. Goos it here not, "will it there woll go. (If this potion doesn't work, If resor! to that ane.) BLONDE ork mgt fy:9 mig Sorg nicht fir mich. Worry not about me abe ‘kan konstantsa man gplspion inigl—‘JpRegon Aber kann Konstanzo ihren Goliobton nicht sprechon? But can Konstanze with her beloved not speak? PEDRILLO zoball ‘es talanis Tinsto Past komt ‘eo hom ‘den ‘garton Sobald vs —_vollonds finstor ist, hier in den Garton. As soon as it completely dark is, here into the garden.Die Enifihrung aus dem Serail, Act tt 455 um ‘get unt aRaeta onstanisa fora Nun geh, und _borvito Konstanzo vor. Now go and prepare Konstanze (=). (vor/bereiten is @ separable prefix verb meaning "to prepare") Ml him —betmonton——_ervaion lep vorl herisgon Ich will hier Bolmonten —orwarten. Lob wohl, Horzchon! 1 want to here Belmonte await. Farewell darting! BLONDE ‘te:p 'vorl ‘guia pedailio Leb wohl, gutor_Pedrillo! Farowoll good Pedrillo! ax Nas ved ig fyi» “TRo@a “ankgton Ach, was werd’ ich fiir Froude anrichton! Ah, what will 1 {for} joy bring! (Ab, what joy 1 will bring!) (END OF DIALOGUE} NO. 12 ARIA BLONDE ‘velea ‘vanna velga ost Welcho Wonne, wolche Lust What bi what pleasure, ‘heeft ‘nunmesr mm ‘maenar“brost horrscht nunmehr = in —_moinor Brust." reigns from now on in my breast. ‘ona ‘aotfup vil me fpriyan Ohne Aufschub will ich springon Without dolay want to spring ont ir “glaeg di “naxrigt ‘bemyon und ihr gleich je Nachricht —_bringon;"* and wher immediately the news bring: ont mit ‘Taxan ‘ont mit fertsan Und mit Lacher und mit Schorzen and with — laugh and with joking Vhere is au alterna lost and infinitely moe singnble text for this tue reek 2ig mien "Welche Wonna, weleho Lust, mgt sich awa in meiner Brist® Mand an alten fotloe esas Voller Frewde wl ich springoo, ull of happinass wells up lux ap wall far this fine ted tro Ihe die Froke Nactvcht briagen to hee the glad436 Dio Entfithrang aus dem Serail, Act I from fvaxon “faeyon ‘hertson fro ‘ont jurbal profe'tsaen throm schwachon, — foigon Herzen Froud’ und Jub prophozeihn.”” to her weak weak heart dolight and jubilation _to predict. (to predict delight and jubilation to her weak, ailing heart.) (She leaves.) Scene Seven PEDRILLO a ‘das es foatbae ‘vers Ah, da® os vorbei_ wire! Ah, that it already over were! (Ah, it only i were over!) ‘das vim Poof afm ‘ze: Verna ‘orm ‘mexdals'im Yar DaS8 wir auf —_offner Soo wiirun, unsro Madels im = Arm ‘That we on open sea were, our girls in our arms onidlies fea'vynfia ‘ant im ‘avkon heton ‘und dies verwiinschte Land n — Ritcken hatten! and this cursed Duley at our backs had (Ab, if only we were already on the open sea, our girls in our arms and had this cussed country at ‘our back!) ‘dex ‘7aes gavackt ‘entveds Tis ‘ode ‘nema:ls Doch sei’s gowagt, entweder —itzt_ oder niemals! But let it be dared. either now or never! ‘veo “sarkt feat Wor zagt, vorli He who hesitates, loss! (END OF DIALOGUE) NO. 13 ARIA PEDRILLO trp ‘tsum ‘kampf ‘np ‘som fuaeto Frisch zum — Kampfo! Frisch zum Si Courage. to battle! Courago, tothe fray! ‘nur 2aenfaegar wropt fertsackt Nur ein feiger Tropf vorzagt. Only cowardly simpleton loses heart. ‘zal "esto volt 3g sag Soll! ich zittorn, soll’ ich zagan? Should 1 tromble, should 1 hesitate? "Thor isan alternate text for this line too eankon ost wt rely Uren maken, sclivechon Horan, Trost und —Retfung prophwzattin ailing solace and doliveraneaDie Entfiihrung aus dem Sorail, Act tL 457 man ‘ecbon ‘mute ‘vargan moin Leben mutig wagent?.. my life bravely wager’. naen ‘ax “naen “es "7a gavakt Nein, ach nein os sei gowagt! No, no let itbe wagered! Scone DIALOGUE (Osmin enters.) OSMIN ha: ‘gets “his "zor Hoste ts He! Goht's hier so Instig mw? Hal (What) ishappening here so merrily cr (at What's so cheerful around here?) (Zw/gohon is a separable profix vob meaning “lo take plac or *happening’.} es mos. die fea'todfoll volgen Es mu dir __vortoufelt_ wohl _gehen. Tt must you — devilishly well go. (it must bo going damnod good with you.) (You must be feoling devilishly well.} (Es goht mir gut/wohl is an expression meaning "I arm well’, “Tm fooling fine’, Pm all right’.) PEDRILLO ‘ac vers wnt ‘so: “en ‘kopthena aen Bi, wor wird so ein Kopfhinger seit Oh, who wants sucha moper bes (Oh, who wants to mope around:) wes komt ‘baem ‘hepks — dalbae ‘ngs heRaos Es kommt beim Henker dabei nichts heraus! You get, hang it all, nothing for it (You got darnod little out of it!) ‘das haben ‘dit pedriljos fon jethe:a Das habon die Pedrillos von jehor That have the since time immemorial ima faimiljo gphapt in ihrer Fam gehabl. in their family had, (The Pedhrillos have had mopers in the fami y since time immemorial.) fupligkact unt ‘Vaenfeovzysan “i eRtast9 sklavaRae Frohlichkeit und Wein versiifen ——dio_—hirtesto Sklavorei, Cheerfulness and — wine swootei the cruelast slavery, fraehiy oent zx Zanmon ‘luk ‘gas migt_—_batgnacfan Froilich kénnt ihr armen Schlucker —das_—_ nicht _begreifen, Ofcourse. can you — poor wretches thal_—not—_ understand, (Of course, you poor wretches just don't understand)458 Dio Entfithrang aus dom Sorail, Act It Was ‘es zo “gen hen um en glessgan dB es so n— hortlich um ein Glischen that there such a marvelous asa little glass “gustan falton“lushigmiaxs SL guton, alton Lustigmachor ist. of good, old. merrymaker is, (that a glass of good, old morymiaker is such a great thing.) vaihafig “dar ‘hat ooo axle ‘mathomet Webrhaflig da hat ouor Vator Mahomet Truly. (ho has) your father Mohammed faenon fes'isvactalton ‘bokyafoson einon verzweifolten Bock geschosson, a desporaty. blunder committed, (Cruly, your father Mohammed committed a terrible blunder.) das em 30g den "Vaenvestbotn ‘hat da8 er ouch don Wein verboton hat. that he you the wine [orbidden bas. (in that he forbade you to drink wine.) yen ‘das feo'wynfia.——gazets “igh "VeIRe Wenn das vorwiinschto Gosetz nicht wire, the cursed law not wore, (if there were not such a cursed law.) du: mvstast facn—“yleisgon ‘imit tm —"trankon du maBtest ein Glischen = mits mir_—_trinken, you would a little glass. with sme drink, du mergtost ‘volan ‘ond nigh du méchtest_ — wollen oder nicht, you — would want or not (you would have a little glass with mo, (To himself.) laegt bacst ‘erm Zan ex taykt én gar loicht doit or an: Er trinkt ihn = gar Porhaps he will bite: Ho drinks it only OsMIN waen ‘nics ja ‘gift Wein mit dir? Ja Gift. Wine with you? Well _ Poison. PEDRILLO ama: gift —unfdole untdoly ‘unt ‘gift Immer Gift und Dolch und Dolch und Gift! Always Poison and daggers and daggers. and_—_poison! las ox ‘den Pallon “gral pad) fasman ‘ond La8doch don alten Groll jinmal fahren und Lot your old resentmont — go for once and whether you wanted it or not) su ‘gems zu gemo. too gladly. me — feo'mrnftg sei vorniinitig, be sonsible,Die Enifidhrung aus dem Serail, Act Il 459 ‘is ‘aenmasl facn ‘pare flafan Iseponvaen at Sich oinmal, ein Pasr Flaschen —_—Zypornwein!... Abhhh! Look here. a pair of bottles (of) Cyprus winel... Ahhhht (He shows him two bottles, one bigger that the other.) di: “zalon ‘mie "twelhig {imekon dio sallon mir trefflich schmeckon! that — should to me oxcellent tast (that should taste exc to me!) OSMIN ven Wy ‘im "tRavan “dvafta Wonn ich ihm —_trauen diirfte? IEEE: him trust could? (if only {could trast him?...) PEDRILLO (he sits down on the ground Turkish fashion pratending to sip from the bottle) Was st faen Veen Das ist ein. Woin! That is a winel osm ‘kost‘aenmasl di ‘grossa_flaf> iaox Kost oinmal die —_groBe_Flasche auch. Taste tho big bottle also, PEDRILLO “denkst ‘vor gare ‘ge thatbo “gift wengotain Donkst wohl gar ich_~—habo. igotan? Do you think perhaps 1 have —posion in it put? (Do you porhaps think | put poison in it?) ha ‘las “dite “kuena ‘graoan ‘ha:ka‘vakson He, a8 dir_—keine grauen Haare wachson. Ha, let you no gray hair— grow {Don't grow any gray hair over it.) es veo'lomt'ay esx ‘mya Was 1g daenatvergon Es verlohnt sich der — Mitho, da ich dainetwegon isnt worth ~— the trouble that 1 on your account toefol fy da zis pg zum Toufel fihre. Da sioh, ob ich tothe devil go. There, seo if drink. (Ho drinks a little from the big bottle.) ‘nun ‘hasidu nox badegkan kaos! mit nox ‘nigh Nun, hast du noch Bedenken? —Traust mir noch nicht? Well, have you still doubts? Trust me — yet not? (Well, do you! still have doubts? Sull don’t trust me?) fui osmin alsitig ‘Jexman ‘da‘num Pfui, Osmin! Sollst dich schiimon... da nimm! Phooey Osmint Shame on you. take it460 (He offers Osmin tho big bottle.) Dio Enifihrung aus dem Serail, Act IT ‘oda vilsiche: di ‘klaend Oder willst du die kleine? Or want you the small one? OsMIN ‘ ‘las ‘nue ‘abo ven ‘dug FeRest Noin, laf nur! Aber wenn du mich verratst... No, give ithere! But if you~ me_—_bbetzay. PEDRILLO als Ven vi aemands ‘mgt ‘vaeto "raoxton Als wenn wir oinandor —nicht__ waitor brauchton. As if we eachother not any longer needed (As if wo didn't need each other any longer.) “imo ‘Tref “machomet Like eyst ‘oom Too Immer frisch! Mahomet liegt angst aufm = Ohr Go ahead! — Mohammed lies. long since on his ear (Go ahead! Mohammed has long since been napping) ‘ond 1 nestigs tu tun und hat —_natiger mm tun, and has more important things todo als ag um daena ‘laf ‘ven tsu‘kyman als sich um — deine Flasche Wein zu —_kiimmorn. than himself over your bottle of wine to bother, (than bother himself about your bottle of wine.) (END OF DIALOGUE) NO. 14 DUET PEDRILLO viwat bax: ‘baxcos 4 baxos var ‘aen Vivat Bacchus, Bacchus lobe! Bacchus war cin Vivat Bacchus, Bacchus Jong live! Bacchus was a OsMr “op igs vaige “op ig trinko ps ‘worl Palla ‘zen ‘kann Ob ich’s wage’ Ob ich trinke?... Obs wohl Allah sohon kann? Should I dare it?.... Should I drink? It really Allah see PEDRILLO ‘vas elt das tsaodarn Was hilft das Zaudorn? What good (is) _hesltating? (Osmin drinks.) OSMIN Nun Now now vows gaean wiir's goschohen, i's happoned, (Gan Allah really see it?) Innnuntor ‘mit ‘lana —_gafragt Hinunter! Nicht Jango gofragt! Down with it! Not long — deliberate! (Don't deliberate so long!) vers hinuntor war's hinuntor! its down! braver Mann!hoist ‘das Das ‘ ich 1 8 “etbon Eslobon dio Longlive the das Jmekt Das schmeckt ‘That tastes osMIN ‘das Jmekt Das schmockt That tastos BOTH ‘a das ‘haces Ah, das hoi® Ah that call Dio Entfiihrung aus dem Serail, Act tt 461 govt gowagt daring! ‘Wiblndan i braonan 2 Tesbon “ho: die Blonden, die Braunen! Sie lehen hoch! the blond ones, the brunettes! Long may they live! rmestgan Madchon, ails, retlig trofflich! excellent! erie hort ‘gcettortrank Géttortrank! a drink of the gods! ie ich I OSMIN, thon PEDRILLO Vivat Bacchus, Bacchus lobe ‘baxos ‘der den ‘vaen——_eefam Bacchus, dor don Woin —_orfand! Baccus he who wine invented! DIALOGUE PEDRILLO vaixh das mos 1g gaiftezon Wahrhaftig, da8 — muB ich _—_gostohon, Truly, that must admit, (Truly, 1 must admit that) ‘es geridlox tmgts bo dein vaen Es goht doch nichts iber don Wei there's nothing better than wine! ‘vaen ist ‘mia Hibs als “pelt ‘unt ‘mestgan Wein ist mir lisbor als Geld und Madchon, Wine is tome dearer that money and girls ‘bm ig feadaits ‘mvmf “loom Bin ich —_vordrio@lich, miirrisch,—_launisch: Am 1 bad-tempered, grumpy, moody. “hortig “nes ‘ig maens ‘tsufloxt ‘sux flaf> hurtig nohm' ich moine Zuflucht zur _—_Flasche, quick Tresort to the bottle,462 Die Enifahrung aus dom Sorail, Act It ont kaom ve! we dem “estan “bosdon Und kaum seh’ ich don_—_ ersten Bode: And scarcely see | the first (Lottle) bottom, ek st ‘al “maen_Fea'deos wog ist all ~—moin_Vordru8t away goos all = my —_ annoyance! ‘macno ‘fafa ‘maxi ‘mis ‘kaen ‘fos gaat Meine Flasche mir kein schiefes Gosicht My bottle me no wry faces ‘meen wen ‘dem ‘kopt mein M wenn ihr der Kopf" my whon on hor the head ‘mgt ‘of des —“Regtan fek flew nicht) auf dom — rechten Flock steht. not in tho right place is. (My bottle doesn't make wry faces at me like my girl does, when her head is not in the right place.) (My bottle doosn't make wry faces al me like my girl does, when her way of thinking is different than mine.) font vats! ‘mia fon zysigkaet dem tba Und — schwatzt mir von SiiBigkeit_ der Liobo, And prattles tome about sweetness of love, des ‘ezaftants ‘was tia vat dos Ehostands, was ihr wolll. of marriage, whatever you can think of: vaen ‘oof dea 'tsuya ‘geet yibo falas Woin auf dor Zungo_goht tiber alles! Wine on the tongue is better than anything! (Osmin is starting to foo! the effects of the wine and the sleeping potion, and until the end of the scono gots sleepior and moro sluggish, his speech somowhat slurred.} OsMIN das st. vam = "ven st gen 'fasnas gatnenks Des ist wahr.. Wein ist ein schinos Gotrinke, That is true.. wine is a _lovely drink, unt unz>‘gRosse profes ‘mag ‘mites ‘gt ?ytbal'nesman und unser grofor... Prophot mag mit's nicht iibel nehmen... and our great. prophet musn't think ill of me. gift ‘unfialg cs 1sftlox ‘ana hypo ‘taxe‘um ‘dem 'veen Gin und Dolch! Es ist doch ‘eine hibsche Sacho um don Weint... Poison and daggers! Il isindeed =a towwly thing, this winet. igh “brusde peldnaljo Nicht. Bruder Podrillo?, Not 80. brothor Podsillo? "in this ea50 Kopf, {"bond”) refs to “her way of thinking”Dio Enifahrang aus dem Sorail, Act It PERDILLO ‘paws 2ogmitn nighg Brudor Osmin, richtig! brother Osmin, right! OSMIN man ‘viRt glace ‘eos mut Man wird sloich 60. mauntor.. One — becomes ight away 0. cheerful (He nods and weaves now and then.) 463 ‘vo: fea'gnytkt "0: “‘aofgaRodmt hhasiae ingls ‘mers “bRuda so -vorgniigt... so aufgerdiumt!.. Hast du nichts molt, Bruder? so jolly so high-spirited! Have you not — more, brother? (ile reaches for the second bottle, which Pedrillo quickly hands him.) PEDRILLO - “hoa ‘du: ale eigk ‘min ‘nagiisu fil Hor du, Alter, trink mir nicht zu viol; Liston old ans. dink not too uch; es komt ‘aenam mn dem kaph Es kommt einem in dem — Kopf. Tl comes toone into the head {It goes to one’s head.) OSMIN “track ‘lox zoey ie bin zor nygton vic meghig ‘Trag doch Sorge, ich bin so. niichtorm = wie __masglich. Have worry, 1 am as... sober as possible. ‘abe das share Abor das ist’ wahr.. But that is true Ule begins to weave and stagger back and forth.) PEDRILLO es Vink “alta es Vink Es , Alter, es wirkt! 1 works, old man, it works! OSMIN ‘abo fea'eacton imositht ‘omg mgt “bay:dagan veoteacton Aber verraton mubt du mich nicht... Briderchon... vorraton. But botrey must you me nol... little brother... betray den ‘vens‘tmathomet —naennaen “der ‘basa—_"v¥sta donn wonn’s Mahomet... nein, nein... dor Bassa wiite. because if il Mohammed... no, no. the Pasha _know. ‘den “zisithe bos “blontgan ja oda ‘naen don siohst du... liebes Blondchen.. ja oder _noin! then yousee.. dear Blondchen.. yes or no!464 PEDRILLO (to himself) ‘mun viris‘tsact in ‘forfisufaton Nun wint’s Zeit, ihn fortzuschaffon! Now i's time him to get away from here! (Aloud, to Osmin.) Dio Entfahrang aus dom Sorail, Act It nan kom ‘ally kom vis Votan flasfon Nun komm, Alter, wollon schlafen Now como, old man, want to sloop OSMIN “flatfon “Jemsidu de ‘gift ‘unig Schlafon?.... Schamst du dich nicht Gif und Dolch! ‘Yo sleop?... Aren't you ashamou?. Poison and daggers! ‘ver vinden ‘zo: ‘fleciang men ‘es 'st'ja_‘kaom Wer wirddenn so schlafrig sein. os ist ja kaum Who is then so sleepy be. it is barely (Who is steopy now..it is barely morning.) PEDRILLO Shor hor ‘dis ‘zona st. Jon Ininontx Ho ho, dio Sonne i schon hinuntor!... Ho ho. tho sun is already down! kom ‘kom das ‘unser ‘base migt—_ bona Komm, komm, daB uns der Bassa nicht diborrascht! Como, como, so that us the Pasha not surprise! (Coma, come, so that the Pasha won't catch us by surprise!) OSMIN (being led out by Pedrillo} jaja ‘sens laf quia "basa ‘ges 'ytba eine Flasche, gutor... Bassa. geht tor... Ye a bottle good... Pashia... is botter than... iui ‘next ‘brysdogon “gti nant Guto Nacht, Briderchen.... gute Nacht. Good night,” little brother,,, good night. (After dragging Osmin off, Pedrillo comes back.) Scono Nino PEDRILLO ‘guia ‘naxt ‘brydagan ‘hahaha ‘alto Gute Nacht, Briiderchen.... Hahaha, altor Good night. little brother... hahaha, old evi man ‘diy 70 ‘git onidalg Erwischt man dich so? Gift und Dolcht... Can one dupe you that easity? Poison and aggerst ‘oma Tyre tg isis ‘nox. saetng Nur ffirehtich, ists. noch = zm_——_zoilig Only Lamafraid, its still too early ‘aezantnes> Eisontrossor! bully! ‘ ‘hasflaena Du hast doine You have your (Are you “loaled"!) ‘am targa am Tage; in the day: ‘morgan Morg morning. alos alles! anything! ta:doy Ladung! load!Dio Enifihrung aus dem Serail, Act I 405 ‘mito-naxt ‘amt nox ‘dae ftundon Mittemacht sind noch drei Stunden, midnight its still three hours, ‘onida ‘koomt er ‘laegt virdy Paosgaflasfan—‘ha:bon und da konnt or leicht wieder ausgoschlafon haben and by then could he easily again sleptitoff have. ily slept it off.) (and by then he could have ax koman ‘zi lispsta “her ‘onze Targus ist lint Ach, kommon Sie, liobster Hort! Unser Argus ist blind, ‘Ah, come, earest mastor Our Argus”? is blind, ig hath im "tyglig._“Tstigadekt ich hab’ ihn _tichlig zugedecket. 1 have him — woll covered up. (I have covered (his eyes) well.) [Bolmonto enters) BELMONTE a das Vioglvkiig werron © — da8-_— wir gliicklich—_warron! Oh, that we lucky werel (Oh, if only we were lucky!) cabo zack ist Konstantsa "nok mig hit Abor sag: Ist Konstanze noch nicht hier? But toll me: Is Konstanze not yet here? PEDRILLO ethan komt zit dem ‘gan he'Root Ebon kommt sie den Gang horauf. Just now comes she the — walk up. (She's just now coming up the walk.) re-dan ‘zi: Palas ‘mt Tis ap Redon Sio alos mit ihr ab, Arrange everything — with her (Ab/rodon, is a separable prefix verb meaning "lo arrange.) wba fasonvi“zig —Kuls den dew feavReta lest nigh Zam ‘Aber fasson Sio sich kurz, denn der —_Vervitor schlaft nicht _immor. But make it short, for the —_betrayer won't sleep foravor. “Argus isthe mythologeal figure supposed to have inauy eyes, somo ovon on the back of his head. Psi ts ell (Oamisthe "Argus? wha is "blind drunk466 Dio Entfihrang aus dem Serail, Act It (Konstanze comes in and during her conversation with Belmonte”, Pedillo explains to Blonde his whole scene with Osmin in pantomime. He also pantomimes the plans for the abduction at midnight with tho laddors at the windows, etc.) KONSTANZE AND BELMONTE. e:—‘maenbelmonta ‘maeno konstantso © —moin Belmonto! © meine Konstanzo! Oh, my Belmonte (Koustanze}! KONSTANZE ists nax “20: Tid taxgan ‘dew Past Ist's Nach so viol Tagon dor Angst, Isit After so many days of anxiety. i “vost ‘aosyaftandnan ‘lacden nach — soviel ausgostandnon Leiden, afler so many endu sufferings, diy ‘Vink mn ‘maenan Faxoion dich wieder in Armen, you again in my arms... BELMONTE, °: ‘dizze —Paogondbk ——_fea'zysst alan ‘koma 0, dieser Augenblick —_vorsiBt allon Kumme: Oh, this swestens all grief maxt tmg ‘al aenian ments fea'geson macht mich all meinen Schmerz vorgosson.. makes me all my pain forget KONSTANZE hie vile ‘an——‘daenam ‘buzon ‘ont ‘vaenan Hier will ich an deinem Busen liogon und — weinent... Hore want 1 at your bosom lie and weap! ax etst ty ‘ teogds ‘hat 7oox “iro "taeman Ach, jotzt_fiihl dio Froude hat auch ihre Ah, now feel Lit. the joy has also its (Ah, now I feel it. joy alse lias its tears!) (END OF DIALOGUE) 2)ye syle this long to make the obscrvetion thatthe dialogue in this opere 4s soverely cut in normal performances, (ingot uso. Onc in a gront wala, festival pesformanice is put on ran nudienens as n bit long-winded. Prom drematic point of view dialogue belwoon Belmonte nd Konslanze is superfluous, at diminishes the irnpact af thelr frst meeting al the No, 16 quastet, whore they talk to each other as if that eeu thelr first encounter after such a Tong separation! At the Motropoliton Opera, Relmonte at thie point sings his arin "Wenn dar Fronde Tranen Mlieen" alter which there sas an Tattacea™ right into the No. 18 Quarte! to end the actDio Entfahrung aus dem Serail, Act 407 NO. 15 ARIA BELMONTE ven ‘deir_—frogda‘tremon ‘lissan Aegalt ‘Vibe dem golly holt Wonn der — Freuda Tranen flieSon, Tacholt Licbe dem Goliobten hold When of joy tears flow smiles love to the beloved sweaty! (When tears of joy are flowing, love smiles sweetly at the beloved one!) fon dem "vayan vit 'tsu‘Kysson Von don Wangen sie zu_—_‘Kisson, From the cheeks them 0 kiss, ‘ist deer “titba Jomnstor “gressior ‘alt ist dor Liebe schénster, __grBtor Sold. is of love _{tho) _ most beautiful, greatest roward, (To kiss these tears from her cheeks is love's most beautiful and greatust reward.) ‘ax konstantso dig ‘ts Zen ‘Ach Konstanze, dich zu_—sshon, ‘Ah, Konstanze you. to 888, dig Tol Von fol enitsykkon dich voll Wonne, voll Entziicken you, — full of joy, full of delight fan 'maen “tro¥0s ‘heris tsu“drvkkon an mein trowes Herz zu dritckon, to my faithful hoarl to press, ‘Yomt ‘mir nig kro ont“ praxt lohnt mir nicht Kron und Pracht! rewards me not crown or —_ splendor! (Ah, Konstanze, neither crown nor splendor are rewanis enough equal to seeing you so full of joy and delight and to pross you to iny faithful heart) das vir Uns nizmals vidsendon DeB wir uns niomals, wioderfinden! That wo eachother never find again, (If we are never to be reunited.) ‘wo: dyrfan ‘vier ‘est emptindon so ditrfon wir nicht erst ompfinden, so must. we —not—_first_— feel, (we shall never have to know.) velgan “Imenss ‘eenno ‘maxt welchen Schmerz Trennung macht! what pain separation causes! DIALOGUE BELMONTE 1G hap hie ven fit mn baraetfaft Ich heb’ hier ein Schiff in Borvitschaft; T have here a ship in readin468 Dio Entfiihiung aus dom Serail, Act It um ‘mitonaxt ven Palas ‘lect "kom an ‘daen festa. Um jermacht, wonn alls schlift, komm an doin Fonster, At midnight’ when all is asleep come T to your window. ‘onidan vac “i Titbo Fonzo ‘fotstemal und dann i die Liobo unser Schutzengel! andthen —be_—dove our guardian angel! KONSTANZE ‘muftaozant “tropdon vas volt ¥¢ Ss 'mugt multe vaxgan Mit tausond Froudon! Was woll’ ich nicht mit dir wagon? With a thousand joys! What would 1 not with you dare? ie emvaRis ‘ang Ich erwarte dich. 1 await you. PEDRILLO ‘alzorTebas “blontgon pas ja hyp f ‘oof asus ‘Also, liebes Blondchen, pass jahiibsch auf, _horst du's? ‘Then dear Blonchon, —_koep a good eye out do you hear? (autf/passon is a separable prefix verb meaning "to tnke care’, something’) BLONDE ‘rong ‘fy:e mg Mgt Sorge fir mich nicht. Worry about ime not das ‘vero ‘das Pesasta Parbontoda Das ware des erste Abentouor, Ke would be =the first adventure ‘das ‘aen—‘mestgan feo'flaifn—‘heto das in © Midchon ~—vorschlafon hatte. that a Bil slept through had. (lt would bo the first adventure a girl ever slopt through.) to keep aler'", “to keep an eye out for PEDRILLO ‘du ‘vinsis. ‘fon merken ven ‘du "zo: vas gayanas heat Du —wirst’s schon merken, wonn du sowas Gosungones —_hirst, You will il soon notice, when you — something sung hear, ‘vis ro: maena ZuRt des Parbants ima Past wios so moino Art des Abends immor ist ait so my — custom of the evening always is; (if you hoar something sung. as is usually my custom in the o ‘dan ‘pas Toof vonidan imi ‘aenom "pay lan paB aul, und dann mit einem Sprung thon watch out, and then with one leap, ‘nus ‘hypf gotast ond nigt Nur hibsch gofaGt und — nicht Only nicely courage seized and — not (to) (Just hang on to your courage and do not lose heart) woning, it will be your notice: ins into the veo'tsarkt vorzagt: lose heart:Dio Entfihrung aus dom Serail, Act It ‘vem alos ‘ste Wor allos m Whoever everything 10 (Ho who has everything to lose must ri Feavtisean what mos alos verlieron hat, muB alles lose has, must everything isk everything!) KONSTANZE ven ‘ts etbenura“glvklig Zaploaht Wenn os abor nur —gliicklich_~——abliduft! it but only _ happily runs! (if only it runs smoothly!) BELMONTE, ‘vizx—‘valons “hofan ‘di Tho ‘vint ‘onzra_baiglaetarin. —‘zaen Wir wollen's hoffon. Dio Lisbo wird unsre Bogloitorin soi We will hope for it Love will our companion be. (END OF DIALOGUE) NO. 16 QUARTET KONSTANZE ‘ax belmont ax ‘maen Tecbon Ach, Bolmont Ach — mein Lobent Ah, Belmonte! Ah, = my life! BELMONTE ‘ax konstantsa ax mae ‘Tesbon Ach, Konstanze! Ach, mein Leben! Ah, Konstanzel Ah, my life! KONSTANZE ‘st es npsklig ‘vel enitsrkkon Ist os ich? Welch Entziicken! Is it possible! What rapture! ‘dig van 'maeno ‘brost ‘su rvkkon nax "70 ilar tag Dich an meino Brust zu driickon nach so —violer Tage You to my — breast to press, after so many days! BELMONTE ‘velea ‘vonna ‘a tsu Findon Welcho Wonne, dich zu findon! What bliss, you to find! ‘nun ‘mos ‘allar ‘kumar Jvindan Nun mu aller Kummer Now must all grief oe ist 'maen ‘hets_erfrogt Oh, wie ist’ mein Herz erfrout! Oh, how is my —_heatt_gladdened! KONSTANZE frogdantreman ‘isan Froudentrinon fliefen. tears of joy flowing. vvargan wagen! risk! ‘tact Leid. sorrow. 469470 Die Enifithrung aus dem Serail, Act II BELMONTE tholda) las hunvek re kysson Holde, 1a8 hinwog sie _kiisson! Procious one, lot (ane) away them — kiss! (Lot me kiss thom away, my precious ane!) KONSTANZE das es dx th etstan “vaen Da& es doch dio _otzton soin! That they truly the —lastones——_ be! (May they be the last anos!) BELMONTE ja ox ‘hodta ‘virst du frae Ja, noch onto wirst du frei Yes. still today will you bo froo. (Yes, this very day you will be free!) PEDRILLO ‘alz> —‘blontgan hasts ferfiandon Also, Blondchen, —_hast’s verstanden? So, have you it understood? alos ist sur fluxt—fosyhandan Allos ist zur Flucht vorhanden, Evorything is for the escape at han. wun flak —iswelvs ‘int vir das Um Schlag Zw sind wir da. At (the) stroke of twelve aro. we there, (AL the stroke of twolve midnight we will be there.) BLONDE ‘onbozarkt es vit igs elon Unbesorgt, es. -—wind _niichst fohlon, Don't worry, it will nothing be missing, minuston vert ‘iy tseston Minuten word ich zien, minutes will count, ver Wer ‘angonblik ‘fon ‘aa: War der Augenblick schon da! Wore the moment already Lieve! ALL entlig Jac ‘gi ‘hofnuyzzonna Endlich scheint di Hoffnungssonne Finally shines the sun of hope hel wdorgs “uytba Fimma'ment holl durchs ibe Firmamont. brightly Unrough the gloomy firmvatnent, fol enitsykkon frat ‘ont yonna Voll Entziicken, Froud’ und Wonne Full of delight, joy and raptureDio Enifshrung aus dem Serail, Act I vem ‘vir “unzror “Taedon Pent sohn wir unsrer Leider End! seo We our sotto end! BELMONTE ox 7ex dae lar empimdst ——'maena ‘brost Doch ach! Boi aller Lust ‘ompfindot —moino ‘Brust Yet ahl With all this pleasure fools my breast nox ‘mang gathaemo “vorgan noch —manch’ geheime Sorgo still imany secret worries! (Yet. with all this pleasure, my heart is troubled by many a secret worry!) KONSTANZE vas ist es Tipstar “png Was ist 0s, —_Ligbstor, sprich, What is it, beloved, spoak, gafvint eklesra dig ovhalt ‘mir ingts geschwind, _erkliire dich, o halt mir nichts quickly explain yourself, oh, keep from ma nothing BELMONTE man "zaikt diz “zaest Man sagt... du soist.. They say,, you are, KONSTANZE ‘nun waetor Nun weiter? Go on! (Holmonte and Konstanze look at each other in silence.) PEDRILLO (making a gosture of boing hanged) tox “blontgan fax di ‘laetor Doch Blondchon, ach! Die _ Leiter! Yet, Blondchen af “The adder! bist du vod ‘soft vert bist du wohl soviel wort? are you really so much worth? BLONDE hans nar {apts ‘bae ‘dir Zy:bor Hans Narr! Schnapt's bei dir iibe ‘Tomo Have you gone crazy? (Gbar/schnappen is a separable prefix verb meaning “lo go crazy") we Thettast du amr ebar i frags Fomgakeset Ei, htfost du. nur lieber die Frago umgekehrt. Ah, — should you only rather the question tuned ara (Ah, you should rather have tured the question around the other way.) ferboryan vorborgon! hidden! any472 Dis Entfidhrung aus dem Serail, Act It PEDRILLO dox her osm Doch Herr Osmi But Mister Osinin... BLONDE ‘las titran 18 héren. Lot me hear i KONSTANZE ‘vilsita “aug mgt erklesran Willst du dich nicht orklaren?... will you yourself not explain’? {Won't you explain yoursell?...) BELMONTE man ‘zack ‘du “zest jan sagt... du vist. y say. you WorD.. KONSTANZE ‘nu vaetor Nun weiter... Go on. KONSTANZE Willst du dich nicht erklaron? BELMONTE ue wil Wax sym inigt— Ven ‘te ‘nax dem garygt Ich Doch zine nicht, wenn ich nach dom — Gorticht, H will But don't be angry, if 1 according to the rumor, vo: "wy yahort ‘es Varga “ie tsttomit “berbant fraxga so ich _—gohtirt, os wage, dich _zitternd, bobend frage, Ural heard, it dare, you tremblingly, shakingly ask, ‘du: “dem —‘bassa_‘Tispst du don Bassa _liobst? you the Pasha love? (I will, but don't be angry if | dare ask, tremblingly, shakingly, whether, « have heani. you love thé Pasha?) rding to the rumor L KONSTANZE (wveaping) °: vir ‘due ‘img batry:pst O wie du mich _otriibst! Oh, how you me —_ distress! PEDRILLO ‘hat 'nigt vit man fast ‘glaobon kan Hat nich otwan, wie man fast glaubon kann, Has not Osmin by chance, as. one almost. believe (which one can almost believe.)Dio kntfahrung aus dem Serail, Act I 473 vacn regt ‘als her pro! und bac dir eksentsiat sein Roch als Horr probieret. und boi dir. oxorziorot? his right as lord_ tested, and with you exercised? (tested and exercised his rights asa lord with you?) ‘dan ves ‘aen—flegtar aot Dann war's ein schlochter Kaul! Then it wouldbe a bad bargain! BLONDE {slapping Perillo) day nim ‘dit 2amtvott ‘araof Da nimm die Antwort drauft There, take the answer to that! PEDRILLO (holding his cheek) rman bn ig “oo fgaklesnt Nun bin ich aufgoklaat Now am onlightened! BELMONTE (knooling) konstanso ‘ax fergip Konstanze, ach, _vorgib! Konstanze, ah, forgive ma! BLONDE (moving away from Pedrillo) ‘dw bist tig gar gt vert Du ist mich gar nicht wort. You are of me_ just not worthy, KONSTANZE (sighing) ‘op. ig din toe Ob ich dir trow verbliob?... Whether t to you faithful romained?... BLONDE (to Konstanze) der "fll ‘frackt "igen ‘op ie fim— trop gabliban Der Schlingel__fragt sich an, ab ich ihm —treu_gebliobon? The rascal even inquires, whether I to him true remained? KONSTANZE (to Blonde) belmont (mang zal ‘den ‘basa ‘libon Bolmont sagto man, ich — soll don Bassa tiobont Bolmonto said they, am supposed the Pasha to love! (They told Belmonte | am supposed PEDRILLO (still holding his cheek) das blonda ?exlig wae Jw ie —bae—Palllan_topiatn De& Blonde ehriich sei, schwar ich bei allen Teufoln. That Blonde honorable is, swoar Ts by all dovils BELMONTE (to Podvillo) konsiantss Fist ‘mitre daren st nigh Usa Tgvaefaln Konstanzo ist’ mir trou, daran ist nicht zu ——_zwoifeln. Konstanze is traetome, —_ about it is not to. doubt. (there's no doubt about tt.)474 Die Entfiihrung aus dem Serail, Act I KONSTANZE, BLONDE ven Turner "vegan “dis “menor Parkvon hegan Wenn unsrer Ehre wegen dio Manner Argwohn ——_hogen, When our — honor about the men doubls harbor, (When men harbor doubts about our honor,) ferdegtig Foot ons zen das ‘migl —“aostsufte:n vondichtig auf uns sohn, das nicht auszustehn. suspiciously on us took, that isnot to bo endured BELMONTE, PEDRILLO zobalt "ig vaebar ——‘krenkon ven vir "tit Tontraé “denkon Sobald sich Weiber — krinkon, wonn wir sic —untrou donken, As soon as women feel offended, if we them —untruo think of (As soon as women feel offended if we think them untrue) dan ‘zt ais vara “0 fon Fallon ‘foxrvort dann sind sie wahrhaft trou, von allom Vorwurf thon are they truly faithful from all blame free. (then they are truly faithful, free from any blame.) PEDRILLO lispstos bblonigon ax fevtsuen Liobstos Blondchon, ach, _vorzetho! Dearest Blondchen, ah, forgive me! tie ty bao af dagen roto sich, ich bau’ auf doinoTrouo See, 1 rly 0 your faithfulness mes jetst als. ‘of ‘maenan ‘kool mohr jetzt als auf meinen Kopf more now than on my head! BLONDE aen ‘das kane ‘dir: “Fenkon Nein, das kann ich — dir schenken, No, that can I to you not excuse, mig mit 0" vas ‘isn ferdenkon mich mit so was zu verdonken, me — with something like that to blaine. (No, | cannot excuse you for blaming me for something tike that.) ‘mt ‘dem Patan ‘dommen “top mit dom alton dummon ——Tropft with that old dumb simpletont BELMONT! ax konstanlsa = ax macn_Teebon Ach, Konstanze, ach, mein Leben! Ah. Konstanze, al, my life! eentost du: dex feryerdon das ig izes range vast konntest du doch —vergeben, daB ich diese Frage tat. Could you mo — only forgive, that 1 this question asked.Die Bnifidhrung aus dem Serail, Act I KONSTANZE ‘belmont vir du ‘keentast Belmont! Wie du_—Knntost Belmonte! How you could das mani ‘dvs hens do8 = man dir dios Hore that one from yon this hart das tour ir goflargon deé- nur dir goschlagon that only for you beaten (that someone could stoal my heart from you, BELMONTE, PEDRILLO ‘ax fertsaea ‘ig ——batRowa Ach, verzcihe! Ich barone! Ah, forgive me! 1 repent! KONSTANZE, BLONDE ie fertsaea ‘daenor Ich vorzsiho doinor i forgive you because of your ALL vol ‘es ‘zae ‘min ‘apgotan Wohl, 9s soi nun abgotan! Well, let it be then pnt aside! wes ‘esba ‘our it Es lobo nur sie Long live only it ings faxo das Togar “der nichts fache das Feuer dor nothing fan the fire of (Long live love, and may it be dear to us, and 475 glaoban glaubon, think, “keen konnt could rmobon raubon, steal ‘hat hat? has? a heart that only has beaten for you?) ‘ovo. Reuo. repentance, mae ‘ons “todar sei uns —_touor, be tous dear ‘acforuxt an Eiforsucht jealousy (-. let nothing fan the lames of jealousy.) (Am/fachen is a separable profix verb mneaning "to fan’, “lo set something aflame by fanning") END OF ACT IL476 Die Enifishrung aus dem Serail, Act Hl ACT Ill Scene Ono {On a square, the Palace is on one side and Osmin's house is on tho other. The sea can bo soon in the background. It is aboul midnight. Pedrillo is having a conversation with Klaas, a seaman, who is carrying a ladder.) PEDRILLO " lisbo ‘Klas hike eg Hier, liober Klaas, hior leg Here, dear Klaas, here — lay (Horo, dear Klaas, just lay it down here) ont hols dh und hole die. and got the tsvorta zwol second one ‘abo n> bypf taez> Aber nur hibseh leiso, But be good and quiet about it DIALOGUE ‘es mdes ‘nue ‘nisdo es indos nur niedor it meanwhile just down here ‘bm ‘ne vom Schiff. from the ship. ‘das mgt Tiller gatmaxt daB nicht viol Larm gemacht that not — much noise made (Bul be good and quiet about it, so that there won't be much noise.) es (get hit Roof “tot Fs geht hier auf Tod It goes. here of | doath (It's a matter of life and death.) KLAAS las ‘mig usa "maxon fea'fte: ‘das dm Pook “aen La® mich nur machen, vorstoh des Ding auch ein Just leave it ime, understand the matter also a ven vio zit 'ewst fan “bomt he Wenn wir sia erst’ an Bord Itonly we them finally on Punt —‘lesban und Leben. and life. board had! (If only we had them on board finally!) PEDRILLO ‘ox ‘kluss ven vio Ach, Klaas, wenn wir Ah, Klaas, if we ‘glvkg ‘hax ‘fpamjon gliicklich nach Spanien safely in Spain ‘don betmonta desta Don Belmonte ‘ato Don Bolmonte would have amt Zunzna ‘boots mit unsrer Bouto with our booty oman 1 ‘glaoba komm ich glaube, arrive, 1 think dig in “galt ‘aenfasan dich in Gold oinfassen. you in gold sotDio Enifiihrung aus dom Sorail, Act it 477 KLAAS ‘das ‘magia vol ‘gen “bisgon warm ‘oofs fel ‘yeran Das michto wohl ein biBchen warn aufs Fall gehen; That aight well alittle warm onthe skin go; (That might be a little too warm a coal to wear on my skiny) dox “as vant ‘zig ‘fom ge:ban ‘eels iti Tact Doch das wird sich schon gobon. Ich hole dio Loitor. Yet, Vill get used to it fl will get the Inder. {tle gons out) PEDRILLO ax Weng Zagan ‘zalia. ‘das ‘mitas.“hents ‘nigh ‘Kloptio Ach, wenn ich sagen sollte, da8_—mir's_ Herz nicht Klopht Aoi oT should say that my — heart wouldn't beat, ‘to: "aakto ig Pacna ‘Juekligo ysge so sagt ich ono schrocklicho _Liige. then Twouldsay a lerrible li. di: fea'tsvaefaiton ‘tynkan fea'ftern wugt dem —mndaston. = “fpas Dio —_vorewoifolten Tiirkon vorstohn nicht don mindeston —_SpaB, ‘The — torible Turks understand not the slightest joke, ‘ont 9p ‘deo basa ‘ylaeg wen rene'gat Past und ob dor Bassa gloich cin Ronogat ist, and eventhough the Pasha certainly = a—srenegade is, zo: ist ew ‘Ven “00fs“kapitap Pankomt so ist or, —wonn’s ans. Kopfab ankommt, also is he, when to beheading —_it comes, ‘aen—“feelliga ‘eyrka ein valligor Tiirke. a most definite Turk (and while the Pasha is certainly a renegade, when it comes to beheading, he is most definitely a Turk) (Kloas comes with the second ladder.) zo: ‘gts ‘Klas unt ‘nm ligla, “dis Zamkon So, guter Klaas, und nun lichte dio Ankor So, dear Klass, and = now raise the anchor und pan Zale “zeal Poor und spann alle Sogol__ auf, and set the sails (=) (Auf/spannen us a separable prefix verb meaning "to sel” (as in *sails') e'aenathalba‘ftunt_—feryest eh’ — cine halbo Stun’ vorgeht before a half-hour passes hhasitw ‘dacna ‘folo ‘ladon hast du doine vollo Ladung. you will have your full cargo.478 Die Entfahrang aus dem Serail, Act IL KLAAS "ben vi: ‘oue — ‘hortig ‘unidan las mig “organ Bring sio nur — hurt und dann IaB— mich sorgen. Bring them just quickly, andthen —let_—sme._—_tako over. [He leaves.) Scone Two PEDRILLO ax ig mos. Pasta ‘ho: Ach, ich muf Atom hole Ah, must breatly take. (Ah, T must take a breath...) es sit mies hhewts ‘zo: ey) tstrzaman Es zioht mir's Herz so eng zusammon, It squeezes tome the heart so—_tightly together, (My hoart is squeezed so tightly togetle (Zusammon/ziohon is a reflexive soparablo verb meaning "to draw together’, "to tighten", "to contract") als ig Was. ‘gr@ssta ‘felmanftvk forheta als ich das_—_grBto Schelmenstiick vorhiittl. asif 1 the — worst mischief had planned, x ‘vor 'maen ‘her a0 ‘blaept Ach, wo — moin Herr auch bleibt!.. ‘Ah, where my — master could bel. (Ah, whore could iny master be! BELMONTE (calling softly) pedriljo Podrillo! PEDRILLO vic goteurfon Wie gorufon! Just in time! BELMONTE, st Palos Teaig gotaxt Ist alles fortig gomacht? Is everything ready? PEDRILLO alas jest vil tg ‘gen vemig Allos! Jotzt will ich ein wonig Everything! Now will abit om ‘dem —pallast_heRumfpionisnan ‘ves Pooszitt um den Palast horumspionioryn, _wio's aussioht. around the palace snoop around how things look (Everything! Now I will snoop aroun the palace a bil to see how things look.) “anon ‘it indesan facns Singen Sia indassen ins, Sing in the meanwhile something,Dio nifuhrung aus dem Serail, Act Ill 479 i ‘das zor Palo Pabonda gatan Ich das so. allo. | Abonde gotan, Ich have that so every evenings done, {I have done so every evening.) ‘um vent da Poox jemmant gavan vint und wenn Sie da auch jomand gowahr wird and if of you (there) someons becomes aware (au if someone becomes aware of you) ‘ody man a'gesgnat odor Thon begegnet... or you meats {or runs into you.) den alo ftundan ‘maxt ‘hie ‘aena—_janrtfa:ronvaxa ‘diz ‘kundo denn alle Stundon macht hier cine Janitscharenwache — die.—-Runde. for every hour makes here a ——_Janissary watchman‘ its. rounds. "zo. ‘hats ‘nigfisa batdoeton ‘vi “anilas ‘fon mio fom ga'vent so hat’s nicht zu bedouten, sio_—_sind das von mir schon gewohint; it won't mean anything, they are of it from me already used to; (they are used to it already, from having heard ane do its) est fast ‘bese als. ven man zs 20 hice fend Es ist fast’ bossor, als wenn man Sie so hier find tis almost botter than if they you so quiet__ hese found, (IU is almost better like that, rather than finding you here so quiet.) BELMONTE tas og ‘nu. maxon ont ‘kom bat vidos La mich nur machen und komm bald — wieder. Let me take care of it and come soon back. (Pod loaves.) Scone Throo BELMONTE or konstantss vit “Jleskt mis “dashes O — Konstans Wie schlagt mir das Herz! Oh — Konstanze! = How beats ne the heart! (How my h rt is beating!) "Yurkish “Veni Ch sad of war captives and Chustian youths pressed into serves: all the recruits wore converted o Islam an ane unuer the strictest Uiseipion, ‘vas originally organized by Sullan Murod I. The fanissres spied great powor tu the Oloran Canpire and mds and wanna Sullaas. By 1600 Muslims hd begun lo enter the corp. lrgly through brbory and in the 17th eantury matubeship bi he coups Ucar largely herediury, wil the drafting of Chuttlans largely cose In 1826 Sues Mah? rk hil of the unuly (ol by to ielfcient Janissries by baving thom mastacred in thar own barzecks F (Now oops). Elite cozps in the service ofthe Oslomen Fmpire. It was con "Account attest to their bravery in the forofront of battle; perhaps of more Jotorast tus is how they were accompanied as they ged! forvened, by an ear-spliting cacophony’ of chants, pipes, cymbals und drums, designed to nals thole splets or lower so of thelr anomies. Mozart provides us with his idoa of what this unholy din might have eounded Wika, using German and Uulangles: especlaly in the overture and tho choruses we hear achoes ofthe Janissartes’ savage i paragraph used hy permission, fron the translation by Susan Webb, contained ia) "The ’ Turkish drums cymbal ‘arti accompaniments.” (T Metropolitan Oparn Book of Mozart Op