Der Rosenkavalier By Richard Straufs Op. 59 Erster Aufzug. Einleitung. Stiirmisch bewegt. mete. d «00 Con moto agitato. Piano. x agitato und sehr fiber. Ete, bebe ——~ ds08DER ROSENKAVALIER Opera in three acts by Richard Strauss Libretto by Hugo von Hofmannsthal First performed in Dresden, on January 26%, 1911 CHARACTERS Princess von Werdenberg (The Marschallin): soprano Baron Ochs von Lerchenau, her cousin: bass Count Octavian Rofano, young nobleman: mezzo-soprano, ‘Marianne Leitmetzer, ber duenna: soprano Valzacchi, an Italian intriguer: tenor Annina, his partner: mezzo-soprano A Police Commissary: bass ‘Major-domo of the Marschallin (Struhan): tenor ‘Major-domo of Faninal: tenor A Notary: bass ‘An Innkeeper: tenor ‘An Animal Vendor: tenor A Singer: tenor A Milliner: soprano Three Noble Orphans: soprano, mezzo, contralto Four Servants of the Marschallin: two tenors, two basses Four Waiters: one tenor, three basses Silent Players: ‘A Flautist, a Hairdresser, a Chef, a Scholar, a Noble Widow, a Philosopher, Leopold (Baron Ochs' illegitimate son), a Little Black Boy (Mohamed), an Almoner, Servants, Lackeys, a Doctor, Coachmen, Waiters, Children ‘The time is during the reign of Empress Maria Theresa, about 1745 The place is Vienna THE PLOT ACTI It is dawn in the bedroom of Princess von Werdenberg's palace. Octavian, a youth just seventeen years old, is kneeling at the side of the bed, ostensibly having spent the night in passionate sexual congress with the Princess, who is languorously lying on the bed in her peignoir. Her husband the Field Marsbal is out bunting in the Croatian woods. Octavian is loath to go and the Princess equally loath to have him depart. She cannot conceal from herself that in spite of Octavian's present love for her the disparity in their ages (she is thirty- ‘wo) will soon cause him to look to women younger than herself for love. ‘There is a commotion outside of the Marschallin's room. Becoming alarmed, (both thinking it is her returning husband), Octavian escapes behind the bed, where he disguises himself in the attire of a chambermaid. But the alarm is less serious than the Marschallin4 had feared. One of her relatives, the country-bred Baron Ochs von Lerchenau, wishes to see her. The servants try uselessly to persuade him to wait in the antechamber, but the Baron loudly and gruffly screams "I am not used to antechambering!", as he finally pushes his way in past the servants. ‘No sooner is he through the door than his attention is distracted from his noble cousin (who he so confidently proclaimed to the servants would be so glad to receive him) and focuses on the chambermaid (Octavian in disguise), whom he particularly finds appetizing. He ogles and pinches her, and tries in whispered asides, to make an assignation with her, much to the amusement of the Princess, who watches the scene in amused benignity. It is only reluctantly that he finally comes to the point of his visit. Has her highness been able to help in the matter which was set out in his recent letter to her? So occupied has she been with her young lover that she has quite forgotten what it was Ochs wanted her to do, but it transpires that the object of his visit is to have her name for him a Rose Bearer (Rosenkavalier) to take the customary symbol on his behalf (a silver rose) to a certain Sophie. He has decided to take the young Sophie, daughter of the wealthy and recently ennobled Herr von Faninal, for a wife. Not only does Ochs want help over the matter of the silver rose, he is also anxious that the Marschallin recommend a notary to him, as the details of the marriage contract have yet to be settled. Let him wait, she suggests, not without reluctance, until her morning levée,' which is due to take place at any moment. Her own notary will be there and will be able to help him. Ochs continues to pursue the supposed Mariandel shamelessly, and the chance remark by the Princess to the effect that he seems to know how to take his pleasures where he finds them, sets him off on his favorite subject: love in all its shapes and forms. His monologue consists partly of reminiscence, partly of anticipation, and partly of pure fancy; would he were like Jupiter who could assume a thousand disguises for the purpose of his amour. ‘The levée begins. In turn we meet the Notary, the Chef, an Italian singer, three poor orphans and their mother, and two Italian scandalmongers, Valzacchi and Annina. While the hairdresser attends to the Marschallin's coiffure for the day, the others try to enlist her interest in their various causes. The singer performs his Italian aria to everyone's amazement, showing off his glorious high notes and endless breath control. In the meanwhile the Princess contemptuously rejects the attempts of the two Italians to interest her {n a scandal sheet, and Ochs argues with the notary about dowry and its legal complications. In his rage, he bangs the table and shouts, interrupting the tenor at the climax of the second strophe of his aria, The offended tenor stalks off in true operatic fashion. But calm is restored, and all eventually leave the room, including the down-at-the-heels ‘members of Ochs’ retinue, who have accompanied Ochs to the capital and have handed him the silver rose, which Ochs now hands to the Marschallin before bowing out of her presence. ‘The Marschallin, finally left alone, is prey to autumnal thoughts. Was she not herself just such a girl as this poor unsuspecting creature whom Ochs with all his crudity, is going to marry? Even the retum of Octavian, booted and spurred, and full of chivalrous speeches, cannot change her mood. Whatever his intentions now, it won't be long before he will have left her for another, younger woman. Her sad, reflective, almost bitter mood is something Octavian cannot understand. She tells him he may ride beside her carriage in the afternoon, but he leaves her almost abruptly. No sooner has he left the room than she remembers she did not even kiss him; she rings for the servants and tells them to run after him and bring him ' A levée is a reception granted by nobles during an early morning hour when merchants and vendors come to offer their services, or people come to beg for favors or influence.5 ‘back, but they retumn to say he has galloped away from the door. The Marschallin accepts the inevitable and sends for her little black page Mohamed, and gives him the silver rose in its case, bidding him take it to Count Octavian, who she says in a wistfully moving phrase, will know what to do with it. She sits at her dressing table, mirror in hand, and sadly contemplates her aging features as the curtain slowly falls. acta ‘A luxurious hall in the town palace of Herr von Faninal. This lately ennobled nouveau riche considers it a great distinction that the Baron Ochs von Lerchenau, a member of the old nobility, should apply for the hand of his daughter Sophie. That the Baron's only motive is to mend his broken fortunes does not appear to worry him, although his daughter is a sweet and modest girl. She and her duenna, Merianne, await her suitor in great agitation and Faninal is advised by his Major-domo that etiquette demands that he be absent at the ‘moment when the bearer of the silver rose arrives at his house. ‘Marianne comments delightedly on the appearance of Octavian's coach and on the neighbors ‘who are watching it, and shouts of "Rofranc” are heard from outside. As the music reaches its climax Octavian, escorted by his retinue, comes in carrying the silver rose in his right hand. He makes a litte formal speech to Sophie, who takes the rose and comments on the scent it gives off, due, Octavian says, to the drop of Persian oil which has been sprinkled on it. Sophie releases the excitement which has been pent up inside of her for so long, the two young people's eyes meet and it's love at firs: sight. There follows a short conversation between the two, as they sit down waiting for the arrival of the Baron. Octavian is totally smitten by the girl's charm and she for her part is at once attracted to the handsome young cavalier. Their conversation imperceptibly drifts towards an intimate tone, only to be interrupted when the real suitor enters. His brutal frankness in letting Sophie understand that he is condescending in courting her and his general lack of ‘manners thoroughly repel the girl. Only the humming of his favorite waltz. shows a more agreeable side to his character. Octavian meanwhile is boiling with rage and jealousy, as the girl's aversion to the Baron increases. As if to save the situation, Ochs is called by the notary into an adjoining room where the marriage contract is to be drawn up. Sophie is shocked at what she has just experienced. Never will it be possible for her to marry the detested Baron, especially now that she has met the gallant Octavian. The two are quick in agreeing. Sophie sinks into his arms. At that moment the two intriguers Valzacchi and Annina rush from behind two of the columns in the hall and seize the young couple. Anxious to be employed as spies by Baron Ochs, they now ery out for him, holding the two young people forcibly until Ochs comes in followed by the servants. Octavian tells Ochs in no uncertain terms of Sophie's antipathy, and adds taunt to taunt, until, reluctant to fight, the Baron is forced to draw his sword. In the ensuing encounter, Octavian lightly pricks his arm. The Baron raises a frightful outery, yelling "murder! murder!". There ensues the greatest commotion, due to the mix-up of the servants, the doctor, and the rage of Faninal, who orders Sophie to a convent when she positively and quite vocally refuses to give her hand to the Baron. The latter meanwhile rapidly recovers when his wound has been dressed and he has drunk some more of Faninal's ‘g00d wine. ‘Octavian is determined to win Sophie. For that purpose he decides to make use of the two Italian intriguers, who since being treated in such a niggardly fashion by the Baron, readily fall in with the plans of the young cavalier. After the crowd has dispersed the Baron is left alone lying on the sofa humming his favorite waltz tune to himself. Annina finds it a perfect ‘opportunity to set Octavian's plan in motion; she approaches him and hands him a note. In6 this, the Princess’ chambermaid ("Mariandel") promises him a rendezvous on her night off. Ochs is delighted at the new conquest he believes himself to have made. As he repeats his, favorite waltz, ending it with a big slurp of wine, the act comes to an end. ACT I ‘A somewhat disreputable inn on the outskirts of Vienna, With the help of Valzacchi and ‘Amnina, who are now in the service of both the Baron and Octavian, but are more prone to further the latter's plans because he pays them better, Octavian has rented a room in a local inn and had it outfitted with trapdoors, blind windows, hollow columns and the like. Here, at the suggestion of the intriguers, who have the run of the place and know to what uses the trick room can be put, Ochs has made his rendezvous for the evening with the pretty chambermaid. Octavian, in his girl's clothes, is early at the meeting place and ready to play the gir!'s part. ‘As soon as they are alone, a rude courtship scene develops between the anxious Baron and the bashful, reticent chambermaid, mostly to the accompaniment of delightful waltz tunes from within. Octavian is able to skillfully hold him off and gradually there is unfolded in all its details the mad practical joke that has been prepared for the Baron. Strange figures appear at the windows and out of hollow columns. Lerchenau, ignorant and superstitious, thinks he sees ghosts. Suddenly, what appears to be a blind window bursts open and a ‘woman dressed in mourning appears behind it. It is the disguised Annina, who claims to be Ochs’ deserted wife. A swarm of children rushes in, all yelling "papa, papal”. The servants enter in bewilderment and the clamor and confusion becomes more and more frantic, Finally the Baron calls out of the blind window for the police and the Police Commissary enters. To save his face the Baron says that his companion is his fiancée, Sophie von Faninal. That, however, only adds to the confusion, for Octavian's accomplices have sought out Faninal and invited him on behalf of the Baron to come to the inn. Faninal comes in, followed by Sophie. In his amazement, the Baron can think of no other way out of his dilemma except to act as if he did not know Faninal at all, to the latter's considerable vexation. ‘When the confusion is at its height, the Marschallin appears. She quickly takes in the whole situation. The Police Commissary was once her husband's orderly and it is easy for her to persuade him that the whole matter was just a joke and nothing more. Sophie, who has already informed the Baron that her father never wishes to see him again (nor does she, for that matter) is heartbroken believing that Octavian's affection for her was part of the "joke". Her anxiety does not last long however. After the Marschallin has gotten rid of Ochs, who has long since overstayed his welcome, she gently pushes Octavian towards Sophie. However bitterly Octavian's disaffection grieves her, she is a clever enough woman of the world to recognize that the time for her to give him up has come. She leaves the young couple alone and goes into the next room to attend to the bewildered Faninal. ‘Octavian and Sophie are left alone, clinging to one another in a charming final duertino. The ‘Marschallin reappears for a moment, leaning on Faninal's arm, who muses "young people are like that”... he Marschallin wistfully responds "yes...yes..." and exits with Faninal. The lovers are alone again. They proclaim their mutual happiness once more and go off hhand in hand. But it is not the end of the opera yet. Sophie has dropped her handkerchief, and Mohamed, the Marschallin's little black page, comes tripping in to look for it. He looks around, sees it, picks it up and waving it with a triumphant flourish runs out, The curtain falls.Der Rosenkavalier, Act I 7 ACT ‘The bedroom of the Marschallin (To one side there is a large bed with a tent shaped canopy. There is a screen, behind which some clothes are lying. There are a few cheirs and a small table. On a small sofa to one side lies a sword in its sheath. There are large doors leading to an anteroom, as well as a small, scarcely visible door in the wall. Between the alcove and the small door is a dressing table and, along the wall, a few armchairs. The bed hangings are drawn back. Through the hhalf-opened window the morning sun is starting to stream in. Octavian is kneeling in front of the bed, half embracing the Marschallin who lies in bed. Her face is hidden; only her beautiful hand and arm can be seen, emerging from her lace negligee. Both are still in the throes of post-coital torpor, after a night of passionate lovemaking.) OCTAVIAN vi dus vast. vis dusts: Wie du warst! Wie du _ bist! How you were! How you are! (How wonderfully you made love! How wonderful you are! das vaes ‘nismant das aunt ‘kaenar Das wei miemand, das ahat einer! It knows noone, it suspects no person! (No one can know, no person can suspect it!) MARSCHALLIN (raising hersel/on the pillow) boklackt ex zig keke Beklagt Er sich aber on, Quinguin? Complain you over it, Quinguin? (Are you complaining about that, Quinquin?) das filo. das ‘wstan daB viele das wiisten? Would you like that many it knew? (Would you like others to know?) OCTAVIAN ‘eyal naen ‘zerlig das. gs de‘'aentsiga «= bm Engel! Nein! Selig ich, dal ich der —_Einzige bin, Angel! No! Happy am =, tht «Ts the = onlyone |= am, der vaes vi du: bist ‘kaenor ant es der wei, wie du bist. Keiner abnt es! who knows how you are. Noone suspects itt ‘nimant vaes es Niemand wei es! no one knows it! " Bris the very Viennese address form for "you". It is written witha capital Er, to distinguish it rom ‘er without. capital, meaning "he". Likewise Sie with a capital means "you" (feminine form), ‘whereas sie without a capital means "she". In this opera. du and Er are used indiscriminately at the ‘whim ofthe character, and the choice of one over the othe is just a matter of preference atthe moment.8 Der Rosenkavalier, Act I vas haest das du; vas dus unt ig ‘Was heiBt das "Du"? Was "du und ich"? What does itmean, this "you"? This "you and I"? hat den das ‘aenan zn = das_—zint_—Vorta‘blosa ‘vorta mgt Hat denn das einen Sinn? Das sind Worte, bloSe _Worte, nicht? Has then it any — sense? They are words, mere words, no? dus zak ‘ator ‘dennox es ist etvas mm imon Du sag't Aber dennoch: Es ist —_ etwas in ihnen, Youtellme! But yet, there is something in them, aen ‘fvndoin, —aen aen ‘zeman unt ‘drenon ein Schwindeln, ein ein Sehnen und Dréingen, a giddiness, "an a —-yeaming = aand_—_ pressing, en ‘fmaxton unt ein Schmachten und a pining and vi: jetst ‘maeno hant tsu:“‘daenor ‘hant komt Wie jetzt meine Hand zu deiner Hand kommt, As now my hand to your hand reaches, das tswidizvollon das Das Zudirwollen, das This longing for you, this embracing you, das bm og das vil ts: dir das bin ich, das will «zu dir; it is, ~~ who longs for you; ‘abor das ig ferget m dem — du: Aber das Ich —_vergeht in dem Du. But this "I" is lost inthis "you"... te bm daenbusp Ich bin dein Bub’, 1 am _— your boy, ‘aber ven mir = dan ‘han unt ‘zezon_fergest aber wenn mir dann Héren und Sehen vergeht.. but if tome then hearing and sight _are forsaken... (but if sight and hearing forsake me,) vo: ist dan daen burp wo ist. dann dein Bub? where is then your boy?Der Rosenkavalier, Act I 9 MARSCHALLIN du: bist’ =maen bup du: bst —maen fats Du bist’ «mein Bub’, du bist mein Schatz! You are my boy, you are my darling!’ ie hap dig lip Teh hab’ dich lieb! 1 _loveyoul? (They embrace.) OCTAVIAN (rising suddenly) varum ist tak 1 vilmgt dem tak Warum ist’ = ‘Tag? Ich willnicht den Tagt Why isit daylight? T= don't want the ~— daylight! fyr vas ist dex tak das ‘habon dig alla Fir was ist der Tag! Da _habendich alle! For what is the day!_‘Then haveyou — all (Why day! Then you belong to all!) ‘finstar zol zen Finster soll sein! Dark it must be! (He rushes to the window, closes it and draws the curtains. The tinkling of a bell is heard in the distance. The Marschallin laughs softy.) Jaxst du: mig 2a0s Lachst du mich aus? Are you laughing at me? MARSCHALLIN lax 1g dig 2a08 Lach ich dich aus? ‘Am [laughing at you? OCTAVIAN ‘el Engel! Angel! MARSCHALLIN Jats dus maen jjuger fats Schatzdu, © mein junger Schatz. My darling, my young darling. (again a discreet tinkling) 2 Schatz really means "treasure", but itis used in German as an endearing word for "my darling”, “my love", etc. > Ich hab’ dich lieb, or Ich liebe dich both mean "I love you". It is akin to the Italian amo, and ti voglio bene, both meaning "I love you".10 Der Rosenkavalier, Act I horg Horch! Listen! OCTAVIAN i ilnigt Teh will nicht. 1 dontt want to, MARSCHALLIN Jul pas 2oof Stil, paf auf Quiet, pay attention! OCTAVIAN te vil_—omigts‘horron vas vats den zaen Ich will nichts hdren! Was _wird's denn sein? 1 want nothing to hear! What could it anyway be? (Til not hear a thing! What could it be anyway?) ants, laegt ‘loofor mit ‘rion unt komplimentan Sind's leicht Laufer mit Briefenund = Komplimenten? Are they _pethaps messengers with greetings? fom ‘saorao fom ‘hart fom c avwaje Vom Saurau, vom Hartig,vom Portugieser Envoyé? From Saurau, from Hartig, fromthe Portuguese envoy? (The tinkling approaches.) hix komt mit ‘kaenar heraen bir bing) deer ich der Herr! 1 the master! (herein/kommen is a separable prefix verb meaning "to come inside”) (No one comes inside here! I am master here!) (The small door in the center opens and a little Black Boy in yellow, hung with silver bells, trips across the threshold bearing a salver with chocolate. Unseen hands close the door behind him.) MARSCHALLIN Jnel daferftek ex zg das ‘frysftvk ists Schnell, da versteck’ Er sich! Das Frihstlick ist's. Quickly, hide yourself there! The _breakfast itis. (It's breakfast.) (Octavian slips behind the screen.) fmaes ex dox "zaenon ‘de:gon ‘hintors bet SchmeiS'Erdoch seinen Degen hinters Bett! Just throw your sword behind the bed! (Octavian seizes his sword and hides it. The Marschallin disappears behind the bed hangings, which she lets fall. The little Black Boy places the tray on the small table whichDer Rosenkavalier, Act u he pushes forward near the sofa. He makes a deep bow towards the bed, his little arms crossed over his chest; then he dances daintily backwards, keeping his face towards the bed. At the door he bows yet again and then disappears. The Marschallin reappears from ‘amongst the hangings, having wrapped around her a light, fur-trimmed peignoit. Octavian ‘comes forward between the wall and the screen.) ex ‘katsonkopf ex unforzigtigar Er — Katzenkopf, Er —_Unvorsichtiger! You — scatterbrain! You careless one! Jest man =m _—‘aenar ‘daxma ‘flaztsimmar Littman in einer - Dame Schlafrimmer Does oneleave in a —_—_lady's_ bedroom ‘zaenan ‘degon herumli:gan seinen Degen herumliegen? one's. sword lying around? hat ex —‘kaeno ‘bessaron —_gapfloiganhaetan Hat Er keine besseren -_Gepflogenheiten? Have you no better manners? OCTAVIAN ven ix tw = dum st’ vis, te —mmig bone Wenn Ihr zu dumm ist wie ich —_ mich benehm’, If foryoutoo _boorish itis how I behave, (if my behavior is too boorish for you,) ont venir ‘apgest. und wenn Ihr — abgebt and if you regret das ig = kaen gotyptor = m_—‘zolgon "zaxon bm daS ich kein Gelibter = in._—solchen Sachen bin, that I no practiced hand in such, things am, (that I am not a practiced hand in such matters,) dan vaes 1 —_y:borhaopt migt vas zi: an mix hat dann weif ich ‘iberhaupt nicht © was Sie an mir hat! then know I absolutelynothing what you see in me! (then I simply don't know what you see in me at all!) MARSCHALLIN (tenderly, from the sofa) filozofir ex nigt her fats unt komex her Philosophier’ Er nicht, Herr Sckatz,und kommEr her. Dont philosophize, mister dariing,and come here. jetst virt_ gofryyfivkt ‘jerdos ‘dm = hat ‘zaeno tsaet Jetzt wird gefrihsttickt Jedes Ding hat seine Zeit. Now its breakfasttime. Every thing has its time. (Octavian sits close to her. Tenderly they sip chocolate together. Octavian lays his head on her knee. She strokes his hair. He looks upat her.)12 Der Rosenkavalier, Act I OCTAVIAN mari: teres Marie Theres’ MARSCHALLIN oktarvian Octavian! OCTAVIAN bifetts Bichette! MARSCHALLIN Quinquin! OCTAVIAN Mein Schatz! MARSCHALLIN Mein Bub!* (They continue with their breakfast) OCTAVIAN (merrily) dex feltmarfal —zmtst. im —krowaitifom —_valt Der Feldmarschall sitzt im crowatischem Wald The Field Marshal is sitting inthe Croatian ‘woods unt jakt of —‘bexren unt ‘lukson und jagt auf Baren und Luchsen. and hunts for bear and lynx. unt 1% 1G atts hir 1g jumps blut Und ich, ich —sitz hier, ich junges Blut, And I, 1 amsitting here, 1, young blood, G, the lucky young fellow,) unt jak cof vas ig hab aen glk und = jag’ auf = was? Ich hab’ ein Glick! and = hunt = for what? I have a luck! (How lucky Iam!) MARSCHALLIN (her face troubled for a moment) laser den ‘eltmarfal =m © mu: LaSErden Feldmarschall in Ruh'! Leave the FieldMarshal in peace! mir hat fon im = gotrogmt Mir hat von ihm —getriumt, 1 did about him dream, “Bub, Quinguin, Bichette ae pet names they have for one another. They cannot be translated.Der Resenkavalier, Act I 13 OCTAVIAN hogtnaxt == hat dir. fon im gotrogmt == hogt naxt Heut' Nacht hat Dir von ihm —getriiumt? ~—_Heut' Nacht? Lastnight did you about him dream? Last night? MARSCHALLIN 1; Jaf mix ‘maeno ‘rooma nigt?an Ich schaff mir meine Triume nicht an. I procuremyself my dreams not ( (an/schaffen is a separable prefix verb meaning "to procure”, "to order") (cannot order my own dreams.) (Cannot have dreams to order, at wil.) OCTAVIAN ‘hopto naxt hat dir fon daenam man getroomt HeuteNacht hat Dir von deinem Mann getriumt? Lastnight did you about _ your hhusband dream? MARSCHALLIN max ex nigt ‘zolge ‘aogon ie kan —migts Mach’ Er nicht solche Augen. Ich kann nichts Don't make such eyes. I cando nothing (Don't look so surprised. I can do nothing about it.) ex var ‘aenmad ‘su: hoos Er war wieder zu Haus. He was suddenly again home. (He was suddenly back home.) OCTAVIAN Der Feldmarschall? MARSCHALLIN es var aen lem im bof fon peat unt Loot Es war ein Lirm im Hof von Pferd' und Lent’, There was a noise inthe courtyard of — horses and _—_ people, unt fer var da und er = war da, and he — was there, (and there he was.) for frek var 1 —aof‘aenmarl vax naen Jao nur Vor Schreck war ich © aufeinmal wach, nein, schau' nur, Out of fright T suddenly awake, no, "just see, {I weoke up suddenly in fight) Jao nux vi kinds ban schaunur wie ich kindisch bin: just see how childish Try Der Rosenkavalier, Act I te her) nox immer dem rvmox mm bof Ich hdr noch “immer den Rumor im Hof. 1 hear still always the noise inthe courtyard. (Lan still hear the noise in the courtyard.) ig bins mict, = aos, demo Ich bring's nicht aus dem br. 1 cantget it —outof my ears. howst du: laegt aox vas Horstdu —_leicht auch was? Doyouhear perhaps also. something? OCTAVIAN jar fraelig her 1 vas Ja, freilich hor ich was, Yes, ofcourse hear I something, ‘aber mus es den daen man zaen aber muB es denn dein Mann sein? but must it then your husband be? denk dix dox vo: der ist Denk’ dir doch wo der ist: Just think where he is: im raetsonlant nox ‘hintarverts fon ‘essek Im —Raitzenland, noch hinterwarts von _—_—Esseg. In Raitzenland, even beyond Esseg. MARSCHALLIN ist das "zigor_ zex—vaet Ist das sicher sehr weit? Is it trily very far away? na: dan virtshalt vas ‘andors zaen dans ja: gust, Na, dann wird'shalt wasanders sein. Dann is‘ ja gut. Oh well, then it must something else be. Then itis all right. OCTAVIAN du: faost zo: ‘enstlig draen teress Du schaust so ingstlich dein, Theres't You seem so anxious over it, Theres'! MARSCHALLIN vaes ex KEKE ven 8 ox vaet Weif Er, Quinquin, wenn es auch weit Do youknow, Quinguin, evenif it also__far (even though it is far off...) * Once in a while, when preoccupied or slightly on edge, the Marschallin lapses into "common" speech, as in this case: is ja gu, instead of the correct ist ja gut.Der Rosenkavalier, Act I 15 dex ffeltmarfal ist halt zet — gafvint der Feldmarschall ist hal sehr — geschwind. the _ Field Marshal is sometimes very swift. (The Field Marshal can get back home in a hurry.) (he breaks off) OCTAVIAN (jealous) vas var aenimal Was war einmal? What was once? (Once what?) (The Marschallin listens distractedly.) ‘Was war einmal? Bichette! MARSCHALLIN ax zaeex gut er mus nyt alas ‘vison Ach, seiEr gut, Er muB nicht alles wissen. ‘Ab, be good, you need not everything = kmow. OCTAVIAN (despairingly throwing himself down on the sofa) zo: ‘fpit zit mgs mts mir, tgbm aen ‘unglykligor_—menf So spieltSiesich mit mir! Ich binein _ungliicklicher Mensch! So trifleyou with me! Iam an unhappy human being! MARSCHALLIN (still listening) jetst tots ex migt —jetst gilts es 1st’ dex feltmarfal Jetzt trotz' Er nicht. Jetzt _gilt's. Es ist der Feldmarschall. Now stop sulking. Now itstrue, It isthe ‘Field Marshal. ven es aen—fremdor ver Wenn es ein. Fremder wir’, i it a stranger were, zo: ver dex lem dat ‘draoson. so war’ der Lirm da drauBen then wouldbe the noise outside there, m = ‘maenom == foutsimmer es. «= muss maen man zen in meinem Vorzimmer. Es muS mein Mann sein, in my anteroom. It must my —_—husband be, (ifit were a stranger, the noise would come from my anteroom outside there. It must be my husband.) dex dure dit gardsrop_——heaenvil der durch die Garderob' herein will who throughthe dressing room wants to get in unt. mut dein la‘kajon disputisrt und mit den Lakaien disputiert. and with the —_lackeys isarguing.16 Der Rosenkavalier, Act I keke es ist’ = maen_ man Quinguin, es ist’ ~—smein Mann! Quinguin, itis my husband! (Octavian runs for his sword and runs to one side) nigt dort dort ast das foxtsimmor Nicht dort, dort ist das Vorzimmer. Not there, that is the ~—_anteroom. da: ‘zitson ‘maeno liferanton unt = aen_—‘halbas ‘dutsont lakajon Da sitzen meine Lieferanten und ein halbes Dutzend —Lakaien. There sit my tradesmen and (a)_—half'a_ dozen lackeys. da: Dat Go over there! (Octavian runs across to the small door.) isu: fpet amt Jom m dex gardsrop Zu spit! Sie sind schon in der Garderob'! Too late! They are already inthe dressing room! jetstblaept nur aens ferfiek ex 21g Jetzt bleibt nur — ins! Versteck Er sich? Now remains only one way! Hide! (Now there's only one way!) (after a brief moment of indecision) dort Dort! There! OCTAVIAN 1% fpr im =m = dem -vek =p = blaep bae dir Teh spring’ ihm in den’ Weg! Ich bleib’ bei dir. Th jump in his way! Tl stay with you! (Ul bar his way!) MARSCHALLIN dort ‘huntars bet dott om = diz fosthen Dort hinters Bett! Dort in die Vorhiing’. There, behindthe bed! There, in the curtains! unt ry dig nigt Und rithr’ dich nicht! And — don't move!Der Rosenkavalié OCTAVIAN ven ex mig dort ervift vas vit 7 aus dir,Theres'? Wenn er mich dort erwischt, was wird fhe ~—me_there_ catches, what happens to you, Theres"? (What if he catches me there, Theres’, what will happen to you?) MARSCHALLIN Versteck’ Er sich, mein Schatz! OCTAVIAN (at the screen) Theres'! (He disappears between the screen and the wall of the alcove.) MARSCHALLIN (stamping impatiently) ze ex — gants ful Sei Er ganz still! Be you very quiet! (with flashing eyes, defiantly) das maect 1g == zen op ‘senor zig dort hi my:bor traot ‘Das mécht' ich sehn, ob einer sich dort hintiber traut, That T'dliketo see, if someone -—dares tocome in, ven hire: wenn ich hier steb’ while I here stand. i; bn_—kaennapolita:myfar general Ich bin kein napolitanischer General: 1 am no Neapolitan vo ig ftes—_ feng Wo ich steh’, ste ich. Where I stand, Istay! (She goes energetically towards the small door and listens.) zint ‘brava kerln ‘maeno lakajon Sind brave Kerl'n, meine Lakaien, Theyre fine fellows, my —_lackeys. ‘vollon im nigtheraenlasson ‘zagan das gp flat Wollen ihn nicht herein lassen, sagen, da ich —schlaf'! They want him not letcomein; —_ saying that = am asleep! (They wont let him come in,) This is an allusion to a clash between Austrian and Neapolitan troops in 1744 where the latter retreated rather badly. As a jocular bit of useless information, I was told by a violinist who used to play in the Metropolitan Opera orchestra that his desk partner, an Italian fellow violinist, whenever this passage would occur, would utter a rather audible "boo" in a fit of patriotic indignation!18 Der Rosenkavalier, Act I zex — ‘brava _kerln Sehr brave Kerl'n! Very fine fellows! (Ghe listens to the noise in the anteroom becoming louder.) di: fam Die Stimm't The — voice! das st ja: gar migt di: fam fom —feltmarfal Das istja garnicht die Stimm'vom —_Feldmarschall That is notatall the _—voice of the Field Marshal! MAJOR-DOMO'S VOICE (spoken, offstage) ‘atbor her — baron Aber Herr Baron! But (Sir) Baron! im das st aen ihm, Das ist ein him. That is a gen bozux cin Besuch. a visit, ‘zaeno ‘klaedor ‘arbor blaep ex seine Kleider, aber _leib' Er your clothes, but stay im mgt zem Thn nicht seh'n. you not see. (may not see you.) (The Baron's voice can now be heard, coarsely yelling in the anteroom,)* di: ‘blosdo ‘grosso fam ‘mysta 1g —dox ‘kennan Die bldde, grofe Stimm' miBte ich doch, kennen, That stupid, loud voice I should certainly know. ver 1stden das ‘hergot das ist ja: dew oks Wer istdenn das? Herrgott, das istja_ der Ochs. Who canitbe? Good Heavens, it_ is Ochs. ‘fremdor Fremder. ferftekt teckt, hidden, 7 This lin isnot inthe score, but it is always spoken offstage ina loud, indignant voice by the Major- domo. The Baron is free to utter a number of German exclamations, for example "Was sind das fir ‘Manieren! Lat mich doch hinein, ihr Baumlange Lackeln’. "Weg von mir!" "Sakrament noch a' Mal" and others. (What manners are these! You lanky lackeys!", "Away from me!*, "Damn it, ")Der Rosenkavalier, Act I 19 de: oks aos ‘erganao der Ochs aus Lerchenau. ‘Ochs of Lerchenau. erfinnart ex 71g migt. erinnert Er sich nicht? remember you not? (don't you remember?) ‘waganflak — gabraxt Wagenschlag gebracht. carriage-door bring. eft a geftandan 1st gestanden ist. i keke ‘Quinguin! Quinguin! galeri: su: ‘varton Galerie za warten! das st maen ‘fettar_dexr‘lerganao Das ist mein Vetter, der Lerchenau, That is © my cousin, Lerchenau. vas vil den dex ‘jessus matria Was will denn der? Jesus Maria! What wants then he? Jesus and Mary! (What does he want?) (She laughs.) keke host 2ex keke Quinquin, drt Er? Quinquin, Quinguin, are youlistening? Quinquin, for fmf zeks taigon dem Vor flinf, sechs Tagen, den Ago five, six days, the (Five, six days ago...the letter...) vir aint om = ‘vagon gezesson Wir sind im = Ws gesessen, We were inthe carriage sitting, unt ‘aenan bri ‘harbon zis mir an und einen Brief haben sie mir an and a letter did they tome to (and a letter was brought to my carriage door.) das var dex brif_ fom ks Das war der Brief vom Ochs. That was the letter from Ochs. unt og harp ‘Kaen ‘anu vas Und ich hab’ keine Ahmung was And I have no idea what (And I haven't the faintest idea what was init.) (with great charm) daran ter —alllaen Juldig Daran ist Er allein. schuldig, For that are you alone to blame, VOICE OF THE MAJOR-DOMO (from within) boll:bon ‘260 ‘gnaidan m dex Belieben Ever Gnaden in der Willitplease Your Lordship inthe gallery to wait? (Several times during the following, the small door at the back opens slightly, only to close ‘again, as though someone were trying to get in from the outside with someone else barring ‘his way.)20 Der Rosenkavalier, Act I BARON'S VOICE vo: hot ex ‘send maniren —galernt Wo hat Er seine Manieren —_gelernt! Where have you your manners Tearned? dex batom ‘lerxanao atifabrist nigt Der Baron Lerchenau antichambriert’ nicht! Baron Lerchenau does not antechamber! (Baron Lerchenau never waits in an outer room!) MARSCHALLIN keke vas traept ex den vo: ‘ftekt ex den Quinquin, was _treibt Er denn? Wo _ steckt Er denn? Quinguin, what _are you up to? ‘Where are you hiding? (Octavian appears dressed in a woman's skirt and short bodice, his hair bound with a kerchief and ribbon. He curtsies as he steps forward.) OCTAVIAN (in an artless voice, imitating the speech of a servant girl) bof ‘frst gnadn i bn—smoxmtt rest lay BefehI'n —_flirstli' Gnad'n, i bin noch nit recht lang Tfitplease your ‘ighness, 1 aint not been Tong im fvrsthi dinst in frstli'n Dienst. in _your‘ighness’ service. MARSCHALLIN du: fats Du Schatz! You dear boy! unt migt- ‘aenmad me:r_als aen ‘bussarl kan 1g dix 'ge:bon Und nicht einmal mehr als ein Busser! Kannich dir geben. And no more than one kiss can give you. (She kisses him quickly. There is afresh uproar outside.) er brigtmis = dit_— tyr aen dex_ her fettor, Er bricht mir die ‘Tir ein,“ der _—_-Herr Vetter. He isbreaking my door in, that _—_ cousin of mine. max exr das ex —_hrnaoskom MachEr, daS- Er —_hinauskomm'. See that you get away. lif ex freg dure dis lakkajon durg Schlief Er frech durch die Lakaien durch. Slip boldly throughthe lackeys. * One of the many Germanized French expressions found in the score. Antichambrieren means *to be ‘kept waiting in the anteroom’, from the French antichambre.Der Rosenkavalier, Act I 21 ex ist aen_—_‘Dhitsgofaetar lump Er ist ein_ilitzgescheiter Lump. You are a ___lightning-smart ‘young devil. ont kom ex ‘visdor fats Und kommEr — wieder,Schatz, ‘And come again, darling, ‘aber m ——‘mansklaedom unt dure dis fordro. tyr aber in Mannskleidern and durch die vordre Tar, but in man’s clothes, and throughthe front door, vens im bolicpt ‘wenn's Thm beliebt. ifit so pleases you. (She sits with her back to the door and sips her chocolate. Octavian rushes at the small door, wanting to run out. At the same moment the door springs open and Baron Ochs ‘enters, pushing past the Major-domo and ome of the lackeys. Octavian, in trying to slip past quickly with lowered head, collides with the Baron. Discomfitted, he then presses to the ‘wall to one side of the door. Three footmen enter with the Baron and stand bewildered) BARON (pompously, 10 the footmen) sejpst fe'ftenthg —empfent = mig ino 'gnadon Selbstverstindlich ° empfingt mich Ihro Gnaden. Of course receives me —her_—Hiighness. (Of course her Highness will receive me.) (He moves forward, the footmen stil rying to bar his way. After bumping into Octavian he turns to him (her] with uncommon interest) pards meen ‘hypfos kant Pardon, mein hiibsches —_Kint! Pardonme, my pretty child! (Octavian turns to the wall, embarrassed) is sak Teh sag’: I say: Pardon, mein hibsches Kind! (The Marschallin looks over her shoulder, then rises and goes to meet the Baron.) *® Bven though the Viennese variants of German were explained in the front matter, let this serve as a reminder: In Viennese speech, all initial s before vowels are unvoiced [s] sounds. Likewise the German {ae] diphthong, in Viennese dialect, the wienerische i,)hasa different sound, transcribed phonetically as {ae}. In stressed syllables with an a, I will use the “dark” [a] symbol, to be ‘understood as almost an (o] sound, or somewhere in between {a} and [2] These changes apply ‘exclusively to the Baron and later to Faninal, the servants, coachmen, Annina, and the disguised (Octavian as Mariandel. The Marschallin, Octavian, Sophie and Marianne speak “normal” German,22 Der Rosenkavalier, Act I BARON (gallantly, to Octavian) hab ir = dox mgt ‘emnsthig ver gotan Ich hab! Thr doch nicht _ernstlich we getan? I have you then not —_really hurt? (I didn't really hurt you, did 1?) FOOTMEN (trying to catch the Baron's attention) ‘ive fyrstligan ‘gna:don Ihre flirstlichen Gnaden! Her Highness! (At the Marschallin's approach, they line up in a serried rank in front of the small door. The Baron bows three times in the French manner.'') MARSCHALLIN ‘20er Tispdon’ ‘zemn fortreflig aus Euer Liebden sehen _vortrefflich aus. Your Lordship looks extremely well. BARON (bowing once again, then to the Major-domo) jetst vol das. ia ‘gnardan jetzt wohl, daB- Thre Gnader now that her —-Highnes entsvktist mig tsuz:_— sem entziickt ist mich zu sebn, isdelighted me to _—_see. (to see me.) (going up to the Marschallin and leading her forward with gentlemanly ease) unt viz ‘sojten ‘og ‘gnardan igt Und wie sollten Euer"” Gnaden nicht! And why should your Highness _—_not (be)! vas tut di trys ‘funda Was tut diefrihe Stunde ‘What matters theearly hour "This i called in German, Die franzdsische Reverenz. Notice the phonetics in these two words sollien Ever: The 1 in sollten is pronounced as aj} glide, as shown. In words with er I choose to let the Baron use the "r colored schwa" (o]" rather than the common IPA transcription for everyone else of [or]. The "r colored schwa" of course, is used by every German or Viennese in conversation. In singing, however, good form tells us that ther’ have to be pronounced, when tempo allows. There is a wide variance inthis matter, however. The great baritone Hermann Prey, for instance, pronounced every one of hs r's. Fischer-Dieskau, Christa Ludwig, Hans Hotter, Elizabeth Schwarzkopf and many others opt for occasional pronunciation and. ‘occasional "reduction". There is no discemible pattem. My advice is, if tempo allows and the word is, ‘an important noun, verb or adjective, PRONOUNCE THE R. The "small" words like er, wer, mir, der, nur, aber, wieder, and others, may be "reduced" atthe singer's discretion without incurring the ‘wrath of punctlious German coaches, like our beloved Walter Taussig at the Met, who calls singers ‘who reduce all of their post-voealicr's "Members ofthe R Droppers' Society".Der Rosenkavalier, Act I 23 ‘unt peo'somon fon —_ftant unter Personen von ‘Stand? between people of rank? nigt ‘vorhoftk tak fy tak nicht wabrhaftig Tag fir Tag not after all, morning after moming, ‘meena ‘cofvartun —-gamaxt meine Aufwartung gemacht, toour Princess my respects pay, da si am_—bat_ gases st da sie im Bad gesessen ist, as she inher bath sitting was, (as she satin her bath,) mn miks —gjs_—‘wenom'kleenon = vant{rm mit nichts als einem kleinen Wandschirm with nothingbut a small sereen ‘tsvifon ix unt mir zwischen = ihr = und mir. between her and myself? (Meanwhile Octavian would gladly have slipped out, but the astonished glances of the lackeys and the Major-domo compel him to utmost caution, and he retreats with feigned calm along the wall towards the alcove.) ie musmig—‘vundon Teh muBmich — wundern, 1 amtruly amazed, (looking around angrily at the footmen) ven ‘28a ‘gnadon livre: wenn Euer Gnaden Livree.. that your Highness’ ——_(liveried) servants... MARSCHALLIN fertsaeon zi: man hat ig botraigon vi: es -—_baforlon Verzeihen Sie! Man hat sich betragen wie es —_befoblen. Forgive me! They did act as itwas ordered. (They acted as I ordered them.) ig ‘hatt‘dizzan_ ‘morgen di: migrema Tech hatte diesen Morgen Migriine. Thad this. moming = a_—Ssmigraine. (At a sign from the Major-domo, the footmen bring the small sofa and an armchair further forward and then withdraw. The Baron keeps looking towards the back. Octavian busies ‘himself with the bed, trying to be as inconspicuous as possible. The Marschallin sits on the ‘sofa, after waving the Baron to the armchair.)24 Der Rosenkavalier, Act I BARON (trying to sit so as to better ogle the pretty chambermaid) zen ‘hypfos dm = en ‘guitas ‘saobros. ‘fandorl (Ein hitbsches Ding! Ein utes, saub'res ‘Kinderl!) (A pretty thing! A good, well-washed little child!) MARSCHALLIN (rising and again bidding him to sit down) te bin Gox—jetst nox nigt gants vol Teh bin auch jetzt noch nicht ganz wohl. Tam not now still quite well. (Lam still not quite well.) (The Baron sits down hesitantly, trying not to turn his back fully on the pretty maid. During what follows, he turns now to the Marschallin, now to Octavian on the other side.) dex her'fettar vt datum fitllaegt is‘gnarda—‘hasben Der Herr Vetter wird darum vielleicht dieGnade haben... My — cousin will therefore perhaps the kindness have (Perhaps my cousin will therefore be so gracious...[as to get on with what you want to say)... BARON natyalig Natiirlich. Of course. (He turns to get a look at Octavian.) MARSCHALLIN ‘maens ‘kammertso:fo aen ‘juss dm) fom Yanda ‘Meine Kammerzofe, ein junges Ding vom Lande. My —chambermaid, a young thing from the country. ie mus fyrgton zit inkommotdixt ‘260r‘isbdon Ich muB fiirchten, sie. inkommodiert Euer Liebden. Tam afraid she _isinconveniencing _your Lordship BARON (towards Octavian) gants ‘allatizpst Ganz allerliebst! Quite delightful! (back to the Marschallin) viz igt’ = m_~—_gatrimstan mig im —_‘ge:gantzeel Wie? Nicht im geringsten! Mich? Im —_Gegenteil! What? Not inthe slightest! Me! Onthe contrary! (He waves to Octavian, then to the Marschallin) ‘990 = ‘gna:den ‘verxdon, fitllaegt feo'vundet seen Euer Gnaden werden vielleicht _verwundert sein, Your Highness will perhaps bbe surprised,Der Rosenkavalier, Act I 25 das 1g —gjs_—_‘brogtigam daB ich als. Bréutigam that I asa bridegroom (turning again to Octavian) mides mtsvrfon indes... inzwischen... but... in the meantime... MARSCHALLIN Als Briutigam? BARON ja vit_—‘0¢0'gnardan den dox Ja, wie Euer Gnaden denn doch Yes, as your Highness “must have cos ‘meena. aus meinem from my (Yes, as your Highness must have certainly read in my letter...) (to Octavian) wen ‘grasfaf appetite kzeeno ‘fynftsem jor (Ein Grasaff, appetitiich, keine flinfrehn Jahr!) (A cute monkey, appetizing, not yet. fifteen!) MARSCHALLIN (relieved) dex bri natysrhg = ja: «dex rtf Der Brief, natiirlich, ja, der_—_—Brief, The letter, ofcourse, yes, the _letter, ver ist den nur di: ‘ylvkligo wer ist dennnur = die _—_Giliickliche? who is then the lucky girl? ig hap dem ‘naman cof dex tsup Teh hab’ den Namen auf der Zunge. 1 have the name on the (tip of my) tongue. BARON (to the Marschallin) Wie? What? (to Octavian) ‘pudaljon ——_ga'sunt gevofon —‘allolispst Pudeljung! Gesund! — Gewaschen! —_Alllerliebst! A mere puppy! Healthy! Clean-washed! Cute thing!26 Der Rosenkavalier, Act I MARSCHALLIN ver ist mur fnel di: braot Wer ist nur schnell die Braut? Who is now, (tell me) quickly, the bride (-to-be)? BARON das froglaeen fonina:l ‘habs ‘28a ‘gnadon Das Friulein Faninal. © Habe Euer Gnaden Fraulein Faninal. Tdid your Highness den ‘nomen nigt_ feo-hecemligt den Namen sieht verbemeht the name keep secret. {didn hide the name from your Highness) MARSCHALLIN natyrig vo: hab p= maenan. kopf Natiirlich! Wo hab’ ich meinen Kopf? Ofcourse! Where have I my head? (Where has my memory gone?) bios di: famili zants BloB die Famili, Sind's But the family, are they (Octavian occupies himself with the serving tray and so moves more behind the Baron's back) BARON (emphatically) jatvol ‘oge- ‘gna:dan es sint hissigo Jawobl Euer Guaden, es sind Hiesige. Indeed, ‘Your Highness, they are —_ from hereabouts. wen dure dit ‘gnada ‘sr ~—majestet. ©—_gatadalte- Fin durch die Gnade Ihrer Majestit Geadelter. One throughthe grace of your Majesty raised to nobility. (A man who by your Majesty's grace was raised to nobility.) ex hat dit tiforun fy diz arme: Er bat die Lieferung fir. “die Armee He does the supplying forthe ~=— army dim dem = ‘nitdatandan fest die in den__‘Niederlanden steht. which in the Netherlands is. (He supplies the army in the Netherlands.) (The Marschallin impatiently makes signs with her eyes at Octavian meaning for him to leave. The Baron totally misunderstands her expression.)Der Rosenkavalier, Act I a7 BARON te se: ‘20e'gnardan ‘runtsoln ‘deo frm 9p dea mezaljaso Ich seh’, EuerGuaden runzeln ero ‘Stirn ob der Mesalliance. 1 see’ yourHighness furrows her brow over _ the misalliance. (Lsee that your Highness frowns on the misalliance by the look on her face.) allen das 1¢ es 'sargo dos ‘mestgon Allein,” daB ich es sage, das Miidchen'* But, if I say so myself, the girl ist fy@ enon ‘eel hypf gemuk ist ffir einen Engel hiibsch genug. is for an_—_angel_pretty enough. (is pretty enough to be an angel.) komt ‘infveks cos dem ‘klosst- Kommt frischwegs aus dem Kloster. She comes fresh out of the convent. ist das ‘eeentsigo. = knt Ist das einzige Kind. She's an only child. (more emphatically) dem mon gaheren tsveelf ‘hooso- cof de ‘virdn Dem Mann gehdren —zwalf_ Huser auf der Wied'n Tothe man belong twelve houses on the ~—-Wieden'* neipts dem pale am hot nebst dem Palais am Hof. aswellas the —_ palace by the Court. Grinning) unt ‘seeno gasuntheet oj mgt di: “esta sen. und seine Gesundheit soll_ nicht die beste sein. and his health must not the best be. (and his health is said not to be the best.) MARSCHALLIN maen ‘liber ‘fettar 1 kapir Jon Mein lieber Vetter, ich kapier"* ‘schon, My dear cousin, T understand now ® Allein usually means “alone” in German. Kowever, in poetry a times it also means simply "but". “The Umlaut @ in high German is pronounced [e] of [e:], for example, Bachiein, Madchen. The ‘rst word will always be pronounced the same way in both High German and Viennese/Bavarian: {eglaen]. However, the second word, Mdcken, having along fe) wil be pronounced in Viennese/Bavarian as [meson], witha closed {e:] sound. ' At the time, the Wieden was @ suburb of Vienna. Nowadays itis a borough ofthat city. ‘This is an Talianism, from copie, to understand”28 Der Rosenkavalier, Act I of viefils gofla:gon hat auf wieviel's geschlagen hat, ‘what you're getting at. BARON unt mit fealaop “fyrstliga ‘gnardon Und mit —Verlaub, flirstliche Gnaden, ‘And with yourpermission, your Highness, 1g ‘dyqko mi guts ‘adaligas ——‘bluat_gonwk ich diimke mir gut's_adeliges Blut genig 1 fancy myself good noble blood enough im —Iep tsu:‘habon fy ‘ire tsvee im Leib zu haben fir ihrer zwei; inmy body to have for __ the bothof us; (I fancy myself having enough blue blood in me for the both of us.) man bleept dox ‘flisig vas mon 1st, man bleibt doch schlieBlich, was man ist, one : inthe long run, what one is, ‘korpo "bakko corpo Bacco! Corpo Bacco!” den —footnt vo: ea ia — gobyat Den Vortritt, wo er ihr ~—_gebiihrt, The precedence, where it —toher is due, viet man de frao gear =——_nox tsu fea"Jaffon ‘visson wird man der Frau Gemahlin —_noch zu verschaffen wissen, will we tothe Lady wife see that itis given, (We shall see that my wife is given precedence where itis due.) (Lwill know how to arrange the right of precedence, to which my wife is entitled,) unt vas dit ianda- ‘anlant und was die Kinder anlangt, and what the children concerns, (and as for the children,) ven dem —‘gojdnan ‘flxssal wenn siedenen den goldnen Schitissel if the golden key mugt ‘verdon nicht _konzedieren werden... not be granted... (if they are not granted the golden key...) "7 Another Italian expression “body of Bacchus", meaning "by Jove!"Der Rosenkavalier, Act I 29 va va (Allright then!) si ‘Veadan sig mit dem tsvoelf ‘eesoman ——_‘flvssaln Sie werden sich mit den zw6lf_eisernen —_Schitisseln They must themselves with the twelve iron keys ts: dein tsvoelf ‘hogson oof de:e vitdn tsu: gatresston ‘visson mi den zw0lf, Hiiusern = auf der Wied'n ‘mu getrosten wissen, to the twelve houses on the Wieden bbe consoled. (They will know how to console themselves and make do with the twelve iron keys to [grandpa Faninal's] twelve houses on the Wieden.) MARSCHALLIN gous ‘or zigerlig = dem = fettor ‘zaena ‘andar GewiBt Osicherlich, dem Vetter seine Kinder, Forsure! Certainly, of the cousin his children, (Certainly my cousin's children,) di verdon ‘kaena don kifoiton die werden keine Don Quichotten! they willbecome no Don Quijotes!"” (Octavian is about to back up to the door with the serving tray:) BARON (to Octavian) varum hhtnaos Jokslads — gorwon mux Schokolade! Geruhen nur! chocolate! Stay put! da: pst pst vitso den Da! Pst pst! wieso denn! There! Pst pst! Why then? (Octavian stands undecided, his face turned away.) MARSCHALLIN fort ges zi: nur Fort! Geb’ Sie nur! Away! Off with you! BARON ven 1G ‘990° ‘gnaidon gafters Wenn ich Euer Gnaden gestehe If 1 toyourHighness would confess Another Italianism, "The reference is to Cervantes's Don Quijote de la Mancha, the classic Spanish novel about an. impecunious knight-errant always down at the heels.30 Der Rosenkavalier, Act I dase sor gust vit_—nyGton bn daB ich so gut. wie nichtern. bin. that I as good as empty am. (IFT may confess to your Highness that I am as good as empty.) (that I have an empty stomach.) MARSCHALLIN (resigned) marjandol = kom zit hex servi zi: ‘zaenar ‘libdan Mariandel, komm' Sie her. Servier’ Sie Seiner Liebden. Mariandel, come here. Serve His Lordship. (Octavian comes forward and serves. The Baron takes a cup and helps himself.) BARON so: gut vii nygton “260 ‘gna:dan So gut wie nilchtern, _Euer Gnaden. As good as empty, ‘Your Highness. sits im teesovargan set fynf us fry: Sitz im Reisewagen seit fiinf Uhr ——_friih. Te been sitting inmy carriage since five this morning. (aside, ogling Octavian) rect wen goftelias din (Recht ein gestelltes Ding!) (Quite a strapping thing!) bleep si: hits) meen heats 1g im vos tsur ‘sagan Bleib'Sie hier, mein Herz. Ich Thr was zu sagen. Stay here, mysweet. have toyou something to say. (Lhave something to say to you.) (to the Princess) ‘meena ‘gontso livre: ‘talpasan — jesgo- aes Meine ganze Livree, Stallpagen, Jiger, My entire livery, grooms, ‘huntsmen, verhing. ‘alls unten im ho tsusomst ‘mena = ——_ajmosemnja alles unten im Hof, zusammst meinem Almosenier. all below inthe courtyard, ‘together with my almoner.” MARSCHALLIN (to Octavian) BARON (to Octavian) hat sit nox zen —baskoitarl_——_—blatep sis dox Hat Sie nochein _—Biskoter!?’_-—_Bleib' Sie doch! Have you another biscuit? Stay here! » An almoner was a dispenser of alms in noble houses.Der Rosenkavalier, Act I 31 sis ist = en sys Zenpl fats zen ‘saobore Sie ist cin —_siiBer ‘Engel, Schatz, ein sauberer. You are a — sweet angel, carling, a clean-washed one. (to the Marschallin) sit cof dem verge tsum —"Yeesom ‘rosso Sind auf dem Wege zum "Weillen Rosse", We're on the + way tothe "White Horse", vo: losiron heest bis 'y:bemorgon wo wir logieren, —helfft bis bermorgen... where we are lodged, that is, until the day after tomorrow... (to Octavian) 1% gep vas 'fonas drum = mit. it Teh glib wasschdnesdrum, mit Ihr... Td give alotto.. with you... (to the Marschallin) bis bermorgen... (back to Octavian) ‘unte fie —‘oogan tsu:. farmutsiran vi unter vier Augen zu scharmutzieren! = Wie? under four eyes” to skirmish, what? (Pd give a lot to have a skirmish alone with you, how's about it?) (The Marschallin has to laugh at Octavian's impudent play-acting.) BARON (back to the Marschallin) dan ‘sion via = ms pale: fon fanina:l Dann zichen wir ins Palais von Faninal. Then wellmoveon tothe palace cf Faninal. natyohg muse fowwhes = dem_—"brogtigamsaoffy:re Natirlich © muB ich —_vorher den Bréiutigamsauffihrer... Naturally, must I beforehand the -—_Bridegroom's Envoy... (furious, to Octavian) vil si: den nigt 'voatan ‘Will Sie denn nicht warten?... Can't you just wait... (back to the Marschallin) 2 Unter vier Augen, literally "under four eyes', and by extension, alone with someone.32 Der Rosenkavalier, Act I an di_—_‘Vorlgsborna ‘junte- braot deputiran an die wohlgeborne Jungfer Braut deputieren, to the ~~ well-bom young bride deputize, dex di: ‘silbero:so yiberbrit der die _Silberrose iberbringt who the silver rose must bring naix dei» ‘horxadaligon _goPpflo:gonhaeet nach der hochadeligen Gepflogenhelt. asper the high nobility's custom. (Naturally, I must beforehand deputize the bridegroom's ambassador to present to the well- ‘bom young bride the silver rose as is the nobility's custom.) MARSCHALLIN unt vem fon dex_—_fervantfaft ‘ha:bon ‘2¢or ‘isbdon Und wen von der Verwandtschaft haben Euer Liebden And which of our —_kinsmen has Your Lordship fy ‘ditzas ‘exon?amt ——‘aosferzem flir dieses Ehrenamt ausersehn? for this honor chosen? BARON di: bogiada ‘pee ‘gnaidon rastflack ‘wentsuthoiton Die Begierde, Euer Gnaden Ratschlag _einzuholen, The eagerness inthis matter your Highness’ advice to seek hat mug so:_—_kymm go'maxt hat mich so kiihn gemacht, did me so embolden m —_Teesoklazedon bee deo ‘hootigam —leve: in —_Reisekleidern bei Dero heutigen in travelling clothes at_—=—-your today's (The eagerness to seek advice on this matter from your Highness emboldened me to attend your levee today in my travelling clothes...) MARSCHALLIN fon mix Von mir? From me? (You are seeking advice from me?) BARON gomess ‘brisig m ‘alle devotsjon ~gemi6 —brieflich —im_—aller_Devotion -in accordance by letter in all devotion (in accordance with my request, written in all devotion.) ig bm dox mgt so: unglvklig. Teh bindoch nicht so _ungliicklich, (Surely) Tcannotbe —so_—unfortunate, getarne “butta getaner Bitte written request.Der Rosenkavalier, Act I 33 mit ‘diss devortaston—_suplick ‘dexo ‘msfallon mit dieser devotesten Supplik Dero MiBfallen... with this most humble _ petition your displeasure... (Surely I cannot be so unfortunate as {to have aroused] your displeasure with my most humble petition...) MARSCHALLIN vi den natyzrng denn, natiirlic Well then, of course! ‘aenan ‘aoffyzor fy: ‘oor litbdon ‘exston ‘brogugamsbozux Eien Auffibrer ffir Euer Liebden ersten Briutigamsbesuch An envoy for your Lordships first visitas fiancé os dex fervantfaft ven den mur aus der Verwandtschaft... wen denn nur? from the family... who then (shall it be)? den fettor —‘praezin vii dem fettor lambert Den Vetter Preysing? Wie? den Vetter Lambert? Cousin Hm? Cousin Lambert? BARON (to Octavian) si ‘koenta aos mia ‘maxon vas si: Volta Sie kénnte aus mir machen was Sie wollte. You could with me do what you wanted. (You could do with me as you please.) sit hat das tso9k dotsua Sie hat das Zeug dazu! You have what it takes! MARSCHALLIN 1% Verda Ich werde... 1 shall. BARON dis likt m —_‘0¢e-'gnaidan ‘alle-fornston ‘hendon Dies liegt Euer Gnaden allerschinsten inden. This lies in _your Highness’ most lovely hands. (Cleave this in your Highness’ most lovely hands.) MARSCHALLIN gants gut vil ex mm mir tsus_‘abont ‘essonfettar Ganz gut. Will Er mit mir zu Abend essen, Vetter? Very well. Wish you with me to dine, cousin? (Do you wish to have dinner with me, cousin?) ‘zaxgan vise ‘morgan vil 2ex dan proponisr rg iam ‘aenan Sagen wir morgen, —will Ex? Dann proponier' ich Ihm — einen. Shall we say tomorrow, will you? ~-—=« Then _I shall suggest (to you) someone.34 Der Rosenkavalier, Act I BARON ‘260 'gnadon sint di he'raplassun ‘selbo- EuerGnaden sind die Herablassung _selber. Your Highness is condescension itself MARSCHALLIN (about to rise) ides Indes... Meanwhile... BARON (to Octavian) das siz ‘miz- ‘virde-komt ie get mgt ‘exe foat Dab Sie mir wiederkommt! Ich _geh nicht eher fort! See that you come backtome! I won't leave until you dot MARSCHALLIN (to Octavian) blaep zit nur dat Bleib Sie mur da Stay here kan ie dem fettor fy jetst_ nox ‘dime zaen Kann ich dem Vetter ffir jetzt__noch atich sein? Can 1 tomy cousin for now sill helpful be? (Can I be of any further assistance to my cousin for now?) BARON te femma mig —_boreets Teh schiime mich bereits: T feel ashamed already; an ‘96e-'gnadan nota ‘ena rekomandattsjo:n an Euer Gnaden Notari” eine Rekommandation to your Highness’ notary a recommendation ‘vers mis: lisp wire mir lieb. would make me grateful (Fd be grateful for a recommendation to your Highness’ notary.) es ‘handalt sig = um = dem —_‘erfotrak Es handeltsich um den —_Eh'vertrag. Itis amatter of the marriage contract. MARSCHALLIN maen notazi komt ‘ceftars des ‘morgans ‘Mein Notari kommt éfters des Morgens. My — notary comes most often _in the morning. Jao zi: dox marjandol © op exc ‘Schau Sie doch, Mariandel, ob er _nicht Just see, Mariandel, if het ® This “notary” Ochs is asking about is really more of an attomey.Der Rosenkavalier, Act m der atifabro ist unt Vartat inder Antichambre ist und wartet. in the anteroom —is_—and_— waits. (Mariandel, go see if the notary is waiting in the anteroom.) BARON votsu: das ‘kammertso:fal ‘260. ‘gna:dan Worm das Kammerzofel? Ener Gnaden Why the — chambermaid? ‘your Highness baraopt sig dew bodimun um ‘mazenotvillon beraupt sich der Bedienung um meinetwillen. deprives herself ofher services on my behalf, (stopping Octavian) MARSCHALLIN lasexdox fettar zit = mak ‘Tug gem LaBErdoch, Vetter, sie mag _ruhig gehn. Lether be, cousin, she may go, BARON das gesp 1g mg tsu: bleep si: hie tsus_ ine ‘gnadanvink Dab geb'ich nicht zu. —Bleib''Sie. hier zm ~—Threr Gnaden Wink That I wont allow. Stay here, at Her Highness’ call. es komt glaeeg vem fon dew livre: Es kommt gleich wer von der Livre There comes soon someone from the —_ servants (One of the servants will be here in a moment.) % wen'sojeas —‘gojtkint ‘maenasedl Teh einsolches Goldkind, _ meiner Seel', Td such a charming child, ‘pon my soul, nigt unt das mfarma akajonfolk nicht unter das infame Lakaienvolk. not among that dreadful lackey-rabble. (caressing Octavian.) MARSCHALLIN ‘ger ibdon zmt —‘altsu: bozorkt Euer Liebden sind allzu besorgt. ‘Your Lordship is muchtoo concerned. (The Princess' Major-domo comes in, a silver tray in his hand.) gosakt nicht gesagt? not say so? 3536 Der Rosenkavalier, Act I ex — viat ‘>0er‘gnadan su: meldan ‘hasbon Er wird Euer Gnaden zu melden haben. He will (to) _yourHighness something to report have. (He will [certainly] have something to report to your Highness.) MARSCHALLIN ‘feruha:n havb 1g ‘maenon notazi m dex forkammar ‘varton Struhan, hab ich meinen Notari inder Vorkammer warten? ‘Struhan, doThave my notary inthe anteroom waiting? (is my notary waiting in the anteroom?) PRINCESS' MAJOR-DOMO (glancing at the ‘ferstlige ‘gnardan = ‘haibon den notaxi Fiirstliche Gnaden haben den Notari, ‘Your Highness has the notary, (There is your Highness’ notary,) ‘cards on the silver tray) dan dem fervaltar © dan. dem = ‘kunalferf dann den Verwalter, dann den Kuchelchef, then the steward, then the chef, dan fon eksellents ‘silva “hemgafakt dann von Excellenz _—Silva_hergeschickt, then from His Excellency Silva sent here, aen zener mit —‘aenom flestiston Singer mit einem Flétisten. a singer with a flautist. (with a supreme air of condescension) anzonston —das_—gavemligo—batgasii Ansonsten das gewdhnliche Bagagi. Otherwise, the usual riff. (The Baron pushes his chair towards Octavian and grabs "her" hand.) BARON (to Octavian) hat si: fon ‘wenmo:l_ mm ‘wena kava Hat schon einmal mit einem Kavalier Have you ever with a gentleman im tetatet ——tsuatbont_——_-gaigesson im téte-téte Abend —_—_gegessen? a téte-A-téte ithe evening eaten? (Have you ever dined with a gentleman in a [cozy] téte-a-téte?) (Octavian feigns great embarrassment.) nzen da: viet si ‘agen. ‘maxon val si: Nein? Da wird Sie Augen machen. —Will Sie? No? Then will you eyes make. Do you want to? (it will open your eyes.)Der Rosenkavalier, Act I 37 OCTAVIAN (using peasant Austrian dialect) i veces hojt’ mt op i dos deaf. 1 weiB halt nit ob i dis derf.” I know really not if 1 that ought. (Lreally don't know if I should.) (The Marschallin, only half-lstening to the Major-domo, watches them and smiles in gentle amusement. The Major-domo bows and steps back, allowing the Marschallin a view of the goings-on.) MARSCHALLIN (to the Major-domo) ‘varton ‘lasson ‘Warten lassen. Have them wait (The Major-domo goes out. The Baron rearranges himself as calmly as possible and reassumes an air of gravity.) dex fettr ist 1 eres kaen ‘kostfea?ector Der Vetter ist, ich seh’ es, kein Kostveriichter.* My cousin is, I can ee, an admirer of prety girls. BARON (relieved) ‘oe-‘gna:don 1st man freee da'ron Mit Baer Guaden ist man fel daran With your Highness one feels at ease. da: gispts ‘keeena ‘laosan unt ‘kaxeno etiketts Da gibt’s keine Flausen, und keine Etikette, There is no-nonsense, and n0.—tiquette, und ‘kena ‘fpanifo tuarace und keine spanische —Tuerei! and no Spanish affectation!” (He kisses the Marschallin's hand.) MARSCHALLIN (amused) ‘aber vor er = dox gen ‘brogtgam =— ist Aber wo Er doch ein Briut’gam —_ist? But when you now a bridegroom are? (But now that you are a bridegroom?) ® In correct German this would be ich wei8 hatt nicht ob ich das darf. * Kostverdchter is a word composed of two elements: Kost, (food) Verachten, (to despise), implying "a person who looks down on a plain morsel of food", "a fussy eater’, and by extension, “a man who {feels no compunction about flirting with a low-born ‘morse’ like Octavian". 25 Compared to the more staid Norther folk, Spanish nobles were considered far too flowery and {foppish, much preoccupied with refinements deemed unnecessary beyond the Pyrinees,38 Der Rosenkavalier, Act I BARON (half-rising, bending towards her) maxt das ‘eenan ‘lamon ‘eisol aos mito Macht das einen IahmenEsel aus mir? Makes that a lame donkey out of me? (Does that make me a lame donkey?) (Does this mean I have to live like a monk?) bn iG dazmigt’ vi; en ‘gute hunt Bin ich da nicht wie ein guter Hund Am I rather not like a good hound cof ‘zene ‘guttan fexta auf einer guten Fahrte? on a ~— good scent? unt ‘doppolt Jaf cof jedas vit nox Und — doppelt scharf, auf jedes Wild, nach And doubly sharp on every prey, tothe (and doubly keen on every wild game, on every side?) MARSCHALLIN 1G ‘ze ‘ogor'libdon botraebon esl Ich sehe Ewer Liebden betreiben es. als I see that your Lordship makes it a (Lsee your Lordship makes a profession of it) BARON das vil 1¢ ‘maenon Das will ich meinen. I should think so, indeed! ‘vysta migt_ —_‘velgo mir ‘bess botha:gan ‘Waite nicht, welche mir besser behagen Idon'tknow whichone me better please (I don't know of a [profession] that could please me more.) te mus ‘99a ‘gnadan sea badaoen Teh mu8 Euer Gnaden sehr bedauern, 1 must your Highness very much feel sorry for, (Lfeel very sorry for your Highness,) das ‘9¢e-‘gnardan nus da6 Ever Gnaden our... that your Highness only, drvk 1 mig aos ariick ich mich aus. express 1 myself (~) Imks nox regis links, nach rechts? left, tothe right? professjom Profession. profession. kénnte, could. (aus/driieken is a separable prefix verb meaning "to express", "to put into words".) (how can I put it into words...)Der Rosenkavalier, Act 1 39 di: feartwedigondon —eavfasrurpn—_basitson die _verteidigenden Erfabrungen besitzen the defensive experiences have (that you should. ..how shall I put it...have only defensive experience.)** patolo donor es gest migts yibo- Paroled'honneur! Es geht nichts Ober Word of honor! There's nothing to beat di fon. dem ‘andoron ‘seta die von der anderen _—Seitel those on the —_other side! (There's nothing better than the experiences of the other side, [being the attacker).) MARSCHALLIN 1% “globe iim = das zit, «ze mannukfaltug zt Teh glaube Thm, daB sie sehr + mannigfaltig sind. I believe you, that they very varied are. (Ibelieve [these experiences] are very varied.) BARON , ‘tseeetan das jax Soviel Zeiten das Jahr, Asmany seasons. ‘the year, sorficl ‘ftundan dex tk soviel Stunden der Tag, as many hours the day, dat kevena MARSCHALLIN Keine? BARON swhen MARSCHALLIN ‘Wo nicht? BARON vo: migt. dem “knarbon, kupisdo wo nicht dem Knaben Cupido when not from the young boy Cupid % This somewhat confusing statement implies that the Marschalln is adept at perhaps defending herself against a male's onslaught, as opposed to himself, who is a master at "attacking" members of the opposite sex, as will be explained in a moment.40 Der Rosenkavalier, Act I wen gafenkorl —“‘optsuliston ve ein Geschenkerl abzulisten wir’! a little gift wheedle out would! (when one cannot wheedle a little gift out of Cupid!) dafye 1st man keen ‘oooha:n unt keen hrf Daftir istmankein Auerhahn und kein Hirsch, Afterall, manisno — woodcock ands no-_—stag, ‘sondern 1st man her dew foepfun sondern ist man Herr der — Schdpfung, but is lord ofall creation, dos man migt max dem = kalend> =——fortsizot 1st daS man nicht mach dem Kalender _forciert ist, that one not after the calendar to heed ‘must, (not forced to heed the calendar!) (man is not forced to mate by the calendar!) ‘hojtan tsu:‘gnasdon halten zu Gnaden! saving your presence! (begging your pardon!) tsum eksempal dex mae ast_—regt— ‘lisp Zum Exempel, der Mai ist recht lieb For instance, May is quite nice fyas feo'lipto ——_gaeft das ves jedas kant fiir's verliebte Geschiift, das wei jedes Kind, for amorous doings, that knows every child, ‘abe 1g ‘sage aber ich sage: but oT say: ‘fone ist juni juli ao'gust da: hots. ‘negta Schdner ist © Juni, Juli, August. Da —hat's_Niichte! Better is June, July, August. Those are the nights! da st bare uns da: dro:bon so: zen ‘tsutsusk Da ist bei uns dadroben —soein Zuzug There is athome up there such an influx fon juypn ‘meigdon = aos. des ‘boxmafon hery:bo- von jungen Migden aus dem Bohmischen _heriiber: of young girls from Bohemia crossing over: ix tsveeo'drees halt «1g = aft’ bis_ | mmnovembo- Ihrer zweie, dreie halt ich oft’ bis. im November Two orthree of them keep I often until NovemberDer Rosenkavalier, Act I 41 mie mm — hoos dan east fik 1 zi hem mir im Haus, Dann erst schick' ich sie heim. with me atmy house. Then only send I them home. (L get two or three of them to stay at my house till November. Only then do I send them home.) tsux ‘ets "kommen si: Zur Ernte Kommen sie For the harvest they all come unt sint ox an'sonston —anftelhk == unt guat und sind auch ansonsten —_anstellig und gut... and are also. apart from that handy and good... (chuckling) dann erst schick ich sie heim! unt vis sig das mift Und wie sich das mischt, And how — they fratemize, das juga ‘runds ‘boxmifo Yoelkal Jvem unt sys das junge, runde béhmische — Vdlkel, schwer und sis, the young, round Bohemian womenfolk, plump and sweet, mit ‘dean im yalt ont ‘demon m tall mit denen im Wald und denen im Stall, with thosemen inthe woods and thosemen — inthe stables, dem ‘dootfon flak dem deutschen Schlag, of = German stock, vi en ets veeen wie ein Retzer Wein... like a Northem wine. ng das ‘mifon tut wie sich das mischen tut! and how they fratenize! unt 'y:baral ftet vas unt ‘laoat Und iberall steht was und lauert ‘And everywhere (men and girls) stand and = turk unt ‘fit dure dem —‘gatton und schielt dureh den Gattern, and peer throughthe trellises, und flazegt tsu: zetnand> unt isk’ bere aeennand und schleicht -zueinander, und liegt _ bei einander, and sidle one to another, and lie together,a Der Rosenkavalier, Act I sit vas unt fupft sig m dem ‘hyfton singt was und schupft sich den Hiften, there is singing and (men) groping the (women's) hips, unt metas unt plantft und = mibtwas und —_plantscht, there is milking and mowing and splashing, unt pletfot vas m bat und —pliitschert was im Bach and there is (water) rippling inthe brook unt om dew —_pferwdofvem und im der = Pferdeschwemm. and in ‘the horse pond. MARSCHALLIN (rather amused) unt ex ist 'ytboral dahuntar her Und Er ist dberall dabinter her? And you are everywhere seeing to it? (And [you take pleasure] seeing to it that all ofthis goes on?) BARON volt 1 —keent sen vir Wollt ich kénnt sein wie Jupiter Iwish I could be like Jupiter, zelik m'taosant —geftalten vem feo'vendon fy exdo selig imtausend Gestalten! = War Verwendung fiir jede. happy ina thousand shapes! Td have use for all. (and {transform myself] into a thousand [different] shapes! I'd have use for all of them.) MARSCHALLIN vir oox fy dem ftir Wie, auch ffir den Stier? What, even for the bull? (What, you'd want to transform yourself into a bull) zo: grop vil ex —zaen So grob will Er sein? So coarse wish you tobe? (Aren't you being a bit coarse?) ‘ordor moter = dit ‘volkon ‘fpitlon Oder michtEr die Wolken spielen Or — doyouwish the clouds. toplay (to gambol up in the clouds [with the rest of the gods},) unt daherr gezo9zelt 'kommon und daher gesiuselt kommen and fromthere —_sighing down [to earth]als als like Der Rosenkavalier, Act I 43 en ‘ftraefarl ‘nasso loft ein Streifer! nasse Luft? a littletouch (of) wet ‘breeze? (like an amorous touch of spring breeze?) ‘ilo ‘arton viele Arten have rather many ways es vil. gonomman seen es will genommen sein. astohow they wish to be taken. ont Und And hoot haut slams unt Und And dem den her unt Und And wen ein wt dix ‘deumytigo. «= mackt ist die demitige = Magd. is the humble maiden. da: di: uotsiga ‘topfolskreatusr da die trotzige Teufelskreatur, then (there's) that willful devil's creature, dia dis vero ‘fealty. on dem —ferdal dir die schwere —Stalltir an den Schiidel... conyou the heavy stall door in -your noggin, (who will slam the heavy bam door in your face...) da: ost dit ‘tagont unt ‘fluxtsont da ist die kichernd und —_schluchzend there is the one (who) giggling and sobbing kopf_ feo'liat di: habtg geon Kopf verliert. Die hab’ ich gern. head loses. Her like. (iike that kind.) ‘jeme ‘viedo dex sttst im ‘a0go jener wieder, der sitzt im Auge that one yet again, who in her eyes ‘kajto ‘regnonde ‘satan kalter, rechnender Satan. cold, calculating devil. (s)a ‘abe Aber But es komt ‘ena ‘undo es kommteine Stunde, there comes the time,44 Der Rosenkavalier, Act I es flakkot ‘disses ‘lace nda Es flackert dieses lauernde It flickers, this darting (Her darting eyes begin to flicker,) unt dew ‘satan mde:m ex und der Satan, indem er and that devil, while it ea‘fterbonds ‘bhikko dotsvifan ersterbende Blicke dazwischen, angourous glances haltingly ‘Fooge Auge eye, Sit schieBt, darts (at me) (and that devil of a woman's eyes begin to flicker, even as she haltingly darts her now langourous glances at me {up to the moment of surrender]... (with unmitigated sensual gusto) dex vist mi dix ‘mailtset_—‘unfeglareghig der wiirtzt mir die Mablzeit_—_unvergleichlich. that spicesup = my banquet. beyond compare, MARSCHALLIN ex ‘Zelbor st ‘aenor maenarze:l Er selber ist einer, ‘meiner See!'! You yourself are one, ‘pon my soul! (You yourself are a devil,) BARON unt vew ‘ena ‘harbon di: gnait di ‘keene ‘anfoot Und wir eine, habendieGnad', die _—_keiner anschaut: And — thenthere's the one, by your leave, ‘whom no one looks at: im ‘fmvtsigan—dattal_ flumpt six hes Im schmutzigen Kittel schlumpt sie her, Ina dirty smock she stinks about, hhokt m dew ‘ofa ‘humtem ‘hewt hhockt in der Asche, himterm Herd... crouches bythe ~— ashes, behind the hearth... vo: du: siv‘angesst —tsum —‘igtigan ‘Jornal wo du sieangehst zum = richtigen Sti when you pounceonher atthe right ‘moment... hats om sig hat's in sich! she hasit in her! wen'sojgos —‘Jtaonan go> mgt be'graeefon ‘keennon einsolches Staunen... gar nicht _begrelfen kbnnen Such amazement... quite not —_being able to comprehend,Der Rosenkavalier, Act I 45 unt ankst unt fam und Angst und cham; in fear and _—_ shame; unt cof dis detst so: ‘wena ‘rasando ‘serligkaeet und auf die letzt so einerrasende Seligkeit, and at — the -— end (asshe yields), such frenzied bliss, das sig dew her dee ‘gnesdiga her da sich der Herr, der gniidige Herr that the master, the lord and master he'rapgolasson goo tsu: ive ‘nisdragkaeet herabgelassen gar zur ihrer Niedrigkeit. should condescend to look upon her —_lowliness. MARSCHALLIN ex vaes mex als zaen a: bet Er wei mebr als sein A B You know more than your A B ‘velo di: ‘vollan_be'fligan seen welche,die wollen beschlichen sein, some ‘who want to be stalked, sanft vi: de vint das frifgameita hop —balflnegt sanft, wie der Wind das frischgemihte Heu _beschleicht. gently, as the += wind the — freshly mowed hay caresses, unt ‘vega da: gilts Und welche. da gilt's, and some. where i's best (to Octavian, who, having replaced the tray on the breakfast table, has moved closer to the Baron.) vii en loks ‘unto ‘rekon heron wie ein _Luchs hinterm Ricken heran like a lynx behind their back to come at them (and others where you have to come at them like a lynx from behind,) unt dein ‘melku:l gepakt und den Melkstuhl gepackt and the milkstool seize ‘taomelt unt ‘hmfleskt taumelt und —hinschligt! sothat she tumbles and sprawls! (He chuckles with obvious relish)46 Der Rosenkavalier, Act I mushajt en hoo m dea nes dabsee seen MuB halt ein’ Hew in der Nhe dabei sein, ‘There must a haystack = inthe ~—_—vicinity nearby be. (There should be a haystack nearby...) (Octavian bursts out laughing.) MARSCHALLIN naen ex —agint mir. © gar tsu:_— gut Nein, Er agiertmir gar zu gut! No, you play yourpart much too well! las ex mix dox das kunt LaBErmirdoch © das_—Kind! Leave the child! (Leave the child [Octavian] alone!) BARON (quite wnembarrassed, to Octavian) veesmig = ms —‘enksta fearftek tsu:— bokkveuman WeiB mich ins engste Versteck zu —dbequemen, Tknowhow inthe narrowest hiding place to _ make myself comfortable, (Ican make myself comfortable in the narrowest hidden cranny.) vees mm —alkowen ~— gallant. mig tsu: bolnesmon weil im Alkoven —galant mich zu benehmen. Tknow in alcoves gallant myself to comport. (know how to comport myself gallantly in alcoves.) (Lean be gallant in alcoves.) ‘hetta feo'venduy fy ‘taosant geftaltan Hite Verwendung fir tausend Gestalten, Td have use for athousand disguises, ‘taosont jonfon ‘festtsuhalton tausend Jungfern _festzuhalten, athousand maidens to embrace. (to embrace a thousand maidens.) ‘vers mize ‘keeeno tsu: juga tsur—therbo Wire mir keine zu junge, zu _—herbe, Would be forme none too young, too _shrewish, ‘keeeno tsuz‘nisdniga ‘kseena su: ‘deabo keine zu niedrige, keine zu derbe! none too humble, none too uncout test mig fy ‘kwenam ——_fea"ftek inigt mig 'fermon Tatmich fir. keinem Versteck nicht mich schimen, Yd for no ruse be ashamed, (C wouldn't be ashamed to employ any ruse whatsoever,) ser ig vas lisps 1g mus mies ‘nexman seb ich was Lieb's, ich muB—mir's nehmen. whenTsee something —_—‘I like, I must have it.Der Rosenkavalier, Act I 47 OCTAVIAN (continuing in his role, assuming the "countrified” speech of a serving maid) no tsu:. dem = hem dot gm) isonet Na, zu dem Herrn da ging inet. Ooh, to that gentleman there goes. me not. (Qob, I wouldn't go near that gentleman.) do: heti an respekt Da hitti_an —_Respekt, Then wouldIbe afraid, na: vas mix da: —_pa'siron koent na, was mir da _passieren kim well, what tome then could heppen, i vas net vas ex — mweent i waBmet, = was. er_~—smeint, 1 don'tknow what he means, i vars net vos er ul i waB net was er will. 1 don'tknow = what he wants. ‘abo vos tsfitl 1s dos 1s tsufil Aber was z'fiel is das is mufiel. But what _ is too much, that is too much. (But too much is too much.) Na, was mir da passieren kunt". dass ja: net tsum ‘sa:gon Das isja net zum Sagen, That isindeed unspeakable. zu so an Herrn ging i net, mix tats di ret fearflargan mir tat’s die Red’ _verschlagen, tome wouldtum the words driven out (of my mouth), (@.d be at a loss for words,) da; tet ‘unsoeens —‘mutvillik —‘Jardon. Da titsich unsereins mutwillig _schaden: Then it would happen (that) the likes of us playful ones (would be) done harm: (The likes of us then would be done harm:) (with feigned severity) 1g hap sojga ankst_ vox iim —_‘frestige ‘gnacdon Ich hab’ solche Angst von ihm, ffirstliche Gnaden. T have such fear of him, your Highness. MARSCHALLIN: ‘Nein, Er agiert mir gar zu gut!48 Der Rosenkavalier, Act I er ist aen__Tegtor ex ist dew vara Er ist ein Reehter! Er ist der © Wabre! You are the _fine one! You are the —_ true one! La Er mir doch das Kind! ex ist gants vis dit ‘andom ‘draefital = zint Er ist gamz_wie die —_anderndreiviertel ad. You are quite like the other three quarters are. (You are just like the other three quarters of men [in the world}.) vi og imo ze Wie ich hn sosehe, As I you —nowsee, wo: 216 hypf filo so seh ich hhiibsch viele. so see many, many more. (As Inow look at you, I see a good many others just like you.) das zint halt dis ‘fpitla dix 99g konve'nisron Das sind halt die Spiele, die euch konvenieren! These are just the games that —you(men) —_are suited for! (These are simply the games you men like to play!) unt vir her got vir ‘laedan dem —‘fardan Und wir, HerrGott! Wir leiden den Schaden, And we, goodLord! We — suffer the consequences, vir aedon dem [pot wir leiden den Spot, we bear the —scom, unt vir ‘harbons halt ox net ‘andars ferdimnt und wir —_haben's halt auch net anders verdient. and we _haveit quite not otherwise deserved. (and we don't deserve anything better.) (with feigned severity, to the Baron) unt jetst‘sakarlot jetst laser das kant Und jetzt, sakerlott, jetzt InB Er das Kind And now, damnitall, now leave the child (alone)! BARON (releasing Octavian and reassuming his air of dignity) ‘getbon mi ‘o¢e-'gnardan dem —‘grasfaf do mir EuerGnaden den Grasaff da me, your Highness, this young monkey here su; ‘meena ‘kynftgon ——_frao gatma:iin badinun zu meiner kdnft'gen Frau Gemahlin Bedienung. for my future wife's service. (Would you give me this [cute] little monkey [of a girl] for a maid to serve my bride-to-be?)Der Rosenkavalier, Act 1 49 MARSCHALLIN vi: ‘maeno ‘klaeno da: ‘Wie, meine Kleine da? What, my —litfleone here? What _ use would she be? di: ‘froglaen broot virt fon fer'zeron zaen Die Friulein Brautwird schon versehen sein The bride must already have made arrangements unt mig “anjten of d¢er ‘i:bdon ‘oosva:l und nicht ansteh'n auf -Euer Liebden Auswahl. and not —bedependent on —_your Lordship's choice. BARON das ist en frenas dm ‘krogtssakerlot Das ist ein _feines Ding, Kreuzsakerlott! She is a fine (ttle) thing, damn it all! da; ist wen tropfguitas bluat dabeee Da ist ein ‘Tropf gutes Blut dabei! There is a drop of goodblood there! OCTAVIAN (Ein Tropf gutes Blut!) MARSCHALLIN ‘ogar'licbdan ‘ha:bon aen ‘farfas a0ge Ener Liebden haben ein scharfes Auge! Your Lordship has a sharp eye! BARON gotsizmt sig Geziemt sich. Ast should be. (confidentially) find mm dew ‘ortnuy das pea’sonn fon fant Find’ inderOrdnung, daB'- Pewrsomen von ‘Stand I find it fitting, that people of station m —‘sojga_‘vareso fon ‘adaligam lust _badimnat ‘veedan in solcher Weise von adeligem Blut bedienet — werden. inthis way by noble blood served should be. (should thus be served by people of noble blood.) fy selpst zen kit ‘mene ‘loona mit mize Fihr’ selbst ein Kind meiner Laune mit mir. Travel (around) —myself(with) a child of nature with me, (Cimyself travel around with my child of nature. (I myself travel around with my natural child)” » This is of course Leopold, the artless, ungainly lummox usually played by a chorister or supernumerary.50 Der Rosenkavalier, Act I OCTAVIAN (Ein Kind seiner Laune?) (His child of nature?) MARSCHALLIN i: gar aen ‘merdol das vil 1g nit ‘hoffon Wie? Gar ein Miidel? Das will ‘ich nicht hoffen. ‘What? Perhaps agirl? That want I not — hope. (should hope not!) BARON neen “zenan som Nein, einen Sohn. No, a son, MARSCHALLIN Einen Sohn! BARON treckt ‘lerxonaorfos qprego = m_—gaisigt Tragt lerchenauisches Geprige im _—_Gesicht. He has the Lerchenau's features onhis face.”* hojt im js ‘lweplaksee Halt ihn als_—_Leiblakai. Tkeep him _as (my) body-lackey. (personal valet.) MARSCHALLIN, OCTAVIAN Alls Leiblakait BARON ven ‘o¢e-'gnaidon dan ‘vewdon bofeiton, Wenn Euer Guaden dann werden befehlen, When Your Highness then will ‘command me, dos 1; di ‘stibana'tosa darf ‘deo ‘hendo_y:bo‘ge:bon daB ich die _—_silberne Rose darf Dero Hinde tibergeben, that I the —silverrose should into your —hands_give, (When your Highness orders me to hand you the silver rose,) viet em es sen dew heroofbrint wird er es sein. der heraufbringt. will he it be ~— who brings up. (it will be he who will bring it up.) MARSCHALLIN zol mig regt from ‘aibor_vart ex ‘aenma:t Soll mi recht freun. Aber wart'Er —einmal. Ishall be very pleased. But wait abit. More often than not the Baron is sung by somewhat portly, fleshy men, made up to look full heeked, ruddy and pockmarked. A similar person is then selected to play Leopold. » Iris assumed thet Leopold is stil downstairs with the ret ofthe Baron's retinue.Der Rosenkavalier, Act I 51 (beckoning to Octavian.) Mariandel! BARON ‘ge:bon mize ‘o¢0-'gnadan das tsoxfol ty las_—mct “Toke Geben mir EuerGnaden das Zofel! Teh Ia nicht locker. Give me, your Highness, the maid. T let not loose. (won't give up!) MARSCHALLIN (to Octavian) ae unt das medajo hex Ei! gehSienur und das Medaillon her. Eh! Go and the locket here. OCTAVIAN (aside) teres Theres't Theres, MARSCHALLIN brs nur nel ie vaesfom vase tr Bring's nur schnell! Teh weiB schon was ich tu. Bring it quickly T know well what ‘I amdoing. BARON (observing Octavian) ‘wena ju frost seen Keonnt eine junge Firstin sein. Shecould a young princess be. (then, conversationally) hap fo mene == brat wena gatrogo kopit Hab' vor, meiner Braut eine getreue —‘Kopie Tintend tomy bride a faithful copy ‘mieenss ——‘ftambaoms su: fpentdiran smeines Stammbaums zm spendieren.. ofmy family tee to —_present... nespst ‘scene ‘Tokko fom ‘amher ‘terxanao nebst einer Locke vom Abnherrn — Lerchenau, together with a lock of hair ofmy ancestor —-‘Lerchenau, dew wen ‘grose- ‘klostefurfto- vax der ein _groBer Klosterstifter war who a great convent-endower was. (vas an endower of many convents) unt ‘orbast ‘eaplanthorimaeste- m —keanton und — Oberst-Erblandhofmeister in Karaten and Chief Steward of Hereditary Lands in. Carinthia52 Der Rosenkavalier, Act I ont om de vindifon mark und in der = Windischen Mark. and in the Windisch country”. (Octavian brings the locket.) MARSCHALLIN ‘vollan ‘2¢er‘gna:dan _laegt dein jogo ‘herren Wollen Euer Gnaden leicht den jungen Herren Wishes your Lordship perhaps that young man als ‘brogtigamsfyzrar ‘ha:bon als _Brutigamsfihrer haben? as__abridegroom's envoy have? (Would your Lordship wish to have that young man [in the portrait) as his bridegroom's envoy?) BARON bin ‘ungofaote —_‘seenfo-ftandan Bin ungeschauter_einverstanden! Tam, (even) unseen in agreement! (Lagree, even though Tve never met him!) MARSCHALLIN (somewhat hesitatingly) maen ‘juner ‘fettor dex graf oktavian Mein junger Vetter, der Graf Octavian. My — young cousin, Count Octavian. BARON ‘vysta ‘kseenan, ‘fonemren tu: "vynfon Waste einen vornehmeren mu —_wiinschen! Td know none more distinguished to. wish for! (could wish for none more distinguished than him!) ver mm — devotsjon dem ‘jugon hem = se _—_fea"bundon war Devotion dem jungen Herrn sehr _verbunden! Tdbe in obligation tothe young man very indebted! (I would be most deeply indebted to the young man!) MARSCHALLIN (offering him the locket for a closer look) ze ex im Zan Seh Er ihn ant Look at him! BARON (shifting his eyes from the locket to the maid several times) di: ‘emligkeeet Die Abmlichkeit! The resemblance! °° The Windisch (or Wendisch) Mark (country) was apart of Germany atthe time near what is today Croatia,Der Posenkavalier, Act I MARSCHALLIN yes. BARON aos dem ga'sigt gefnnton aus dem Gesicht geschnitten! out of the face cut out! (The very image! — The likeness!) MARSCHALLIN hap mix aox fom gadankan-——gamaxt Hab' mir auch schon Gedanken gemacht. Thave also (Chave also thought so.) already thoughts had. BARON Octavian? MARSCHALLIN (indicating the locket) 53 ofan des hem marke:za ‘swaetor = brusdor Rofrano, des HerrnMarchese —zweiter Bruder. Rofrano, of the Marquis! second brother. (Rofrano, the Marquis’ second brother.) BARON roframs da: 1st man ver Rofrano! - Daistman wer, Rofrano! One really is somebody ven man os ‘sojgam hhoos wenn man aus solchem = Haus when one — outof such a house (comes), (when one comes from that house,) (with special allusion to the maid) unt vews aox bare deo domesti:konty> und vir'sauch bei der Domestikentiir! even ititwere by wayof the _—_servants' entrance! MARSCHALLIN ‘darum halt 1 zis ox vit vas bozondors Darum halt ich sie auch wie was Besonderes. That iswhy hold I her —_for something special. (That is why I consider her something special.) BARON gatsizmt sig Geziemt sich. ‘Quite right.34 Der Rosenkavalier, Act I MARSCHALLIN ‘immer um —‘'maeno perzom Immer um meine Person. Always around my person. (Always by me.) BARON sem vol Sehr wohl. Very good. MARSCHALLIN jetst ‘atbor ge: zit marjandel max zi: fort Jetzt aber geh' Sie, Mariandel, mach’ Sie fort. Now however, 0, Mariandel, off with you! (But now go, Mariandel, be off with you!) BARON vir den komt dox ‘vid Wiedenn? Sie kommt doch wieder? Howso? Youll come right back? MARSCHALLIN (ignoring the Baron on purpose) unt las zi: di Otifabre heraen Und laB Sie die Antichambre herein. And let the anteroom in, (And admit the [people who are waiting in the] anteroom.) (Octavian goes to the big door leading out to the anteroom.) BARON (chasing after him) meen ‘Jo:nstas kint Mein = schénstes Kind! My — pretty child OCTAVIAN (at the door) derfis ‘wena ge: Derft's eina geh'! T must go inside! BARON (after him) rn Teh bin Thr —_Serviteur! Tam ge si:dox ‘wenan ‘aoganblik —_aoidjents Geb' Siedoch einen Augenblick Audienz! Giveme just a | moment's _ hearing! OCTAVIAN (slamming the door in his face) i komglae I komm glei. 1 will be right back.Der Rosenkavalier, Act I 55 (At this moment an elderly chambermaid comes through the same door. Disappointed, the Baron retreats. Two footmen enter and fetch a screen from the alcove. The Marschallin steps behind the screen, accompanied by the waiting-woman. The dressing table is moved forward into the center. Footmen open the folding doors, admitting the Notary, the Chef and his young assistant menu-boy carrying the menu book, the Milliner, a Scholar with a folio and the Animal Vendor with tiny little dogs and a small monkey and a parrot. Valzacchi and Annina slip in quickly behind them and stand close to the front. A woman dressed in black ‘and her three daughters, all in mourning, place themselves to one side of the dressing table. The Major-domo leads forward the Singer and the Flautist. The Baron, near the back, beckons a footman and gives him a signal to bring a chair and small table close to where the Notary has placed himself.) ‘THE THREE ORPHANS (rather shrilly) drae ‘arma ‘adaligo ‘vaezan Drei arme adelige ‘Waisen... Three poor noble orphans... (The Mother indicates that they should not shriek so.) ‘THE THREE ORPHANS (in a more subdued voice) Drei arme adelige Waisen erflean ‘dexo ‘horn Juts erflehen Dero hohen Schutz! beseech, your gracious —_protection! MILLINER (presenting her hat box) bb fapo pamela apa gra arena gotkodo Le chapeau -——Paméla! Lapoudre ala Reine Golconde! The chapeau Paméla! Powder ala Queen Golconde! ven turglaoxt —_‘faffon wenn Durchlaucht schaffen, if Your Highness is interested, cox foigel hab 1¢ da: aos_— ‘afrika auch Vogel bab’ ich = da, aus Afrika. also birds have I here, from Africa. ‘THE THREE ORPHANS der fattor ist jun oof dem = feldo dex ‘exe gofallon Der Vater ist jung auf dem Felde der Ehre _gefallen, The father did young upon the field of honor fall. (Our father fell very young on the field of honor,) iim ‘dizas ‘naitsutun 1st vunzor ‘hertsonstsi:] Thm dieses nachzutun, ist unser Herzensziel. To follow his example is our —_ heart's desire. ‘MILLINER Le chapeau Paméla, 2°" The Milliner hawks her wares in French.56 Der Rosenkavalier, Act I se la_—_—smervejo dy ‘moda c'est la merveille © du_—monde! its the marvel ofthe world! ANIMAL VENDOR Papagaeon het «1g = da:_ gos ndjon unt ‘afrika Papagaien itt’ ich © da, aus_‘Indien und Afrika, I Parrots have here, from India and Africa, ‘hundorin zo; klaen und fon ‘tsummerraen Hundern. so—kdein und schon zimmerrein. Littledogs so small and already house-trained. (The Marschallin steps forward into view. All bow. The Baron comes forward.) MARSCHALLIN (to the Baron) 1g prewentire ‘ager ‘litbdan Ich prisentiere Euer Liebden 1 present to Your Lordship (With a bow towards the dressing-table, where the Marschallin has taken her seat, the Notary crosses to the Baron. The Marschallin beckons the youngest of the three orphans to her, takes a purse from the Major-domo and gives it to to her. The scholar is about to step «up to present his folio, when Valzacchi springs forward, forcing him to one side.) VALZACCHI™ (to the Marschallin, brandishing a black-edged news-sheet) di ‘svartse ‘saitun ‘fustlike ‘gnaide Die swarze Seitung! _Fiirstlike Gnade! De black news-sheet! Royal 'ighness! ‘allaes ir geaim ge'sritben Alles ‘ier ge'eim gesrieber Evryzing ‘ere_—_insecret. written! mx fir ‘oe perzenlikaite Nur fiir ‘ohe Persdnlikeit Only for high persons! Die swartze Seitung! ‘aine ‘laikname in ‘interkammer fon ine greflike pale Kime Leikname in —"Interkammer von eine _griiflike Palais! A body inde backroom of a —_ ducal “ouse! ‘aine ‘bugersfrau mt = der aamante fergiften dew ‘hetheman Eine Birgersfrau mit der —_amante fergiften der Hehemann A burgher'swife wid ‘er —_ lover poison de usband The language of Valzacchi is cleverly and purposely mis-pronounced to resemble an Italian's accent ‘when speaking German. The singer performing this role should also adopt the typical body language of lalians when speaking in an agitated state.Der Rosenkavalier, Act I 7 ze nakt um ‘draie hur diese Nackt um dreie Hubr!® dees night at three o'clock! MARSCHALLIN (annoyed) lasex mig mit dem tratf nu: LaBErmich mit dem Tratsch Rub' Leave me with that trash peace! (Don't bother me with that trashy gossip!) VALZACCHI (insisting) m'gnaden ‘tutte ‘kwante _ ver'raulikaiten aus di ‘grose_velt InGnaden! Tutte quante™ Vertraulikeiten aus die Grofie Welt! ‘Your Ighness! All de confidences from de great world! MARSCHALLIN vd —omiks ‘vissan Teh will nix wissen! 1 ‘want — to know nothing! La8 Er mich mit dem Tratsch in Rub'! (Valzacchi, with a disappointed look and a typical shrug, springs nimbly backwards after a quick bow.) ‘THE THREE ORPHANS (Kissing the Marschallin's hand) glk unt ‘allorve:gon Glick und — Segen allerwegen Good fortune and blessings —_without measure ‘29or ‘gnaidon ‘hom zn Euer Gnaden hohem Sinn! for Your Highness’ _generosity! ‘aengsgrabon tet erhatbon © ex =—m'unzam =—‘hertson nn Eingegraben steht erhaben er unsera Herzen arin, Engraved stays sublimely it —_inour hearts inside. (it will sublimely be engraved inside our hearts forever.) (They go off with their mother. The Hairdresser enters hastily, his Assistant rushing behind, coat-tails flying. The Hairdresser looks hard at the Marschallin, frowns and steps back, studying her appearance. His Assistant meanwhile wnpacks on the dressing-table. The Hairdresser unceremoniously pushes several people back to give himself elbow-room.Afier reflecting briefly, he decides on a course of action. Resolutely he hurries back to the Marschallin and begins arranging her hair. A runner in pink, black and silver, enters and hands over a note. The Major-domo defily puts it on a silver tray and hands it over to the Marschallin. The Hairdresser pauses to let her read it. The Assistant hands him fresh curling-irons. The Hairdresses waives them to and fro; they are too hot. After a questioning glance at the Marschallin, who nods, the Assistant gives him the note, which he smilingly > The "joke" here is that Nacht pronounced as Nackt means "naked", and Ubr, pronounced as Huhr means “whore”. » Tutte quante meaning "al" is, ofcourse, Taian,58 Der Rosenkavalier, Act I uses to cool the irons. Meantime, the Singer has taken his place, holding a sheet of music. The Flautist, accompanying him, looks over his shoulder.) SINGER™ di rigori armato il ‘seno ‘kontro amor mi ribellai Di rigori armato il seno contro amor mi ribellai, With severity armed the bosom, against love I rebelled, ma fui. ‘vinto in um _baleno ma fui vinto in un __baleno but Iwas vanquished in a _flash im mirar due vagi_ rai in mirar due vaghi rai. asI beheld two lovely eyes. ai ke —reziste ‘pwoko a strale di fwoko Ahi! che —resiste puoco a _—strale di —fuoco Ab! It resists little an arrow of fire kor di ‘dgelo di. = fwoko astral cor di gelo di fuoco a _stral. aheart of ice of fire. at the arrow. (The Hairdresser hands the curling irons to his Assistant and silently applauds the Singer, then continues with kis coiffure. Meanwhile, a servant has admitted the Baron's natural son Leopold, the Almoner, the Village Chaplain, and several other dubious characters. Leopold is atall, young lout, stupid and impudent-looking Under his arm he carries a case ofred morocco. The Almoner is an uncouth village curate, a four-foot gnome, yet strong and bold looking. The Village Chaplain, before being fit into his ill-fitting livery, might well have carried manure. The Almoner and Leopold seem to be arguing as to who should have Precedence and step on each other's toes. They both sidle up to the Baron.) BARON (sitting, to the Notary, who stands before him receiving his instructions) js ‘mooganga:bo gants separaitim —je:dox Als Morgengabe, ganz separatim jedoch As wedding-gift, quite separately, however, unt fo dew» ‘mutgnft bin t¢ feaJtondon hea noitaxr und vor der —Mitgift. bimich verstanden, Herr Notar?... and before the dowry... d'you get my meaning, Mr. Notary?. * For a better understanding of the text of this aria, here it is, in proper Italian word order: Cot senoarmato di rigori_miribellal contro amore With my bosom armed with severity rebelled against love, ma fui vinto in baleno but Twas overcome in flash in mirar due vaghi rai Abi! sun core di gel. asIbeheld two lovely eyes. Ah! A heat of ice resiste P(ujoco uno stral_ di fuoco can resist hardly dat of ‘fire,Der Rosenkavalier, Act I 59) keat flos unt ‘heafaft ——‘gaonasdoof _ on mig tsurvk kebr Schlo8 und Herrschaft Gaunersdorf™ an mich zuriick! returns castle and estateof - Gaunersdorf tome back! (the castle and estate of Gaunersdorf shall return to me!) fon ‘aston free und ‘ungommndet an _privilegjan Von Lasten frei und ungemindert an _Privilegien, Of encumbrances free and undiminished in its _ privileges, (Free of encumbrances, and its privileges undiminished,) so; vi: mien ‘fot 'seck si ba'sesson hat so wie mein Vater selig sie besessen hat. just as my — late father owned them. NOTARY (gasping amid attacks of asthma) geftatten ——_hoxxfraeherligo ‘gnasdon di: submissasta Gestatten _hochfreiherrliche Gnaden die submisseste Permit me, most noble Lordship, my most humble das aena‘morgangaibo voll fom ‘gatton an di: 'gattn daB cine Morgengabe wohl vom Gatten die Gattin, that a —wedding-gift only from the groom to the -—_—bride, mig ‘arbor fon dex ‘gattm an dem —‘gatton nicht aber von der Gattinan den Gatten not however from the bride to the groom beftellat und ftisputirt ts ‘verdan ‘feg 1st bestellet umd stipuliert = zm =~ werden fahig ist. established and stipulated to-—_—become possible is, (can be thus established [as you wish] and possibly be so stipulated.) BARON das mak vol seen Das mag wobl sein. That may well be. NOTARY das ist 20: Das ist 80. kis 80. BARON ‘abe im —be'sondam fal Aber im besondern Fall... But in a special case. NOTARY di: forman und diz preskriptsjomon ‘Kennan ‘kaenan ‘untarfist DieFormen und die Preskriptionen _kennen keinen Unterschied. Therules and _—_regulations know no exception. 25 as a jocular bit of information, the Baron's ancestral estate Gaunersdorf means "village of thieves".60 Der Rosenkavalier, Act I BARON (screaming at him) bon in ‘arbor su ‘kennon. Haben ihn aber zu kennen. Must it but to know. (But there must be an exception to these rules and regulations!) NOTARY (startled) 1 ‘gna:don Im Gnaden! ‘Your Lordship! (After a lengthy discussion with the Major-domo the Marschallin occupies herself with settling the menu and then dismisses the Chef.) BARON ven ‘seenas ‘horadoligan ‘blustas ‘bly:onda- © fpros._ zig fea‘aplest Wenn eines hochadeligen Blutes blihender —Spro®s sich verablaBt, When one of highnoble —blood’s flowering sprout. deigns, im —_‘exbetta ‘wena so: gut os ‘byegeligan ~—mam’el faninal im Ehebette einer so gut als _iirgerlichen Mamsell Faninal - inthe marriage bed of one more orless middle-class. Mamsell Faninal, bin ig fo'ftandan bin ich verstanden - = do you follow me — ‘akta da pre'sas su; ‘maxon foo got unt dew velt actede présence zu machen vor Gott und der Welt an appearance to make before God and the world (When someone like me, who is a sprout of most noble blood deigns to make an appearance at the marriage bed of a no more than middle-class Miss Faninal - do you follow me?- before God and the entire world,) ‘angasigts —‘keresaliga. © majestest. wgesichts —_kaiserlicher Majestit.. inthe sight of Her Imperial Majesty. (The flautist again begins an introduction.) dan viet ‘korpo di ‘bakko fon ‘moagangarbo dann wird, corpo di Bacco! von — Morgengabe then will, by Jove, of a wedding-gift js gatsizmandam _gsfenk ‘dankbare —_devotsjon als geziemendem Geschenk © dankbarer Devotion asa fitting it of thankful devotion fyo di: ‘hingaxp so: ‘horn ‘blutas, fir die‘ Hingab’ so hohen Blutes for the sacrifice of such noble bloodDer Rosenkavalier, Act I 61 sex vol dis ‘redo sehr wohl die Rede quite well the discussion (then, Corpo di Bacco, the matter of a wedding-gift as a proper token of grateful indebtedness for the service of such noble blood will come into discussion!) (The Singer prepares to continue, but waits for the Baron to stop talking.) SINGER ma si ‘karo. € il’ mio torments Ma si caro 2 _—ilmio tormento But so dear is = my —_torment. ‘doltfe © sila ‘pjaga mia dole 2 sin piaga mia sweet is so my wound Kil penare e mio kontents che —penare 2 mio contento that to suffer is my —_ happiness el sanarmi © tirannia el sanarmi = @—_—stiramnia, and healing is tyranny. NOTARY filaegt das man dit "zaxo_zepataitum Vielleicht, da man die Sache separatim... Maybe, if we the -—matter separately... BARON ex st en ‘fmediga ~——_perdant Er ist ein schmiilicher Pedant: You are a miserable —_pedant: ajs‘moegangarbo vil ig das ‘gyal Als Morgengabe will ich das Gite As awedding-gift want I that Estate! NOTARY als en ‘voilklaozulirton tael dex —‘mutgrft Als cin wohlklausulierten Teil der Mitgift... As a carefully formulated part ofthe dowry... BARON Als Morgengabe! get das den mgt om —‘senan ‘ferdal Geht das denn nicht in Seinen Schiidel! Gets that then not — into your skull! (Can't you get that into your head!)o Der Rosenkavalier, Act I NOTARY als ‘aeno fenkun ‘inter vivos ‘oder Als eine Schenkung inter _vivos, oder. As oa gift inter vivos”” orelse... SINGER Abi! che resiste puoco...cor... BARON (slamming the table, yelling, and interrupting the tenor) ‘Als Morgengabe!! (he Singer, interrupted mid-high note, slams shut his book, glowers at the Baron, makes a ‘ypical Italian gesture of disgust and stomps out. The Notary retreats into a corner. The Baron acts as if nothing has happened, goes to his son-valet and pats him on the cheek amiably, then, as though seeking someone, he goes to the small door, opens it, peers out and shows annoyance that the maid has not returned. He comes forward again.)”* MARSCHALLIN (to her hairdresser, as she looks sadly into her hand-mirror) maen ‘libor hipolvt ‘Mein lieber Hippolyte, My dear Hippolyte, hoot harbon zit gen ‘alts. vaep gus = mir gomaxt heut haben Sie ein altes. ‘Welb aus mir gemacht! today youhave an old woman outof me made! (made an old woman out of me!) (n consternation, the Hairdresser falls feverishly upon the coiffure and alters it anew. The Marschallin's face remains sad.) MARSCHALLIN (over her shoulders, to the Major-domo) ‘aptreton == di_—sdo@t Abtreten die Leut! Gedrid of those people! (The footmen start dismissing some of the vendors through the center door. Valzacchi and Annina manage to get over to where the Baron is and introduce themselves with exaggerated senvility,) VALZACCHI (io the Baron) ‘ire ‘gnade —suckt ‘etvas ik we Thre Gnade sukt ‘etwas, ik seh, ‘Your 'Ighness is lookin’ fer som'sin’ I see, ize ‘gnade at ‘aine_be'dirfnus ThreGnade ‘at eine Bediirfnis. Your'Ighness ‘as a —_ need. (Your Highness wants something.) » Inter vivos isa Latin legal phrase meaning "between living persons". "Tn the wonderful Nathaniel Merrll/Robert O'Hearn production at the Met in which Thad the privilege of singing the Major-domo for many years, at this point inthe score (bar 250) everyone froze in place, as the Marschallin said her line tothe hairdresser.Der Resenkavalier, Act I 63 ik kan ‘dimen ik kan be'zorgen Ik kann dienen, ik kann besorgen. T can serveyou, 1 —can_—_getit for you. BARON (stepping back, somewhat suspicious) veo st em Vas veesex Wer ist Er, was wei Er? Who are you, what do you know? VALZACCHI ime ‘gnade gezikt sprikt ome sue Thre Gnade —Gesikt sprikt ohne Sun; ‘Your'Tghness’ face speaks without iongue vi ‘aine hantike ‘kome statwa di ‘dgove wie cine Hantike: come statua Giove. like an antique: like statue of Jupiter. ANNINA Wie eine Hantike...di Giove. BARON das ist = wen —_‘besor: menj Das ist ein_—_besserer += Mensch. That is a more educated fellow. VALZACCHI, ANNINA (falling on their knees) erlaukte ‘gnade alafiren uns an zain__gefolge Erlaukte Gnade, attachieren uns an sein. Gefolge. Your Noble Grace, engage us in your retinue, BARON 205 Euch? You two? VALZACCHL, ANNINA ‘nikte unt “‘onkel ‘onkel unt igte Nikte und Onkel, Onkel und Nikte. Niece and uncle, uncle and niece. Between the two of us ‘maken ‘ales ‘beser maken alles besser. wemake it all better. (Two is better than one.) per ezempjo ise ‘gnaide at Per esempio: IhreGnade ‘at For instance: Your Tghness ‘as BARON vothes wees ei den das es —_to¢fal Woker wei Er denn das, Er How do youknow that, you64 Der Rosenkavalier, Act I VALZACCHI, ANNINA (eagerly) jre‘gnade ist. in ‘aiferzukt —‘diko per ‘dire IhreGnade ist in Eifersukt: dico per dire! Your'Ighness is jealous: Tm only saying this (That's just supposing! sit ‘oder ‘morgen “koente zain affare ‘nostro ‘eut oder morgen kGnnte Affare nostro! today or tomorrow _it could appen. That's our business! jede srt di ‘dare zitut jeide ‘vagen i: ‘dame staikt Jede sritt di Dame Dame steigt, Every step the —_ lady lady steps into, jede brit di; “dame jede brief die Dame every letter the lady an di ‘eke in ‘bete an die Ecke, in Bette. in the comer, in beds... in di komorde In die Kommode, In de closet, ‘unter dit ‘daxe ant da: unter di Dache, sind da! under de roof, are there! ANNINA, ‘ire ‘gnarden virt_ —migt'_be'dauern ThreGnaden wird nicht bedauern! Your Lordship will not —_regretiit. VALZACCHI Wird nicht bedauern! (They hold out their hands, begging money; but the Baron pretends not to notice. The Marschallin has risen. The Hairdresser goes off with a deep bow, followed by his Assistant.) BARON hmm vas es ‘alles ry isom vim Hm! Was es alles in diesem Wien! Hm! What there all is inthis. Vienna! (The things one can find in Vienna!) sua pro:bo nue kent si: di junfe ——-_mariandal Zur probe nur: kenntSie die Jungfer_ Mariandel? Asa test only: Doyouknow Miss Mariandel? ANNINA, Mariandel?Der Rosenkavalier, Act I 65 BARON dos ‘tso‘fol hie =m —_—haos bee ise ‘gnardon Das Zofel hier im Haus bei Ihrer Gnaden? The maid here inthe household (always) with Her Highness? VALZACCHI (softly, to Annina) sai tu ‘ora ‘ywole Sai tu, cosa vuole? Doyouknow what he wants? ANNINA, ‘njente Niente! No idea! VALZACCHI (with great assurance, to the Baron) ‘viker ‘maine nikte vit bezorgen —‘sajen ‘ziker ie ‘gna:den Sicker! Meine Nikte wird besorgen. —Seien sicker, Thre Gnade! Sure! My niece will see to it. Be assured, ‘Your ‘ighness! VALZACCHI, ANNINA vir aint daz Wir sind dat We are there! (The Baron leaves the two Italians, who momentarily appear somewhat discomfitted at not being immediately engaged. He goes to the Marschallin.) BARON darf 1 das 'geigonfivk —_diskrextvea'traolig su; ‘dexo: Darf Ich das Gegenstick diskret vertraulich m Dero May I the counterpart, indiscreet confidentiality, to Your ‘saobon ‘kammertsorfa _pressenttiron saubern Kammerzofe prisentieren? clean-cut chambermaid _present (to you)? (May I, in discreet confidentiality, introduce you to my counterpart [my son Leopold] to your clean cut chambermaid?) di: embickseet_ hose 1g soj‘uyvekenbar seen Die Abnlichkeit, hor ich, soll unverkennbar sein. The resemblance, Thearsay, is unmistakable. (The Marschallin nods. The Baron beckons to his son.) ‘eopolt das futtorasl Leopold, das Futteral, Leopold, the -— case! (The young valet clumsily presents the case.)66 Der Rosenkavalier, Act I MARSCHALLIN (laughing a litle) ie gratutlir = ‘ogar‘libdonzex Ich gratuliere _Euer Liebden sehr. congratulate Your Lordship very much. BARON (taking the case from the lad and signaling him to withdraw) unt da; st’ nun diz ‘silberno'ro'so Und da ist mun die _silberne Rose! And there is now the _silverrose! (He wants to open the case.) MARSCHALLIN Tasson nus ‘drmnon Lassen nur drinnen. Leave it inside. ‘ha:bon di gnast und ‘stellons ‘dort hm Haben die Dnad’ und — stellen's dort hin. Havethe goodness. «= toot over there. BARON | firlecegt das ‘tsorfal ‘sojs ‘rurft man i Vielleicht das Zofel_soll's dbernehmen? Raft man ihr? Perhaps the maid should take charge of it? Can she be called? MARSCHALLIN naen ‘asson nur hat jetst ‘kaeno tsaet Nein, lasen nur. hat jetzt keine Zeit. No, leave itthere. She has now no time, ox zae ex ‘igor dem ‘grarfon ok'tavjan bt itg im 2o0f, Dox sei Er sicher: Den Grafen Octavian _bitt’ ich Thm auf, But be —_ assured: The Count Octavian Iwilllask for you, ex vis mistsu‘lkp fon tun er wird's mir zulieb schon tun he will formysake doit unt als kavallsr und als Kavalier and as ambassador ‘forfa:ren mut dex rowan ts: dex —_junfar braot vorfahren mit der Rosen m der _—_Sungfer Braut. willcallon with the rose for the ~—-young bride. ‘feellon indess nus hm Stellen indes nur hin, Putit meanwhile over there. unt jets’ herr fettor sag 1g im Und jetzt, Herr Vetter, sag’ ich Thm And now, mycousin, Tsay toyou adieu.Der Rosenkavalier, Act 67 man restitist 21g jetst fon hi Manretiriertsich jetzt ‘von bier: One should withdraw now from here: (Its time to withdraw:) ie veut jetst «om = dis argon gen Teh werd’ jetzt in die Kirehen gen. I will now to the church g0. (Lam going to church.) (The lackeys open the folding door.) BARON ‘ge ‘gnadan thaban hoot dur ‘unfesickto hujt Euer Gnaden haben heut durch unversiegte Huld Your Highness has today with Herimmeasurable graciousness mig bafemt mich tiefst beschimt. me —_ mostdeeply covered with shame. (Your Highness's immeasurable graciousness today covers me with shame.) (He makes his reverence and withdraws ceremoniously, followed by Leopold and some of his ‘followers, who exit with deplorable manners. The Notary follows at his signal. The two ‘alians silently and obsequiously attach themselves to his train, The Major-domo withdraws.) MARSCHALLIN” (with a disgusted look on her face) da: get ex hin dex ‘cofgoblazno ‘ecto kerl Da geht er hin, der —_aufgeblasene schlechte Kerl, There goes he | away, that — puffed-up wretched fellow, (So there he goes, that bloated wretched toor,) unt krikt das ‘hypfo june dm und kriegt das hlibsche = junge Ding and gets the ~— pretty young thing ont ‘aenan ‘pijkel ‘elt datsu: und einen PinkelGeld dazu, and a tidy fortune —_in addition, (sighing) . With kind permission I take pleasure in quctin from Evelyn Lear's book "Dex Rosenkavalier”, A Master Class with Evelyn Lear", published by G. Schirmer, Inc. “The door closes and the Marschallin is alone. She reflects on the parallels between the impending marriage of Baron Ochs end Sophie and her own forced marriage of some years before, She ruminates about the passage of time. It is not that "growing older" is the problem, she concludes, it sin knowing how to withstand the pain of doing so. This. ‘monologue is important not as a vehicle for displaying the vocal prowess ofthe singer, but for the dialogue the Marschallin is having with herself. Her moods change from controlled anger to quiet reflection; from poignant sadness to bittersweet resignation."68 Der Rosenkavalier, Act I als mysts zo: zaen als miiBe's so sein. asif that's as it should be. unt ‘bildot zig nox ?aen das ex es ist Und _bildet sich noch ein, daB er esist, And — flatters himself still (—), that itishe (sich ein/bilden is a separable prefix verb meaning "to flatter oneself") dex zig vas vergipt der sich was vergibt. who — makes the sacrifice. (who makes the great sacrifice [by marrying the daughter of a “nouveau riche" like Faninal].) (regaining her calm and composure) dex oof dex velt der Lauf der Welt. the way of the world. vas ertsym 1g mig den Was erziirn ich mich denn? Why am getting upset? (with a half smile) kan mig ox an aen ‘medal eo?innam Kann mich auch anein Miidel erinnern. Tean also a = -younggirl_ remember, di fmf cos. dem ‘Klosstor die frisch aus dem Kloster who fresh out ofthe convent ist om dem ‘haeligon =——“erftant kommanirt vordn ist in den _helligen Eh'stand kommandiert word'n. was into the holy state of wedlock forced into. (Lcan also remember a young girl who fresh from the convent was forced into holy wedlock.) (She takes up the hand mirror.) vo: ist zis jetst Wo ist sie jetzt? Where is she = now? ja: mux dir ‘fe: fom verganonon jar Ja, such dir Schnee vom vergangenen Jahr! Yes, look for snows of bygone years! das zack 1¢ 20: Das sag' ich so: It is easily said: (questioning)Der Rovenkavalier, Act I 6 ‘abor vir kan das ‘viklig zaen Aber wie kann das wirklich —sein But how can that really be dase dis ‘klaeno ‘evi, var da ich = die_—kleine Resi” war that I the little Resi was und das) GoX_‘aenmadl di: ‘alta frao_zaen vest und daS ich auch einmal die alte Frau sein werd? and that I also someday an old woman willl be? (Hows it that I was once little Resi and that someday soon I will be an old woman?) (letting her shoulders droop somewhat, as if becoming the old woman she is describing) di: alta frao di, alt ‘marfalm Die alte Frau, die alte Marschallin! An old woman, the old = Marschallin! (gently mocking, reverting to Viennese parlance just for this phrase.) siskst es da get di: git fyrstin tressi "Siegstes, da geht die alte FirstinResi!" "Diyousee. there goes that old ~—_—Princess Resi!” vi kan den das gafen Wie kanndenn das_—_geschehn? How can this happen? maxtden das_- de tibo got machtdenn das der liebe Gott makesHe that, the good. Lord (How can our dear Lord make it so) vo: me doxmmar di: ‘glaego bn wo ich doch immer die gleiche bin. when TI still always the same am? (when I am still the same person as before?) unt ven ens fom =z: ‘maxon mus Und wenn er's schon so machen muB, And if Heit alreadyso make must, (And if He must make it so,) varum last ex — mig —_‘tsu:faon datbae mit gar zo; klaxremzm warumla6t er mich zuschaun dabel mit garso Klarem Sinn? why lets He me —_watch it happen with such a clear insight? (why does He let me watch it happen so very clearly?) * Resi, diminutive of Teresa.70 Der Rosenkavalier, Act I varum ferftekt exs nt Warum versteckt er's-_nicht Why hides Heit not (Why does He not hide it from me?) das‘allas st. gahaem 20: Das alles ist geheim, so Allofthat is amystery, 50 unt man 1st ‘da:tsu: da: Und man ist dazu da, And we are here (on earth) ont om dem da: liskt Und in dem "Wie" da _ liegt And in the — "How" therein lies for from fil viel mix mir? me? gehaem geheim. very much a mystery. das a8 to dex der the ‘mans ertra:kt man's ertragt. endure it. “gantso ‘untarfict ganze Unterschied... whole difference... (Octavian comes in, dressed in morning clothes and riding-boots. The Marschallin looks at him with a half-smile.) ax du bist ‘vider daz Ach, du bist wieder da! ‘Ab!’ You are again here! OCTAVIAN unt du: bist ‘traong Und du bist traurig! And you are sad! MARSCHALLIN es ist jax fom —vorbae du: —_vaest ja: Es istja_ schon vorbei. Du weifit ja, It is" already passed. You know aenhalp mal ustig_aen halp Einbalb = Mal_ lustig, ein halb Half the time merry, half the ty kan halt ‘maena ga'dankon Ich kann halt meine Gedanken I cant really my — thought (Ican't really control my thoughts at will.) OCTAVIAN ie -Vaes. varum du: ‘traorig bist Teh wei warumdu —_traurig bist, 1 know why you sad are, vael du erfrokkon bist Weil du erschrocken bist Because you are alarmed mal Mal time nigt nicht not maen vi gm wie ich bin. how [am ‘waong traurig. sad. komman‘dism kommandier'n. control (at will). ‘fats: Schatz. dearest. anst gohapt hast Angst gehabt hast. ‘were afraid.Der Rosenkavalier, Act I n iy mgt, rect gofte:_ mise nux ich nicht recht? Gesteh’ mir nur: T not right? Tell me: du: hast anst gshapt = dus'zyso du: om mig Du hast Angst gehabt, duSiBe, = du um mich! You were afraid, you sweet one, you for me! MARSCHALLIN aen —‘bissol__villaegt ‘abor 1 hap mig erfanon Ein bissel vielleicht, aber ich hab mich erfangen A little perhaps, but 1 did _ pull myself together unt harp mix forgozakt. es vurt Jorn migt dactys: fem und hab! mir vorgesagt: Es wird schon nicht | dafiir stebn, and said to myself: There is, nothing about it to be done. (There is nothing that can be done about it) unt vers dafyx geftandon Und wiir's dafir gestanden? And was about it something done? (And was anything to be done about it?) (And wasnt I right?) OCTAVIAN (approaching her and trying to embrace her) ont es Var kaen Yeltmarfal Und es war kein Feldmarschall, ‘And there was no Field Marshall, nur aen ‘fpassigar_ ~—sher fetta, «und duzs_—_gahozst mise nur ein spaBiger ‘Herr Vetter, und du —_gehrst mir! only a —clownish cousin, and you belong tome! MARSCHALLIN (fending off his embrace) r ‘umarm ec nigt tsu: fil Taverl, umarm' Er nicht m viel. Taverl,"" donotembrace me 20 much. ver ‘umarmt dex helt —nigts fest Wer umarmt, der hilt nichts fest. He who toomuch embrace, he -—_—iholds_ nothing fast. (He who embraces too much at once, can' hold on to it for too long.) OCTAVIAN zak das du; mix ghost. mist Sag’, daB du = mir —_gehdrst! Mir! Tell me that you tome belong! Tome! “This is yet another nickname, besides Quinguin, that the Marschallin calls her young lover. It is a «diminutive of Octavian, with a Viennese fl suffix at the end.nR MARSCHALLIN oO zae ex jetst Oh, sei Er jetzt Oh, be — now Der Rosenkavalier, Act I (Octavian wants to reply vehemently.) naen bit fon Nein, bitt’ schén, No, "please, zanft zae ex gafaet unt zanft unt gut sanft, sei Er gescheit und sanft und gut. gentle, be sensible and gentle and good, vac exnur —nigt vir ‘allo. ‘manor ant seiErnur nicht wie alle Manner —_—sind! be not like all, men are! (No, please don't be as all men are!) OCTAVIAN (starting up, suspiciously) ‘alle ‘mennor ‘Wie alle Miner? Like all men? MARSCHALLIN (quickly recovering herself) vii dew = feltmarfal unt — dex fettr aks Wie der Feldmarschall und de Vetter Ochs. Like the Field Marshall and cousin ‘Ochs. OCTAVIAN (still not satisfied) Bichette! MARSCHALLIN Sei Er nur nicht, wie alle Miner sind. OCTAVIAN ie vaes mict «= viz ‘alla ‘mennor ant Ich wei nicht wie alle.“ Minner —_—sind. 1 dontknow how all, men are. vaes nur das ig dig lisp harp bifetta Wei8 nur, daB ichdichlieb hab’, —_Bichette, Tknow only that Tlove you, Bichette, zi: ‘haben dig mir ‘aosgotaoft sie haben dich mir ausgetauscht, they did you change towards me, (those people made you change towards me,) bifetta vor st zi den Bichette, wo ist Sie denn? Bichette, where are you then? (Bichette, where have you gone?) (Where is my Bichette [of just a while ago]?) MARSCHALLIN (quietly) zi: ast vol dat_—her fats Sie ist wohl da, Herr Schatz. She is still here, my dearest.Der Rosenkavalier, Act I B OCTAVIAN jar ast da dan vilig is ‘halton Ja, ist da? Dann will ich Sie halten, Yes, is she here? Then [wantto hold you, das zit migt mix Vidor entkomt da8 Sie mir nicht wieder entkommt! sothat you fromme not again escape! (passionately) ‘pakkon wil ez pakkon das zi: es pyat Packen will ich Sle, _packen, daB Sie es spiirt, Hug want I you, hug, sothat you it feels, (I want to hug you, hug you so that you you may feel) tsu: vem zis gohoat ‘su: mise mm wem Sie gebdrt.. =m ~—mir! to whom you belong... to. ~—me! den yo bmiy. ntti ast’ man Denn ich bin Thr und Sie ist ~— mein! For I am yours and you are mine! MARSCHALLIN (freeing herself from him) o: mae ex gut keke mir ist zamust Ob, seiEr gut, Quinguin, mir ist zumut, Ob, be — good, Quinquin, 1 © am —_inamood das dik vege fon ‘allom. ‘tsaetligan daB ich die Schwiiche von allem Zeitlichen that I the — frailty of all temporal things tect 'fpyron mus bis n_ maen__herts hnaen recht spiiren mud, bisin mein Herz hinein, rightly can feel within my deep down heart, (Lam in the mood where I can feel deep down in my heart, the frailty of all temporal things,) vii man nigts ‘halton zal wie man nichts halten soll, how one nothinghold can, ‘(how one can hold onto nothing,) vii man migts_‘pakkon kan wie man nichts packen kann, how one nothing hug, an, (how one can hug nothing,) vir ‘alos tserlooft © tsvifan. den gem wie alles zerliuft mwischen den_‘Fingern, how everything slips through our fingers,4 Der Rosenkavalier, Act I vit ‘alles zig ‘aoflgist wie alles sich auflést how everything —_ dissolves ‘allas tserget vi alles zergeht wie everything fades. like OCTAVIAN maen got vir Mein Gott, wie Sie das My — God, how you that (My God, the way you say that!) zi: vil mise dox nur Sie will mir doch nur You want tome yet only ‘(Yet you only want to show me,) das it mgt an mir dab Sie nicht an mir that you not on me (that you are not dependent on me.) (He weeps.) MARSCHALLIN (comforting him) zac ex dox gut keke SeiErdoch gut, Quinquin! vornax wonach after which dunst und Dunst und mist and zakt sagt. say. ‘tsaegon zeigen, hent hangt. vir ‘graefon wir greifen, we grasp, trom Traum. dream(s). ‘wosston, tristen console vat “zitson ‘lasson wirt _ sitzen lassen.” Be good, Quinguin! (Octavian turns from her, weeping even more. She consoles him with caressing tone and hand) jets mus ig den ‘buzbon ‘dasfyr Jetzt muB ich den Buben dafir Now Imust the boy even (Now I even have to console this boy) das ex = mig_—yibor kus ‘oar tan dab er — mich iiberkurz oder _ lang that he — me sooner or later (She strokes his hair lovingly.) OCTAVIAN Ober kurtz oder lang? (angrily) will leave me. * sitzen lassen, literally "leave me sitting there", and by extension, "leave me",Der Rosenkavalier, Act I 1S ver leikt dir ‘hoota dit ‘Yoertar m mont ‘Wer legt dir heute die Wérter im Mund... Who isputting today ‘the —_words in your mouth... MARSCHALLIN das im = das vort_ zo: renkt DaB thn das Wort so krankt! That you the word so kurts! (That the word so wounds you!) OCTAVIAN Bichette! (He stops his ears.) MARSCHALLIN (without sentiment, but with rich imagery) dit tsaet m’grnds KEKE zit Die Zeit imGrande Quinquin, sie Time, afterall, Quinguin, it ‘endart dox migts an dein 'zaxon. findert doch nichts an den Sachen changes nothing in things. (makes no difference in the long run.) (it leaves the world unchanged.) dis tsaet zi st gen ondorbar din Die Zeit sie ist ein sonderbar Ding. Time, it is a strange thing. ven man st zit raen gar nigts ‘Wenn man ist sie rein gar nichts. When you itis meaningless. ‘aibor dan Aber dann But — then da: ‘fpyat man as ait da spiirt_ man als sie. there feels one but it (one is aware of nothing else.) zit ist umuns herum ist gox im uns ‘drinnon Sie ist umuns herum, ist auch in uns drinnen. It is all around us, it is also inside us. m den = gazigtan = rizalt zi: = m= fpisgol da: rizolt zit In den Gesichten —_rieselt siz, im Spiegel da rieselt sie, ‘Across our faces ittrickles, inthe mirror there it trickles, ‘maenan ‘flesfon meinen Schlifen _flieBist sie. around my temples it flows.16 Der Rosenkavalier, Act I (never looking at Octavian) unt ‘tsvifon dir unt mir da ist zis Und zwischen dir und mir da_—_‘flieBt sie ‘And between you and me there it flows ‘laotlo:s ‘aena ‘zantfur o: keke lautlos, wie eine Sandubr. Ob, Quinguin! silently, like a —sand-clock. Ob, Quinguin! (an hourglass.) ‘mangmal = her ig zis—_flissan ‘un?aofhaltzazm Manchmal hérichsie flieBen... © unaufhaltsam. Attimes Thear it flowing... _ inexorably. (softly and earnestly) ‘mangmal —_fte: 17 aof ‘mitton m = dex naxt Manchmal —steh ich auf mitten in der Nacht At times Tget up (inthe) middle of the -—_night unt las ‘uron allo fem und 1a8 die—‘Uhren alle stehn. and leave the clocks all stopped. (and stop all the clocks, all of them.) allaen man mus zigox for itr_ «mgt furgton, Allein man muBsichauch vor ihr nicht” flirchten. ‘And yet, one —mustnot_ =f, it, «be afraid. ox zi: ast, agen gafoepf. des fastors Auch sie ist ein Geschdpf —des-_—-Vaters, Also it is a creation of Our Father, der uns ‘allo erfaffon hat der uns alle. erschaffen hat. who us all created has. (who created us all.) OCTAVIAN (with quiet tenderness) maen ‘Jonar Jats Mein schéner Schatz, My lovely darling, vil zi: 21g ‘waong ‘maxon mit —_govalt will Sie sich traurig machen mit Gewalt? do you want yourself sad tomake by force? (are you determined to make yourself sad?) vo: zit mig da:—hat Wo Sie mich da hat, When you me — here have, (When you have me here,)Der Rosenkavalier, Act I ” vo 1G ‘xo fpr fim wo ich Thre Finger schlinge, when I your fingers twine, vo: i mm = 'maenon = ‘uogen ‘ire ‘agen “zuxo wo ich mit meinen Augen Ihre Augen suche, when I with «my eyes your eyes seek, wo Sie mich da hat... geradoda: stir ro: tsutmust geradeda ist’ «Thr so zumut? thisthetime is foryoutobe so moody? (is this the time for you to be in such a mood?) MARSCHALLIN keke hoot ‘o:dar ‘morgen get ex bn Quinquin, heut oder morgen geht Er hin, Quinguin, today or tomorrow you will go away, unt gipt «mig oof, um —_aenar ‘andor ‘villon und gibt mich auf um ciner andern willen, and give me up _— for — another (woman's) sake, di iver unt ‘Jonor st als g die jiinger und schiner® = ist’ = als ich. who younger and prettier is than OCTAVIAN (fervently) vilst du: ‘mit "Vorton mig fon dir ‘ftoson Willst du mit Worten mich yon dir stofien, Do you want with words me from you drive away, (Do you want to drive me away with words,) vael di ‘hendo den dimst mgt tun weil die Hinde den Dienst nicht tun? because your hands the deed not can do? (because your hands cannot do it?) MARSCHALLIN (with absolute surety) dex tak — komt gants fon ‘zelbor Der Tag kommt ganz von selber. The day willcome quite of —_—itsown. hoot ‘order ‘morgan komt dex tzk — oktavvian Heut oder morgen kommt der Tag, Octavian. Today or tomorrow —willicome =the. day, Octavian. OCTAVIAN nigt hoot migt_ ‘morgan te hap dig lip Nicht heut, nicht morgen! Ich __ hab’ dich lieb. Not today, not tomorrow! I love you. © The singer should hesitate for a milisecond before the word schoner.8 Der Rosenkavalier, Act I Nicht heut, nicht morgen! vens zo: ‘aenon tag ‘gecbon muse © denk = im nyt ‘Wenn's so einen Tag geben mu, denk’ ihn nicht! If such a day theremust be, I think about it not! (won't think of it!) zo: ‘aenon ‘frekligon tak =e = vil_« dems tak «mgt zem So einen schrecklichen Tag! Ich will den Tag nicht sehn. Such a terrible day! I want that day not to see. migt‘degkon Ich will den tag nicht denken. not think about. vas kverlst du: dig ont mig Was quilstdu dich unt — mie Why torment yourself and_—me, MARSCHALLIN (passionately, but a bit remote in expression) hoot ‘order ‘morgan ‘odor dem y:bomnergstan ta:k Heut oder morgen oder den tberniichsten Ta; Today or tomorrow —or else the day after tomorrow. mugt‘kveslon vil ig dig maen_ fats Nicht quilen will ich dich, mein Schatz. Not torment want I you, my — darling. (I don't wish to torment you, my darling.) eo mak vas var ast Teh sag’ was war“ ist, Tsay what true is, zakks tsu: mir zo gut als vi tsu: dir sag's m mir so gut alswie zu — dir. Tsay it to myself as much as to. you. Taegt vil tgs ‘maxon dix unt mir Leicht will ich's machen dir und mir. Easy want it tomake for you and myself. (L-want to make it easy for both of us.) laect mus man zaen Leicht muf man sein, Light must we be, mit ‘laegtam ‘hertson unt ‘laegtan ‘hendan mit leichtem Herzen und leichten Hiinden with — light heart ‘and light ‘hands “Point the word wah (the truth).Der Rosenkavalier, Act I 79 ‘halton unt ‘ne:man ‘halton unt ‘lasson alten und nehmen, —halten und lassen... tohold and take, hold and let go... di: migt zor zit diz frauft das ‘lezbon Die nicht so sind, die straft das Leben, Those who not so are, those punishes ——iife, (Life punishes those who are not s0,) unt got erbarmt zig rigt und Gott erbarmt sich nicht. and God has mercy not. (shows them no mercy.) OCTAVIAN (passionately and agitated) zi Spmgt jax =—shogt’ vir = aen ‘pastor, Sie spricht ja heut wie ein Pater. You talk today like a priest. wl das ‘haeson das zit omugt mex Soll das heifien, daB ich Sie nicht mebr Does that mean that I you no longer ‘veda ‘kysson ‘dvrfon werde kiissen dirfen to kiss may be allowed bs ir dex ‘atom ‘aosgest bis Ihr der Atem ausgeht? until fromyou the -—breath goes out? (Does that mean I may never again kiss you until you gasp for breath? MARSCHALLIN (wth geule comman) ex mol jetst. gem er — zol_—mig‘Tasson Ouingun, Er soll jetzt. gehm, Er soll mich lassen. Quinguin, you must now go, you must leave me. te vent jetst. om = dis ‘kargon gen Ich werd’ jetzt in die ‘Kirchen gebn, I will now to the church 20, (Lam going to church now,) unt ‘fpestar faxr 15 tsum ‘onkol_‘graefonklao und spiter fabr'ich © zum Onkel Greifenklav, and later Tshall drive upto Uncle Greifenklau, dex alt unt galesmt 1st der alt und gelihmt =— ist, who old and crippled is, “ Make a slight pause before the /in the word lassen.80 Der Rosenkavalier, Act I unt ?es mit das fropt dem ‘alton man und ess! mit | ihm: das freut_ den alten Mann. and dine with him: that pleases the = oldman. nt ‘naixmtta:k vert 1; im —‘aenan ‘laofar ‘fakkon Und —Nachmittag werd' ich Thm einen Lauffer schicken, And (inthe) aftemoon will I you a messenger -— send, (and in the afternoon, Quinquin, I will send you a messenger) keke unt ‘sagan lasson op gS des ‘prastor fair Quinguin, und sagenlassen ob ich in © den_—Prater fabr’. Quinguin, and letyouknow if I to the Prater“ will drive. Griendly, but remote) ont ven 1g far unt sex hat lust Und wenn ich fabr’, und Er hat Lust, And if 1 go, | and you _feellikeit, zo: vist’ sex = cox, sm dem _—prattar ‘kommen so wird Er aux in © den_—_Prater kommen then can you also. to the Prater come ont ‘vaigon ‘raetan und ‘Wagen reiten, and carriage ride. jetst zaeex gut unt —_ folk ex mir Jetzt seiEr gut und —folg' Er mir. Now be good and doasIsay. OCTAVIAN (with subdued anger, but also on the verge of tears) vii zis efile bifetts Wie Sie befiehit, Bichette, As you command, —_Bichette. (He leaves.) MARSCHALLIN (starts up violently) % hap im mgt ‘aenmadl gokyst, Teh hab’ ihn nicht einmal gekie! 1 have him not evenonce —_—ikissed! (I didn't even kiss him goodbye!) (She rings the bell for the lackeys. The lackeys come in, She commands them in great haste.) loofts dem hem ‘grarfon max Laufts dem Herrn Grafen nach Run the Count after (Run after the Count) “The Prater in those days was a charming park in the middle of Vienna, a place for walks or cariage rides amid beautifully manicured greenery. Today itis less so, a giant Ferris Wheel dominating the landscape, and strewn with hot dog stands and devoid somehow of some ofits once pristine charm.Der Rosenkavalier, Act I 81 unt ‘bitiats im nox cof, gen vort_—_he'raof und bittet'sihm noch auf cin Wort herauf. and ask him again for a word tocome up. (and ask him to come up again for a word.) (The lackeys go out quickly.) ig hap im —_fortgeian ‘lasson Ich hab’ ihn —_fortgehen lassen I did him let goaway unt onigt im ‘aenma:t kakyst und nicht ihn einmal gekiibt! and not him even Kissed! (The lackeys come back,out of breath) FIRST LACKEY dex hergraf —sint_ oof unt darfon Der HerrGraf sind auf und davon. The Count is up and away. SECOND LACKEY glaeg baem tor znd ‘aofgozesson Gleich beim Tor sind _aufgesessen. Right bythe gate he mounted THIRD LACKEY ‘raetknegt hat —_go'vartat Reitknecht hat —_gewartet. Groom was waiting. FOURTH LACKEY zint ‘aofgazesson vit sind aufgesessen wie der Right bythe gate he | mounted like the ALL LACKEYS ‘varon um dit Waren um — die He was around the Ecke wie der comer like ‘THIRD LACKEY vir ‘ha:bon gofrin Wir haben geschrien. We did shout. SECOND LACKEY zant ‘nazxgelaofon Sind nachgelaufen. (We) ran after him. vint Wind.82 Der Rosenkavalier, Act I FIRST LACKEY var umizonst ‘War umsonst Itwas in vain. THIRD LACKEY ‘Waren um die Ecke wie der Wind. MARSCHALLIN esist gust gest nur ‘viddar Esist gut, geht nur wieder. Very well, you may go. (The lackeys withdraw. The Marschallin calls after them.) den —‘mohamest Den Mohammed! Send Mohammed! (The little Negro boy enters quickly and bows.) das da: tra:k Das da trag'. Take this. (Mohammed eagerly picks up the morocco case. The Marschallin patiently restrains him and explains.) vaest ja: nigt —vortun Weiltja nicht wohin. Youknow not where (to take it.) (But you don't even know where.) tsum ‘grarfon oktarviam ——_gitps ap unt zag Zum Grafen Octavian, Gib'sab_ und sag’ To Count Octavian, Deliver it and _—_tell him: daz din ast’ di: ‘zalborna ‘roza Da drin ist die _silberne Rose. There inside is the —_ silver. rose. dex her graf ——_vaes‘omahn Der Herr Graf _weifs ohnehin. The Count ‘knows what to do. (The little boy trips off. The Marschallin is left alone. As if wanting to call him back, she takes a step after him. Then her eye catches the bed. Reliving the endless pleasures and endless passion of the night before, her body feels weak as she leans on the edge of the dressing table, involuntarily, she touches her hand mirror, and sitting down gently on her chair, holds her mirror before her. Her eyes must project the sadness of the end of this affair yet the shimmering gleam of the expectation of a new one.) END OF ACTI.Der Rosentavalier, Act II 83 acTir ‘The Grand Hall at Herr von Faninal's (A center door leads to the entrance hall. There are doors left and right. To one side is a large window. There are chairs along the wall on either side of the center door, next to which stand two footmen. In the rounded corner, on each side is a small invisible door. The entire setting exudes an ‘air of almost exaggerated luxury. Faninal is taking his leave of his daughter Sophie. The Major- domo stands nearby. Sophie's duenna Marianne is perched at the window, excitedly looking out and observing the goings-on outside.) FANINAL (to Sophie) wen emstor tak = wen ‘groisor tak en ‘exontak en ‘harelgo: tak Ein ernsterTag, ein groBer Tag! cin © Ebrentag, _ein heil'ger Tag!” A solemn day, a great day! A dayofhonor, a holy day! MARIANNE (from the window above) deo josef fart for mit des ‘nogon_karos Der Josef fart vor mit der neuen Kaross', Joseph. hasdrawn up withthe new —cartiage, hat ‘hummalblacefoohen fio apfolfimmal smt dran hat —himmelblaue Vorhiing’, vier Apfelschimmel sind dran, thas sky-blue curtains, four — dapple-greys are hitched to it. MAJOR-DOMO (to Faninal, not without a certain familiarity) Ist hhosgsta tsaet’ das ‘ogor‘gnardan Yaron Ist hdchste Zeit, da6 Ewer Gnaden fahren. tis high time that your Lordship left. dex ‘hoxxaidoliga ‘braotfastor _—zaxkt_ dit 'fikligkaet Der hochadelige Brautvater,’ sagt die Schicklichkeit, The — noble ‘bride's father, says propriety, mus ‘oosgafaron zaen boo dex ‘zilbomna ‘rozonkavalix ‘foxfast muB ausgefabren sein bevor der silberne Rosenkavalier vorfabrt. must alreadyhave left before the Silver Rose Bearer drives up. (Footmen open the doors.) FANINAL. m —‘gottes. ‘naman In Gottes Namen. In God's name!” ' Herr von Faninal wavers between Viennese and good German. When he talks to his daughter or when he is ‘excited (as in Act III) he reverts back to his Viennese. When he addresses the Baron, his noble future son-in- lw, he ties to refine his speech somewhat. The phonetics will reflect these 2 For some inexplicable reason the score says Briutigamavater (bridegroom's father). This isa misprint, of ‘course. It's the bride's father, according to etiquette, who has to be gone. This is said with a certain impatience. The newly-eunobled Faninal doesnt yet know all the rules of etiquette, which the Major-domo surely has taken infinite pains to explain to him over the last few days. In his present state of excitement, this last rule seems to him almost too much to bear.84 Der Rosenkavalier, Act IT MAJOR-DOMO ver nigt gptsimont das fox dex tyr = zix_—_z1g bo'ge:gnoton Wir' nicht geziemend, da8 vor der Tir sie _sich begegneten. It wouldn't be fitting if outside the door they were to meet. (It wouldn't be fitting if the bride's father and the Rose Bearer were to meet outside the door.) FANINAL (to Sophie) ven sdo-kom, ‘Wenn ich —_wiederkomm', When I ‘come back, zo: fy 1G ‘denon hem tsukynftigan bee. dee ant so fir ich deinen Herrn Zukiinftigen bei der Hand. Iwill be leading your future husband by the hand. MARIANNE dem ‘eon unt geJtregen hem fon ‘lerganao Den edlen und gestrengen _ Herrn von Lerchenau! The noble and stern Herr von Lerchenau! (Faninal goes owt) SOPHIE (stepping forward, alone) m ‘dizer “‘faearligon —“ftunda dex pry:fun In dieser feierlichen Stundeder _Pritfung, In this solemn hour of trial, da: du; mig maen ‘foepfar du i mein Schpfer, Thou my — Creator, maen ferdinst erho:on mein Verdienst —erhéhen my — worth exaltest ont im dem = ‘haeligon——erafant ‘fren vilst und in den __heeilige Ehestand filhren wills. and into the holy state of matrimony lead —_wilt. (when Thou, oh my Creator, exaltest me above my worth by leading me into holy wedlock...) MARIANNE jetst ftaekter — aen dew ‘ksarvor Jetzt steigt er ein, Der Xaver Now he'sgetting in, Xavier unt dew ‘anton “fprjon ‘hmton cof und der Anton springen —hintem auf. and Anton are jumping behind up. (are jumping up behind [the carriage].)Der Rosenkavalier, Act IT 85 SOPHIE (having great difficulty in remaining composed) opi ig dir m= ‘deumus maen hers im —‘dewnust oof Opfr'ich = dir in. Dem mein Herz in Demut auf. Idedicate to Thee in humility my — heat in humility =~). (auffopfern is a separable prefix verb meaning "to dedicate".) (Lmost humbly, in humility, dedicate my heart to Thee.) MARIANNE deo ‘fealpa:s raegt dem ‘josef ‘saeno ‘paetfon Der Stallpag —reicht dem Josef seine Paitschen. The groom hhands (to) Joseph his whip. ‘allo fensto- sint oll Io@t Alle Fenster sind voller Leut'. Allthe windows are_—_full of people! SOPHIE di‘demut =m mix tu: ervekkon DieDemut in mir mu —_erwecken Humility in. myself to arouse mus ich mig ‘detmy:tigan muS ich mich demfitigen. must I be humble. (To arouse humility within myself I must be humble.) MARIANNE (in great excitement) dihalbo fat «t= cof dit tys Diehalbe Stadt auf die Fas. Half the city is on its feet. SOPHIE (containing herself with difficulty) ‘demysigan unt rect, bodenkon dis ‘zyndo-—dit fult Demiitigen und recht bedenken: dieSinde, —_die Schuld, Behumble and properly —consider:_—sin, guilt, di: nisdrigkaet di: ferlassonhaet dis ‘anfegton die Niedrigkeit, dle Verlassenheit, _die Anfechtung! lowliness, renunciation, ‘temptation!* MARIANNE 0s dem = seminari_ = foon di:_«‘hoxvyrdigon fon di: balkoma- Aus dem Seminari schaun die Hochwiirdigen von die —_Balkoner. Out of the seminary watch the reverends — from the _ balconies. (the reverend seminarians are watching from their balconies.) aen ‘alte man sttst ‘osbon cof dew = lateon Ein alter Mann sitzt oben auf der Latern'. An old man is sitting up on the ~—_lamp-post. “A groom is a Page, pronounced (pas, a French loan word. Marianne is using a contraction of that word, ‘Sialtpag’, (iterally “a horse-stall page", ergo: groom). Let no one think the word is pronounced (talpa:k]! 5 Let us not forget that Sophie (as Ochs stated in Act I) is coming "fresh out of the convent”. Enough said86 Der Rosenkavalier, Act IT SOPHIE di:‘muttr ist_—stot’ «unt gb gants_alllaen Die Mutter ist tot und ich bin ganz allein. Mother is dead and T am all alone. fy mig‘zelbar —_fter 1g 2aen Fir mich selber teh ich ein. For — myself Tanswer. (Lam responsible for myself.) ist aen‘haeligar = ftant ist ein heiliger Stand. isa holy estate. THREE COURIERS (from the street below) Rofrano!* MARIANNE exkomt =m —tsvae_karosson = di: eusta ast’ —firfpenmk Erkommt! In zwei Karossen. Die erste ist —_viersplinnig, Heis coming! In two coaches. The first is drawn by four horses. di; st ler =m dew = tsvaeton ses pennigon die ist leer. In der zweiten, —_sechsspinnigen, and is empty. In the _— second one, —_ drawn by (a span) of six horses, sitst em —‘selbor dew rowzankavalir sitzt er selber, der Rosenkavalier. sits he himself, the Rose Bearer. ‘THREE COURIERS Rofrano! SOPHIE (quite bewildered) wilmig ‘maenas ‘nogan ‘Jtandos y:borhe:bon Teh willmich —_niemals meines neuen Standes liberheben... 1 want never of my new estate to boast... (Lever want to be presumptuous because of my new position.) (She can bear it no longer.) ‘THREE COURIERS Rofranot SOPHIE vas urfon den diz Was rufen denn die? What shout then they? (What are those men shouting out?) * As will be heard soon, Octavian's full name is Octavian, Maria Ehrenreich, Bonaventura, Femand, Hyazinth, last name ROFRANO, of Italian extraction.Der Rosenkavalier, Act IT MARIANNE dem ‘namenfom rozankavalir unt ‘all ‘naman Den Namenvom Rosenkavalier und alle Namen The name ofthe RoseBearer and the names 87 fon ‘daenor ‘nogon ‘fvrstligan _feavandJaft ‘rusfons aos von deiner neuen flirstlichen Verwandtschaft —_rufen’s aus. of your new noble relations they‘re calling out. jetst rai sig di: bdintan Jetzt rangier'n sich die Bedienten. ‘Now they're lining up, the servants. di: Iakajon “pron ‘rvkverts ?ap Die Lakaien springen —riickwiirts ab! The — footmen dismount backwards = (-—)! (ab/springen is a separable prefix verb meaning "to dismount".) SOPHIE ‘verrdon maen ‘brogtigaim zen ‘naman Werden mein Brdutigam sein’ Namen will they my bridegroom's name 0x 20: ‘osufon ven ex —_‘angofa:ron komt auch 50 ausrufen wenn er —_angefahren kommt? also like that call out when he drives up? MARIANNE si ‘Taesan dem flak of ex —ftackt aos Sie reifien den Schlag auf) Er steigt aus! They are pulling the doors open! He — steps out! gants m —‘silboftyk ast’ =e ‘angoleskt «= fon. kopftsu fs Ganz in Silberstiick ist’ er amgelegt_ «= von Kopf mm Fu. Allin silver is he dressed from head to foot. vii aen‘haelgo- Penal faut ex Za0s Wie cin heil'ger Engel schaut er aus. Like a heavenly angel _he looks. ‘THE THREE COURIERS (right under the window) Rofrano! SOPHIE ‘hergot im ‘himmal 1g = vaes der ftolts st ‘aena ‘vero znt Herrgott im Himmel! Ich weil, der Stolz ist eine Sind’. Dear Lord in Heaven! I know, pride is a grievous sin. ‘aibor jetst. kan 1g mig nigt_‘demystigan Aber jetzt kann ich mich nicht demiitigen. But now can I myself not humble. (But I cannot humble myself now.)88 Der Rosenkavalier, Act II jetst gests halt nigt den das ist jax zo: fom Jett geht's halt nicht! Denn das istja so schon! At this moment T simply can't! For this is so _—_lovely! (The footmen have quickly opened the center doors. Octavian enters, dressed entirely in white and silver, bareheaded, with the silver rose in his hand. Behind him are his servants, wearing his colors, white and pale green. There are footmen, Hungarian guards (Heyduks), with curved Hungarian sabers at their sides, runners with white chamois leather with green ostrich feathers. Close behind, ‘a black servant bearing Octavian's hat and another footman carrying the morocco case for the silver rose. Behind these, Faninal’s servants. Octavian, the rose in his right hand, goes up to Sophie, with courtly grace, but his boyish face is strained and flushed with bashfulness. Sophie is deathly pale with excitement at his appearance and at the ceremony. They stand facing one another and add to each other's confusion with their shyness and beauty.) OCTAVIAN (somewhat hesitantly) mir ist di ‘exe vitdarfaxron Mir ist die Ehre widerfahren, Tome is the honor befallen, (The honor is befallen to me,) das ig dex hoxunt_—_voilgaborranan Sjunfor braot da ich der —hoch- und —_wohlgeborenen Jungfer Braut, that I tohis noble- and — high-bom bride, m —‘maenas hem fettors ‘naman ‘desson tsu; ‘lerganao ‘na:man meines Herrn Vetters Namen, dessen zu Lerchenau Namen, in my cousin's name, whose name is Lerchenau, di: row “zaenar ‘liba y:borraegon dar die Rose seiner Liebe liberreichen darf. the rose of his love __ present may. ((To me has been accorded the honor of presenting, in the name of my cousin, he of Lerchenau, the rose of his love to his noble and high-bomn bride.) SOPHIE (taking the rose) bin ‘99r‘lsbdon zex — ferbundon Teh bin Euer Liebden sehr verbunden.” 1 am to YourLordship much obliged. Ich bin Euer Liebden m —‘allar‘ervigkaet_-—_ferbundon in aller Ewigkeit | —_verbunden. for all eternity obliged. (smelling the rose) ” I must again refer to Nathaniel Merrill's stunningly beautiful production of this opera at the Metropolitan, in Which I had the honor of singing several roles in the 70's and 80's. The ceremony we are witnessing has tobe done absolutely "by the book". Sophie has responded to Octavian's first sentence, but in her excitement, has forgotten the words in aller Ewigket (in all eternity). Mr. Meril at this point had Marianne quickly whisper in Sophie's ea, almost with an imperceptible reproving look, the missing words. Sophie quickly recovered and repeated the phrase, this time with all the right words, including in aller Ewigkeit.Der Rosenkavalier, Act II 89 hat ‘aenon ‘ftarkon garux vis ‘tozan vir le’bendiga Hat einen starken Geruch wie Rosen, wie _lebendige. Ithas a strong scent like roses, "like real ones. OCTAVIAN ja ast aen ‘topfon ‘perzifan ——rozenvils_ —daaen gotan Ja, ist ein Tropfen _—persischen-Rosendls._—darein getan. Yes, there was a drop of Persian. attar of roses put in it. SOPHIE vir ‘humhfo mgt ‘irdifo vis totzon ‘himmlische, nicht irdische, wie Rosen heavenly (roses), not _—_earthlycnes, like roses. fom ‘hoxxhaeligan para‘ 1st iam mgt 2a0x von hochheiligen Paradies. _Ist Ihmnicht auch? from highheavenly paradise. Do younot think so too? (Octavian bends over the rose, which she holds out to him; then he straightens and gazes at her Tips.? ist viz aen gras fom — tummal Ist wie cin Gru vom Himmel. Ttis like a greeting from Heaven. ist boraetstsu: ark als das_-=s mans ertragon kan Ist bereitszu stark, als da’ man's ertragen kann. Itis already too strong so that «one canendureit. (tis already too strong to bear.) tsict ‘aenan naxx als leigon ‘fertkko um das herts Zieht einen nach als lagen Stricke um das Herz. Itdraws one (—) asif. there were cords around one's heart. (aach/ziehen is a separable prefix verb meaning "to pull at", “to draw”.) vo: var iG fom ‘aenmal ont var zo “zethg Wo war ich schon einmal und war so selig? Where was I once before and was so. happy? (Where and when have I ever been so happy?) OCTAVIAN (repeating her words as though unconsciously) ‘Wo war ich schon einmal und war so selig? * The fragrant essential oil extracted from rose petals. ° The magic moment occurs on bar 31in the vocal score, as both are suddenly smitten with one another. ‘May I quickly remind the reader that these observations are based on my traditional understanding of this ‘beautiful opera. In our new age of "concept”stagings, perhaps some new director will ee fit to stage "Der Rosenkavalier" as a pre-Columbian saga set in Guitemala, with Octavian being really a Maya chiftan's son in a loincloth, Sophie an Aztec virgin, and the rose being instead a dessicated papaya adored with Quetzal feathers while a nearby volcano's fumaroles exude noxious vapors portending the end ofthe love affair ‘between the Maya chieftain’ son and the Inca queen Machalin, siting out the second actin distant Machu Picchu...90 Der Rosenkavalier, Act It SOPHIE dah mus i tsuryk Dahin muB ich — zuriick! There must I retum, unt myst ig ‘foellig ‘fterbon cof dem = vek und miBtich ——vollig__sterben auf dem Weg! even ifIshould indeed die onthe way! alllaen ig erp ja: mgt Allein,” ich sterb' ja nicht. But 1 shall not die. das st ja: _vaet ist tsaet_ unt —_ervigkaet Das weit. Ist Zeit und Ewigkeit That is faroff. There's time and eternity in ‘aenam ‘ze:lgan ‘ooganblik in einem sel’gen Augenblick, in this lissful ‘moment, den vil 1g nit_—_-vergesson bs an. ‘maenen. tot den will ich nie vergessen bis an meinen Tod. it will «=I not forget till = my death. (Lwill never forget it tillT die.) OCTAVIAN evar aen bsp daz ie dit_—mox_—o mgt’ gokant Teh war ein’ Bub’, da b' ich die noch nicht gekannt. Twas a boy, then did I her not yet_ ‘know. (and did not know her yet.) ver bn den iG vi kom den tu: ir Wer bin denn ich? Wie komm’ denn m ihr? Who am then I? Howisit come to her? (Who then am 1? How is it I come to her?) vi komt den zi: su: mir Wie kommt denn sie mu mir? How isit comes she to me? (How is it she comes to me?) ver 1G kaen man dit ‘zanna. ‘moegtan mir fergem War ich kein Mann, die Sinne _méchten mir vergehn. Were I not aman, my senses should leave me, (would faint.) das ist aen‘zerlgor “aoganblik Das ist cin sel'ger Augenblick, This is a _ blissful moment, den will ich nicht vergessen bis an meinen Tod. '° The word allein usually means "alone". In poetry, and in this case, it simply means "but". Sophie is simply saying "but I will not die". She is definitely not saying "I will not die alone"!Der Rosenkavalier, Act II 1 (Meanwhile, Octavian's livery have taken their places to one side, Faninal's servants with the Major- domo to the other side. Octavian's footman hands the morocco case to Marianne. Sophie regains ‘some of her composure and hands the rose to Marianne to put inside the case. The lackey with Octavian's hat steps forward from the back and hands it to him. Octavian's livery go out, while Faninal's servants carry three chairs to the center of the hall, two for Octavian and Sophie, and one 10 the side and to the back for Marianne. At the same time, Faninal's Major-domo bears away the case with the rose. Immediately Faninal's servants leave by the center door. Sophie and Octavian ‘stand face to face, partly returned to the everyday world but shy. At a sign from Sophie they both sit down, as does Marianne. In the same moment, the Major-domo, unseen, locks the door on the left from outside.) SOPHIE (to Octavian) wy ken im fom regt_ vou Ich Kenn’ Ihn schon recht wohl, I know you already quite well, OCTAVIAN zit kent omg = ma kvtzina Sie kennt mich, ma Cousine? You know me, ma — cousine? SOPHIE ja: aos dem = bux vo; dit tambogmor énn —znt Ja, aus dem Buch, wo die Stammbaumer drin sind, Yes, from the © book where the family trees inside are, (with the family trees,) dem ‘exonfpigal ‘gistoraegs dem Ehrenspiegel_ Osterreict the — Honor-Mirror of Austria. (Austria's Almanac of Honors.) das 1% immer ‘arbonts mit ms bet Das nehm'ich = immer Abends mit ins Bett It Ttake always inthe evening with me to bed unt zux mir‘ mmaeno ‘suckynftge —grertlig unt frrstiig und such’ mir meine zukiinft'ge griflich' © und_—_flirstlich’ and look up my — future ucal and princely fervantfaft dn tsu'zamman Verwandtschaft -drin_ zusammen. relations init together. OCTAVIAN tut zit das ma kuzimo Tut Sie das, ma Cousine? You do that, ma cousine? SOPHIE eo vaes. vir alt ‘2@or'lisbdon aint Ich wei, wie alt Ewer Liebden sind: I know how old —_yourLordship92 Der Rosenkavalier, Act It ‘risptsem jar unt tsvae ‘momnart Siebzebn Jab’ und zwei Monat’. Seventeen years and two months. ie vaes. al ‘ira toofnarman ‘oktawvian _marrta ‘exonraeg Ich wei all Thre’ Taufnamen: Octavian, Maria Ehrenreich 1 know all your baptismal names: Octavian, Maria Ehrenreich, bonaventura fernant hy.atsint Bonaventura Fernand —Hyazinth. Bonaventura Fernand Hyazinth. (Ferdinand Hyacinth.) OCTAVIAN zo: gut vaes 1 zit ‘zelbor mgt ‘aenmail So gut wei ich sie selber nicht einmal. So well know I them myself not even. (Limyself don't even know them so well.) SOPHIE ie vaes nox vas Teh wei noch was. 1 know something else. (She blushes.) OCTAVIAN vas vaes zit nox zatk Zit mis ma —_‘kuzitna ‘Was weif Sie noch, sag Sie mir’s, ma Cousine. What elsedoyouknow, —_youtell me, ma —_cousine. SOPHIE (without looking at him) keke Quinguin. OCTAVIAN (amused) vaes zi: den ‘naman 0x WeiB Sie den Namen auch? Youknow that name 100? SOPHIE zo: ‘nennan isn halt ‘zaeno ‘guiten ‘froonds unt fom ‘damen So nennenIhnhalt Seine guten Freunde © und _—_schdne Damen, So call you your good friends and lovely ladies, denk 1¢ mix mit ‘demon ex —_regt guit ist denk’ ich mir, mit denen Er recht gut ist. think, with whom you are in favor. (ingenuously) 1% fro6 mig oofs ‘haera:ton frogt ex zig ox dataof Ich freumich —_aufs Heiraten! Freut Ersich auch darauf? I amhappy _ Tambeing married! Are youhappy also about it? (Look forward to being married! Aren't you also looking forward to it?)Der Rosenkavatier, Act IT 93 ‘odor hat ex laegt nox gamit —dran_godaxt mo kuz Oder hat Er leicht noch garnicht dram gedacht, mon Cousin’ Or have you —perhapsnot quite yet. -—about it thought, denk ex st dox vas ‘andros als dex Denk’ Er: ist © dochwas andres, als der Think of it: itis so different from being single! OCTAVIAN (sofily, as he looks at her) vi fom zit Wie schin sie ist! How lovely she is! SOPHIE ‘fraelig ex ist’ aen— man Freilich, Er ist ein Mann, Ofcourse, you are a man, darister vas ex_~—blaept daistEr, was Er bleibt. you are what you remain, (and remain what you are.) 1g ‘bor braox exst ‘aenon man dase vas bm Ichaber _brauch’ erst einen Mann, daS ich was bin. Thowever need first a husband sothat I can be something. dafys bin tg dem man den aox gar ze ferfuldot Dafir in ich dem = Mann denn auch —garsehr ——_verschuldet. Thatis why Tam tomy husband always very much indebted. OCTAVIAN (deeply moved, softly) maen got fon unt = gut zis st Mein Gott, wie schdn und gut sie ist. My God, how lovely and good she is. zi: maxt mig gants__ fervart Sie macht mich ganz verwirrt. She ismaking me — quite confused. SOPHIE te ved «xm ‘kaena fant migt maxon Teh werd’ ihm keine Schand’ nicht machen I will tohim no disgrace (not) bring (I shall not bring disgrace upon [my husband]) unt ‘maenom = ray unt foxtnt und meinem Rang und Vortritt. and (as for) my rank and position, ‘eta ‘aena di: ig ‘bessor dygkt als 1g Tite cine, die sich besser diinkt als ich, should any(woman) who herself better thinks than I, (should any woman, thinking herself better than I am,)4 Der Rosenkavalier, Act It im mix boftraeton bae-‘aenor ‘kantstaof_——‘ordar_laeg ihn mir bestreiten bei einer Kindstauf’ oder _Leich', dispute (my rights) at =a baptism or a funeral, zorvilig ven eS zaenmus = mit ‘oxfaegon ir bovaezan sowill ich, wenn es seinmuf, mit Ohrfeigen ihr beweisen, theaIwill, if it’ mustbe, with a boxing on her ears show her, das 1¢ di foume:mar bin. = unt_—tbar “alls ‘hmnnesma a8 ich die Vornehmere bin, und lieber alles hinnehme that I amthemorerefined, and rather anything put up with vir krenkun ‘oder ‘ungaby:r wie Krdnkung oder Ungebiihr. than offense or impropriety. (and would put up with anything rather than offense or impropriety.) OCTAVIAN vir kan zit den nu Wie kann Sie denn nur How can you ever ‘denkon denken, think das man ir = mit_‘ungabyx =—bo'ge;gnan = vart daS man Thr mit Ungebithr ~—begegnen wird, that anyone you with impropriety treat will, ‘Jorsta ‘allorfonsta zaen virt Schinste, die AllerschSnste_ sein wird. prettiest, the ~—_ prettiest of all_will be. (that anyone could ever treat you with impropriety, since you will always be the loveliest, the daz dox ‘immer — dis da Sie dochimmer die since you always the loveliest of all.) SOPHIE laxt ex mig 2aos mo Lacht Er mich aus, mon Are you laughing at me, mon OCTAVIAN vir glaopt ziz das Wie, glaubt Sie das What? Can you believe that (Do you think I am capable of that?) SOPHIE ex dar mig'‘aoslaxon Er darf_ mich auslachen, You may make fun of me fon im las Gallas Von thm IB ich alles kuze Cousin ? cousin? fon mir von mir? from me? ven er vil wenn Er will. if you wish. mix ‘gemo_gofen mir gerne geschehn, From you allow I everything tome gladly tobe done, (gladly would accept anything from you,)Der Rosenkavalier, Act It 95 vael mir nit nox en ‘ugor_kavallir weil mir nie noch ein —_junger Kavalie because tome never yet a young cavalier. fon ‘new ‘odor ‘vaetom ‘alzo: ‘volgefallan hat vier von Nahe oder Weitem ao woblgeillen hat wie Es. from near or far so appealed you. (because never has a young cavalier from near or fr o appealed fo meas you) jetst ‘arbor komt = maen_ her tsukynftugar Jetzt aber kommt mein Herr Zukiinftiger. Now however comes my _husbandsto-be. (But here comes my husband-to-be.) (The door at the back opens. Octavian, Sophie and Marianne stand and move to one side. Faninal ceremoniously leads the Baron over the threshold to Sophie, and stands aside for him. Lerchenau's livery follow, dogging his steps: first the Almoner and Leopold, then the chasseur"' with a ruffian, ‘wearing a plaster on his broken nose, then two more of the same sort, brought from the turnip field and stuffed into a uniform. Like their master, all are carrying bouquets of myrtle, Faninal’s servants remain in the background.) FANINAL 1g presents ‘oe ‘gnadon ‘dero tsukynfugo Teh priisentiere Ewer Gnaden Dero Zukiinftige. 1 present to Your Lordship your _ bride-to-be. BARON (bowing, then to Faninal) delits; max im — maen kompliment Delieids! Mach' ihn — mein Kompliment. Delicious! Make toyou my compliments! (My compliments to you!) (He kisses Sophie's hand, feeling it at the same time.) wen ‘feeenos ‘hantgalenk —‘da:raof hojt ig jo: fd Ein — feines Handgelenk. Darauf haltich ja viel. A fine waist, on that putIstore much. (Cput great store on that.) ist ‘unte: ‘byageligan ‘wena eltno distmktsjomn Ist unter Biirgerlichen eine seltme Distinktion, Itis among the middle class a rare distinction.” OCTAVIAN (to himself, quite piqued by the remark) esvutmix aes unt kalt Eswird mir hei und —kalt. Tmbecoming hot and cold. (My blood is beginning to boil.) 4 chasseur (from the French chasser, “to hunt’) is ahuntsman. "2 The Baron's offensive put-down implies "middle-cless people, used to perform manual labor fora living obviously develop strong hands with hefty wrists the tetter to handle shovels, picks and the like."96 Der Rosenkavalier, Act It FANINAL (trying to introduce the duenna) geftaton dos 1g dit_—gatrogo ‘junfe: marianno ‘laetmetsorin Gestatten, daB ich die getreue Sungfer Marianne Leitmetzerin... Allowme, that I the loyal Mistress Marianne Leitmetzerin... BARON (rudely declining) las ex das vek LaB Er das weg. Let that be. (Let's not bother with that.) bogrys ex —jetst_ «mit mizs-‘maenan he arn ‘orsonkavali:e Begrif Er jetzt mit mir meinen Herrn Rosenkavalier. Greet now with me my Rose Bearer. (First come and greet my Rose Bearer with me.) (With Faninal, he goes over to Octavian with a bow, which Octavian returns, The Lerchenau retinue at last comes to a halt, after almost knocking Sophie over, and retreats a few paces.) SOPHIE (standing 10 one side with Marianne) vas zt das fy matnisron Was sind das fiir Manieren? What are these for manners? (What sort of manners are these?) 1st da: laegt en rostaofor Istda leicht ein RoBtauscher Ishe perhaps a horse-dealer ont komt ism for ex — het mig‘aengotaoft und kommtihm vor, er _—iitt'_ mich eingetauschtt? he and he imagines has traded me? MARIANNE aen— kavallsr hat halt aen—_‘ungatsvunenas ‘ootzerligas —_betra:gon Kin Kavalier hat halt ein ungezwungenes, _—leutseliges-—-“Betragen. A Cavalier has quite an un-subdued, affable behavior. sak di for ver ex ist unt tsu:-—s-vas-sex._—dig_—smaxt Sagdirvor wer er ist, und zu was er dich_— macht, Tell yourself who he is, and to what he you _—makes, (and what he will make of you,) 20: ‘verdan dix di: fakson glaeg fergen so werden dir die Faxen gleich vergehn. and then will from you the foolishness completely _disappear. (and then you will no longer have these foolish misgivings.) BARON (to Faninal) ist gar tsum ‘ftaonan vit dew juno her Ist gar zum Staunen wie der junge Herr Itis quite astounding how that young manDer Rosenkavalier, Act II ‘jermant gevisson ‘cing sit jemand gewissen —_alinlich sieht. tosomeone else looks like. hat en bastard! wen ret ‘saobras {sue 'Jvesto- Hat cin _Bastardl, ein recht saubres, zur Schwester. Hehas a little bastard girl, a quite clean washed one for a sister. (coarsely confidential) ist karen gahwemmts ‘unt persomn © fon ‘fant Ist kein Geheimnis unter Personen von Stand. Its no secret among people of station, haps aos dew —frostin ‘eegnan = mont Hab’s aus der Firstin eignem Mund. Tgotit from Her Highness’ own. mouth. (genially) unt vael de fonine:1 ‘sortsusaxgan ‘Und weil der Faninal sozusagen And because you, Faninal, so to speak fjetso: tsu: dex» fea'vantfaft gohgot jetzo zu der _~—-Verwandtschaft —gehrt! now to our family belong! (including Octavian in his remarks) max die: keen de‘pi doxum rofrano ‘Mach' dir kein Depit, darum Rofrano, ‘There's no need to be ashamed over it, Rofrano, dos daxen ‘fate sen 'ftreeegmaxe- vax daS dein Vater ein Streichmacher war, that_ your father a womanizing libertine was, (Rofiano, no need to be ashamed that your father was a sower of wild oats,) bofindat sig dabee m ‘gut -kompaipi befindet sich dabei in guter_ Compagnie, he finds himself inthat respect, in good company, dea ‘seilge- her markesse ie ‘selbo eksklurdice mig mgt. der sel'ge Herr Marchese, ich _—selber exkludier’ mich _ nicht. that late Marquis (Rofrano).... I myself exclude myself not (that the late Marquis Rofrano was in good comrany, myself not excluded.) SOPHIE (to herself) jetst lest’ ex = mig zo: fem dex ‘groibo din Jett WBt er mich so stehn, der grobe Ding! Now leaves he me so _ standing, that coarse thing! (Now that coarse fellow just leaves me standing here!)98. Der Rosenkavalier, Act I unt das st = maen_‘tsukynftugor Und das ist mein Zukiinftiger. And that is my —_ future husband! unt ‘blattorfteppig ist er =~ Gox_o:—smaen got Und blattersteppig ist er auch, o —mein_ Gott! And pockmarked is he -~— also, oh = my _-— God! BARON (to Faninal) tisbdan Jao di doot dem ‘lagen an Sh, Liebden, ‘schau dir? dort den Langen an, Look well now, look at overthere that _—_long-legged one den ‘blondon “hmtan doat den Blonde, —_hinten dort. that blond fellow behind there. vl im gt. ‘veeeson Teh will ihn nicht weisen, 1 want him not with fingers point out, (1 don't want to point,) ‘abe em —_fuugt vor hea-foxr aber er —_sticht wohl hervor but he strikes you right away duax ‘ena ‘ardaligo kotonaso dureh eine adelige Contenance. by his high-bom —_—_ features. st “arbor wen basondre ker Ist aber ein besondrer —Kerl. Ishe not a special fellow? sackt mts veeel ie dee fatto bin Sagt nichts well ich der Vater bin, He doesnt say anything because 1 the father am, hhats ‘aibe ——faostdik ‘hinta den ‘oxron hat'saber —faustdick inter den Ohren. he has it fist-thick behind the —_ears.'* MARIANNE ven ex die fon fom mgt gofalt © du: junf ‘ho:xmust wenn er dir von vorn nicht gefallt, Du Jungfer Hochmut, Well, if he you from the front does not please, you Miss Haughty, ao im dix fon ‘rvkverts ?an so schau' ihn dir von —_riickwarts a1 then look at him from _ behind: (Well, Miss High-and-Mighty, if you don't like the way he [Ochs] looks from the front, then look at his back:) ° (As an even further show of disdain, Ochs now talks to Faninal in the familiar du fashion. “This is a German idiomatic expression meaning “he isa crafty rogue".Der Rosenkavalier, Act IT 99 da: vst’ vas zem vas disr fom gofallon vit da wirst wassehn = was _Dir schon gefallen wird. then will youreally see what will finally please you. (Then you will finally see something that is good to see.) SOPHIE moegt ‘vissan vas 1g = da: fom = zen vert Mécht' wissen, was ich da _—_ schon sehen werd’! Tdlike to know what I inhim then see will! (Pd like to know what itis that I wil see in him!) MARIANNE (mimicking her) ‘Mécht wissen, was ich da schon sehen werd’! das es aen_‘kaezarigor «‘kemmaror_ ist Dab es ein _—kaiserlicher Kimmerer ist, That he © an _imperial chamberlain is, den dir daen ‘Jutspatron als.__-hemm goal Jpentdist hat den dir dein Schutzpatron als Herrn Gemahl spendiert hat. whom toyou your patron saint as. —_ bridegroom has sent you. ({Well, missy], you will see that your patron saint has sent you a bridegroom in the shape of an imperial chamberlain.) das kanst zen mit ‘aenan blk Das kannst seh'n mit einem Blick. ‘That youcan see with one look. (You can see that very clearly indeed!) (The Major-domo approaches the servants of Lerchenau most politely and leads them out of the room. At the same time Faninal’s servants withdraw all but two, who offer wine and sweets.) FANINAL (to the Baron) bolizbon jetst firllect ist wen ‘jt tokaejor Belieben _—jetzt_ vielleicht?- ist ein alter ‘Tokaier. Isitagreeable now perhaps? ‘T's an old_-—Tokay (wine). BARON bracf em ves vas sig gohoot Brav, Er —weiB, was sich gehdrt. Well done, you know what is proper. servirot tokaejox tsu: ‘wenom juan ‘me:dal Serviert Tokaier © zu _—einem_jungen Miidel. You serve Tokay with a young girl. te bn im tsusfridon Teh bin Thm — zufrieden. 1 am with you pleased. (to Octavian) must ‘demon bagatell2adaligan, ‘imme ‘tseegon Mubt denen Bagatelladeligen immer zeigen, You must these _—bargain-basement nobles always show100 Der Rosenkavalier, Act It das mgt’ fy ‘unsrasglegon sig ‘anse:n ‘dvofon daS nicht fiir _unsresgleichen sich ansehn darfen, that not asthe likes of us they consider themselves _should, (You must always show these nouveau riches not to consider themselves our peers,) mus ‘mma vos fon heraplassuy dabeee swen. muB immer was von Herablassung dabei sein. there must. always atouch of condescension with it be. (Gwe must always show a little condescension with ther.) OCTAVIAN (pointedly) tg mus ‘daeno ‘libdan zer —bo'vundom Ich muB deine Liebden sehr bewundern. TI must your Lordship much admire. hast vairhaft ‘grosa ‘veltmanizron Hast wabrhaft _groBe Weltmanieren. Youhave truly great wordly manners. keentst ‘aenon dbasades —foxftellon hoot ‘odor ‘morgon K6nntst einen Ambassadeur vorstellen, heut oder morgen. Youcould an ambassador be, today or tomorrow. (Ican see you as an ambassador any day.) BARON (roughly) ie hol mize = jetst. das ‘medal hew Ich hol’ mir jetzt das Midel her. 1 will gofetch now the girl _—here. s0j uns jetstkonversatsjom ‘foremaxon Soll uns jetzt. ‘Konversation vormachen, She will tous now conversation demonstrate, (Let her show us what her conversation is like.) domt 1g visit oflagan st damit ich seh’, wie sie beschlagen ist. sothat I cansee how she proficient —_ is. (60 that I can see what she is made of.) (60 that I can see how well-versed she is.) (He goes over to Sophie and takes her by the hand, leading her back.) © bjé mum ‘ploode si: uns wens. = mize unt dem fetta ‘tarvarl Eh bien: nun plauderSie unseins, mir und dem/Vetter-Taverl. Well then: now talk tous, tome and — cousin Taverl. sock siz heraos cof vas si sig hojt Sag’ Sie heraus, auf was Sie sich halt Tell us outright over what you think m — dewe: om —‘meeston foot in der Eh’ am — meisten freut. in amarriage the ~— most pleases you. (Tell us outright what itis that pleases you most about [the state] of marriage.)Der Rosenkavalier, Act It 101 (He sits down and in a lascivious way tries to force her to sit on his lap.) SOPHIE (disengaging herself from him) vo: dent erhm Wo — denkt Er hin? What are you thinking of? BARON (at ease) pa vor te hindenk kom sit gants no: tu: mie Pah! Wo ich bindenk'!’ + KommSie ganz nah zu mir, Pah! What I am thinking of! Come quite close to me, don vil 1; im —eatseon = vo; tg ‘hndenke dann will ich Thr —erzilen, = wo ich _—_hindenk’. then will I you tell what Tam thinking of! (There is some byplay, as Sophie tries to draw anay still more angrily.) vew ire leegt presferabol das man ino Wir’ Ihr leicht priferabel, da’ man gegen Threr Wouldittoyoube preferable that towards you dem tseremomjonmeesta sjt_ footun den Zeremonienmeister sollt__vortun? the Master of Ceremonies should act as? (Would you prefer me to act like a Master of Ceremonies towards you?) mut pardd unt de:votsjom mit pardon" und — "dévotion"” with pardons" and — "devotion"!* unt gedavek unt harp refpekt und = "Geh da weg" und hab’ Respekt"? and “goaway" and “my respects" SOPHIE varrhafug unt gefislo mix das ‘bessor Wahrhaftig und gefiele mir das besser! Honestly and ‘that would please me more! BARON mize aox nigt mi cox gants unt ga: nigt Mir auch nicht! Mir auch ganz und gar nich But not me! Me not at all, absolutely not! bin ‘wena ‘bisdon ‘pffonheatsigan galantoti: rect ‘tsurgotamn Bin einer biedern offenherzigen Galanterie recht zugetan. Tam toan honest ‘openhearted irtation quite devoted. (Lam always in favor of a good, honest, open-hearted flirtation.) (He prepares to kiss her but she resists energetically.) 'S These are French words. It really should be mille pardons,102 Der Rosenkavalier, Act I FANINAL (after offering a chair to Octavian, who refuses it) vii stmi-den da: sitst_ «en ‘lea-xanco Da sitzt ein’ © Lerchenau ‘There sits a ——_Lerchenau ‘ewbarkeet men ‘sorfarl Ehrbarkeit mein Sopher! respectability my little Sophie BRE ojs ver sik ism_=— fom ‘angotraot als wir’ sie ihm schon _angetraut. asif were she —tohim already married. unt da: tet. «wen roframo grat 9js__mysts so: seen Und da steht. ein Rofrano, grad’ als. milifsts sosein... And there stands a —-Rofrano, just. as-—naturally... wen graf roframo ‘zonstan niks ein Graf Rofrano, _—sonsten nix. a Count Rofrano, nothing less. dew ‘brusde fom marke:so _—_‘orbosstruxses der Bruder vom Marchese Obersttruchse8.) the brother ofthe Marquis Imperial Lord High Steward.) OCTAVIAN (angrily) das st aen kerl dem mag ig vor be'gergnon (Das ist ein Kerl, dem mécht'ich wo begegnen (That is a fellow whom Iwouldlike somewhere to meet, mit —‘maenam = ——‘deigan_da: mit meinem Degen da, with my sword handy, vo: im —kaen ‘vegtar ‘fraeon heat wo ihn kein Wiichter —sehreien=——hrt. where him no watchman screaming hears. (where no watchman might hear him screaming.) ja das st’ alles. vas 1g = meegt Ja, das ist alles. was ich —micht’.) (Yes, that is all that =~‘ ——_wouldllike.) SOPHIE (to the Baron) ae lasexdox vir. zint_—migt_ zo: fertraot i, laBErdoch, wir sind nicht so vertraut! Hey, letgoofme, we are not _—_on such familiar terms!Der Rosenkavalier, Act II 103 BARON (to Sophie) foi si: sig leeegt fox dem ‘fetta —_‘tarvorl Geniert'*Sie sich __ leicht vor dem Vetter Taverl? Are you embarrassed perhaps infront of Cousin Taverl? da: hot si: ‘unrest Da _ hat Sie Unreeht. ‘That's where you are wrong. hose si: im —_pariss vor dox i: ho ful ist fy matniron Hér' Sie, in wodoch di_—shoheSchul' ist fiir + Manieren, Listen, in Paris which the great school is for manners, (Gets the standard for manners,) gibts freee mks vas ‘unte ‘junen_‘e:alooton gefin gibt's frei nichts, was unter jungen Eheleuten geschieht, there's absolutely nothing that between young married couples happens, votsu: man nigt_ ‘wenla:duyon lis ea'gen —tsum —tsurfoon woru man nicht Einladungen lieBergehn zum Zuschaun, forwhich one not _ invitations wouldsend to. —_watch, (for which one couldn't send invitations to watch,) jo: an dem “kosmtk ‘selbo jaan den Konig selber. yes, to the King himself. (He grows more and more affectionate, as Sophie is at her wits’ end.) OCTAVIAN fieiows) 1g das ‘mansbilt = "zeron mus Des ich dan Maunsbld schon mu, That I that — fellow ‘watch must, zo: free zo: Unferfemnt = mtr so frech, so unverschimt mit ihr. so fresh, so brazen with — her. koent 1g hhfnaos unt fort fon K6nnt' ich —hinaus und fort von 7 IfonlyIcould get out and away from here! FANINAL. veo nue diz ‘mace da fon glas (Wart nur die Maver da von Glas, (Ifitwere only the —_ wall there made of glass, (Ifonly my walls were made of glass,) ' Geniert is a French loan word (gener — [one] "to feel embarrassed.) Germans have particular trouble with the [3} sound, converting it always tothe voiceless [[}. This was amusingly apparent in the Met's production of "Billy Budd" in which I was involved some years ago, when a German colleague took over the role of one of the British officers on board and had to utter tothe deckhands: “come on boys, jump toi!". To the amusement of all ofus who were waiting in the bowels ofthe ship to come aboard, it always came out "come ‘on boys, chump to it!). We naughty sailors always waited for that moment, and all together we echoed chump woitt104 das ‘alla ‘byegeligan ‘narethammaln fon daB alle biirgerlichen Neidhammetn vou sothat all the bourgeois envious begrudgers in sit Qfamija -—baee'samman so: ‘sitson_ se: sie enfamille _beisammen so _sitzen_ schn! them en famille together so sitting see! (could see them sitting together so en famille!) dafy= volt 1g Daftir wollt ich For thatwould 1 maen ‘leo-xonfeld ‘ekhaos mein Lerchenfelder Eckhaus my —_Lerchenfeld Der Rosenkavalier, Act IT ‘vim Wien Vienna geben, meiner Seel'!) ‘comer house give, upon my soul!) (Fa give my comer house in Lerchenfeld for that, upon my soul!) BARON los si: di: ‘flooson nu gohget dox jetso: mise Laf Sie die Flausen nur! Gehdrt doch jetzo mir! Stop that nonsense © now! Youbelong now tome! gett ojs regt see si guiat geit ojs so: vi am Jays Gebit all's recht. Sei Sie gut. Geht all's so wie am Schnitrit All's fine. Be good. Everything is going _like clockwork! (half to himself, cajoling her) gants ‘meena ‘mason ‘fulton vit ‘hendorl Ganz meine MaBen! Schultern wie Henderi! Just my size! Shoulders like pullet! ‘huntsmage- nox das moxt ntks veces Hundsmager noch. aber weib, Allskin and bones still... no matter; but — white, vees mm wena glants viz in estimio weit mit einem Glanz, wie ich ihn —_stimier! white with a sheen, justas Tit _ esteem! (like it!) i; hap hojt jo: wen erxonaoif_ glk Teh I (Ive simply got the luck of the Lerchenaus!) (Sophie wrenches herself free and stamps her foot.) ist si: wen ‘regta- kapntsonferdal IstSie ein rechter Kapricenschidel? Youre a real strong-headed filly! (up and after her) Juucekt io dos bluat gor =m = diz ‘vanon Steigt Ihr das Blut gar die Wangen, Thererisesin you the blood quite in the —_ cheeks (Blood rushes to your cheeks)Der Rosenkavalier, Act II 105 das man sig di: ant feavbrent daB-mansich = die.“ Hand _verbrennt? that one's the hand bums uy? ({in such a way] that it could burn one's hand! SOPHIE (flushed and pale with anger) Tae di: hant —dafon LaSErdie Hand davon! Keep your hand away! (Octavian, in silent rage, crushes the glass in his hand and hurls the pieces to the ground.) MARIANNE Ist regt’ aenfamiljer» © man de her barom Ist recht ein familiirer © Mann, der Herr Baron. He's quite the familiar ‘man, that Baron. BARON (still pursuing Sophie) gex mi nigts datry:bo- Geht mir nichts dariber! know nothing better! koent mig mit’ fmaxtoree unt tsexailigkseet Kénnt mich mit Schmachterei und Zrtlichkeit Itcouldme with languishing and _—_ tenderness mgt —halp so: ‘glklig ‘maxon ‘maeno: sel nicht halb so giticklich © machen, -—meiner Seel'! not half so happy make, upon my soul! (Upon my soul! Languishing and tendemness wouldn't make me half so happy!) SOPHIE (sharply, in his face) te denk migt dran das im ‘glvklig max Teh denknichtdran, daB ich thn gliicklich mach't 1 —— donot think that I you happy (am trying to) make! (Thave no intention of making you happy!) BARON (cheerfully) sit viet “es tum op si doran viet ‘denkon ‘ode nigt Sie wird es tun, ob Sie daran wird denken oder nicht. You will doit, whether you overit will think or not. (You will, whether you intend to or not.) MARIANNE (to Faninal) Ist recht ein familidrer Mann, ete. OCTAVIAN (white with rage) hhfnaos unt kaen aidjo ronst fter ig nigt days: (Hinaus und kein Adieu! Sonst steh' ich nicht daftir, (must get out with no goodbyes! Otherwise Tam not responsible, das mgt vas, fervitss tu daB ich nicht was verwirrtes ta’! that I mot something rash do! (for the rash thing I might do!)106 Der Rosenkavalier, Act IT hhrnaos 0s ‘ditzan ‘ftucbon nur hrnaos Hinaus aus diesen Stuben! Nur binaus! Away from these rooms! Away! FANINAL (to Marianne) ‘Wii’ nur die Mauer da von Glas, ete. (Meanwhile the Notary has entered with the Clerk, preceded by Faninal's Major-domo, who sofily ‘announces him to Faninal. Faninal goes back to the Notary, speaks with him and scrutinizes a bundle of deeds held out by the Clerk.) SOPHIE (through clenched teeth) hat ni: Kaen man derrglaegon ‘rexdan nigt tsu: «mir gafyxt Hat nie Kein Mann dergleichen Reden nicht zu mir —_geftiht Neverdid a man such tak (not) to me —_ address! (No man has ever talked to me that way!) meegt ‘vissan vas imdyqkt = fon—mir unt ism Mécht’ wissen, was Ibmdinkt von mir und Thm? Id like to know what youimagine of me and __of yourself! vas st en = dents —misr Was ist Er denn zu mir? What are you (then) to me? BARON ‘kommen ——'yiba-'naxt_ das si gants- sanft_ viet ‘visson kommen iiber Nacht, da Sie ganz _sanft wird wissen, come overnight, that you quite gently will discover vas ebm ts im was ich bin zm Ihr. what I am to you. gonts vis om hwest kent si das lisdol Ganz wie's im Liedel heift...kennt Sie das_—_Liedel? Quite asit inthe song goes... doyouknow the _ little song? lo la vite dren ‘alas ‘veroda seen La la. wie ich dein alles. werde sein! La la. how I your all willbe! mit mis mit mize ‘Karena ‘komme: dio tu: klewen Mit mir, mit mir, keine Kammer dir zu _—kdlein, With me, with me, no room for you too small, ‘oma mig jer tack diss so: ba. ohne mich, jeder Tag dir so _bang, withoutme, every day for youso sad, (impudently and coarsely) mit mize ‘kicena noxt die —tsu: Loy mit mir, keine Nacht dir zu —_ lang! with me, no night foryou too —_long!Der Rosenkavalier, Act II 107 (As he hugs her close, Sophie wrenches herself free and pushes him back) OCTAVIAN (without looking, but seeing all that is happening) ite: ‘of ‘glyndan = ‘Korlon Teh sted auf glith'nden —_‘Koblen! 1 amstanding on live coals! te far aos ‘maenar haot Ich fabr' aus meiner Haut! Tm going out of my skin! (of my mind!) te bys m —“‘dizzar ‘aenan ftunt el ‘maeno ‘zyndon Ich bil" in dieser einen Stund all meine Sinden I atone in this one hour forall my (ab/biifien is a separable prefix verb meaning "to atone for".) MARIANNE Ist recht ein familidrer Mann, ete. BARON (very pleased) Varhafk “unt ja: Wabrhaftig und ja, Tnily and yes, ich hab’ halt ein lerchenauisch Gliick! gist —_gae nigt cof dew velt_ vas (Gibt gar nicht auf der Welt, was (There's absolutely nothing inthis world that, ont js vir wen und als wie ein and sa sins! my mich me ‘regia rechter abl - so: Gflamiot so enflammiert so excites trotz Trotz!) eal (bit of) defiance!) (Faninal and the Notary, followed by the Clerk, have come forward. The Baron, on seeing the Notary, without the slightest idea of what is going on in Sophie's mind, addresses her.) doat gitpts gafefta jetst mus mig dispenisiron Dort gibt's Geschifte jetzt, mu mich dispensieren: Inside there is business now, Imust be excused: bin doat fon ‘victigkseet bin dort von Wichtigkeit. Tam there required for some important matters. midesson, dew fetta ta:vatl ‘aestat ie Indessen der Vetter Taverl leistet Ihr In the meantime cousin Taverl willkeep _-you FANINAL ven es —_jetst_bollizbon text hee: 'fvisge-som Wenn es jetzt __belieben tit’, Herr Schwiegersohn! If it ‘Would please younow, amy son-in-law! gaselfaft Gesellschaft! company!108 Der Rosenkavalier, Act If BARON (condescendingly) notyehg ——_viets bollzbon Nati wird's belieben. Ofcourse _it would please me. (As he passes by Octavian, he takes hold of him familiarly.) hap mits davvisde- ven du: i ~—'maxgtast —‘20garl_‘maxan Hab’ nichts dawider wenn du ihr ~—mdchtest Augerl machen, Thave no objections if ~—-you_toher wouldlike to make eyes, (would like to make eyes at her,) {fetta jetst ‘ord ‘kynftskhin Vetter, jetzt oder —ktinftighin. cousin, now or inthe future, Ist nox wen recta: ‘rye migt an Ist noch ein rechter Rithr-nicht-an, She's still a real don't-touch-me. botraxts vjsfoesdolig = jer, mer sit degur'dizot viot Betracht's als férderlich, je += mehr ‘sie degourdiert wird. Tconsiderit as useful, the more she is unstiffened. (Ill consider it useful the more you can unstiffen her.) ist vir bare ‘aeenom ‘juyen ‘ungarttonon —pferot Ist wie bei einem jungen ungerittenen Pferd. Its like with a young unridden filly. (She's just like a young unbroken filly.) komt js dexm ‘angatraoten‘etsterdmks —_tsuigut Kommt all's dem Angetrauten letzterdings zugut', Itcomes all tothe husband intheend _as benefit, (lo the end it will all benefit the husband,) vorfeon e= seen ‘elig _privile:gium wofern er sein eh'lich Privilegium provided that he his marital privilege (surnuts tu: ‘maxon veces zunutz m= machen weiB. makeuseof to make knows. (provided he knows how to make use of his marital privilege.) (He starts to go into a room to one side. The servant who admitted the Notary has meanwhile ‘opened the door. Faninal and the Notary prepare to go in. The Baron measures Faninal with a ‘glance and indicates that he should remain three paces behind. Faninal steps back submissively. The Baron takes the lead, reassures himself that Faninal is three paces behind him, then goes with dignity through the door, followed by Faninal, then the Notary and then the Clerk. The servant closes the door and goes off leaving the folding doors to the entrance hall half open. Sophie, to one side, stands confused and ashamed. Marianne, by her, curtsies towards the door until it closes. With a glance behind to make sure that the others have left, Octavian quickly moves over to Sophie, trembling with excitement.)Der Roserkavalier, Act IT 109 OCTAVIAN vit zi: das 'mamsbrit. = da: ‘haerartan = ma kuzimno Wird Sie das Mannsbild da _—_—heiraten, ma cousine? Will you that —_ fellow there mary, ma cousine? (Are you going to marry that fellow, ma cousine?) SOPHIE (taking a step towards him) met um diz velt Nicht um die Welt! Not forall the world! (with a look at Marianne) maen got ver ig aillaen mit ism Mein Gott, wiir' ich allein mit Thm, My God, ifonlyIcouldbe alone with you, das gin rton_Koent 4a8 ich Thn__ bitten kénnt'! sothat I you could ask! (Go that I could ask you!) OCTAVIAN vas ists das zit «mig ‘bitten moegt Was ist's, dai Sie mich bitten mécht'? What isit’ that you me —toask wish? (What is it you want to ask me?) zak ti: mixs nel Sag! Sie mir's schnell! Tell me quickly! SOPHIE (taking yet another step towards him) : — maen got das ex —mixr halt hulft © — mein Gott, dab Er mir halt hilft! Oh, my God, that you help me! unt ex vit mir mgt ‘helfon ‘vollon Und Er wird mir nicht elfen wollen, And you will me — not -— help want, (And you won't want to help me,) vael es halt zaen —fettar_ist weil es haltSein Vetter ist. because he your cousin is. (because you are his cousin.) OCTAVIAN (firiously) nen im —fettor aos “hefligkaet_ © got_—_ae lop unt dank Nenn' ihn Vetter aus Hflichkeit; Gott sei Lob und Dank, Teall him cousin outof courtesy; God _ be praised and thanked,10 Der Rosenkavalier, Act If in im —etbon for dem ‘gestrigan = taiga nit gozem ihn im Leben vor dem gestrigen ‘Tage niet gesehn! Ihave him inmy life before the yesterday's day — never _ seen! (The Lord be praised that I never in my life saw him before yesterday!) (Several of the maids of the house flee across the entrance hall with the Lerchenau servants in hot pursuit. The valet and the one with the plaster on his nose chase a pretty young girl and comer her ‘almost on the threshold of the drawing room.) FANINAL'S MAJOR-DOMO di ‘lerganaofan tant ‘follor ‘brantvaen —_gdzoffon Die Lerchenau'schen sind voller Branntwein _ gesoffen The Lerchenau mob are fullof brandy drunk (are dead drunk with our brandy) unt gem aofs go'zmds loss und gehn aufs Gesinde los, and are going after servant girls, ‘wsvantsikmal ‘erger als ‘tyrkon unt kroaiton zwantzigmal frger als Tiirken und Croaten! twenty times worse than Turks or Croatians!!” MARIANNE (at the top of her voice, horrified) hod ex fon "unzaran ‘Yootan vo: ant den di: Hol' Er von unseren Lenten, wo sinddenn die? Get (some) of our people, where are they? (She runs to the Major-domo and together they manage to wrest the hapless maid from her raptors and lead her away. Everyone vanishes. The hall is eft clear.) SOPHIE (speaking freely now, now that they are unobserved) tu im =~ het te gen tsutraon mo kuzé Zu Thm hit’ ich ein Zutraun, mon cousin, In you wouldhave =I some trust, mon cousin, (Lwould have trust in you, mon cousin,) zo: vir ts: ‘nimant oof dex vel sowie zu niemand == auf der Welt, as to nooneelse in _—this’_-_world, das er ‘helfon dab Er helfen, that you help me, ven ex ‘gutan ‘villon het wenn Er guten Willen hate’! if you only the good-will (forit) had! (if you only had the good will to!) "7 At this time in history Turks and Croatians were deemed "barbarians" by the “civilized” Austrians.Der Rosenkavalier, Act It M1 OCTAVIAN east mus zi: zig-zelbor‘helfon dan helf- 1g it. ox Erst_ muB Sie sichselberhelfen, dann elf ich Ihr auch. First must you help yourself, then help I you also. First you must help yourself, then I will also help you.) tu zi das emst fyr ig Tu'Siedss erst fir sich, Do that first for yourself, dan trig vas fyr tit dann tu' ich was fir Siet then Iwill do something for you! SOPHLE (confidingly, almost tenderly) vas ist den das vas guest ‘mus turn Was ist denndas, © was ich —muerst mué tun? What is itthen that = first must do? OCTAVIAN das vit zi: vol ‘visson Das wirdSie wohl wissen! That do you certainly know! SOPHIE (her gaze steadily on him) unt vas ast das vas, ex ft mig vil tumn Und was ist das, was Er fir mich will tun? And what is it | that you for = me wish todo? mun sack ex miss Nun sag’ Er mir's! Do tell me! OCTAVIAN (resolutely) nun mvs zi: gants alllaen fyr ums. tsvae ‘aenftem Nun moS Sie ganz allein ffir uns zwei einstebn! Now must you quite alone for us both _be responsible! (All alone, now you must be responsible for us both!) SOPHIE vi fyr uns tsvae ot «ak exs nox ‘aenmail Wie? Fir uns zwei? O —sag'Er's noch einmal. What? For us both? Oh, say that ‘one more time. OCTAVIAN Fitr uns zwei SOPHIE (with rapturous abandonment) 1 hab) mm —_Tesbon_ 20: vas ‘fomas mgt gahoat Ich hab! im Leben so was Schénes nicht gebdrt! 1 have inmy life such beautiful (thing) not _—_heard! (Never in my life have Theard anything so beautifull)12 OCTAVIAN fyr zig unt Fir sich und For you and SOPHIE Bleiben... OCTAVIAN vas zit st awas Sie ist. yhat you are. Der Rosenkavalier, Act If mig mus mich muB me — must Zit zag ‘veron unt ‘blaebon Sie sich wehren und — bleiben. you be steadfast, and i (Sophie takes his hand, bends over and kisses it quickly before he can take it from her; he kisses her ‘on the mouth and then holds her in his arms, as she nestles against him.) damit zi: zig bo'kla:kt damit Sie sich beklagt. with your sorrows. mit iren ‘aogon fol ‘tremon Mit Ihren Augen voll Triinen With your eyes full of tears komt zis tsu: mir KommtSie zu mir, come you to me for anst. mus zi an Vor Angst muB Sie an In fear must you on (You lean on me in your fear,) i ‘armas herts st ants Thr armes Herz ist ganz Your poor heart is quite unt 1 mus jetst_ als Und ich mu jetzt als And must now as ont aes nox gar nigt und wei noch gar nicht and know yet not quite mir 1st zo: "zeshig Mir ist so selig, I feel so happy, dase dig halton._darf a6 ich dich alten darf: that I you hold can; (at holding you;) gi ‘antvort ‘aber gip Gib Antwort, aber gib ‘Answer me, but do mig zig ‘lean mich sich lehnen, me lean, fertsackt verzagt. hopeless. ‘iven froont mug tsaegon Thren Freund mich zeigen your friend show myself vi wie! how! zo: ‘aegon so eigen, so strange, zi mit ‘fvaegon sie mit Schweiger it in silence:Der Roserkavalier, Act IT 13 bist du: fon zelbor zo: tsu: mix gekommen Bist du vonselber 0 m mir gekommen? Did you freely like this to me come? (id you come to me like this of your own free will?) ja odor naen du; must es migt, mm = ‘vorton ‘zaxgan Ja oder nein? Du mut es nicht mit Worten sagen... Yes or no? You must it not with words. say... (Do not say it with words...) hast dus es hast dues did you it zak ‘oder nur aos not Sag’, oder nur aus Not? Tell me, or just outof_ need? nur aos nost 20: allas tsu: mis “hexgotra:gon Nur aus Not so alles m mir _hergetragen, Only outofneed everything to. «= me_-—_-you brought me, daen hers daen ‘lspligas goat dein Herz, dein liebliches _Gesicht? your heart, your lovely face? (Was it out of need only that you brought me your heart and your lovely face?) zak ist dis nigt das "mgantvo: Sag’, ist dir nicht, daB — irgendwo Tell me, don't you feel that somewhere m —“"gont?aenom ‘foxnon troom das ‘aenma:l fom zo: var in irgendeinem —schénen Traum das einmal schon so war? in some beautifil dream this once already happened? (this has. already?) zak Spyast dus 20: vig Sag’, splirstdu's so wie ich? Tell me, do you feel it just like me? Gust as I do?) maen hers unt zed vit bae itr ‘blaebon Mein Herz und See!’ wird bei Thr bleiben, My heart and soul will’ with you stay, vo: Zit get unt_—ftet bis m ‘alls ‘ervigkaet wo Sie geht und steht, bisin alle Ewigkeit. wherever you. go. and. maybe into all eternity. SOPHIE 1; ‘Moegtomig bac itm ~—_ferftekkon Ich mdchtemich bei hm —_verstecken I wouldlike with you tohide4 Der Rosenkavalier, Act IT unt nigts mex ‘visson fon dex —_velt und — nichts mehr wissen von der Welt. and nothing more know of the world. ven ex mig zo; m= Zaenan ‘arman helt Wenn Er mich so in — Seinen Armen hilt, When you me thus in your arms hold, kan mig nigts_‘hesligas erfrekkon kann mich nichts HiBliches —_ersehrecken. can me nothing ugly frighten. (When you hold me like this in your arms, nothing ugly can happen to me.) da: ‘blaebon da; Da bleiben da! Here _tostay Iwould like, here! (Lwould stay here, here!) unt ‘Jvaegan unt vas mir aox galfe: Und — schweigen, And — keep still, geborgan = vis dex foal m= dem —_tsvaegon geborgen wie der Vogel in den Zweigen, hidden, like a bird in the _—_branches, ‘fulften unt pyran ex ist’ mdem'ne: stillstehen und spiiren: Er ist inder Nab! standstill and feel (that) you are_—_close by! mis ‘myst anst unt bay am ‘hertson zaen Mir miiBte angst und bang im Herzen sein, 1 should anxious and fearful inmy heart be, (In my heart I should be anxious and fearful) frat ‘dessan fy:l 1g mux froot_ unt ‘eilickaet unt ‘kena —_paen statt dessen fill’ ich nur Freud’ und Seligkeit und keine Pein, instead of it I feel only joy and bliss. andno pain, ty kent es omigt mit Vortan "zaigon ich kénnt’ es nicht mit Worten sagen! T could it not with words say! (cannot express it!) hab 1 vas ‘unregtas —gatan Hab! ich was Unrechtes _getan’? Have I something wrong done? 1; var halt «=m dew not eh Teh war halt in derNot! = =Da war ‘Er —mirnab! 1 was simply in need! There were you close to me! da: vares zaen gazigt zaen ‘aogo jun unt gt Da wares Sein Gesicht, Sein’ Auge jumg und lich, Tt was your face, your eyes young and — shining,Der Rosenkanalier, Act II us cof das gs mig gamit zaen itbas- gozigt auf das ich mich gericht, Sein liebes Gesicht... to which I tured, your dear face... unt zaetdem = vaes. phat migts, migts mex fon mir und seitdem weib ich halt nichts nichts mehr von mir. and since then know I simply nothing... nothingmore of myself. o: = blaep du; mur bae mir © bleibt) du nur bei_—mir. Oh stay you only with me. ex mus mir ‘zaenan futs, fergoennan Er muB mir Seinen Schutz vergénnen... You must tome your protection grant... vas ex vil Was Er will, What you — want, vas ex vit vollon ved ig keennan was Er wirdwollen, werd’ ich —_kénnen: what you may want will “I beable todo: (What you desire, I shall do:) bleib Er nur bei mir! (From the secret doors in the corners at the back, Valzacchi and Annina creep out noiselessly, one on each side, eavesdropping on the two lovers. Slowly they creep up on tiptoe. Octavian draws Sophie to him and kisses her on the lips; at this moment the Italians are close behind them and duck behind the armchairs, almost immediately leaping forward. Annina takes hold of Sophie and Valzacchi seizes Octavian.) VALZACCHI, ANNINA her ba'ron fon ‘lerxenau Herr Baron von Lerchenau! Baron von Lerchenau! (Octavian disentangles himself from Valzacchi.) VALZACCHI (trying hard to hold on to him once again, breathlessly) lauf und ol ‘zaine ‘gna:de snel uz snel Lauf und ‘ol Seine Gnade! Snell, nur snell, Run and —get_—_hiis Lordship! Quickly, quickly, ik mus ‘alten ‘die er ik muB ‘alten diese ‘err! I must hold dis gentleman! ANNINA las das froglaen = aos_—_laoft zis mis vek LaB ich das ‘Friulein © aus, _lauft sie mir weg! Leave 1 the girl go, shewillrun away from me! (lf Tet go of the girl she'll run away!)116 Der Rosenkavalier, Act It VALZACCHI Herr Baron von Lerchenau! kom ts: zem dit roilain braut_ mit aine Komm' m_ —sehn die ‘Friulein Brautmit eine Come (to) see de bride-to-be wid a ‘kommen ailik ‘kommen i ‘ekkko kommen _eilig, kommen hier! Ecco! come quickly, come here! Ecco! (Here they are!) ‘june kavalisr junge Kavalier! young cavalier! (The Baron enters through the side door. The Italians release their victims, spring to the side and ‘bow to the Baron with gestures that speak volumes. With arms crossed, the Baron scrutinizes the group. There is a pause that spells trouble. Sophie clings fearfully to Octavian.) BARON © bie mamisel vas hot sk mir ts Ebbien, © Mamsell, was hat Sie mir zu Well then, Mademoiselle, what have you me to (have you to say to me?) (Sophie keeps silent. The Baron retains his composure.) nun resolvito si stg Nun, resolvier' Sie sich! Well, make up your mind! SOPHIE maen got vas zl 1 zagonex vit = mig Mein Gott, was soll ich sagen: Er wird mich My God, what can I say, you will me BARON das 'verodon vie jaz sem Das werden wir ja sehn! That will we surely see! (We shall see!) OCTAVIAN (taking a step towards the Baron) ‘2¢or'lzbdon mus 1g shalt fermeldan Euer Liebden mu ich halt __vermelden, ‘Your Lordship must I simply inform, das zig m_‘zaenor ‘angole:gonhaet vas ‘vigtiges daB sich in Seiner Angelegenheit was Wichtiges that in your affairs something important BARON forendat wee_~—migt’ das: gS Wvst Veriindert? nicht daB ich wilt’! Changed? Oh, not that. «T= knowofl ‘sorgan sagen? say? ret nicht not ferftem verstebn! understand! ferendort hat verindert hat! hhas changed!Der Rosenkavalier, Act I OCTAVIAN ‘daxum zl ex _ es jetst erfaron ‘froglaen Darum soll Er esjetzterfahrent! © Die —_Friiulein... That's why must you itnow findout! The —_ young lady... BARON we cm isto migt_ fool em © vaees ts: profitisron Ei, Er ist nicht faul, Er wei zu —_profitieren, ‘Ah, you are not_— idle, you know howto take advantage, mit ‘sezenan'sisptsem jor emus ism gratwlizran mit Seinen siebzehn Jabr! Teh nub Thm gratulieren! at seventeen! T aust congratulate you! OCTAVIAN Die Fraulein... BARON Ist mize 'sedontig ie se: mig ‘selbo Ist mir ordentlich, ich seh" mich selber! find it quite in order, I cansee myself! (That's allright, Twas the same way at his age!) mus Jaxon ‘ybe dem flu: dem ‘pusdaljuyon MuB lachen fiber den Filo, den Pudeljungen. Thaveto laugh at — the -— rascal, the young puppy. OCTAVIAN Die Fraulein... BARON (to Sophie) ze sist) vol frum Fit Sie ist’ = wohl stumm. Ab! You are quite mute unt hot im ‘angoftelt’ = fy = tion atvot und hat ihn —angestellt' © flir__-—‘Thren Advokaten! and you him havetakenon as your counsel! (and have hired him as your "mouthpiece"!) OCTAVIAN Die Friulein... (He again breaks off, as though to let Sophie speak for herself.) SOPHIE ie brs dem_—smunt_nigt cof preger fyr mig No! I open my —_ mouth not (--)! Youspeak forme! (auf/bringen is a separable prefix verb meaning "to open.) (Lwon't say a word!) OCTAVIAN (resolutely) Teh bring’ den Mund nicht auf! Sprech'Er fir mich!8. Der Rosenkavalier, Act IT BARON (imitating him) Die Fraulein, die Friulein, die Friiulein! Ist ‘wena ‘kroptsaxkoms Ist eine Kreuzerkomédi Thisis a ridiculous farce jets efapizo ew sig sonst raeest mize dis gadvjt Jetzt echappier' Ersich, sonst _reifit mir die Geduld. Now — just get lost, lest Tose my patience. OCTAVIAN di froglaen ——kurts unt gut dit froglaen «= mack im migt Die Fraulein, —kurzund gut, die Friulein mag Ihn nicht. The younglady, in short, the young lady doesn't like you. BARON (after a groan of feigned disappointment) see em da: ‘aose- sozak vist fon ean mig ‘meigon Sei Er da auBer Sorg’ Wird schon lerne mich mBgen. Be you unconcerned! She will soon learn to like me. (Dont you worry!) (going to Sophie) kom si: da: jetst_hineen viet glee an ‘ine seen Komm' Sie da jetzt hinein: wird gleich an Ibrer sein, Come now inside: Itwill soon be your tum, di: untofft ——tsuz die Unterschrift. zu the signature to (to sign the papers.) SOPHIE (retreating) om = ‘Kaenonpraes ge: 1¢ © an ‘zaenar hant —hrnaen Um keinen Preis geh’ ich an —Seiner Hand _hinein! At no price. -go 1 —at_—-your_—hand inside! (Atno price will you take me by the hand inside there!) vi kam aen—kavatlisr zo: ‘oma ‘tsarthaet_—=—zaen Wie kann ein Kavalier so. ohne ‘Zartheit ~—sein! How can a gentleman so._—_ without delicacy be! (be so indelicate!) OCTAVIAN (placing himself between them and the side door) ferftex ex dootf das froglaen hat 21g rezolvint Verstebt Er Deutsch! Das Friulein —hat__ sich resolviert, Do you understand German! ‘The + younglady has decided (Don't you understand German!) zi vil ‘o¢or'gnaidan ‘ungohaerait —‘lasson mm tsaet unt ‘exigkaet sie will EuerGnaden ungeheirat’ lassen in Zeit und Ewigkeit! that she wants your Lordship un-married to leave now and forever more! (that she wants you to leave her unmarried to you~ now and forever more!)Der Rosenkavalier, Act It 119 BARON (with the air of a man in a hurry) mankazi ‘junfe-nrest Ist nigt gohoon unt migt goftoxon Maneari!”* Jungfernred’ ist nicht gehaun und nicht gestochen! Nonsense! Girlish chatter that has neither rhyme nor reason! (taking her by the hand) ferlaop si: jetst Verlaub' Sie jetzt! Now, by your leave! OCTAVIAN (firmly planted in front of the door) ven mur 20; fil «msi ~—sist’ fon ‘aenom kavalir Wenn nur so viel ‘in Thm ist © von _ einem Kavalier, If only so much in you is of = a_— gentleman, (if there is anything of a gentleman left in you,) zo: vurt im vorl gany:gan vas ex ghoathat_ = fon mir so wird Ihm wohl geniigen was -Er = g'hrthat_ von mir. so twill be sufficient for you what you heard from me. {Gou can readily understand what meant o say.) BARON (pretending not to hear, to Sophie) gratullize si: sig nu das 1g = zen ok tsudrvk Gratulier' Sie sich nur, da ich cin. © Aug zudriick’! You can thank your lucky stars that I one eye _ closed! (that I chose to close one eye!) (You can thank your lucky stars that I chose not fo pay full attention to what that rascal was saying!) ‘daxon mak si: eokennon vas wen kavallie © ast Daran mag Sie erkennen was Kavalier ist! From it you can recognize what a gentleman —_is! OCTAVIAN (pointing to his sword) virt doxvo en ‘mttal_‘ge:bon zaenasglaegan su: bo'dogton Wird doch wohl ein'_—-Mittel_ geben Seinesgleichen bedeuten! ‘There must a way be —_peoplesuchasyou to. —make understand! (There must be a way to make people of your sort understand my meaning!) BARON (attempting to get through with Sophie) ze rewly ‘vst nigt Ei, sehwerlich —_wiifite nicht! Ab, hardly could I believe it! OCTAVIAN (losing all self-control) art’ im) mmt'mgten = fy aenan kavalir Ich acht’ hn mitnichten fiir einen Kavalier. 1 find you unworthy of -—the (name of) gentleman. "This is an expression coming from Italian mancava questo! (This is just what I needed") '° This section is usually cut. Octavian is trying to exolain to the thick-headed Baron that he is willing to challenge him to @ duel.120 Der Rosenkavalier, Act IT BARON (pompously) varhoftk —vyst ig mgt das ee mig refpektizot Wahrhaftig, wiifitich nicht,da®' Er mich respektiert, In truth, IfI didn't know that you respected me, unt vex ex —migt__fo'vant es vew mie jetso: vem und wir Er nicht verwandt, es wir’ mir jetzo._schwer, and were you not related, it would forme now be hard, dos tg mitim nigt_y:bozeenande- ken a8 ich = mitIhm =—— nicht ibereinander kiim'! that I — withyou not became violent! (and that you were related. I'd find it hard to restrain myself from becoming violent with you!) (He attempts to take Sophie by the hand towards the center door, after the Italians have signaled to him with lively gestures to take her that way.) kom siz gen tsum hean fate —doat hrny:bo- Komm' Sie! Gehn zum Herrn Vater dort hiniber! Come! Well go to _-yourfather through there! ist bareets dex ‘nezre vek Ist bereit der niihere Wee! tis really the nearest way! OCTAVIAN (following him, close to her) eo hof er komt filmer jetst mit mise hmntars hhaos Ich hoff, Er kommtvielmebr jetzt mit/— mir —_hinters Haus, 1 hope’ you come instead now with me — behindthe house, 1st dort aen rect. bokvermar —_‘garton ist dort ein recht bequemer Garten. there is there a quite convenient garden. (The Baron continues on his way, and endeavors with feigned calm to lead Sophie in the same direction. He replies over his shoulder to the fuming Octavian.) BARON bovare ves mio jetsonigt_goinesm Bewahre. © Wiir' mir —_jetzo_ nicht genehm. Notnow. It'stome now not _—_ convenient. (that is not convenient for me now.) los um oj dem —no‘tari mgt ‘voaton La8 mall's den Notari nicht warten. Tillet above all the notary not wait. (wont, above all, leave the Notary waiting.) ve gox een affront fy di: _—_junfer braot War' ger ein Affront fir die Jungfer Braut! Itwouldbe quite an affront for the young bride!Der Rosentavalier, Act IT 1a OCTAVIAN (grasping his sleeve) baem ‘zatan ex hat ‘aena ‘dikka_haot Beim Satan! Er hat eine dicke Haut! By Satan! You have a thick skin! 0x dot dit tyr passister mir ngt Auch dort die Tir passier!Er mir nicht! Furthermore, there that door passyou by me not! (And furthermore, I won't let you pass through that door!) ie fraes im jetst_ m = zaen gozigt. Teh sehrei's Thm jetzt in Sein Gesicht: Twill shout it out toyou now in your face: (Sophie has wrenched herself ree from the Baron and leaps back behind Octavian.) artim fy ‘aenon_ fits ‘aenan ‘mutgrfije:gar Teh ach’ Ihn fiir einen Filou, einen Mitgiftjiger, 1 hold you for a — scoundrel, © dowry-hunter, ‘aenan ‘durgtri:bonen ‘lygnor unt ‘fmutsigan —_“baoor einen durchtriebenen Ligner und schmutzigen Bauer, a cunning iar and filthy peasant, aen kerl ‘oma ‘anftant unt ter ein Kerl ohne Anstand = und Ehr'! a fellow without decency and honor! (The Baron puts two fingers in his mouth and lets out a shrill whistle.) unt vens zaenmus —geibig im oof dem flek Und wenn's seinmuf, —geb' ich Thm auf dem Fleck And ifit, mustbe, Tilgiveyou on the -— spot, BARON vos so; wen burp om — vim _—_mtt‘sipptseim jaz Was so ein Bub! in Wien mit siebzehn Jabr What kindof a boy in_—_Vienna seventeen years old Jom fy wen forlact —muntverk_— hat schon fir ein vorlaut Mundwerk hat! already for a saucy ‘mouth has! (Look at what kind of a saucy tongue a seventeen-year old boy has in Vienna!) (He looks around at the center door.) dox got see lop man kent =m ‘hissige ftat Doch Gott sei Lob, man kennt in hiesiger Stadt But God be —_—praised,everyone knows in this. city den man dex fox im tet den Mann, der vor Ihm steht, the man who before you stands,122 hojt brs hrnaof ——tsu halt bishinauf = zu even up to man isthojt vas. man ‘Man isthalt,was = man One is what one das las ee sig gasarkt saeen Das IaB' Er sich gesagt sein Having had that said to you, Der Rosenkavalier, Act IT ‘keeesolicn —_majesteit Kaiserlicher Majestit! Her Imperial Majesty! Ist unt braoxts mgt tzu: ist, und braucht's nichtzu is, and hasnoneed to unt gep mie den ve und geb’ mir den Weg now make forme the way (now get out of my way.) boveeeson beweisen. prove it. da: free da frei. there free, (The Lerchenau retinue has marched in full strength through the center door; he assures himself of this by a backward glance. He now is determined to get Sophie and reach the exit.) veo mia ‘vaehafuk Wir' mir wahrhaftig I would truly OCTAVIAN (furious) a untorfte: ex zig Ab, —untersteh’ Er sich, leet ven regret if ‘men loot da: ‘hmtan leid, wenn meine Leut da hinten... my men __behind there... ‘zaena baidi:ntan Seine Bedienten ‘Ab, don't you dare your servants hhinaentsumifon m = ‘unzamn ftraet hineinzumischen in._-—_unsern Streit! to embroil in our quarrel! jetst sire ‘odor ‘gnazd im got Jetzt zieh' Er oder gnad' Ihn Gott! Now draw or may God have mercy on you! SOPHIE o: got’ vas. vurtden jetst gofem © Gott, was wirddenn _jetzt_geschehn? Oh — God, what will now happen? OCTAVIAN (shouting at the Baron) tum ‘zatan tsi ex ‘oder ig fteg im ‘nisdor Zum Satan, zieh' Er oder ich —stech’ Thn — nieder! By Satan, draw oT willrun you — through! BARON (retreating somewhat) foo ‘eeno ‘damo pfuj so: swe e dox gpfeet Vor eine Dame, pfui! So sei Er doch gescheit! Infrontof a lady," shame! Be sensible! (Octavian rushes at him in a rage. The Baron draws, lunges out clumsily and gets the point of Octavian's sword in his upper arm. All the servants rush at Octavian together. He leaps over to one sside and holds them off, whirling his sword about him. The Almoner, Valzacchi and Annina hasten to the Baron, whom they support and lower into one of the chairs in the center. The Baron screams cout loudly)Der Rosenkavalier, Act It 123, moat meen bluat tsu: hulf ‘made Mord! Mein Blut! Zuhilfe! © Mérder! Murder! My blood! Help! Murderer! (surrounded by the Italians and his servants and hidden from the audience.) te hot wen ‘hitstk —bluat_ um eatst um ‘leenvant hea. Ich hab’ ein hitsig’ Blut! Um Artst', um Leinwand her! I have hot blood! A doctor!” Some linen! feo‘bant hex um politswe 1g —ferblut mig of aens tsvave drave Verbandt her! ‘Um Polizei! Ich verblut' mich auf eins zwei drei! Bandages! Police! I bleedtodeath in ajiffy! ‘aofhajton den Aufhalten den! Stop that man! LERCHENAU'S SERVANTS den haots tszam Jpnverp hea ‘fooe-fvam Den —haut's 2'samm! Spinnweb her! Feuerschwamm! Him beat toa pulp!” ‘Cobwebs here!” Agaric!” raestsiim dem ‘fpa:di._vek Reisst's ihm den Spadi veg! Take his sword away! flakes im tot —_aofim flek Schlagt’s m tot auf'm Fleck! Strike him dead on the spot! (The whole of the Faninal serving staff, including housemaids, kitchen staff, grooms, streams in through the center door.) ANNINA (going to the servants, haranguing them) dex jojo kavallir unt di froglaen braot ferfteas Der junge Kavalier und die FriiuleinBraut, —_versteht's? The young. cavalier and the bride-to-be, do you understand? ‘varon im gvhaeman fon regt__fertraot ferftets Waren im Geheimen schon recht vertraut, _versteht's? Were in secret already quite acquainted, get it? (Valzacchi and the Almoner remove the Baron's coat. Ochs groans continually.) SOPHIE (standing to one side) ‘allas get durgacnant —furgtbar. vars. vi: aen blits Alles geht durcheinan'd! Furebtbar war's, wie ein Blitz, Everything is topsy-turvy! Terrible itwas, like lightning, ® Zusammen hauen, literally "beat until he is together" and by extension “until he is reduced to a pulp". Haut's samm is the low class Viennese way to say it, as would be expected from the coarse Lerchenaus. 2 Bandages inthe form of a cobweb used to make asling. In pharmacy, a fungus (polyporus igniarius) used asa styptic to stop the flow of blood.124 Der Rosenkavalier, Act IT vi exs—_ertsvunom hat pyr mur ‘zaeno hant Wie er's Teh spiir nur seine Hand, How he I feel only his hand, di: mg umfluyan hat die mich umschlungen hat! which me embrace did! (which embraced me!) 1 ferfpys migts fon gst 1 fer fpy:r migts fon fmerts Tech verspiir’ — nichts von Angst, ich verspiir’ ~— nichts von Schmerz, I feel notraceof fear, I feel notrace of pain, nur das foger ‘zaenan bk dure unt «dure bis._ms._—herts nur sein Feuer, seinen Blick, durch und durch bis ins Herz! only his fire, his gaze, throughand = throughto. = my_—sheart! FANINAL'S SERVANTS ‘kftoxan 5 'aeno veo dew dort dea ‘fremdo hex G'stochen is einer? Wer? Der dort? Der — fremde Herr? Stabbed is someone? Who! That one there! The stranger? ‘velo dew ‘brogtigam —_pakts dem duellanton —tzam Welcher? -Der_-—-Briutigam? —Packt's den Duellanten—z'samm! Which one? The bridegroom? Beat the duellists toa pulp! ‘velgx 1s dew duellant_ = dew doot im ‘vaeson gvant Welcher is der _—-Duellant?- =‘ Der dort, ‘weifen G'wand! Who is the —_duellist?” ‘That one over there, inthe white frock! veo dew _roxzankavalizo ‘veigon was den ‘vegan ie Wer? Der Rosenkavalier? ‘Wegen was denn? — Wegen ihr! Who? The — Rose Bearer? Over what? Over her? ‘angopakt ——_‘nisde- ghaot ‘vegan dew —broot Angepackt! _Niederg'haut! ‘Wegen der Braut? Setupon! Knocked down! Because of the —_bride? dea tipfaft ‘vytande has 18 ‘Wegen der _Liebschaft! Wiitender Ha Because of the loveaffair! He'smad_ with hate! faots nua dix frodlaen an —_faots Zit blas 18 Schaut's mur die Fréulein an, schaut's, sie blaB ist Lustlook at the young girl, look pale she is! ‘k{toxan deze ‘brootgam G'stochen der Bréut’gam. Her bridegroom has been stabbed. OCTAVIAN (holding his assailants at bay) ver teu: nat komt dex lemt "be:tan Wer mir zm nah kommt, der —_lernt beten! Whoever tome too close comes, he —willleam howto pray! (Come too near me and you'll learn to pray [for your soul]!)Der Roseniavalier, Act II 125 vas da pa'sist st «= kang —_fertretan Was da passiertist, kann ich —_vertrete What here hashappened can I account for! {can account for what happened here!) LLERCHENAU'S SERVANTS (leaving Octavian and rushing at the maids standing around) ‘laenvant he: fo"bant ‘maxon ‘fetson aosm gvant ‘maxon Leinwand her! Verband machen! —_Fetzen aus'm G'wand machen! Linen here! Make bandages! Rags outof your dresses make! ‘Yoovests —‘kaeno fpanpona:don ‘laenwand he:a- fy ‘saeno ‘gnardon Vorwiirts, keine Spanponaden! Leinwand her ffir Seine Gnaden! Comenow, no nonsense! ~—_Linens here for his Lordship! (Lerchenau's servants look as if they are about to tear the clothes off the younger and prettier maids. Marianne makes her way to the Baron, who is swrounded by close groups.) BARON kan wen bhuat mut rua sem Teh kann einjedes Blut mitRuhe —_sehn... I can any blood calmly see. blos dos maemk mit. 0: ot bloB das meinig' nicht! Oh! Oh! only my own not! Oh! Oh! MARIANNE (io the Baron) zw: aen efor her zo: aen gros maior So ein _—_fescher Hert! So ein gro8' Malheur, Such a stylish gentleman! Such a great calamity! zo: aen‘fvewor Slack zo: en ‘unglykstatk so, ein schwerer Schlag, so ein Ungliickstag! such a heavy blow, such an unlucky day! SOPHIE (shouting desperately across to Octavian) ‘lipstor Liebster! My beloved! OCTAVIAN (shouting across to Sophie, desperately) ‘lspsto Liebstet My beloved! (Faninal rushes in through the door on one side, followed by the Notary and the Clerk, who remain in the doorway, frightened.) ANNINA (curtseying, to Faninal) dex juga kavalir unt di froglaen braot ‘gna:don Der junge Kavalier und die FriuleinBraut, © Gnaden, The young gentleman © and the _ bride-to-be, ‘your Lordship,126 Der Rosenkavalier, Act IT ‘varon im gahaemon fom regt_—fertraot ‘gnaidan waren im Gebeim schon recht vertraut, Gnaden! were in secret already quite acquainted, your Lordship! vir foller ‘aefor fyxm hen batom ‘gnarden Wir voller Eifer fir'n Herrn Baron, Gnaden, We, fullof zeal for Herr the Baron, your Lordship, ‘ha:bon zi: battrerton = m_~— ‘alla’ devotsjon ‘gna:don haben sie betreten = in’_—aller__-Devotion, Gnaden! did them — surprise in all_—_humbleness, your Lordship! (managed to surprise them) BARON (shrieking at Marianne) o: oso! stussidox vas Kfecets Oh! Oh! So tu’ Siedoch was g'scheit's, Oh! Oh! Go do something useful, so: ret si: dox meen ‘e:bon so ret’ Sie doch mein Leben! and save my life! (Marianne rushes out and returns breathless a few moments later, laden with linen and followed by two maids carrying sponges and basins. They surround the Baron and energetically busy themselves about him. Upon seeing her father, Sophie runs over to one side and stands beside Octavian, who now sheathes his sword.) FANINAL (at first speechless, then clapping his hands to his head, breaking in on the brawl) hee: 'fvisgesom vi stimden — maen_hee- unt ‘heeland Herr Schwiegersohn! Wie ist Ihm denn? Mein Herr und Heiland! Son-in-law! How do you feel? My Lord and Savior! (Good Heavens!) dos im =m — meen pale das hat _—_pdssizron ‘mysson DaS thm in mein’ Palais das hat —_passieren miifien! That toyou in © my —_palace this could have happened! gelaofn um = dem ~—'meidikus_-—_goflogan Gelaufen © um den Medicus! —_Geflogen! Run for the doctor! Fly! ‘meena tsem togron pferat tu: tor gohetst Meine zehn teuren Pferd’ zu Tod gehetzt! My ten best horses tide to death (Ride my best ten horses to death {till you find a doctor]!) jo: hot den ‘nismant fon ‘mazena- livre: Ja, hat denn niemand = von_meiner Livree Well, was then notasingleoneof my livery datsvifonfacran ‘megan dazwischenfahren mogen! able to throw themselves between them!Der Rosenkavalier, Act II 127 fur ig. dafy:a wen fok ‘boomlaye —‘lakkotn Fittr'ichdafir ein Schock baumlange —Lackeln, Isthat whatI feed a —heap(of) —tree-long_—_lackeys, (strapping) das mize ‘sojga_ fant Pasion mus da8 mir solche Schand passieren mu sothat tome sucha disgrace could happen m = "mzenam == ‘no¢gan ‘ftatpatte: in meinem neuchen _—Stadtpalais! in my new town palace! (turning to Octavian) het vol fon ‘anftants mig ferzen Hitt wohl = von Iwould have from ‘Anstands mich versehn! behavior expected! BARON ‘Oh! Oh! Ob! FANINAL oo um das ‘freeeheoliga bhwat Oh! Um das schine freiherrliche Oh! That such wonderful _of priceless pedigree wos cof dem ‘bodan rmt orp was auf den Boden rinnt! Oh _pfuit that upon the floor flows! Oh —_phooey! (should go to waste like that!) so: ‘weno ordrnewo == metsgotee So eine ordindre = Metzgereit Such a common vulgar butchery! BARON hop hojt -—so:._—= wen jug unt hitsik_bluat Hab'halt so ein. jung und hitzig_Blut, Shave such a young and hot —_blood, ist mgt. tsum —ftallon 0: ist nicht zum Stillen! Ont it cant. be —staunched! = Oh! FANINAL (going to Octavian, with suppressed fry) vex mie fon ‘hoxgredligs —‘geganvaot Wir mir von hochgrifliche Gegenwart Thad from most noble presence ‘alhize ‘voohafuk — ‘seena- ‘onden froot gpveottk alihier wabrhaftig einer andern Freud’ gewartig! here truly some other pleasure expected!128 BARON Oh! Oh! OCTAVIAN (politely) ex mus mig pardoniiron bin user ‘maison zex — botry:pt Er mu8 mich pardonieren. Bin aufler_Mafien sehr betribt You must _ forgive me. Tam beyond measure very upset ‘yibor den foxfal bn ‘atbor ‘aosor fult fiber den Vorfall. Bin aber auBer Schuld. over the incident. ‘Tam however —notto_blame. tsu: ‘aenor mex gole:gonan —tsaet_erfa:ron ‘ogar ‘icbdan Zu einer mehr gelegenen Zeit erfahren Euer Liebden Ata more appropriate time _will your Lordship find out wolden ‘herrgan 0s ‘ior froglaen toxtor mont wohlden Hergang aus ‘Ihrer ‘Friulein Tochter Mund. precisely what happened from your daughter's. (own) mouth. FANINAL (controlling himself with difficulty) da: moect 1¢ rect seie:‘btton Da mécht ich recht sehr bitten! Nothing could please me better! SOPHIE (resolutely) vi zt aifeilon Yfator vert ‘iman ‘alles ‘zaigon ‘Wie Sie befehlen, Vater. Werd’ Ihnen alles sagen. As you wish, father. Iwill to you everything tell. dex her dot hat 2g mgt zo: viz «ex = zat battraxgan Der Herr dort hat sich nicht so wie er —_sollt! _betragen. That gentleman there did not so ashe _ should behave. (behave as he should have.) FANINAL (angrily) ze fon vem rest si daz fon irom _ heen ‘tsukynftgan Ei, von wem _red't Sie da? Von Ihrem Herrn Zukiinft’gen? And, about whom are you speaking? About your —husband-to-be? te vil_—onigt—thoffon yew mi ‘keeeno matnize Teh will nicht _hoffen wir’ nicht keine Manier. T should not hope so; It wouldn't be a way to act. SOPHIE (calmly) ist mgt. dex fal ze: itm matmigtan Zan datys Ist nicht der Fall, Seb’ ihn mitnichten an daft. Its not the case. Idonot see it that way. FANINAL (with increasing anger) sit im nigt 2am Sieht ihn nicht an? You dont see it that way? Der Rosenkavalier, Act ITDer Rosenkavalier, Act II 129 SOPHIE rigt mex bt zi: dafyr um == ‘gneidigan. pads Nicht mehr. Bit’ Sie dafir um gniidigen Pardon. Not anymore. beg you for that for gracious pardon. For that Tbeg your gracious forgiveness.) FANINAL (at first muttering to himself) Sieht ihn nicht an. Nicht mebr. mig um ards sie doat geftoxon Mich um — Pardon, Liegt dort gestochen, Asks me for forgiveness, he'slying—overthere, stabbed. fet deo juno Stebt bei ihr. Der Junge. He'sstanding by her... that young man... (breaking out) blomaso ‘maena Blamage! meine Disgrace! my (The weddingis off) ‘allo di; ‘nethammoln fon dee _visdon unt de ‘lemgnu:bon Alle die Neidhammeln von der Wieden und der Leimgruben All the envious folk from the Wieden andthe —_Leimgruben oof m dere ho: deo ‘mexdikus ——_uapt mizor vomeghig aufl'inder Hoh! = Der Medicus! —Stirbt mir wombglich. up in the air! The doctor! Hell die on me probably. (to Sophie, in a blind rage) sit ‘heerast Sie heirat' You'll marry (The Doctor enters and goes at once to the Baron to bandage him. Faninal turns to Octavian, his respect damping his rudeness down to teeth-gnasking civility.) eect "262" ‘lisbdon Mécht’ Ener Liebden Tshould your Lordship ‘floomk sig fom his schleunig _sich von hier ‘immediately from here unt ‘nummer ‘virdor und nimmer wieder and never again (¢0 Sophie) rect om ‘dle devotsjon recht in aller Devotion quite in all humility teu: retirion zu retirierea to leave teu: erfarenon mu erscheinen! to appear! Stante pede, literally “as you stand there on your two feet", and by extension, “on the spot". The Italians use a similar expression: su due piedi, meaning the same (found in the duet between Belcore and Nemerino in L'Elisir d'Amore, by Donizetti, contained in Volume lof my Belcanto series).132 Der Rosenkavalier, Act It OCTAVIAN (to Sophie) zae zi: nur ‘rustg—‘ipsta om ‘alles zit hort, fon mise SeiSienur —ruhig, Liebste, um alles! Sie hort fon mir! Be calm, beloved, about everything! You'll hear from me! (Don't worry about a thing, dearest, you'll be hearing from me!) (Marianne urges him to withdraw.) FANINAL ‘Auf Lebenszeit! (hurrying to the Baron) bin y:boglvklig mus ‘ope licbdon —_dbra'siran Bin tibergliicklich! Muf Euer Liebden embrassieren!™ Tam — overjoyed! Tmust your Lordship embrace! BARON (whose arm has been hurt in the embrace) oo jessas matiza Oh! Ob! Jesus Maria! Oh! Oh! Jesus Mary (and Joseph)! FANINAL (in a fresh rage, to the side) ludarece ms ‘klorst- zen gofennis Ludereit Ins Kloster! Ein Gefingnis! A hussy's behavior! —Intoa_convent! A prison! Auf Lebenszeit! BARON 1s gust 1s guat ween —_fluk fon vas ‘su; ‘tinkon Is gut! Is gut! Ein Schluck von was mu trinken! Allright! Allright! A sip of something to. — drink FANINAL, wen veen wen bie mit ‘ingve- Ein Wein? ein Bier? mit Ingwer?* Some wine? Some beer? A Hyppocras with _ginger? (The Doctor makes an anxious gesture of refusal. Faninal continues in a whining tone.) so: ‘wenan hean So einen Herrn Such a gentleman, miserabol 1m ——_‘mavenam ‘tatpale: miserabel! In meinem Stadtpalais somiserably! In my town palace! (back to Sophie) i: ‘harerast in um ‘esto. ‘frye bn = mans gawk Sie heirat’ ihn um esto frilher! Bin Manns genug! You'll marry him, and all the sooner! Tam man enough! 2 French loan word, another of the many used in this opera: embrasser in French, "to embrace" or "to kiss". In tis case itis defintely “to embrace”. 2 Hyppocras: A cordial of the late Middle Ages and down to Stuart times, made of Lisbon and Canary wines, bruised spices and sugar.Der Rosenkavalier, Act IT 133 BARON Is gut! FANINAL (to the Baron, obsequiously) ys im di: hant fy ‘sweno gyt unt ‘noxsigt KiBthm die ‘Hand fir Thre Git’ und Nachsicht. Tkiss your hand for your kindness and _—_indulgence. (He starts to go over to kiss the Baron's hand, and the latter recoils, worried about getting hurt again) gehoot ais im mm aos. tg = Laof Gebort all's Thn im Haus. Ich auf. Belongs everything toyou inthis house. Tl mun... (Everything in this house is yours.) (again bursting out in anger.) wen ‘Klosste ist ts: gust ein Kloster ist zu gut! a convent is too good (for her)! (back to the Baron) seen ‘cose soak Sei'n auBer Sorg'. Be without care, (Don't worry about a thing.) ves vos 1 —satisfaktsjom im —fuldik bmn WeiB, was ich Satisfaktion Thm schuldig ——bin. Iknow what I ofssatisfaction to you owing am, (Linow what satisfaction is due you.) (Cinow what amends I have to make to you.) (He withdraws, shaking his head, with a last worried look at his guest before he disappears.) BARON da; lig 1G = vas ‘wenamkavalize mit ojs patsisran kan Da —lieg' ich! Was einem Kavalier _nit all's passieren kann Here lie I! What toa gentleman cannot happen m feat in Stadt! in (city)! ve@ nigt mien ‘gusto. hie Wir’ nicht mein gusto hier... Its not tomy taste here. do: st’ mens ga ts: sex =m — “goles hant Da ist eins. «gar zu sehr ‘in —Gottes Hand, Here is one much too much in God's hand, (One is all too much at God's mercy here!)134 Der Rosenkavalier, Act IT vew ‘libs — dathaeem Wiir' lieber daheim! Tdrather be home! (A footman enters and serves wine. The Baron tries to drink and makes a movement which causes him pain.) oO de ‘sa:tan 0; sakra'mentsfe-fluoxta bu:op or Der Satan! Oh! Sakramentsverfluchter Bub'! Oh! The devil! Oh! ~—_A plague on that cursed boy! mit ‘wokkon ‘hintem om unt ‘fuxtalt mtn 'fpa:di Nit trocken hinterm Obr und fuchtelt mit'n Spadi! Not = dry behind (the) ear and —thrashes about witha sword! (Still wet behind the ears) (with growing passion) ‘vel ‘huntsbuap = das dig._—sajt' ag nue ervifan Willischer” Hundsbub' das! Dich sollt'_ ich nur _erwischen! Foreign puppy dog (he)! You should I only catch! (Oh, if ever catch you!) m —‘hundetsviqe- Jperig dig = een bee ‘mmena sed Ib Hundezwinger sperr' ich dich ein, bei meiner Seel', Ina kennel Tillock you in, upon my soul, m —hymaftal == m_—_‘Jvmenakorfon terts dig kurantson in Hiihnerstall! In Schweinekofen! ‘Tat's dich couranzen! inthe chicken coop! Inthe pig sty! Tl have you licked into shape! sojst ‘allo ‘enal ‘son hgon Solist alle Engel singen hér'n! You'll all the angels sing hear! (Til make you hear all the angels sing!) (to a Faninal footman) Jenk ea mis wen da fnel Schenk Er mir ein da, schnell! Pour me one here, quickly! LERCHENAU'S SERVANTS (referring to Octavian with threatening, hollow voices) ven 1 © digea'if —duz_—iitkst ‘unto uf Wenn ich dich erwisch; du Hiegst_ unter'm Tisch. If 1 catchyou, "you'll lie underthe —table. vart dig gt ag tsu ‘vellifo- fitu: Wart, dich richt' ich zu, willischer _Filou! Wait, you Tl take care of, vile Italian rascal! Wallischer is a word having the pejorative connotation ofa foreigner of Italian descent. Octavian's name being Rofrano, he falls under that category in the mind of the injured Baron (and later his servants). Later on in Act III the Baron will, in a state of pique, address the Italian Valzacchi in the same manner.Der Rosenkevalier, Act It 135 (The Doctor pours the Baron a cup, as the latter's good humor begins to return.) BARON unt dox mus 1g laxen vii sig so: en Toda Und doch muB ich lachen, wie sich so ein. Loder And yet must I laugh, athow such a rascal mnt ‘seenon sisptsen, jax di: velt_—imafinizet mit seinen sibtzehn Jahr die © Welt _imaginiert:” with his seventeen years the world imagines: (pictures the world at seventeen:) meent got veces e mig kOtroveniat meint, Gott weit, ie er mich kontreveniert. he flatters himself, God only knows, ofhow he _inconveniences me. ha ha. ‘umgokest © st_ «ox. gafarren Ha ha! Umgekehrt ist auch gefahren! Ha ha!_—The other way ithas also gone! moegt umoajs mgt dos 1g dem —‘merdal seen re’bellif ‘aofbagexran Mécht' um all's nicht, da ich © dem =—-Mdel'sein—rebellisch' —_Aufbegebren Twouldn't have liked that I the girl's rebellious fury nigtvo'fpyyot het nicht verspiiret itt’! not felt had! (Not for anything would I have missed the girl's rebellious fury!) 's gibt auf der Welt nichts, was mich so enflammiert und also vehement verjiingt als wie ein rechter Trotz. LERCHENAU'S SERVANTS voot dig hou i tszam ‘vellifo- fitu: Wart’, dich hauiz'samm, willischer Filou! Wait, you Tlbeattoapulp, you vile (Italian) rascal! wart’, dich hau i z'samm, das dig. got fodam daB dich Gott verdamm't God damn you! BARON (twning to the Doctor) hea mesdrkus feafysg ex stg foro0s Herr Medicus, verfiig' Er sich vora Doctor, ‘you go on ahead! Notice the phonetics in the French loan word imaginiert; Germans, having difficulty with the [3] sound, will usually change it to its voiceless counterpart, the [ J]. The IPA reflects this change. 2 jn other words, Octavian’s actions and the subsequent hubbub brought out Sophie's rebellious nature, something he wouldn' otherwise have been a witness fo. The line that follows (a repeat from his Act I confession to the Marschallin) explains his predilection forthe “challenge of a feisty woman".136 Der Rosenkavalier, Act IT maxes das-_— bet aos laote fexdebetton MachEr das Bett aus —_lanter Federbetten. Youmake the bed, with _a lot of eiderdown, 1g kom tmk 1 nox Ich komm’. Erst aber trink ich noch. Tl come. First however, drink I still. {still have to drink [my wine].) morfio ex nue anidesson marschier' Er nur —_indessen. You goon in the meanwhile. (emptying the glass of wine) wen fedabet tsvee ‘ftundon nox isu: uf Ein Federbett. Zwei Stunden noch zu Tisch. Aneiderdown bed! Two hoursyet —till_~— dinner. (The Doctor and the Valet go out. Annina has entered from the hall and creeps up furtively, a letter in her hand.) vet ‘tsmetlay —“harbon ‘Werd' Zeitlang haben. Iwill time enough have. (itll be a long wait.) (cofily, to himself) "Ohne mich, jeder Tag dir so lang, mit mir, keine Nacht dir zu lang." (Annina places herself so that the Baron must see her and signals him mysteriously with the letter.) fyo mig Fir mich? For me? ANNINA (coming closer) fon dee — be'vustan Von der —bewuBtten. From the —you-know-who. BARON vas soj ‘damit gmarent sacen ‘Was soll damit gimeint sein? What isit withthat meant to be? (What do you mean by that?) ANNINA (coming even closer, very secretively) nu ‘aeganhendrk msgehaem —tsu: Nur — eigenbindig insgeheim = zu Only by my own hand secretly toDer Rosenkavalier, Act II 137 BARON (shooing off his retinue, who are peering over his shoulder) loft do: Luft da! Air here! (Lets get some air around me!) (How about giving me some breathing room!) (His men step back and, without further ado, take the wine jug from Faninal's servants and drink it empty.) tseek si: dem) wif Leig Sie den Wisch! Showme the thing! (With his left hand he tears open the letter and tries to read it holding it well away.) sux siz m ‘mene tof ‘maena'trillon Such Sie im _—meiner Tasch’ meine Brillen. Look in my _ pocket formy glasses. (all of a sudden very suspicious) neeen sux si: nigt kan siz gefritbnas —tesan da: Nein! Such’ Sie nicht! Kann Sie _geschriebnes lesen? Da. No! Don't look forthem! Canyou _ writing read? Here. (Can you read?) ANNINA (takes the letter and begins to read it) her kavatisr den ‘morgigan—‘ubont het i fre “Herr Kavalier! Den morgigen Abend batt i frei.” "Honored Gentleman! The tomorrows evening have I fie (I'm off tomorrow evenin)) sit ham mise fon kfajn nue ‘kformt hab imi: Sie ham mir schon g'fall'n, nur g'schamt = hab’ imi ‘You pleased me whenTsaw you, only ashamed = was foo dew —frestin ‘gnaxdo veel inox gaz so: jo bm vor der firstli'nGnade, weil imoch gar so jung bin. before her Highness, because Istill so young am. (Liked you as soon as I saw you, only I was ashamed before her Highness because I am still so young.) dos be'vusto matjandsl —‘kammevsorfol_ unt —_farlispta Das —bewuBte Mariandel, Kammerzofel und Verliebte, The so-called Mariandel, chambermaid and —_lovesick, > Annina is reading the note in a low-class Viennese accent, using all the forms a peasant chambermaid would hhave used to express herself. For instance, hati frl should really be, in correct German, halt’ ich rei, and sie sham mir scho fall’, mur g'schamt hab' i mi should really be sie haben mir schon gefallen aber geschdmt habe ich mich, ete.138 Der Rosenkavalier, Act IT ven dew her kavatlie dem ‘naman fom fergessan hat wenn der Herr Kavalier den Namennit schon vergessen hat. if the HonoredGentleman the name not —_ already forgotten bas. ({that is}, if the Honored Gentleman hasn't already forgotten my name.) is voat eof ‘antvoat 1 wart auf Antwort." 1 await an answer." BARON sis voat_aof —‘amntvoat Sie wart’ auf Antwort. She awaits an answer. gett ojs regt am fny:e1 so: vis tshaos Geht all's rechtam schnér'l so wie z'Haus Everything is going justlike clockwork, just like back athome ont hat ‘seenan ‘andran fk datswa und hat einen andren Schick dazu. and ithas another style besides. i hap hojt fon eenma:l wen ‘leoxanaorl glyk 1 hab' halt schon ainmal ein lerchenauisch Glick. 1 really have the —_Lerchenau's fuck. (the luck of the Lerchenaus.) kom sit nox uf geb im — div‘antvoat_ ‘naxhes ffl komm Sie nach Tisch, geb' Thr die Antwort nachher —_—schrriftlich. come after supper, Til give you the answer afterwards, —_in writing. ANNINA, gants tsu:bofed her kavati fo'gessan mgt di; boxm Ganz zu Befehl, Herr Kavalier. die Botin. Quite at —_yourrequest, sir. Don't forget the messenger. (As you wish sir...but don't forget [to tip] the messenger.) BARON (ignoring her hint completely) Obne mich jeder Tag dir so bang’ ANNINA (more insistently) Vergessen nicht der Botin, ‘ope ‘gna:da Euer Gnade! ‘Your Lordship! BARON (still ignoring her) fomn gust Schon gut, Yes...yes!*" > The best way to translate this line is "Okay, okay!", as when one tries to dismiss someone who is pestering ‘him for something,Der Rosenkavalier, Act It 139 ‘"Mit mir keine Nacht dir zu lang." das {peta _2js aof seenmatl don tsum lus Das spiter. All's auf cinmal. Dann zum SchiuB. Later. For everything. Then, atthe end. (Tl pay you at the end for everything all at once.) tre:t si: ap midesson Jaf siz wen ‘freeebtsack Tret' Sieab —indessen. Schaff Sie cin _Schreibzeug Go of in the meantime. Get some writing implements (paper, pen and ink) m = —maen ‘tsimma hm —doat ‘dry:bon in mein Zimmer hin dort driiben, in my room over there, das ig di ‘antvoat don dikti- daB ich die Antwort == dann_diktier'! sothat I the answer then may dictate to you! (Annina goes off. not without first making a threatening gesture behind the Baron's back to show she will soon have revenge on his avarice.) “Mit mir keine Nacht dir zu lang!". (The Baron has a last sip and goes slowly to his room, accompanied by his lackeys.) END OF ACT IT140 Der Rosenkavalier, Act IIT ACT I ‘A private room in an inn (INTRODUCTION AND PANTOMIME) (Un the ‘background, to one side is a bed in an alcove.The alcove can be closed by drawing a curtain. There is a fireplace with fire burning and above the fireplace, a mirror. There is a door leading to an adjoining room. Opposite the fireplace, a table is laid for two, and on it, a Branched candelabrum. In the back center is a door into the corridor. To one side in the back a false window ‘and in the front a window looking out to the street. There are candelabra with candles on a sideboard on the mantle of the fireplace and on the walls. Only one candle burns in the candlestick (on the mantle. The room is in semi-darkness. Annina is there, dressed as a lady in mourning. Valzacchi adjusts her veil, plucks her dress here and there, steps back, surveys her, takes a black pencil from his pocket and paints shadows under her eyes. The door to the left is carefully opened and a head appears, then vanishes, after which an old ‘woman slips in. Her appearance is a little dubious, although she is respectably dressed. She opens the door silently and respectfully admits Octavian, dressed in women's clothing and wearing a litle cap like a middle-class girl. Octavian, followed by the old woman, goes over to the other two. Valzacchi recognizes him immediately, stops what he is doing and bows to Octavian. Annina is slow to recognize him in his disguise, can scarcely believe her eyes and curtsies low. Octavian goes to his pocket (not like a woman, but like a man, and one can see that, under the crinoline, he is wearing men's clothes and riding boots, but without spurs), and throws Valzacchi a purse. Valzacchi and Annina kiss his hand. Annina arranges Octavian's scarf. Three suspicious men enter from the left. Valzacchi signals to them to wait. They stand near the door. A clock strikes the half hhour. Valzacchi takes out his watch and shows it to Octavian: itis time. Octavian hurries out followed by the old woman who acts as his companion. Annina goes to the mirror (care is taken at all time not to make any noise), puts on the finishing touches, then takes out a paper, from which she seems to be rehearsing her role. Meanwhile, Valzacchi leads the suspicious characters forward, urging the need for caution with every gesture. They follow him on tiptoe to the center of the room. He beckons one to follow him silently and takes him to the wall, noiselessly opening a trapdoor near the laid table and bids the ‘man climb through, shutting the trapdoor after he has disappeared. Valzacchi then waves to the other suspicious men, glides past them past the entrance door, sticks his head out, makes sure no one is watching, beckons the two men and lets them out. He closes the door, quietly takes the remaining ‘wo to the door of the adjoining room and pushes them through. He beckons Annina and quietly goes off with her, silently closing the door behind him. He returns a few moments later and claps his hands. The man in hiding half rises through the floor. At the same time, heads appear over the bed and other places. At a sign from Valzacchi they disappear just as swifly, the secret hiding doors closing noiselessly. Valzacchi again looks at his ‘watch, goes to the back and opens the entrance door; he then takes out a tinderbox and quickly begins lighting the candles on the table. A waiter and a boy come running in with tapers for lighting candles, with which they proceed to light the candles around the fireplace, the buffet table and the sconces on the wall. They have left the door open behind them and from the outer room (in the background), dance music is heard. Valzacchi hurries to the center door, respectfully opens the second folding door as well and springs aside with a bow. Baron Ochs appears, his arm in a sling, leading Octavian with his left hand and followed by his valet/son. The Baron surveys the room. Octavian looks around, runs to the mirror and arranges his hair. The Baron perceives the waiter and the boy about to light still more candles, and signals themDer Rosenkavalier, Act III 141 to stop. In their eagerness they do not notice. The Baron impatiently pulls the boy down off the chair he was standing on and extinguishes with hs fingers several ofthe lighted candles nearest him. Valzacchi discretely points out to the Baron the alcove and, through an opening in the curtain, the bed. The Innkeeper, with several waiters, hurries in to greet the illustrious guest.) INNKEEPER (obsequiously, a white towel over his left arm) hatbn ‘9¢e-‘gnaidon nox ‘veeetra bafeilo Hab'n Euer Gnaden noch weitre Befehle? Has your Lordship any further commands? WAITERS boferin mez ‘ligt Befehi'n mehr Lichter? Order more light? (Would you like some more light?) INNKEEPER zen ‘gr@sorestsimme Ein grofieres Zimmer? A larger room? WAITERS boferln mee stlbo- cof dem uf Befehl'n mehr Silber auf dem Tisch? Would you like more silver onthe table? mez ‘sib Mehr Silber? More _ silver? BARON (cagerly engaged in extinguishing all candles in his reach with an unfolded napkin) fea'fvints moxt mi — das ‘madal net forrukt Verschwindt's! Macht mir das = Madel met —_verruckt!" Be off Make forme the girl not crazy! (He hears music behind the scene.) vos vil di musi_ hop sk_——agt’_—aftelt Was will die Musi? Hab’ sie nicht _bestellt. What's with the music? Idid it not _—_order. (didnt order any music.) (extinguishes further candles) INNKEEPER ‘Jaffon filwegt dos man sii new hoot Schaffen vielleicht, da man sie niiher hort? Weecan arrange it maybe (so) that one it _—closer_may hear? (Would you like to have it brought closer [so you can hear it better]?) " This is pure Viennese dialect. The correct German way to say it would be macht mir das Madchen nicht verritekt142 Der Rosenkavalier, Act IIT mm — fowsal do: 1s tosfolmussi Im Vorsaal dais Tafelmusi. Inthe anteroom there... it's dinner music. BARON laser di: ‘musi vor sit LaBErdie Musi wo sie Leave the music where it FER (noticing the window, behind the prepared table) vos ist das yim men fensta do: Was ist das fir ein Fenster da? What is this for a window here? (What sort of window is this over here?) INNKEEPER zen ‘bindas Yensto nua Ein blindes Fenster nur. A blind window only. owing) darf ‘aofgotra:gon verrdn Darf aufgetragen werd'n? Shall dinner be served now? BARON (noticing the curious waiters standing about gaping) hojt vas voln di: 'macekesfe da Halt, was woll'n die Maikifer da? Stop, what want the beetles here? (What are these bug-eyed beetles doing here?) WAITERS (at the door) seovien ‘262 ‘gnadan Servi Euer Gnaden. Toserve your Lordship. BARON (waving them away) braox ‘nizmant nigt Brauch! niemand nicht. Ineed no one. (roughly, as they don't budge) pakts o6¢ —sea'viron = viet meen ‘kommodi:na da: Packt's Euch! Servieren wird mein Kammerdiener da. Get out! Serve will my valet here. (My valet [Leopold, my son] here will serve me.) weenfenkon tx ig ‘Selb forfte:t ea Einschenken tu! ich —_selber. Versteht Er? Pouring do 1 myself, Understand? (Til do my own pouring.)Der Rosentavalier, Act III 143, (Valzacchi gives them to understand they should do his Lordship's bidding in silence and pushes them all out the door. The Baron extinguishes a further number of candles, those high on the wall, with some difficulty. He then turns to Valzacchi.) eo st een brafo kel ven ec: — mi hilft Er ist ein braver Kerl. Wenn Er mir hilft, You are a fine fellow. If you help me dix regnon ‘runte-drokkon die Rechnung —_runterdrucken, the bill to keep down, don fajt vas op fy im dann fallt was ab fir = Thm. forthat falls something off for you. (there's something in it for you.) (Something will be coming your way.) ost ‘sigo hie © wen ‘martagelt Kost’ sicher hier ein Martergeld. Itcosts surely here a bundle. (They'll surely charge me quite a bundle here.) (Valzacchi goes out bowing. Octavian is now ready. The Baron leads him to the table and they sit down. The lackey at the sideboard watches the development ofthe téte-d-téte with brazen curiosity. He places carafes of wine from the sideboard on the dining table. The Baron pours. Octavian sips. The Baron kisses Octavian's hand, Octavian withdraws it. The Baron waves the valet away, and has 10 do so repeatedly until the oafish fellow leaves,) OCTAVIAN (pushing his glass away, in a slightly whiny voice) neen neen i: tik keen vaen Nein, nein, i — trink’ kein Wein No,’ no, Til drink mo wine. BARON ‘heotsorl ©=——vas den max dox ‘kzeno ‘fakson Geb, Herzerl, -wasdenn? = Mach doch keine Faxen. Come now, sweetie, what's this?) Make no fuss. (Don't make a fuss.) OCTAVIAN neen naen i: bleep net da: nein, nein, i bleib’ net da. No, no, I stay not here. (I not stay here.) Gumping up as though to go) BARON (grabbing with his left hand) si maxt mig defpatost Sie macht mich deschparat! You aredriving me _to despair!144 Der Rosenkavalier, Act III OCTAVIAN 1g vees fom vas sit glaobn ost flame. heo Tech weif schon, was Sie glaub'n. Oh Sie schlimmer Herr! I know already what you arethinkin’. Oh you naughty gen‘leman! BARON (loudly) sapedipks 1g vow bee 'mmenam ——‘futspatrom Saperdipix! Ich schwor' bei meinem Schutzpatron! Damn itall! I swear by my patron saint! (Octavian acts very startled, runs to the alcove as though not knowing the way to the entrance, tears ‘open the curtain and sees the bed. Utterly astonished, he returns to the Baron, bewildered.) OCTAVIAN {esses mata Stet a bet dim =a —‘mortsmerstk —‘gro:sos Jesus Maria! Steht a Bett drin, a — mordsmiifig groBes. Jesus Mary (and Joseph!) There'sa_ bed ~—inside, a © murderous —_big'un! jor mae veo flat den da: Jamei, wer schlaft denn da? Goodness me, who sleeps there? BARON (with a reptilian leer, leading him back to the table) das viet sit fom | sem jetst kom si: sets sis sig fon Das wird Sie schon seh'n, Jetzt KommSie. setz'Siesich schén. That will you soon see. Now come. Sitdown nicely. (Youll soon find out.) komt gles veo mtn ‘esson Kommt gleich wer mit'n Essen. Comes soon someone __with the food. (Someone will be bringing the food in very soon.) hot sit den ‘kenan ‘hone Hat Sie denn keinen Hunger Have you then no hunger (Aren't you hungry?) (He puts an arm around his waist.) OCTAVIAN (throwing the Baron languishing glances) over vor sit, dox en ‘brogigam = tun seen © — web, wo Sie doch cin Briufgam tun _— sein. Oh — dear, when you really a bridegroom = just became. (He pushes him away,) das fardovoat ‘Ach, IsBSie schon einmal das fade Wort! Oh, leave alone for once that dreary word! sit hat dox ‘eenon kavalio = fom sig Sie hat doch einen Kavalier vor sich You have after all a gentleman —before_you,Der Rosentavalier, Act III 14s unt keeenan ‘swefonsizdo- und einen Seifensieder: and notsome —_—_soap boiler. wen kavalio lest’ ‘alas. vas im = mgt__—_konvetnizot Ein Kavalier ‘Lat alles, was ihm nicht konveniert, A gentleman leaves all that him not _— suits do ‘draoson foo dew tya da draufen = vor der Tir. there, outside in front of the door. (A gentleman leaves everything that does not suit him outside the door.) hie sitst_ keen ‘broptigam unt ‘keena ‘kammajunfor rigt Hier sitzt kein Briutigam und keine Kammerjungfer nicht: Here sits no bridegroom and no. chambermaid not: (We are not bridegroom and chambermaid:) hie sttst. «mit ‘seene-‘allefosnston wen Hier sitzt mit seiner Allerschinsten ein Here sits with his best-beloved one =a (Here sits a lover with his very dearest one at supper.) (The Baron draws Octavian to himself. Octavian leans back in the chair coquettishly, his eyes half- closed. The Baron rises; it seems to be the moment for the first kiss. As his face nears that of his partner, he is suddenly struck by the likeness to Octavian. He starts back and involuntarily clutches hhis wounded arm.) Ist zen gosigt fofluaxts burp stein Gesicht! —Verfluchter Bub! That face! Accursed boy! fofojkt mig gisa'vaxe unt m= traom Verfolgt. mich alsawacher und im Traum! Itfollows me waking and in dreams! (It pursues me whether I wake or dream!) OCTAVIAN (opening his eyes and looking at him sheepishly and coquettishly) vos ment e> den Was meint Er denn? ‘What dyou mean? BARON ‘wenom ‘emlig ‘eenom ‘gotfe-fluzaxton keal Sieht einem Shnlich, einem gottverfluchten Kert! ‘You resemble someone, a ‘god-damned fellow! OCTAVIAN a: ge: das hab it no: net —_gherat Abgeh'! — Dashab'inomet —g'hart! Goon! That Ihave never het (Ive never heard such a thing!) (Now reassured that it is the maid, the Baron forces a smile. But the shock still has not left his system. He needs to draw breath, and the kiss remains unfulfilled. The man beneath the trapdoor146 Der Rosenkavalier, Act IIT ‘opens it too soon and comes into view. Octavian, sitting facing him, frantically signals him to disappear. The man disappears, but the Baron, who, to shake off his unpleasant experience, had taken a few steps to embrace Octavian from behind and kiss him, catches sight of him. He jumps violently and points. Octavian acts as though he doesn't understand.) vos st) omit ism Was ist mit Thm? What isit with you? BARON (pointing to the spot where the apparition disappeared) vos vaeden dos hat sit, dem =—migt_«gasem Was wardenn das? Hat Sie den nicht gesehn? What was that? Did you him not see? OCTAVIAN do: 1s ja: nuks Dais ja nix. ‘There's nothing there. BARON Dais nix? (again surveying his face anxiously) so: unt da; 1s. aox—miks So? Und da is auch _ nix? So? And here is also nothing? (running his hand over his face) OCTAVIAN dais maen ksict Dais mein G'sicht. That's my face. BARON (breathing heavily, pouring himself a glass of wine) sim ksigt unt dar 1s mks Da Thr G'sicht.. und dais nix... That is your face... and there is nothing there... mie ferent i harp di: kongestjon Mir scheint, i hab! think Tve got (He sits down heavily, feeling most disturbed. The door opens, again music is heard from outside. The valet enters and serves.) OCTAVIAN di: fon ‘musi Die schéne Musi The pretty music!Der Rosentavalier, Act IIT 147 BARON 1s maen ‘leepli:d veces si: dos Is mein Leiblied, —weiBSie das? I's my favorite song, did youknow that? OCTAVIAN (listening to the music) da: mus ma: ‘veeenon, Da mu ma weinen. It's enough to make you ory. BARON vas Was? What? OCTAVIAN veeels gor so; fom 1s Weil's gar so schdm is, Because it oh so pretty is, BARON vas ‘veenon ver nigt flegt Was, weinen? —_Wiir' nicht schlecht. ‘What, cry? Why, what next? ‘erootslustik mus si: swen di: ‘musi gest bluse Kreuzlustig muB Sie sein. Die Musi geht Blut, Happy as a lark must you be. The music gets. intoyour —_—blood. Kfpysat siss jetst G'spiirt Sie's jetzt? Do you feel it now? (vaving to the valet to withdraw) cof dis letst Kfpyzat sits dathize das six, cos mie Auf die letzt g'splirt Sie's dabier, daB Sie aus mir ‘And now at last youfeelit here, that you out of me ‘maxan kan ‘alles free vos sii mua vil machen kann alles frei was Sie nur will do can all surely what you only want. (And now at last you feel that here you can surely do anything you want with me.) (The valet goes off hesitantly, opens the door again, looks in with impudent curiosity, and only disappears completely at another angry sign from the Baron.) OCTAVIAN (letting go of his hand) es os js zens vos wen heats nox so: jax bagerot Es is _jachals eins, was ein Herz noch so jach begehrt. Tt is alwaysthesame, what your heart is set on. (Meanwhile the Baron clasps his hand.)148 Der Rosenkavalier, Act IIT ge: es jar ojs net ‘drummi vert Geb’, es isja all's net drumiwert. Goon, it is all._~—not_—_worthit. BARON (letting go of his hand) ze virden Is sem deo my: vest Ei, wiedenn? Is sehr wohl der Mii’ wert. Eh, what'sthat? It's very much the effort worth. (it’s very much worth the effort.) (Of course it's worth it.) OCTAVIAN (throwing languishing glances at the Baron) vi: i: unt ‘hinge:t dex vint fe'vert Wie ‘Stund’ hingebt, der Wind _verwebt, As the hour passes, the wind dies away, so: sint’ vis balt ‘alla tsvee. dah so sind wir bald alle zwei dabin, so are we += soon the © twoofus gone. BARON age: Abt geht ‘Ah! Go on! OCTAVIAN ‘menfon ‘simma hajt Menschen sin’ ma halt. Humans are we only. (We're only humans.) (another languishing glance at the Baron) rgtns mgt mit gvajt Richtn's nicht mit G'walt, We can't do it by force, vent uns ‘nismant nox net die net unt net mize weint uns niemand mach, netdirmet und net mir. weeps forus nobody after, notferyou and not ferme. (nobody'll cry for us {after we're gone] not for you and not for me.) BARON maxt si: dee varen Iegt imme so: Macht Sie der Wein leicht immer so? Makes you the wine _ always like this? (Does wine always make you like this?) 1s gants. gvis_ it ‘mide das aofs‘hertsorl ie — drokt Is ganz g'wif Thr Mieder, daBaufs Herzerl Thr — druckt. tis quite surely your bodice, which on yourlittle heart is. pressing. (With closed eyes, Octavian doesn't reply. The Baron stands up and goes to unlace Octavian's bodice.)Der Rosenkavalier, Act III 149 jetst viots freee mio a issorl hes Jetzt wird’s fret mir a bisser! heif. Now Imgettingforsure a little _hot. (Quickly resolved, he removes his wig and looks for a place to put it. As he does so, he perceives a face that appears in the alcove, stares at him and quickly vanishes. He says to himself "kongestion" ‘and throws off his alarm, but has to wipe his forehead. Then he sees the maid sitting there, unresisting and limp. This is stronger than anything else, and he approaches her tenderly. Again he thinks he sees Octavian's face clase to his own and again he starts back. "Mariandel" scarcely ‘moves. Again the Baron shakes it off and forces kimself to look happy, but again his eyes fall on a strange face staring out from the wall. Now beside himself, he gives a hollow cry, seizes the table- bell and brandishes it furiously.) do: unt unt da: Da. und da.. und da. (Suddenly the presumed blind window flies open. Annina appears in black mourning and points with ‘outstretched arms at the Baron.) ANNINA eristes es ist’ = maen_ man erists Eristes! Es ist’ += mein Mann! Erist's! That'shim! It is. == my ~—busband! == That'shim! BARON vas ist den dos Was ist denn das? ‘What was that? OCTAVIAN dos tsumma ist forhekst Das Zimmer ist verhext! The — room is bewitched! (He crosses himself. Anmina, followed by Valzacchi, who appears to be trying to restrain her, by the Innkeeper and three waiters, rushes through the center door.) ANNINA es ist. © maen man te lek bafflakk cof im Es ist mein Mann, ich leg’ Beschlag = auf ihn! He is my — husband, «= oT sday— claim on him! got 1st maen_ts99g9 si sit ‘maena ‘tsoggon Gott ist mein Zeuge, Sie sind meine Zeugen! God is my witness, you are my —_ witnesses! gonigt thos ‘obrigkact «di: ‘kaesorm Gericht! Hohe Obrigkeit, die —_‘Kaiserin Court! High government, the Empress mus im mie ‘Videgeibon mu8 ihn mir —_ wiedergeben! must him tome give back! (The law! The government! The Empress must give him back to me!)150 Der Rosenkavalier, Act IIT BARON (io the Innkeeper) vos vil das = ‘veepsbilt © da:_—sfon= mim hem = viot Was will das Weibsbild da von mir, Herr Wirt? ‘What wants that female there with me, — Mister Innkeeper? (pointing in all directions where the suspicious faces had appeared) vos vil de = doat unt de» Was will der dort und der? What wants he there and he? ({And] what does that one, and that one want?) dex ‘topfol frekventize seen ‘gotfofluaxtas Der Teufel frequentier’ sein gottverfluchtes (Let) the devil patronize your god-damned (The Baron has put a cold compress on his head and holds it in place with his left hand, then goes to the Innkeeper, the waiters, and Annina in turn, and scans them closely, as ifto convince himself that they are real.) ANNINA eo —vaikt mig tsu: fo'loggnan Er wat mich zu verleugnen, He dares to deny me, tust als 9p ex» —smig_— nit ‘texta ‘Kennan Ist aox lebendik Tut als ob er —mich nicht "titekennen! Istauch —_Iebendig! He acts as if he me not _ knows! And he's alive!” (He is acting as if he doesn't know me...{And I thought he was dead!] There he is...alive!) BARON (throwing the compress away) 1g harp Voathaftgon got dos ‘mo:bal nix go'sen Ich hab wabrhaft'gen Gott, das Mabel nie gesehn! 1 have, asGod is my witness, that baggage never seen! (to the Innkeeper) debaraisizo ea mig unt las ex foot — sea'vien Debarassier’ Er mich und laB Er fort servier'n! Get rid of her for me and goon _ serving (supper)! 1% hap seen bees! hoot tsum ‘Tetston mal Ich hab sein Beis!’ heut zum letzten Mal 1 have your dive today forthe last time set foot i (Today is the last time I set foot in this dive of yours.) 2 The joke is that Annina is dressed in mourning, thinking that her "husband" is dead, and now she finds him alive and well > Beis! is the Austrian and Bavarian name for the German Kneipe, a beer-joint, a booze house, the colloquial "dive". The Austrian dialect manuals tellus that it stems from the Hebrew (and consequently Yiddishized) habayit, meaning "house".Der Roseniavalier, Act III 151 ANNINA (as though noticing Octavian for the ist time) aes ist’ «var = vas mite botrigtat ‘vurda Ab! es ist’ © wahr, was mir berichtet_ wurde, Ab! It is true, what tome told was, (what was told to me,) ex vil aen__‘tsvaetas mail ‘haeraton —de:»_-—mfa:ma er will ein —_zweites Mal beiraten, der ‘Infame, he wants a second time tomany, the —_ infamous man, en tsvaetas ‘unfuldiges —‘mestgan so vig es var ein zweites unschuldiges Midchen, sowie ich eswar! a second innocent younggitl, such as I (once) ~—was! (The Innkeeper appears startled) INNKEEPER AND THE THREE WAITERS oo: ‘oe 'gnazdon Oh! oh! Euer Gnaden! Oh, oh, Your Lordship! BARON bn ym wena. ‘narrontiem —‘krogtsele'ment Bin ich in einem Narresturm? Kreutzelement! Am Tin a madhouse! The plague on all of yout (shaking Valzacchi, who is standing next to him) bin 1g = de += barom fon‘leaxonao ode bm ig es migt Bin ich der BaronvonLerchenau oder bin _ ich es nicht? Am I the BaronvonLerchenau or am ‘not? bn ie baee miso Bin ich bei mir? Am I in ull possession of my faculties? (putting a finger on a candle) is das wen kertsl Is das cin Kertz'l, Is this a candle, ing a napkin in the air) 1s das en ‘seavyjetl is das ein Serviettl? is this a napkin? ANNINA, ja dust es unt’ so: var als | duz_—ees bist Ja, du bist es und so wabr als dues bist, ‘Yes, you are he, and as true as = you arehe,182 Der Rosenkavalier, Act I bm = es ~— cox vol ont dus eavkenst mig vol bin ich es auchwohl, und du —erkennst_- ©=—mich_ wohl, am 1 it also, and you know me full well, (Lam your wife also, and you know me full well,) ‘Teupolt boldenk ‘anton fon 'leexanao Leupold, _bedenk, Anton von Lerchenau, Leopold, _—reflect, ‘Anton von Lerchenau, doot ‘oben ‘ngtat dig aenthsare dort oben richtet dich ein H&herer.. there above judges you a __Higher One... (A Higher One will judge you [for this}... (Youll answer to the Almighty for this...) (The Baron is violently startled at first by the children interrupting Annina's harangue, but quickly composes himself) BARON (disconcerted, staring at Annina) Komt mix bokant for Kommt mir bekannt vor. She looks familiar to me! (looking again at Octavian) habn ‘doppalta ——_gatsigto- ‘allo mitzeen'nands- Hab'n doppelte Gesichter alle miteinander. They have double faces, the both of them! (They're double-faced, the both of them!) INNKEEPER di: ‘arma frao baron Die arme Frau Baronin! That poor Frau Baroness! (Several children between the ages of four and ten come in too soon and run to the Baron.) CHILDREN atpa: patpa: Papa! Papal ANNINA hoast du: dis Jumma Horst du die Stimme Hear you the voice of your blood!? (Do you hear the voices of your own flesh and blood!?) CHILDREN Papa! Papa! WAITERS Die arme Frau Baronin! ANNINA.Der Rosenkavalier, Act IIT 153, "tando- he:pt di: ‘hends oof tu im Kinder, hebt die Hinde auf zu ihm! Children, raise your hands up to him! BARON (to the Innkeeper, as he swats the children away with a napkin) debarasio: exe mig fon ‘dean da: Debassier' Er mich von denen da, Get rid of them forme of these here, (Do me a favor] and get rid of them all for me,) (pointing to all directions) fon dew fon dem von der, von dem! of her, of that one! OCTAVIAN (to Valzacchi) ist glaeg vez fort dem —‘fanina:l su: hoilon Ist gleich wer fort den Faninal za holen? Has already someone gone Mr. Faninal to fetch? (Has someone gone to fetch Faninal?) VALZACCHL soglaik in ‘anfan viet soglaik tsur tell sain Sogleich in Anfang. Wird sogleich zur Stelle sein, Right at the beginning. He'll rightaway in_—place_be. (CI sent for him] at the beginning. He'll be here right away.) INNKEEPER (at the Baron's elbow, confidentially) ‘hajtan tsu: ‘gnadan gem mit tsu; vaet Halten zu Gnaden, gebnnit = zm weit, Take care, your Lordship, don't go too far, "keenton rect ‘bo:san ‘folgon K[pyon ‘bitte beso kénnten — recht bisen Folgen. g'spir'n! —_Bitterbase! youcould quite awful consequences experience! Mighty awful! BARON vas i vas kjpyon fon dein ‘meibol da: Was? Ich pir'n? Yon dem Mbbel da? What! Me — experience something? From that baggage there? harps ni: nugt ‘ongryot ict «mit dew © fogartsan Hab's nie nicht ang'ribrt, nicht mit der Feuerzang'! Tve never even, touched her, not with a _fire-tong! (Lwouldnt touch her with a fire-poker!)* (Annina screams out loudly.) VALZACCHI (to the Baron) “As in the American colloquial saying "I wouldn't touch her with a ten-foot pole!"154 VALZACCHI (to the Baron) Der Rosenkavalier, Act III ik rat’ ‘0a gnarden sain forsiktik Tk rat! EuerGnaden, sein vorsiktig. T advise your Lordship, be careful, di; ‘sitenpolitsai sain gar nit tolerant Die Sittenpolizei_ sein garnicht tolerant! The morals police is notatall —_tolerant! (vice squad) INNKEEPER bigami: ist —hojtkaen kfpas i aen ie Bigamie ist halt kein G'spaB, is ein Bigamy is really no joke! Itis a BARON Die Bigamie! Die Sittenpotizel? (imitating the children's cries) Papa! Papa! (grabbing his head, to the Innkeeper) Smees ea —hrnaos das ‘traoepfet ve vas Schmei6 Er hinaus das Trauerpferd! Wer? was? Throw out ‘that —fimeral-nag!’ Who? What? vos politsee = dix_«‘Tokin voln mgt ‘Was? Polizei! Die Lackin woll'n nicht? What? Police! The — lackeys don't want to? Jpitt das galigt: lmect ojs ‘unt ‘wenam edo Spielt das Gelichter leicht alls unter einem Leder? Works the wholerabble asif under one leather? (Are the whole lot of you working hand-in-glove (together)?) kapitafebregan Kapitalverbrechen! capital offense! ex vil nigt Er will nicht? You won't? seen vio om — Yrankreeg sen vie unt kfrutson Sein wir in Frankreich? Sein wir unter Kurutzen? Are we in France? Are we among Turks? ‘ode =m —‘keeesoliga —“haoptftat Oder in kaiserlicher Hauptstadt? Or inthe Imperial capital? (Vienna?) (He wrenches open the street window.) politsee he'raofda: gilt ‘etnun he:otsuftellon Polizei! Heraufda! Gilt’ Ordnung —_herzustellen Police! Come up! Come order to restore The black horses used to draw hearses. He is, of course, referring to Annina, dressed in mourning.Der Rosenkavalier, Act III 15s unt ‘eno ‘ftantspeasom tsu: ‘hilf tu: ‘elon und einer Standsperson zu ‘Hil’ za_—eilen! and a personofrank to help to —_hasten! (Police! Come to restore order, and hasten to help a person of rank!) Polizei! Polizeit INNKEEPER (wailing) maen renomiotes hoos das mus men haos _eerle:ban Mein renommiertes Haus! Das mu mein Haus erleben! ‘My — reputable house! This must my — house suffer! (That my establishment should suffer such [indignity]!) CHILDREN Papa! Papa! Papa! (The Police Commissary enters with two watchmen, Al! make way for them.) COMMISSARY halt ‘kaeno- rymt 21g vast los Halt! Keiner riihrt sich! Was ist los? Halt! No one move! What's going on? ver hat um hil gafrim ver hat ge'maxt Wer hat um Hilf’ geschrien? = Wer hat gemacht? Who has for help called? Who was ascene making? VALZACCHI (to Octavian) ove: vas ‘maken vis Ohweb, was maken wir? Ohdear, what shall we do? OCTAVIAN feolas ex 7g oof mig unt_—_las ews gem vis get Verla® Er sich auf mich und lass! Er's gehn, wie's geht. Leave it to me, and_—ietit go as itwill, (and let things take their course.) VALZACCHI tsu: ‘oper ekstselllents —_beffeil Zu —_Euer Excellenz Befehl! At YourExcellency's orders! BARON (to the Commissary with all the assurance of a great gentleman) gsm ‘sane jetst tn omit im vol tswfrisdon Is all's. in Ordnung = jetzt. ‘Bin mit | Thm wohl zufrieden. Its all inorder now. Iam with you most pleased. hap gleeg eathoft dos m vin gis vi: am fnyztl gest Hab gleich erhofft, daG in Wien all's wie am Schniirl geht. Thed always expected that in Vienna everything should work like clockwork. fof ea dos pak miwfom hols it vil 0m supiron Scuatrer das Pack mirvom ‘Hal. Iwill, ‘im © Ruh_—soupiren. Get this rabble off my neck. I wish in peace todine.156 Der Rosenkavalier, Act IIT COMMISSARY ver ist derher vas gipt demhem —_befugmis Wer ist derHerr? Was gibt demHerrn _Befugni8? Who are you, sir? What gives you the authority? ist er dex art Ist Er der Wirt? Are you the Innkeeper? (The Baron's mouth drops.) dan halter a —_gaffellig Jol unt vate Dann haltErsich gefillig still, und wart’ Er Then keep yourself please quiet and wait bis = man im = fernemon—vurt bis man Ihn vernehmen wird. until I you questioned have. (Then please be quiet and wait until you are questioned.) (The Baron retreats somewhat bewildered, and begins to hunt for his wig, which has gone astray in the uproar and is nowhere to be seen. The Commissary seats himself, the two watchmen behind him.) vo: ist dex = vat Wo ist der Wirt? Where is the _—_‘Innkeeper? INNKEEPER (humbly) mig dem hean ‘obekommissarjus — fomstons ——tsu:_ = rekommantdizran Mich dem Herrn Oberkommissarius’ schénstens zu © rekommandieren. Me tothe Mister HighCommissary inthe best way to commend. (May I commend myself most humbly to the Lord High Commissary's authority!) COMMISSARY di: ‘vinfaft da; rekomman‘dist im flegt Die Wirtschaft da © rekommandiert —Thn_—_ schlecht. This tavern here commends you badly. bangter ——_jetst Bericht’ Er jetzt! Explain now! INNKEEPER her kommrssasr Herr Kommissar! Commissary, sit! COMMISSARY fon ?anfan ‘Von From the ° A typical gesture of servility, to call a simple police officer a "Lord High Commissary" by attaching the word ober (high) to his name in order to ingratiate himself with the law.Der Rosenkavalier, Act III Yon Anfang! From the beginning! INNKEEPER dex — her baron Der Herr Baron... The Baron... COMMISSARY der ‘groiso. ‘dike da: vo; hat sex ~—zaen_parukl Der grofie Dicke da? Wo hater sein Paruckl? That big — fatone there? Where hus he his. wig? BARON (who all the time has been looking for it) om das frag im Um das frag ich hn! About that ask I you! (Lwas about to ask you that.) INNKEEPER das ist de her batrom fon ‘lerxanoo Das ist der Herr Baron von Lerchenau! That is Baron von Lerchenau! COMMISSARY gony:kt nict Geniigt nicht. That is not sufficient. BARON vas Was? What? COMMISSARY hat ex —perzomon —nasbae di: fy im ‘ts08gnis ‘ge:bon Hat Er Personen —_nahebei die fir Thn —Zeugnis geben? Have you someone —here. that for you can vouch? BARON gles bee decx hant da: men sekretes en _italjema Gleich beider Hand! Da, mein Sekretir, ein _Italiener. Right onthe spot! There, my secretary, an_—talian. ‘VALZACCHI (exchanging a knowing glance with Octavian) ik ekskuzir = mik ik ~=—vais—niks Tk —exkusier’ = mik. Tk = wei nix. 1 excuse myself. know nothing. (Excuse me...) di her kan sain baton kan sain auk nit Die Herr kann sein Baron, kann sein auch nit The gentleman might be a Baron, might be also not. (or might not) 187158 Der Rosenkavalier, Act III ik vais fon niks Tk wei von nix, 1 know from nothing, (Cdon't know from nothing!) BARON (beside himself) das ist dox ftark ‘vellifos ‘ude fajfos Das ist doch stark Waillisches” Luder, falsches! That's too much! You foreign Italian iar, you skunk! (rushing at him with his left hand raised) COMMISSARY (to the Baron) ‘eosta moderizr ex 21g ir's erste moderier' Er sich, begin with, you calm down! (The valet is very embarrassed by the situation. A means of saving it now seems to occur to him, as he rushes suddenly to the center door. Octavian, who till now has been standing quietly, suddenly begins running in desperation back and forth, acting as though he cannot find the way out and thinks the window to be the door.) OCTAVIAN oo maen got «om = dit ‘exdnmoegt 1g "znkon Oh mein Gott, in die_Erd’n mécht ich —_sinken! Oh my God, into the earth _‘'dliketo sink! (Lwish the earth would swallow me!) ‘haeliga' mutta fon matia ‘tarforl Heilige Mutter von Maria Taferl! Holy mother of Mary Taferl!* COMMISSARY ver 1st dot diz perzon Wer ist dort die Person? Who is there the person? BARON di: ‘nismant si fet ‘unte ‘maena protektsjomn Die? Niemand. Sie steht unter “meiner Protektion! She? Nobody. She stands under my protection! COMMISSARY ex ‘zelbe vut —balt ‘aenaprotektsjom ze ‘notig ‘harbon Er selber wird bald eine Protektion sehr ndtig haben. You — yourself will soon a protection very necessary have. (have need of protection.) " Wallisch: Also spelled Welsch, is a word that originated already in Old German, referring at first tothe Celts, then after the Roman conquests to the general Roman and “romanized” population in Gaul as well as the inhabitants of Italy. This appellation is of a definitely pejorative character, having been used as well ‘throughout the centuries as a derogatory reference for other “foreign” French and Spanish people " This is Octavian's (Mariandel's) way or invoking some sort of personal patron saint that has Taver! in it, all in «a jocular vein, of course,Der Rosenkavalier, Act Ill 159 ver ist das joo dm = vas) mat zit histo ‘Wer ist das junge Ding, was macht sie hier? Who is that young thing, what does she here? (Who is the young girl, and what is she doing here?) (looking around) ie vil mgt ‘hoffon das er gen ‘gotferdamta- debo fire. Ich willnicht —hoffen,daB «Er ein gottverdammter_ ~—-Debauchierer IT wouldnot hope ‘that you a ——_god-damned debaucher unt feofyre ast. da:_—_kents im flegt eo'gem und Verfibrer ist! «Da —kénnt's Thm schlecht —ergehn. and — seducer are! Then it could for you badly 0. (Chope your are not one of those god-damned debauchers and seducers! It would go badly for you.) vi komt ex = tsu: dem ‘medal ‘antvort vil 1g Wie KkommtEr zu dem = Miidel? Antwort will ich! How come you by this girl? I want answers! OCTAVIAN i ms ‘Yass 1 geh’ ins Wasser! 1 go _ into the water! (I'm jumping into the river!) (He runs towards the alcove, as if fleeing and tears open the curtain so that the bed is revealed.) COMMISSARY hee virt vas ze: og dat Herr Wirt, was seh’ ich da? Innkeeper, what see I over there? vas fy aen‘hantveok —traept den ee ‘Wasfiir cin. Handwerk —_treibt denn Er? What kind of a business do youcarry on here? INNKEEPER (embarrassed) ven i person = fom —_ftant ‘Wenn ich Personen == von ‘Stand When I persons of rank sum ‘fpaeson ‘ode ‘noxtmal zum Speisen oder Nachtmahl hab’. to dinner or supper (When I have people of rank coming for dinner or supper...) COMMISSARY halt e= den mont im = nema ‘peta fox Halt Er den Mund! Thn nehm'ich _—spiter_ vor. Shut your mouth! You [ideal with later. (-— (vor/nehmen is a separable prefix verb meaning "to deal with":) (to the Baron)160 Der Rosenkavalier, Act IIT jetst tselig nox bis dae dan vile “isson Jetzt ziblich noch bis drei, dann will ich wissen, Now Tilcount to _—three, then want I toknow, vi em = daz_—tsuz_— dem = juan ‘byegomestean komt wie Er da zu dem —_jungen Biirgermidchen kommt! how you here with that young. girl come to be! (Til count to three and then T want to know how you came to be with this young girl!) eval mgt ‘hoffon das ew Ich will nicht —_hoffen, da6 Er 1 would not hope that you zig'aene ——falfon ‘ooszack viet unte-fagon sicheiner falschen Aussag’ wird unterfangen, a false statement will undertake. (Lcertainly hope you will not undertake to make false statements.) (The Innkeeper and Valzacchi indicate to the Baron with gestures the danger of the situation and the importance ofthis statement. The Baron makes signs to them that they may rely on him: he was not born yesterday.) BARON viet vol keen ‘anftant seen bare im hee kommissaxr Wird wohl kein Anstand sein bei Thm Herr Kommissar, Itshouldn't seem improper to you, Commissary sir, ven ‘wena ‘ftantspeasom mit ‘saeene- iim —forloptan brat wenn eine Standsperson mit seiner ihm —verlobten —Braut when a personofrank with his affianced bride om ‘nena ‘osbonts wen supe: @enineman tut um neune Abends ein Souper einnehmen tut. at nineo'clock inthe evening a supper decides to have. (looking around to see the effect of his explanation) COMMISSARY das ‘vers ‘zaena braot gep ew dem ‘naman ?an Das wire Seine Braut? Geb Er den Namen an She is your _ bride? Give me the name fom faite unts lost ven ‘zaena ‘angaip Stamt vom Vater und's Logis. Wenn Seine Angab' stimmt, ofher father your declaration _is in order mack e retirisran mag Er sich retirieren! you then may leave! BARON (somewhat haughtily) 1g bmn voerhafuk mgt go'vomnt m Teh bin wahrhaftig nicht gewohnt in 1 am tmuly not accustomed in this __ fashion... (I'm really not accustomed to being talked to in this fashion...)Der Rosenkavalier, Act IIT 161 COMMISSARY max ex zaen ‘aoszaik ‘ode 1g ‘andro ‘zaeton aof Mach Er sein’ Aussag’ oder ich zich andre Saiten auf? Give your answer or Twill sing another tune. BARON veot migt —mayfkiron ast diz junfer foninadl Werd' nicht mankieren, Ist die Jungfer Faninal I won't withhold anything. She is the young Miss Faninal sofica ‘anna ‘barbara ‘eliga ‘toxto Sophia, Anna, Barbara, —_ehliche Tochter Sophia, Anna, Barbara, legitimate daughter des ‘vorlgoborranan heen fon — fonina:l des wohlgeborenen Herrn von Faninal ofthe noble Her von Faninal ‘vornhaft am hof im — ‘wegnan pale: wohnhaft am Hof im —_eignen Palais. domiciled at Hof, inhis own palace. (The tavern staff, other guests and some musicians have gathered inguisitively at the door. Herr von Faninal, still wearing hat and cloak, quickly forces his way through the door, very excited.) FANINAL, tsue'ftello vas viet fon mi gavynft Zur Stelle! Was wird von mir _gewiinscht? Tmhere! © What is of ~— me _—_wanted? (What is it you want with me?) (to the Baron) Vir sit em 00s - var mie fo'mutont mgt sur “dso “ftundo Wie sieht Er aus? War mir vermutend nicht zu dieser Stunde How youlook! never expected at this hour m en gomaenas ‘bees! depefiot —tsur_verodan. in ein. gemeines Beis depeschiert «zu werden! to a common tavern calledout to_—be! (to be called out to appear at a common dive like this!) BARON (utterly astonished and annoyed) veo hat in ‘hitshe» —depe'fiot-—_m dre toofols ‘naman Wer hat Thn —hierher depeschiert, in drei Teufels Namen? Who did you here call, in the name of three Devils? (Who the hell called you to come here?!) FANINAL (to the Baron) vas soj mix di ‘soodumma = frak hee fvigesom Was soll mir die saudumme Frag’, Herr Schwiegersobn? What's with the pig-witted question, Herr son-in-law? ° Saiten are the strings of a lyre or any stringed instrament. Saiten ziehen, means "to pluck the strings", and by extension, in this case, "you will hear me sing another tune".162 Der Rosenkavalier, Act Il vo: eo mie fie —diz_—tys» —‘eenrennon lest mit ‘bortfaft Wo Er mirschier di ‘Tir _einrennen Bt mit Botschaft, When you almost my — door knocked down with messengers, (When you sent messengers who almost battered down my door,) ty soi. sem fel heo'bee ich soll sehr schnell herbei 1 should very quickly ‘come here unt in =m 'wene y:blon ‘ago sute'nizron und thn in einer _iblen Lage soutenieren, and you in an awkward — situation —help you out of, (and help you out of a very awkward situation.) m diz e:e~—unfefulte veeso ——_gorartan 1st in die Er —_unverschuld'ter weise geraten ist! in which you innocently fallen had! (in which you had innocently landed!) (The Baron clutches his head.) COMMISSARY (to the Baron) ver st de her vas faftt dew her mt im Wer ist der Herr? Was schafftder Herr mit Thm? Who is this man? What has the — man, todo with you? BARON nigts fon badoowm ist’ blors. en bokanto- Nicht von Bedeutung. Ist bloB ein Bekannter, Nothing of importance. He's merely an acquaintance, helt sig pe ‘tsufal hie um ~—'gasthaos_——aof, hilt sich im Gasthaus auf. he's staying by inthe inn @. (auffhalten is a separable prefix verb meaning "to stay at".) COMMISSARY (to Faninal) dew her ‘gerp ‘zaenon ‘na:man an Der Herr geb’ Seinen Namen an. The gentleman _will now give us his name! FANINAL bn dew ‘edo Teh bin’ der Ede Tam the noble von Faninal. COMMISSARY zommt ist diss de faite Somit ist dies der So is this the —_ father... (So this is the father...)Der Rosenkavalier, Act III 163 BARON (eagerly, standing between them, concealing Octavian from Fanina's eyes) ‘beeleep — gaa nit di: Jpua ist «= wen fe"vantn Beileib’ garnichtdieSpur. Ist ein Verwandter, Certainly not at all. Hes a kinsman, wen ‘brude wen n9V6: in Bruder, ein Neve a brother, a nephew! dea ‘viekligs st. nox ‘wenmal sor dik Der Wirkliche ist noch einmal so dick! The — real one is twice asmuch so fat! (The real father is twice as fat as him!) FANINAL (in amazement) vas gett hizo for vii sit ex»2a0s ‘Was geht hier vor? ‘Wie sieht er aus? What is goingonhere? What _does he look like? ig bin dew fast ‘free Teh bin der Vater, freilich! Tam the father, of course! BARON (trying to draw him aside) das ‘vaetra ‘findat sig fortsit ex sig Das Weitre findet sich, verzieh' Er sich! Leave further details to me, now get you gone! FANINAL (annoyed) iy ms fon ‘bitton Ich maf schon bitten... 1 beg your pardon... BARON fax ex hwem im ——topfels ‘naman Fahr'Er heim, in Tenfels Namen! Go home, in the Devil's name! FANINAL (with growing anger) meen nam unt ex m — ‘eenam'sojgan ‘hendol ts meti:ron Mein Nam und Ehr in einem solchen Handel m — melieren, My name and honor in sucha squabble to. drag into, hee: ‘fvigeson Herr Schwiegersohn! Herr somin-law! (Herr son-in-law, how dare you drag my name and honor into a squabble like this?) BARON (to the Commissary, trying to stop Faninal's mouth) ist ‘weno ide fiks Ist eine _idée fixe, Its an _—_idée fixe." " dée fixe in French means “a fixed idea, “a recurring thought", meaning Faninal's constantly addressing him as "son-in-law".164 bonent mig ‘ajsor Benennt mich also Hecallsme therefore Der Rosenkavalier, Act IIT mux om — Kfpass nur im — G'spab. only in jest. (He only calls me his son-in-law in jest.) COMMISSARY ganyikt fom Ja, geniigt schon, Yes, that's enough for me. (to Faninal) ea — exkent ‘demnax =m —‘ditzam hem ‘zaenan‘Jvisgezomn Er erkennt demnach in diesem Herrn Seinen Schwiegersohn? You recognize then in this. man your son-in-law? FANINAL se vol viso: sot my im mgt eaekennan Sehr wohl! Wieso solit ich ihn nicht erkennen? Of course! How could I him —not_—_recognize? ect veel ex ‘Karena hoo = net_— hot Leicht weil er keine Haar nicht hat? Because he no—hair_ not has? Just because he has no hair I shouldn't recognize him! Of course I do!) COMMISSARY (to the Baron) unt eo —ea‘kent ‘numme:s vol cox om —‘di:zam hem Und Er — erkennt nunmebr wohl auch in diesem Herra And you recognize as well in this gentleman vol ‘ode 'y:bol ‘zaenan ‘fvitgefa:te- wobl oder fibel Seinen Schwiegervater? forbetter or -~— for worse = your father-in-law? BARON (taking the candlestick from the table and holding it up to Faninal) sor so: la la jaja viet fom dew selba seen Soo, la la jaja, wird schon derselbe sein. Well, well! Ooh la la! Yes,yes, it's him of course. vax host den ‘gantson ‘axbont gare nigt regt beee'nant War heut den ganzen Abend gar nicht recht beinand’, Tve today the entire evening not been quite myself, kan 'mmenen = ‘aogon host migttraon mus itm ‘sagan. Kann meinen Augen heut nicht traun, mu8 Ih sagen, Tecan my eyes today not trust, must tell you, liskt hie vas mm dew tuft man di: kongestjom dafon liegt hier was inder Luft, man kriegt die Kongestion davon. there's here something inthe air, one _can get congestion from itDer Rosenkavalier, Act IIT 165 COMMISSARY (to Faninal) da viet fon im dis_—Tastofaft Dagegen wird «von Ihm die —_Vaterschaft Against this will of you the —_ fatherhood tu: ‘diz im —veerbatim ‘surgofoibnon ‘toxte- geloognat mu dieser Thm verbatim zugeschob'nen Tochter _—_geleugnet? to this toyou insomany words __wishedon you daughter denied? (Against this, do you deny that you are the father ofthis person said to be your daughter?) FANINAL (noticing Octavian for the frst time) ‘maena ‘toxto da; "dew ‘fetson_gispt sig Meine Tochter? Da, der _—_Fetzen gibt sich My daughter? That? ‘That slut claims to pass herself off fyo ‘meno ‘toxta- aos fir meine Tochter aus? for my daughter? BARON (forcing a smile) wen kfpas wen ‘pure ‘msferftant Ein G'spabt Ein purer Mifverstand! A joke! A simple misunderstanding! dew viet hat desm = heon kammissarjus da: vas fowertse:It Der Wirt hat dem = Herrn Kommissarius da was vorerzihit The Innkeeper did tothe Commisary there something tell (The Innkeeper told [a tale] to the Commissary there) fon 'mgeena‘braotfaft mit von meiner Brautschaft mit about my engagement with the Faninal girl! INNKEEPER keen voot hee kommissarjus ‘aot ‘eegne —_‘aossak Kein Wort, Herr Kommissarius, lauteigeer Aussag'. No word, Commissary Sir, it was his own statement. (certainly didn't say it,) FANINAL (beside himselp das ‘vepsbilt —arretiron komt om ‘proj Das Weibsbild —_arretieren! ~ Kommt am — Pranger! That female arrest! Off tothe _pillory (with her)! viet ‘aosgepeetft viet ‘eengakastalt im wen Kloster Ig Wird ausgepeitscht! Wird eingekastelt inein Kloster! —_Ieh...ich... Tithave her whipped! Haveher —lockedup = ina convent! «=. BARON fax ee nox haos cof moegan dew fry: ea'klex © ——_—itm alos aof Fabr'Er nachHaus. Auf morgen inder Frah' erklir’ Thm alles auf. Go home. Tomorow — moming Tllexplain everything to you.166 Der Rosenkavalier, Act III em — veres. vas em mi ‘fulduk st Er —weif, was Er mir schuldig ist. You know howmuch © you owe tome. FANINAL aot seegne- ‘ooszak Laut eigner Aussag'! ‘You yourself said it! (beside himself with rage) ‘macena toxt- sol heraof Meine Tochter soll herauf! My daughter must _come up! sist ‘unten dex trakfes im gallop he'raof Sitet unten der Tragchaise. Im — Galopp herauft She's sitting downstairs the sedanchair. Ata gallop! Up here! (to the Baron) dos tate ‘tog bry im fos garigt Das zabitEr —teuer!_- Bring Tn vor's- Gericht! This you'll pay dearly! T'bring you to court! BARON jetst. maxt ex polavatf Jetzt macht Er Palawatsch Now you're making big stink fy cunt ‘vido migts fair und wieder nichts. for at all. zen braoxt wen rosgadujt Ein braucht ein RoBgeduld A gentleman needs the patience of a horse seen ‘Jvisgesom tsu: seen parole dong: Sein Schwiegersohn mu sein. Parole d'honneur! your son-in-law to be, By my word of honor! te vil, =o mme_perykko Teh will mei’ Periicke! T want my — wig! (He shakes the Innkeeper.) mace perykko vilig sem Mei Periicke —_willich sebn! My wig T want to see! (in his wild search he seizes some of the children and pushes them aside.)Der Roseniavalier, Act III 167 CHILDREN (automatically) Papa! Papa! Papa! FANINAL (stepping back, in utter bewilderment) vas ist den das Was ist denn das? What is this? BARON (searching for his wig, he finds his hat, with which he swats at the children) gaz mks wen ‘fvindal ken nit das ba'gassi Garnix, ein Schwindel! Kennnit das Bagagi! Nothing atall, a swindle! Idon'tknow that —_ baggage! sit sakt das sit mt mize Sie sagt, daB sie —_verheirat' war mit — mir. fhe aoe she was married tome. ke: su: dew fant vii dew ‘pontsjus. ms ‘krexdo Kim’ m der Schand’ wieder Pontius ins _eredo. Td get myself in this __ mess like Pontius (Pilate) into the Credo. (Pd be as likely to get myself in a mess like this as Pontius Pilate would wish to be remembered in the Credo.)"" (Sophie, wearing a cape, enters hastily. They make way for her. Faninal's servants are seen at the door, each carrying a pole of the sedan chair. The Baron seeks to hide his bald pate from Sophie with his hat as he goes to her father.) ONLOOKERS di braot 0: vas fy en skantda:l Die Braut. Oh, was fiir ein Skandal! The bride. Oh, what scandal! FANINAL (to Sophie) da: fao dig 2um da: host du: den heen ‘brogtigam Da schau dich um! Da hatdu den Hern Brutigam! There, look around! There youhave your bridegroom! da: di dem ‘saobon heon Da die dem saubem = Heerra! There, the family of that fine gentleman! di: frao —mutsamt di: and. Die Frau mitsamt die Kinder! ‘The wife together with the children! (pointing to Octavian) The Credo in the Christian Mass has the text "and He suffered under Pontius Pilate... Pontius Pilate would hhave rather be remembered for his greater deeds, insiead of as the condemmner of Jesus every time the Credo is recited. In other words, he would have just as willingly gotten his name put into the Credo, as Ochs would hhave willingly gotten himself into this mess.168 Der Rosenkavalier, Act II da: das ‘vaeepsbilt hoot “Ink hant — datsua Da, das Weibsbild —g'hort linker Hand dazu. There, that female belongs ontheleft hand toi (There, that female [Octavian] belongs to the family as well, on the side)? nen das bist du: aot ‘eegne- ‘aoszak du: Nein, das bist du, laut eigner Aussag'! Du! No, that is -you, as per_ his own words! You! meegts m dit edn ‘sunkon vas ie ox Mécht's in die._—-Erd's_sinken, was? Teh auch! Would youlike into the earth to sink, what? Me — too! SOPHIE (with joyful reliep) bm = ‘hertsonsfro: ze: itm mutmigtan an daffy: Bin herzensfrob, seh’ _ihn mitniehten an dafuir. Iam overjoyed, Ise him not at all as my bridegroom! FANINAL, sit im mgt an day: Sieht ihn nicht an daftir? ‘You don't see him as your bridegroom? maen ‘fone nam Mein schéner Nam't My — good name! ig trao mis ‘amma ‘yibon ‘graibon Teh traumi nimmer fiber'n Graben!” I won'tdare again (to go) across the Graben! keen hunt nimt mee wen fivkl bro. fon mio Kein Hund nimmt mehr ein Stick!’ Brot von mir! No dog will take anylonger apiece of bread from me! ONLOOKERS Der Skandal! fir Herrn von Faninal! FANINAL di: ‘gantso ‘vimeftat_ diz“ fvaatsa ‘tseeetun, Die ganze Wiener Stadt! Di schwarze Zeitung! The whole of Vienna! The —_black scandal sheet! MEN (the heads appearing out of the wall and floor) Der Skandal! fiir Herrn von Faninal! ™ Linker Hand, "left hand” suggests something "left handed", or by extension, “underhanded,ilegal or suspect", Faninal, in his excited state is saying thatthe chambermaid is also "left handed” part ofthe Baron's “other” family, as yet an even further disgrace being visited on him at this trying time, " The Graben in today’s Vienna is the neighborhood where, among other things, the Opera and the famous Hotel Sacher are situated.Der Rosenkavalier, Act III 169 FANINAL da: aos dem ‘kell cos dew Iuft Da! Aus dem Keller! Aus der Luft! There! Outof the cellar! Out of the air! Die ganze Wiener Stadt! (to the Baron, with clenched fist) o: em fil: mim vit net guat_ wen ‘sessl Ob, Er Filou! Mir wird nicht gut! Ein’ — Sessel! Ob, you villain! I feel sick! A chair! (Servants spring forward and support him. Two of them pass the other ends of their poles to others standing at the back. Sophie tends to her father anxiously. The Innkeeper likewise assists. They lift Faninal and bear him to the adjoining room. Several waiters lead the way and open the door. At this moment the Baron catches sight of his wig which has reappeared like magic. He falls on it and lonks it on his head, adjusting it in front of the mirror. With this transformation he regains a bit of his composure, but contents himself with turning his back on Annina and the children, whose presence, in spite of everything, is, he feels, uncanny. The side door shuts behind Faninal and his ‘escort. The Innkeeper and waiters return shortly and fetch medicines, bottles of water, etc., which they take to the door where Sophie receives them.) BARON (his former confidence having returned, to the Commissary) sint ‘desto ‘ez 1m ‘klaron we tsal eget Sind desto eher im klaren. Teh zabl', ich geht ‘Now that all has been cleared up, Tl pay, Tl go! (to Octavian) te fy sit jetst_nax haos Tch fiir’ Sie jetzt nach Haus. TH take you now home. COMMISSARY date 21g mit im jetst' ‘vaete im —ferhg Da ___irrt Er sich. Mit Thm jetzt weiter im Verhor! ‘That's where you are wrong. With you now onwiththe questioning. (Thave some more questions for you.) (Ata sign from the Commissary, the Constables remove from the room everybody except Annina and the children, who remain standing by the wall.) BARON los es jetst gut seen vax.senkfpas Lass Er's jetzt gut sein, War cin G'spa. Let it drop for now. Itwas a joke. tg sak im ‘fpest» ve das ‘medal ist Teh sag’ Thm spiter wer das Midel ist Mm tell you later who the = girl is. gep im = maen voat 1; —‘heert sit Geb! Thm mein Wort ich — heirat sie Igive you my word thatl willmary —_ her170 Der Rosenkavalier, Act IIT ‘va fecenkig 0x ‘zenmal ‘wabrscheinlich auch einmal. probably, in good time. da: ‘inten doat dos ‘klumpot_ = st_ fom flat Da hinten dort, das Klumpert ist schon stad. Back there, the dowdyhag has already quieted down. do: sit ew veo i bm unt vem ig mit bin Da siehtEr, wer ich bin. und wer ich _nicht bin. Now youcansee who I am and who I — amnot, (preparing to lead Octavian off) OCTAVIAN (freeing himself i geo mt~—mit dem —heon I geb’ nit’ «= mit dem = Herrn! 1 go nots withthe =~ gentleman! BARON (in an undertone) i: hweratt siz forhelt siz sig mit mite I heirat’ Sie, verhailt Sie sich mit mir. 1 will marry you; (now) if you behave yourself with me, si: viet nox fraobaromm so: guat goffelt si: mit Sie wird noch Frau Baronin, so _gut gefillt Sie mir! Youll be yet Frau Baroness, so. much do like you! OCTAVIAN (spoken, to the Commissary) hee komifsar Herr Kommissar, Herr Commissary, ‘aibe deo her baro:n 6 ich ri aber der Herr Baron but the Baron gep ecb’ give darf dart must vas tsu: protokol was zu Protokoll some evidence migt ‘tsuchoxrn dabae nicht zuhdr'n dabei. not hear it. (Ata sign from the Commissary, the two watchmen push the Baron to the front. Octavian appears to be telling the Commissary something that surprises him greatly. The Commissary accompanies Octavian to the alcove. Octavian vanished behind the curtain.) BARON (to the watchmen, familiarly pointing to Annina) ‘vaxepsbalt Weibsbild ken mgt das Kenn' nicht das Idon'tknow that oof ew auf Ebr’, On my word of honor. female vox War Twas grat grad just doat dort, over there, baem ‘esson beim Essen! about to eat. (The Commissary seems to be amused and stands unembarassed by the gap in the curtain.) hop ‘kerena ‘axnuy Hab’ keine Ahnung, Thave no idea vos was what es vil es will, she wants.Der Roserkavalier, Act II 7 het sonst nigt ‘selbe_um dit politsxe Hate sonst nicht selber um die Polizei. Twould otherwise not myself have called the police... (He notices the Commissary's amusement and is suddenly agitated at this unaccountable turn of events.) vas gaffit den doat 1st vol mgt ‘mo:glig das Was geschieht denn dort? Ist wohl nicht mdglich das? What's happening there? It's not —_possible!.. (pointing to the Commissary, outraged) de ‘kl dos huest ico —_—‘stttanpolitsaee Der —Lacki! Das heifitihr _—_—Sittenpolizei? ‘That lackey! This you call morals squad? ist weno junto Ist cine Jungfer! Its a young girl! (They can hardly restrain him.) fet ‘unte ‘mae protektsjom — bolfvex mig Steht unter meiner Protektion! Beschwer’ mich! She's under my protection! ll complain! hab wen ‘Voertal dreeen su: redon Hab’ ein Wartel drein mu reden! Tt have a word inthe matter to say! (El have a word or two to say in this matter!) (He wrenches free and goes towards the bed. They seize and hold him back. From the alcove come Mariandel’s clothes, piece by piece. The Commissary makes a bundle of them. The Baron, still agitated, wrestles to free himself of his two guards. They restrain him with difficulty, while Octavian's face peers through the gap in the cwrtain.) mus jetst part teu ite MuB jetzt partout zm ihr! Tmust now aboveall goto _ her! INNKEEPER (rushing in) ‘ire ‘howxfyestico ‘gna:da di: frao fyrstm ‘feltmarfal Thre hochfiirstlicheGuaden, die_—-Frau Fitrstin Feldmarschall! Her — most noble Highness, the Lady Princess Feldmarschallin! (Atfirst several men in the Marschallin's livery are seen, then the Baron's valet; they make way for hier. The Baron, having torn himself away from his watchmen, wipes the perspiration from his brow and hastens towards the Marschallin, who enters followed by the little Black Boy Mohamed carrying her train.) BARON bin ‘glykhig ibe ‘mason hap dit gna koom meritizat Bin gliicklich ber Mabe, hab' die Gnad' kaum meritiert, Yam fortunate beyond measure; have the favor not —_ deserved,im Der Rosenkavalier, Act IIT fets ‘deo ‘gegonwast hizo oj wen froont{tvk ‘omaglaeegan sehiitz! Dero Gegenwart hier als ein Freundsttick obnegleichen. Tvalue your presence here asan act of friendship without equal. OCTAVIAN (puting his hea hrough the curtains) vir komt zi: hew wie kommt Sie her? how come you here? (what are you doing here?) (The Marschallin, motionless, gives no reply, looking questioningly about her.) COMMISSARY (to the Marschallin, at attention) ‘frrstligo ‘gnaxdon—‘melda mig gehorzamst Fiirstliche Gnaden, melde mich gehorsamst Your Highness, Ipresent myself obediently als forftat ?untarkommussarjus als Vorstadt-Unterkommissarius. as Suburb-Assistant Commissary. (The valet, proud and self-satisfied, goes up to the Baron, who gives him signs of satisfaction.) BARON em sit he kommissar di: “‘duaxlaxot ——thazbon ‘selbo- sig bamyit Er Herr Kommissar, die Durchlaucht haben selbst sich bemiht. You Herr Commissary, her ‘Highness has -_herself deigned to come. ra > ves voran exist Teh Er —weifi,woran Erist. 1 think” you know what is expected of you. MARSCHALLIN (to the Commissary, disregarding the Baron) eo kent omg ken 1 im mgt 20x Er kennt mich? Kenn ich hn nicht auch? You know me? Know I you not _—_ also? mize faent ‘scheint dem her ‘feltmarfal zaen ‘bravo ordoinnants —govesst Dem Herrn Feldmarschall sein’ brave Ordonnanz gewest? Ofthe Field Marshal his brave orderly you were? (Were you not the brave orderly of the Field Marshal?)Der Rosenkavalier, Act HII 173, COMMISSARY ‘frrstliga‘gnaidon = tsu;_—bofed. Firstliche Gnaden, zu —_Befebl! ‘Your Highness, at your orders! (Octavian again puts his head through the curtain. The Baron makes frantic signs to Octavian to disappear, while trying not to let the Marschallin notice.) BARON (in a suffocated whisper) bleep si: tsum'‘sakra‘hntan doat Bleib Sie zum Sakra, _hinten dort! Stay by Jove behind there! (The Marschallin moves, looking at the Baron enquiringly. Octavian, in man's clothing, slips through the curtain the moment the Baron turns his back. The Baron hears footsteps approaching the door to the side. He rushes to it and stands with his back to it, while trying to put on a show of utmost serenity by polite gestures to the Marschallin.) OCTAVIAN vax ‘andors ‘apgemaxt —matriztere:s. 1g ‘vundor mig War anders abgemacht! Marie Theres',ich wunder' mich! Itwas another way planned! Marie Theres’ 1 I'm amazed! (As though she does not hear him, the Marschallin continues to fix an inquiring glance on the Baron, who, in the greatest confusion, divides his attention between her and the door. The door is opened with such force that the Baron, seeking in vain to prevent it, is obliged to move. Two of Faninal’s servants admit Sophie.) SOPHIE (to the Baron, without noticing the Marschallin) hab ism = fon" maem heon faite —tsur—_fe'meldan Hab! Thm von mei'm Herrn Vater zu —_vermelden... Thave toyou from my father to tell. (I've come to tell you something from my father.) BARON (interrupting her) st jetso: ‘krootselement Ist jetzo Kreuzelement! I's now damn it-all! kan si: mgt’ ‘Vaoton ‘bis dos mon si: ‘Tusfan vit Kann Sie nicht warten, bis daf man Sie rufen wird? Can you not wait ‘until youre called? mmentsi: das == sis_—hit> um _—‘baresl_presenti:ron verst Meint Sie, da ich Sie hier im Beis! _pritsentieren werd"? Doyouthink that I you here inthis joint present will? ((will introduce you here in this dive?) OCTAVIAN (stepping forward softly, to the Marschallin) das ist di: froglaen di: um ‘dexrotvallon Das ist die ‘Fraulein... die... um _deretwillen...174 Der Rosenkavalier, Act II MARSCHALLIN (over her shoulder, to Octavian) fit im aenbisl_pre’ssist’ «= roframo Find’ Thn ein iss! empressiert, Rofrano. Ifind you a bit eager, Rofrano. kan mix vol ‘denkon ver zi stmt zis, farmant Kann mir wohl denken, = wer sie ist, ‘Find’ sie charmant. Tecan well imagine’ who she is. ‘find her charming. (Octavian slips back behind the curtains.) SOPHIE (her back to the door, so sharply that the Baron involuntarily takes a step backwards) e= viet me ‘kaenam ‘menfon Er wird mich einem Menschen You will me — toanyone cof dew velt nigt__preizenitiran auf der Welt nicht _prisentieren, in this world not introduce, (You aren't going to introduce me to anyone in the world,) divacbn = ¢ mit im 0x mgt zo: fitl_—_tsus ‘faffon haxp dieweilen ich mit Ibm auch nicht so viel zu schaffen hab. since 1 withyou nothing as much have to do. (Lwill have nothing to do with you.) (The Marschallin talks sofily with the Commissary.) unt maen fate last im — ‘zagon Und mein Vater Iasst Thm sagen: And my — father lets toyou tell: (bids me tell you:) ven e@ —‘alzovaet di: frechaet ‘zolta ‘traebon wenn Er allsoweit die ‘Frechheit —_— sollte _treiben if you asmuchas the —impudence should have das man zaena ‘nazon mux eablikkon test daB man Seine Nasen nur erblicken _—tiit’ that we your nose barely ‘see can (to let us see as much as your nose) cof ‘hundet fm fon unzem ‘fratpale: auf hundert —Schritt von unserm Stadtpalais, within ahundred steps. of | our town palace, het ex zg dix ‘boxzan folgon ‘zelbo- ‘tsutsufraebon so htt Ersich die basen Folgen selber zuzuschreiben. then you'dhave the nasty consequences yourself to blame for. (you will have only yourself to blame for the nasty consequences.) das ists. vas maen hee fata im fea‘meldon lest Das ist's | was mein HerrVater Thm vermelden laBt. This is what my father toyou bids me tell.Der Rosenkavalier, Act III 175 BARON ‘korpo di ‘bakko vas ist das fye © ‘wena ‘ungotsorgna —fpraxs Corpo di Bacco! Was ist das fir eine ungezog'ne Sprache! Corpo di Bacco! What is this for an _ill-bred speech! (What kind of common language is that!) im gobyzt Die Thm gebiihrt. The one that befits you. BARON (beside himself trying to pass her and go through the door) he: Yanina:l 1% «mus He, Faninal, = ich mt Hey, Faninal, I must. SOPHIE em unter Iter zig migt Er untersteh' sich nicht! Don't you dare! (The two Faninal servants step forward and stop him, pushing him back. Sophie goes through the door, which closes behind her.) BARON (bellowing at the door) bin villons ‘allas ‘foegefalno fe'geibon unt _—_fergessan Bin —_willens alles Vorgefall'ne vergeben und vergessen Tam willing everything thathashappened —toforgive and _—_forget seen tsu;Jasson sein zu lassen! let be! (Lam willing to let everything that has happened to be forgiven and forgotten! MARSCHALLIN (stepping behind the Baron, tapping him on the shoulder) las exe ‘nus gust zaen unt — fer|vint ex oof aens tsvae Lap Er nur gut sein und verschwind Er auf eins, zwei! Leave wellalone and vanish, at once! BARON (turning and staring at her) ‘visor den ‘Wieso denn? How is that? MARSCHALLIN (gaily superior) var ex zaen dipite unt fax ea 2ap Wahr' Er Sein und fahr’ Er ab. Preserve your dignity and leave. BARON (speechless) 1; vas Ich? Was? Me? What? An Italian expression literally meaning "body of Bacchus" akin to "By Jove!"176 Der Rosenkavalier, Act III MARSCHALLIN max ex bon mi na move Mach’ Er bonne mine a mauvais jeu: Make the best ofa bad job." zo: blaept ex = ‘kvaizi nox ‘aeno ‘ftantspeazon so bleibt Er quasi noch eine Standsperson. Thus remain you almost still a person of some standing, (The Baron stares at her dumbly. Sophie comes in softly and her eyes seek Octavian. The Marschallin turns to the Commissary and addresses him.) e= zit’ hea kommfssar das ‘gantso var halt ‘aena farsa Er sieht, HerrKommissar, das Ganze war halt eine Farce You see, Commissary, the whole thing was only _a practical joke unt ‘vaet migts und weiter nichts. and nothing more. COMMISSARY geny:kt mize retire mig gantsgahoxsamst Geniigt mir! Retirier’' mich ganz gehorsamst. ‘That suffices forme! I withdraw most _obediently. (He goes off, followed by the two watchmen.) SOPHIE (startled) (Das Ganze war halt eine Farce und weiter nichts.) (The two women's eyes meet; Sophie gives an embarrassed curtsy,) BARON (standing between the Marschallin and Sophie) bin = ga mict’ = ‘villons Bin garnicht —_willens! Tam far from willing! MARSCHALLIN (stamping impatiently, to Octavian) mo kuz —boidoot e: Fim Mon cousin, bedeut' Er ihm! Mon cousin, make it clear to him! OCTAVIAN (going to the Baron from behind, very manly) meect zee ‘bittan Mécht' hn sehr bitten! Tmust request you! BARON (turning around with a jump) ve vas Wer? Was? Who? What? '* A French expression, faire bonne mine & mauvais jeu, literally "to put on a happy face when something has gone wrong".Der Rosenkavalier, Act III 7 MARSCHALLIN (from where she is standing) zaen ‘gnaidon dew her graf rofra:no vew den zonst Sein' Gnaden, der HerrGrafRofrano, wer denn sonst? His Lordship Count Rofrano, who else? BARON (after scrutinizing Octavian's face closely, resignedly) isfonaso hap gnuk fon dem ga'sigt Is schon aso! (Hab! g'nug von dem Gesicht.) Sothat'sit! (I've had enough of that face!) (Octavian stands bold and haughty.) sint dox mgt ‘maeeno ‘oogan fut 15 fom zen ‘mandi Sinddoch nicht meine Angen schuld. Isschonein Mandl. Soitis not my eyes thataretoblame. Iisa man. MARSCHALLIN (taking a step closer) Ist ‘aena‘Vimonfo = maskorat © unt_—_‘vaetar rigts Ist eine Wienerische Maskerad' und weiter nichts. Its a Viennese masquerade and -—_ nothing more. BARON (at a loss for words) aha: Aba! SOPHIE (half sadly, half ironically) (ist eine Wienerische Maskerad’ und weiter nichts.) BARON (to himself) Spin ‘allo ‘unto ‘wenam ‘le:do- ‘geigon ‘meena (Gpiet'n alle unter einem Leder gegen meiner.) (They are all hand in glove against me.) MARSCHALLIN (haughty) ie het itm migt gevunfon dase» maen_ matjandol Teh htt! Thm nicht —_gewunschen, da Er mein Mariandel 1 would nothave wished that you my — Mariandel m dew virkligkaet mix ‘hetto debofist in der Wirklchkeit mir bitte debauchert! reality me had debauched! {would not have wished yout have debauched my Mariandel in reality!) hap jetst ‘aenan montiston kopf ‘ge:gon di: ‘menor Hab jetzt cinen montiertenKopf gegen die Manner... Thave now a bitter grudge against men. zo:gants im __—_‘algomaenan so ganz im allgemeinen! sotospeak, in —_ general!178 Der Rosenkavalier, Act III BARON (gradually realizing the “krootselement kom. aos dem = ‘ftaonan rigthera0s Kreuzelement! Komm' aus dem Staunen nicht heraus! ByJovel —Icome out of the astonishment not out! (Lcan't get over my astonishment!) dex feltmarfal oktavvjan — majandl_ it Der Feldmarschall.. Octavian... Mariandel... die ‘The Field Marshal... Octavian... Mariandel... the (With a penetrating look that travels from the Marschallin to Octavian and back to the Marschallin.) ves bareets nigt. vase = fom ‘ditsomm “‘gantsan Weif bereits nicht, was ich © von _—_ diesem ganzen Tstill donotknow what I of this entire evi: prot kvo: mio ‘denkon s0j qui-pro-quo mir denken soll situation should think. (still do not know what I should think about this situation.) MARSCHALLIN (with a long look, then with great forceful authority) eo ist maenig en kavallir Er ist, mein'ich, ein. ‘Kavalier? You are, I think, a gentleman? da: vit ex zig gar migts ‘denkon Da wird Er sich gar nichts denken. Then will you absolutely nothing think of. (Then you will think absolutely nothing.) das ists vas ig fon im —ervart Das ist's, was ich von hm erwart’. That is | what I from you expect. BARON (with a bow, man-of-the-world again) bn fon so: fil_—_sfitnesse Jarmizot Bin von so viel ‘Finesse charmiert, Tam by so much finesse charmed, kan gow mgt. ‘sargan vir kann gar nicht sagen wie. can almost not say howmuch. wen ‘leaxonaos vor nox. kseen ‘fpifedeo-bo mgt Ein Lerchenauer war nochnie kein Spielverderber nicht. A Lerchenau = was never a spoilsport. (taking a step towards her) fmt delitsje:s das ‘gantsa vi pro: kvo: Find delizids das ganze qui-pro-quo, Tfind delicious the -— entire situation,Der Rosenkavalier, Act Ill 179 boldarf ‘abo dafy:e ‘numero ‘ive protektsjom bedarf aber dafir nunmehro —Threr ‘Protektion. Tneed therefore more than ever your _ protection. bin villons ‘alls foregofallona fo'geibon, Bin willens alles _Vorgefallene vergeben Tm willing all thathashappened —_to forgive unt forgesson—_sazen tsus ‘asson und vergessen sein zu lassen. and forgotten _tolet be. (Lam willing to let all that has happened to be forgiven and forgotten.) e bie dof 1 den foninal Ehbien, —darf ich den Faninal.. Well then, may I (gotell) —Faninal... (preparing to go into the room where Faninal is) MARSCHALLIN ex darf er darf_ «sm —‘allar ful zug retitisron Er darf.. Er darf in aller Still’ _ sich retirieren. ‘You may... you may in all silence withdraw. (Vou may silently withdraw.) (The Baron is thunderstruck) ferftet ex nigt ven ‘geno zax en ent _—hat Versteht Er nicht wenn eine Sach’ ein End’ hat? Do younot understand when a matter an end _—_has? (when a thing is finished?) di: ‘gantso ‘brootfaft_ unt affex unt ‘allos zonst Die ganze Brautschaft und Affir' und alles sonst, The entire engagement and affair and everything else vas drum unt dran hent was drum und dran hiingt, that withitis ‘concerned, (that is concerned with it) (very pointedly) ist omit ‘dizar ‘ftunt fortae ist mit dieser Stund’ vorbei is asof this hour finished. (is finished as of this moment.) SOPHIE (quite disconcerted) (Was drum und dran hiingt, ist mit dieser Stund vorbei.) BARON (indignantly, and in an undertone) (Mit dieser Stund! vorbei!) (The Marschallin appears to look around for aseat. Octavian swiftly gives her one.)180 Der Rosenkavalier, Act III MARSCHALLIN 1st halt forrbae (Ist halt vorbei.) (Quite finished.) SOPHIE (pale) (st halt vorbei.) (The Baron can make nothing of all this, rolls his eyes, perplexed and angry. At this moment the ‘man appears through the trapdoor. Valzacchi also enters, followed discreetly by the suspicious characters. Annina takes off her widow's bonnet and veil, wipes off her make-up and reveals her normal face, all this to the Baron's increasing amazement. The Innkeeper, a long bill in his hand, enters through the center door, followed by waiters, musicians, porters and coachmen, all having their hands out in an attitude of wanting to get paid. The Baron sees all this and realizes all is lost.) BARON (quickly resolved, to his valet/son) ‘eupojt mia ‘geypn ‘Leupold, wir gehn!"* Leopold, we're going! (He gives the Marschallin a deep but scornful bow. Leopold takes a candlestick from the table and is about to precede his master.) ANNINA (boldly barring the Baron's path) "Ich hab’ halt schon einmal ein Lerchenauisch Glick!" (indicating the Innkeeper's bill) comm Sie nach Tisch, geb' Ihr die Antwort nachher schriftlich!" (The children get under the Baron's feet. He swipes at them with his hat.) CHILDREN Papa! Papa! Papa! WAITERS (forcing themselves on the Baron) entfuldgon ‘290 ‘gna:don Entschuld’gen Euer Gnaden! Beg pardon, your Lordship! INNKEEPER (pressing the bill on the Baron) Entschuld’gen Euer Gnaden! WAITERS Entschuld’gen Euer Gnaden! tons gemn di: ‘kertson Zan Uns gehn die Kerzen an! The candles are our business! ANNINA (dancing in the Baron's path) "Ich hab' halt schon einmal ein Lerehenauisch Glick!" ** Notice the phonetics of this phrase. It is delivered in true Bavarian/Viennese fashion.Der Rosentavalier, Act Ill 181 VALZACCHI (mocking) "Ich hab’ halt schon einmal ein Lerchenauisch Glick!" (CHILDREN Papa! Papa! Papa! MUSICIANS (standing in the Baron's way) ‘tarfolmusik ‘y:botsvae_‘tundan Tafelmusik, iiber zwei Stunden! Dinner music, over two hours! (Leopold forces a path to the door. The Baron tries to follow him.) COACHMEN (crowding on the Baron) fyo di fue —Teesso ‘kfundn ‘hamma gms Fir die Fuhr’, Résser g'schund'n ham ma gnuat”” For the trip, horses driven to death have we enough! (we drove enough horses to death!) PORTER (roughly jostling the Baron) soifyes ‘aoffpem —s0:-—_hee baton 6 far's Aufsperra, so, Herr Baron! For openin' up, so, Baron sil INNKEEPER Entschuld'gen Euer Gnaden! WAITERS tsvae fok ‘keatson Zwei Schock Kerzen, Six score candles, ‘uns gehn die Kerzen an.* ‘MUSICIANS Tafelmusik, iber zwei Stunden! (The Baron fights his way to the exit through the milling crowd) BARON (hemmed in) plats do: ‘krogtsmilliosn Platzda, --Kreuzmillion! Make way, blast you! PORTER (his hand out) fyra kfam —‘aosa grukt Fabra g'farn, auBa g'ruckt. I drove the carriage around, CHILDREN Papa! Papa! Papa! "7 Pure Viennese coachmen talk: wir haben genug Risser geschunden. "Jn other words, "pay us for the candles, that costs extra”.182 Der Rosenkavalier, Act II (All reach the doorway, the candlestick is wrested from Leopold. The Baron rushes off. All storm after him, the hubbub fades. Meanwhile, Faninal's two servants go off. There remains only Sophie, the Marschallin and Octavian.) SOPHLE (standing to one side, very pale) maen got es = Var mgt’ «mex als, Mein Gott, es war nicht mebr als My God, it was no more than a farce. vi er bac ix test Wie er bei ihr steht, How he by her _—_ stands, ont bn dis tex loft und ich bin dieleere Luft and I am(nothingbut) empty air OCTAVIAN (behind the Marschallin's chair, embarrassed) var ‘andors‘apgomaxt matt: teres te ‘vundor mig War anders abgemacht, Marie Theres', ich wunder' mich, Itwas not planned like this, Marie Theres’, 1 amamazed. (extremely embarrassed) bole zi das mol ect dex Befiehit Sie, da8 ich... soll ich —_ nicht... di der Doyouwish that .. should I not... the young lady... her MARSCHALLIN gee dox fel unt tue vas zaen herts itm zaxkt Geh' Er doch schnell und tu'Er was Sein Herz thm sagt. Go quickly and do what your heart tells you. SOPHIE (in despair) Die leere Luft. O mein Gott! OCTAVIAN teres Ig ves gar mgt Theres, ich_—_weifs gar nicht... Theres’ 1 don't know. MARSCHALLIN gereo unt = maxee ——"zaenan horf Geb’ Er und mach’ Er — Seinen Hof. Go and pay court. OCTAVIAN i Svor ix Ich schwor' Ihr... I swear to you... MARSCHALLIN las exes guit zaen LaB Er's gut sein, Letiitbe.Der Rosenkavelier, Act III 183 OCTAVIAN 1g baigraef mgt vas zi: hat Teh _begreif’ nicht, was Sie hat. 1 cannot understand what _is the matte: with you. MARSCHALLIN er st aen_—_‘Tegtas ‘mansbult gerexr hn Er ist rechtes Mannsbild, gel’ Er hin, You are like a man; g0 to her. bof befiehit. As you command, (He goes across to Sophie, who stands in silence.) e bie hat zi: kaen froontlag = vort yr mtg Ehbien, hat Sie kein freundlich © Wort ‘fir mich? Wellthen, have you no _ friendly word for me? nigt ‘aenan blik —nigt_‘aenon.‘icbon grus Nicht einen Blick, nicht einen lieben Grub? Not a glance, not «a —friendly greeting? SOPHIE var mix fon ‘oe'gnaidan frogntfaft unt —_bafulfligkaet War mir von Ewer Gnaden Freundschaft und Behilflichkeit Thad forme from your Lordship's friendship and __helpfulness ‘varhafug —‘aena-_‘anden froot geverug wabrhaftig einer andern Freud’ gerd, in truth a different happiness from Your Lori's hensip and belpines Tha rally expected anther kindof happiness.) OCTAVIAN vir froot zi zig den nigt Wie... freut Sie sich denn nicht? What... glad are you then not? (are you not glad?) SOPHIE harp ‘virklig ‘kaenan ‘anlas nigt Hab! wirklich —keinen Annla6 nicht. Thave really no ‘cause to be, OCTAVIAN hat mani mgt. dem = ‘brogtigam = fom als gofaft HatmanThr nicht den Briiutigam = vom Bals geschafft? DidIyou not the bridegroom off your neck getrid of? (Didn't I get rid of your bridegroom for you?)184 Der Rosenkavalier, Act III SOPHIE ver als rest fom ens ‘andors ‘apgeganpn ver War all's recht schén, wenns anders abgegangen wir’. Itwould allhave been quite nice if differently _—ithad ended. Jem mgm grunt unt 'bo:dan Schiim' mich in Grund und Boden Tm ashamed most deeply. zer vol mit vas fy» ‘aenam blk sehr wohl, mit was fir einem Blick very well’ with what a look ‘ive fvrstliga ‘gnaidon «mug botraxt Thre ffirstliche Gnaden mich betracht’. her Highness regards me. (Tunderstand full well how I appear in her Highness’ eyes.) OCTAVIAN 1% vor i ‘maene zel unt —_“zesigkaet Teh schwér' Thr, meiner Sel’ und Seligkeit. 1 swear to you, by my soul and happiness. SOPHIE las ex mig gen LaB Er mich gen, Let me go. OCTAVIAN (seizing her hand) we odas ait gt Ich IaB Sie nicht. TH let you not. (Lwont let you go.) SOPHIE mig drm mich drin. me inside. OCTAVIAN te —_-braox zit Teh brauch’ Sie nétiger. 1 need you more. SOPHIE das zakt zig ——dlaegt Das sagtsich —_—leicht. That is said easily. (That is easily said.) MARSCHALLIN hogt ‘ode ‘morgen ‘ode dem —y:bornegston tak (Heut oder morgen oder den iibernichsten Tag. Today or tomorow or_~— the -—day after tomorrow.Der Rosenkavalier, Act III hab 1g —miors den mgt forogozakt Hab! ich mir’s denn nicht vorgesagt? Did I myself then not tell? (Have I then not told myself?) das ‘alles komt halt y:be eds frao ‘Das alles kommthalt ber jede Frau. That all comes to every woman. (It comes to every woman.) (This is every woman's destiny.) hab xs den migt__go'vust Hab' ich's denn nicht gewuBt? Have Tit then not known? (Have I not known it?) (Didn't I already know it?) hab 1g mgt ‘aenam golypda tan Hab' ich nicht einem Gelibde tan, Did I not a vow make, das mit en gantsgoffaston ——‘hertson da®ich's mit ein ganz gefaBten Herzen that Tit with a quite _stout heart (Didn't I make a vow that I would bear it with a stout heart?) Heut' oder morgen, oder den iberniichsten Tag.) (She wipes her eyes and rises.) OCTAVIAN (to Sophie) ie haxp zit'yibor Teh _hab' Sie ibermabig lieb. 1 love you immeasurably. (Lam terribly in love with you.) SOPHIE das ist omigt var em hat mig aigt zo: kp als vir 185 ee'traigan ertragen bear ex — Spnyt Das ist nicht wahr. Er hat michnichtsolieb alswie Er —_spricht. That is not true. You don'tlovemeasmuch as fergessem — mig Vergess' Er mich! Forget me! OCTAVIAN . ist mir um unt ome um ait ‘st mir um = Sie und our um Sie. Tare for you and only for you. SOPHIE Vergess' Er mich! you say.186 Der Rosenkavalier, Act IIT OCTAVIAN (passionately) mak Pallas ‘drunta- unt ‘dry:be- ge:n Mag alles drunter und driber gehn! May everything —_go to the devil! SOPHIE (passionately) Vergess' Er mich! OCTAVIAN hap ‘kaenon‘andon godankon gt. Hab’ einen andernGedanken nicht. Thave no other thoughts (not). (Thave no other thoughts but of you.) ze: ‘allvael i tip gaagt. Seh’ allweil Thr lieb Gesicht. Tsee allthetime your dear face. (How your dear face is always before me!) hab ‘alltsu li: io lisp gatzagt, Hab' allzu lieb Thr lich Gesicht. Tove dearly your sweet face. (He takes her hands in his.) SOPHIE (weakly struggling) Vergess' Er mich! di: fvrsum da: aut in hm 20: ge: ex dox Die Farstin da, sie ruft Thn hint So geh' Er doch! The Princess there, she iscalling you! Go to her! (Octavian takes a few steps towards the Marschallin and now stands between the two women, confused. Sophie, in the doorway, is unresolved as to whether to go or stay. Octavian, in the center, turns his head from one to the other. The Marshallin perceives his embarrassment. A sad smile asses across her face.) 1g mus hinaen unt frargan vis dexm faite: gest Teh mu8—hinein und fragen, wie's dem Vater geht. T must go inside and ask -—-howit goes with father. OCTAVIAN ie mus jetst_ vas ‘rerdon unt mize: fea-flackts di: rest Ich mu jetzt was reden, und — mir verschlagt's die Red’. 1 must “now something say and ‘Tam tongue-tied. MARSCHALLIN deo bup vi e@ ferlegon = da: m= de “mutton text Der Bub’, wie er verlegen = da_—Ssin_—sder_—Miten steht. The boy, how he confused there in _ the — middle stands. (Poor boy, how embarrassed he looks standing there in the middle of the room.)Der Rosenkavalier, Act III 187 OCTAVIAN (to Sophie) blaep zit = um‘allas_ hit Bleib’ Sie umalles hier! Stay, atall costs, here! (to the Marschallin) vis hat zit vas gezakt Wie, hat Sie was gesagt? What, did you something say? (The Marschallin, ignoring Octavian, goes to Sophie and looks at her critically but kindly. Octavian takes a step backwards. Sophie, in embarrassment, curtsies several times.) MARSCHALLIN zo: fel hat zit im gate 20: isp So schnell hat Sie ihn gar so lieb? So quickly have you come to love him? SOPHIE (very timid and embarrassed) iy aes migt = vas ‘96 ‘gnaidan ‘maenan mit dea frak Teh wei nicht, was EuerGnaden meinen mit der Frag’. T— don'tknow what Your Highness means by that question MARSCHALLIN iw — blasgozigt gipt fon ‘regta ‘antvort draof Thr blaB Gesicht gibt schon die rechte Antwort —drauf. Your pale cheeks give already the right answer toit (Your pale cheeks give answer enough.) SOPHIE (very shy and embarrassed) veo gat kan ‘vunde ven i — blas bm ‘960 ‘gnaidan War' gar kein. ‘Wunder, wenn ich bla bin, -Euer Gnaden. tis no wonder that 1 pale am, Your Highness. hab ‘aenon ‘grosson frek erlest mm dem hen ‘fartor Hab’ einen groBen Schreck ——erlebt mit dem Herrn Vater. Thave a great shock gone through with my father. gax mgt tsu:Yexdan fon garegtom = portsima Gar nicht za reden von gerechtem —_Emportement ‘And not to — speak of myrrighteous indignation ‘gegon dem skandalozan hem baton gegen den skandalésen Hern Baron. against the scandalous Baron. bn ‘96 ‘gna:dan m —‘ervigkaet_ —_‘feaipfligtat Bin Euer Gnaden in Ewigkeit —_verpflichtet, Tam toyourHighness for all etemity indebted, das mit ‘dexo Ilfunt_—‘aofagt daB mit Dero Hilf und Aufsiche.. that with your help and —_guidanee..188 Der Rosenkavalier, Act IIT MARSCHALLIN (interrupting her) rest zis nue nigt tu: fil zk ast bypf gonwk Red' Sie nur nicht zu viel. Sie ist hiibsch genug! Don't talk too much. You are quite pretty ‘enough! unt ‘geigan deim hem pa'pa: zaen —y:bal’-vaes ig ‘etva ‘aena meditsin ‘Und = gegen den _Herrn Papa sein Ubel weif ich etwa eine And for your father’s ailment I think Iknow the ie ge: jetst’ «dav hrnaen tu: im unt_—dard itm 2aen Ich geh’ jetzt dahinein zu ihm und _lad’ ihneein, I will go now insidethere to him and _ invite him mit mi unt is unt_— dem herm'‘grarfon da: mit mir und Jhr und dem HerrnGrafen da with me and you andthe = Count, over there m = ‘maenem = ‘vargon ‘haemtsufacron in meinem ‘Wagen heimzufahren. in my carriage to drive home. maent zi: nigt das im das rekretzron = vrt_—unt_—_‘alboraets ihn das rekreieren wird und —_allbereits him that divert will and quickly ‘maxon machen? make? (Don't you agree that that will restore him and quickly raise his spirits?) SOPHIE ‘oe 'gna:dan zint dis 'gy:ta zelpst EuerGnaden sind dieGiite selbst. Your Highness is Kindness itself MARSCHALLIN unt fy ‘bleso vaes _fillaegt maen ‘fetta da: dix medittsim Und fir die BliBe wei® vielleicht mein Vetter da die Medizin. ‘And for that pallor knows perhaps my cousin there the remedy. (And for those pale cheeks, perhaps my cousin over there knows the cure.) OCTAVIAN mari: teres gut zi: iste Vaes gar nigt Marie Theres',wie gut Sie ist, ich —_ weil gar nicht... Marie Theres, how good you are, I just don't know... MARSCHALLIN (with an indefinable expression) ie Ves ax mks ‘gait tks Teh wei auch nix. Gar nix. 1 don't know anything either. Nothing at all. (Ghe bids him remain with a gesture.)Der Rosenkavalier, Act III OCTAVIAN (undecided, as though about to follow her) mati: teres Marie Theres'! 189 (The Marschallin halts in the doorway. Octavian stands nearest her. Sophie stands further to one side.) MARSCHALLIN hap mis golo:pt Hab mir's gelobt, I vowed to myself das re zelpst daB ich selbst sein Lieb! in lisp tsu:‘harbon = m= dex» igtigon vaes ibnliebzuhaben in der_—richtigen © Weis’, to love him zaen lip so that I myself his love (So that I would even love his love for another woman!) hap mia ——fraelig: migt gadaxt in the right teu: ‘aeno-‘anden m einer andern for another woman das es zor Hab' mir _ffreilichnicht gedacht, dah es = 80 Idid to myself truly micr ‘aofgaleckt mir aufgelegt overtake me not think zolt ‘veodan sollt werden! would! that it 50 (Itruly didn't think I would have to bear this so soon!) (sighing) es aint Es sind die mehreren —-Dinge auf der Welt, There are the majority of + things in this world 20: das zis gens nigt_‘glaobon tet so daB sie ein's-_ nicht glauben tit’, are such that them we not — believe can (Most things in the world are such that one cannot believe them,) ven man zi: moegt ea‘tseiion hom wenn man sie micht’ erzihlen hir'n. when you them wishtobe told about. (if one wished to be told about them.) allaenig veos earlespt de glocpt daran_ unt Alleinig wer's erlebt, der glaubt daran und Only those who experience it believe it and da: tet dew = bup unt dar fe: Da steht der Bub’ und da steh’_ ich, There stands the boy and here stand I, unt mit dem = ‘fremdan ‘medal dort viot ex und mit dem fremden © Miidel dort wird er and with that new girl there he will ‘dup of dew —velt way, ‘nox Lisp hap noch lieb' hab’! ‘would love! vaes nlgt wei nicht know not 20: ‘glvklig so gliickdich ‘so happy zaen sein, be,190 Der Rosenkavalier, Act IIT als vis halt’ ‘enna das ‘glykhigzaen ferftem als wie Manner das Gliicklichsein _versteh'n.) as men happiness understand.) (and with that new girl there he will be as happy as any man understands happiness.) SOPHIE mite ist vi mde karen (Mir ist wie in der Kireh'n, (feel asiffwere in church, ‘haelig 1st mize unt zo: bay heilig ist mir und so bang, holy feel and so afraid, unt dox st mize ‘unhaelig = aox und doch ist mir unheilig auch! and yet feel unholy too! ie vaes mgt. = vis miso st Teh wei nicht, wie mir ist. 1 don'tknow how ‘I feel. te moegt mig —‘nitdeknizon dort fom © dew frao Teh macht’ mich niederknien dort vor der Frau 1 wouldlike to kneel there, before that lady unt meegt i vas ‘antun den ig fpyx zit gipt mio und mécht’ ibr was antun, denn ich spi’, sie gibt mir ihn and do her some harm, for 1 feel’ she — giveshim to me vat aumt mie vas fon tsuiglaeg und nimmt mir was von zugleich. and takes away fromme © something of him —_at the same time, vaes ‘gar nigt mize ist ‘Weib gar nicht wie mirist! Tdon'tknow at all how I feel! moegt ‘alos ferjtem unt moegt ox migts Mécht’ alles versteh'n und macht" auch nichts versteh'n. Tdliketo all tounderstand and Td like also nothing to understand. morgt fragon unt —migt_fra:gon vt mize aes. unt alt Mécht’ fragen unt nicht fragen. Wird mir hei}. und —kalt.) Td like toask and not ask. ‘I feel hot and cold.) (eye to eye with Octavian) unt fpyt mux dig unt vaes nur aens dig ha:b 1g lisp Und pir’ nur dich und = wei’ nur eins: dich hab’ ich lieb! And Tfeel_ only you and know only onething: love you!Der Rosenkavalier, Act III 191 OCTAVIAN es ist vas ‘komman unt ast (sist was kommen und ist (There is something that came and has. (Something has come and something has happened,) ie moegt zis fragon — darfs den zaen Ich macht" siefragen: darf's denn sein? TI wouldlike toaskher: Dare it be? di: Jpyx iy das zi: mize ferboton «ast die spiir' ich, da8siemir verboten —_ist. I feel itto me forbidden is. (Lfeel is forbidden me.) 1 meest zi: Yragon —vatum ‘sttiat vas m mie Ich — mcht' sie fragen: ‘warum zittert was in mir? IT wouldlike toaskher: © Why trembles something «= in’ = me? (Why do I tremble inside?) ist den aen—‘grorsos ‘unrest gefen Ist denn cin groBes Unrecht ——_gescheh's Has there a big injustice happened? (Has then anything so wrong occurred?) ont grat an dit dar sg dis_—frauk mgt tun ‘Und grad’ an die darf ich die_—‘Frag’ nicht tun...) And verily of her may I the question not ask...) (And yet she [the Marschallin] is the one I shouldn't ask the question...) unt dan ze: 1g dig an soffit Und dann seh'ich dich an, Sophie, And then look at you, Sophie, unt ze: mur dig pyr mur dig sof: und seh’ nur dich, spr’ nur dich, Sophie, and see only you, feel only you, Sophie, und vaes fon migts und weif' von nichts and know of nothing dich hab! ich lieb! MARSCHALLIN m= —‘gottes ‘natman In Gottes Namen. In God's name. (She goes out sofily, unnoticed by either. Octavian has moved close to Sophie and a moment later she is in his arms.)192 Der Rosenkavalier, Act III SOPHIE ist aen—traom kan migt ‘varkig zaen Ist ein Traum, kann nicht wirklich —_—sein, Its a dream, (it) cannot true be, das vie tsvae baeaenande zaen daB wir zwei beieinander sein, that we two together are, baeaeniant fy@ allo tsaet_ unt ‘exvigkaet beianand' fir alle. «Zeit. ‘und = Ewigkeit! together for alltime and _—_ eternity! OCTAVIAN Jpys nur dig pyr nur dig allaen Spr’ nur dich, spir’ nur dich allein Tfeel only you, feel only you alone unt das vir. baeae'nandar_zaen und daB- wir —beieinander sein! and that we —_ together are, get alls zonst aen trom dah for ‘maenam Gebt all's sonst ein Traumdahin vor meinem Passes all else a dream away before my var en haos vo: da: varst. du: draen War ein Haus wo, da warst du drein, Therewas a house somewhere, there were you inside, unt di: ‘Toota ‘frkkon mig hitnaen und die Leute schicken mich hinein and they sent me in, mig gra:t?aos di: zeiligkaet. di: ‘varon kfaet mich gradaus die Seligkeit! Die waren g'scheit! me straight bliss! They were wise! SOPHIE kanst- du; ‘laxan miso 1st tsua- fel Kannstdu —_lachen? Mir ist ar Stell! Can you smile? Teel at this moment ban vi = an de> ‘himisfon vel bang wie an der himmlischen Schwell'! afraid as at the -—iheavenly = gate! halt Ivax dm vig Halt sehwach Ding, wie Hold me, a weak thing that zak dice dathn sink’ dir dahin! I swoon in (your arms)!Der Rosenkavalier, Act IIT 193 (She has to lean on him. Faninal’s footmen open the door and enter, each with a candlestick Faninal enters, leading the Marschallin on his arn. The young couple stand dazed a moment, then make a deep reverence, which Faninal and the Marschallin return.) EANINAL (patting Sophie's cheek with paternal benevolence) sint —hojt sor ‘juyen lot Sind halt aso, ‘ jungen Leut'! That's how they are, «these ‘young people! MARSCHALLIN (with a sigh of barely concealed resignation) jas jas Ja, ja. Yes, yes. (Faninal offers the Marschallin his arm, leads her to the center door, which is immediately opened by the Marschallin's livery, among them the little Black Boy. As both servants with the candles lead the way, it is bright outside and semi-dark within. When everyone has finally gone off the two fall rapturously into each other's arms.) SOPHIE Ist ein Traum, kann nicht wirklich sein, ete. OCTAVIAN Spiir' nur dich, spir’ nur dich allein, ete. (She sinks into his arms, he kisses her quickly. Her handkerchief slips unnoticed from her hand. Then, hand in hand, they swiftly run off. The stage remains empty, then the center door opens once ‘more. The little Black Boy enters, candle in hand. He looks for the handkerechief, finds it, picks it up and with a flourish of delight trips out.) END OF THE OPERA