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    © All Rights Reserved
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    72 views67 pages

    Delibes - Lakmé (Castel)

    Uploaded by

    Ryan
    Delibes - Lakmé (Castel)

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    © All Rights Reserved
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    213 LAKME" Opera in three acts. Music by Léo Delibes Libretto by Edmond Gondinet and Philippe Gille after Pierre Loti's Le Mariage de Loti First performed at the Opéra Comique, in Paris on April 14, 1883 CHARACTERS Lakm6, a young Indian girl: coloratura soprano Mallika, her slave: mezzo-soprano Ellon, an English Lady and Rose's sister: soprano Rose, an English Lady and Ellen's sister: soprano Mistress Bentson, their governess: mezzo-soprano Gérald, an English officer, friend of Ellen: tenor Nilakantha, a Brahmin Priest, father of Lakmé: bass Frédéric, an English officer: baritone Hadi, servant of Nilakantha: tenor British Soldiers, sailors, tourits, Hindu priests, vendors and natives. ‘The time is the XIX Century. The place, India. ‘THE PLOT ACTI Lakmé is the daughter of Nilakantha, a fanatical Brahmin priest. While he nurses his hatred of the British invaders who have forbidden him to practice his religion, his daughter and other devotees in his cult sing an invocation to their gods. Nilakantha departs for another gathering of the faithful, leaving Lakmé alone with her servant maid Mallika. Lakmé removes her jewelry and places it on a stone bench; then she and Mallika get into a small boat and disappear from sight. ‘The English characters in the opera appear next: two army officers and two English ladies with their most comical nurse, Mistress Bentson. They all harbor varying degrees of suspicion about the Orient and its unfathomable mystery, which they profess to find quite mystifying indeed. They break through the bamboo fence that surrounds the ample, exclaiming with delight at all that they see. Frédéric wams them that some of the flowers may be poisonous; he also explains that the hut belongs to a dangerous and implacable Brahmin, whose only delight is his lovely daughter. They comment on the situation where a young girl must avofd contact with the outer world. ‘The women want sketch of Lakmé's owels, which they see on the bench, and Gérald, who is somewhat of an artist, says that he will stay behind and do one, if only they would retum into town. Left alone, he is fascinated by the jewels, speculating on the beauty and youth of their owner. He hides as he sees Lakmé and Mallika returning. After Lakmé dismisses Mallika she sees Gérald, and, filled with alarm, cries for help. However, when Mallika and Hadi come to her aid, she sonds them off to look for her father. Alone with Gérald, she tells him that a word from her could have brought about his death: he ‘must leave and forget he ever saw her. But Gérald is infatuated, and he sings passionately of love. Lakmé's voice joins his, until the sound of her returning father brings her back to reality. ‘She begs Gérald to leave. As he disappears through a gap in the bamboo Nilakantha appears, crying for vengeance on whoever dared profane his temple precincts. This the Opée version und not the Opéra Gomique version with ll the dialogs. The extra music which supplant the dalogun was Kindly furnished re by Manta Ev Que, director and conducorof th Opera Orchastnof New York. 214 acT IL ‘The scene is a bazaar, with the temple in the background. The stage is crowded with soldiers, sailors and tourists, who mingle with the street vendors and natives. Mistress Bentson is surrounded by beggars and sellers, who manage to pickpocket her watch ard handkerchief during their conversations before she is rescued by Frédéric. A bell rings, signaling the closing of the bazaar and the festival begins. Girls perform various exotic dances, and Nilakantha, disguised as an old Hindu penitent appears with his daughter. By now Gérald and his fiancée Ellen have appeared on the scene, and Gérald, out of earshot of the girls, has beon told by Frédéric that their regiment leaves before dawn to move against a party of rebellious natives. Lakmé hints to her father that Brahma might not be averse to pardoning an offense by a stranger, but her father vehemently denies any such possibility. He sings of his love for his daughter, then demands that Lakmé sing, in order to attract the man who dared to venture onto sacred ground, drawn, he is sure, by Lakmé’s beauty. She tells the story of the Indian maiden, a pariah, who one day sees a handsome stranger lost in the woods and defensoless against the ferocious beasts about todevour him. By the magic of her bells she saves him. To Nilakantha’s fury, no one appears in answer to Lakmé'’s singing and he is still ignorant of the identity of the stranger that braved his anger by defaming the temple grounds. He bids his daughter continue her singing, As she reluctantly begins, she notices Gérald and utters a cry of anguish. As she begins to faint, Gérald, recognizing her rushes to het side as she falls into his arms. Nilakantha, having identified his enemy, plots to isolate and Kill him during the course of the procession of the goddess, which will take place later that night. Lakmé is left alone with the faithful Hadji who tries to console her and promises to do anything she asks. Hardly has he finished speaking when Gérald retums and rushes to Lakmé's side. In a love duet, Lakmé admits her love for the young officer of a religion not her own. Lakmeé plans a new life for them in a part of the forest known only to her and where she has a little hut. ‘The procession comes into sight and the English ladies with Frédéric as their escort, watch as it goes by. Frédéric comments ironically on Gérald's infatuation with the Hindu “goddess” and says that he would bbe really worried were it not for the fact that they have to leave that very night making it unlikely for Gérald to have an opportunity to soe her again. As the procession passes, Nilakantha's plan is put into operation and Gérald falls stabbed. Lakmé rushes to him and finding thet he is only slightly injured, has Hadi help her remove him to her secret hiding place, where he will be hers. ACT I In Lakmé's hut in the forest Gérald lies on a couch while Lakmé sings to him. When he wakes up he is at first not sure what happened to him, but Lakmé reminds him that it was Hadji who carried him to the forest. Gérald expresses his feelings for Lakmé, saying that he is happiest with her, away from the rest of his world, From afar can be heard the sound of singing, Lakme tells Gérald that it is a band of lovers coming to drink of the sacred spring. She herself will fetch water from the spring with which they may pledge their love. As she goes, Frédéric who has been watching, appears at Gérald’s side. He reminds him that he is due to go with his regimert that very night, but Gérald is intoxicated with his love for Lakmé. He may forget Ellen, to whom he was engaged, but can he, asks Frédéric, forget his honor asa soldier? As he leaves, Frédéric knows he has triumphed over Gérald’s infatuation, and Gérald himself knows it as well when he hears the sound of marching soldiers in the distance. Lakmé notices the change that has come over her lover during her short absence, and while his attention is concentrated on the sounds of the march, she tears a leaf from the fatal datura tree, and bites it. “You have given me the sweetest dream’, she says to him after he becomes aware again of her presence. ‘Together they drink the water from the cup, and swear to love one another throughout eternity. Lakmé admits to Gérald that he is in no danger of breaking his oath as a soldier, since she is dying. After last Jove dua he dies, though not befor she bashed the time to tell ilakantha, who discovers them, that 1¢ and her lover have bo from the sacred s} ri lespai thinks of Lakme transported to steral If, and iasonton na “ues O49 despa, Nakane 215 ACTI (it is dawn in a shaded garden where all of Indids flowers are growing together. In the background ‘can bo soon a rivulet and a temple. Further back is a statue of the goddess of wisdom and the god Ganega, an idol with an elephant head. Hadji and Mallika go to open the doors to the visitors. Hindu men and women stand in a reverential attitude.) NO. 1 INTRODUCTION, CHORUS AND PRAYER MALLIKA, HADJI ae ssakutyme kta le, pabomece A Thoure ‘acccoutumée, quand la laine embaumée At thehour accustomed,’ when the plain perfumed, sflamece ‘omflammée inflamed ‘sur ne'sa uniso ‘no prieroe jour naissant, --Unissons = nos_pridres celebrates the day beingbon, let us unite. | our prayers ‘pur kame Te koilerce ‘doe brama smoena'sd pour calmer les coldres de Brahma menagant. to calm the wrath of Brahma threatening. (At the accustomed hour, as the perfumed plain made glowing red by dawn celebrates the new day, let us unite our prayers to calm the wrath of our menacing god Brahma.) NILAKANTHA swaje ‘wa Twa beni wilde, pomasce Soyez trois fois _bénis, vous qui rendez ‘hommage Be three times blessed, you who render homage © (pre, rabaidone ko al je OL puttragce au prétre “ebandonné qu'on raillo “ot quon ‘outrage! tothe priest abandoned © whom they revile and = whom they —_ insult!” ‘mu lascerd Ye koileroe nous lassorons les. colres; we will wear out the wrath; ‘de nove kcer_ De nos-_—_-vainqueurs Of — our conquerors iL yoy Jose ‘no di doe eer tape sekylerce ls “ont pu chassor nos Dieux do our temples. séculaires! They have boon able to drive away our gods from their temples. secular! ‘me 'syr eer ete brama 2 syspaay ‘sa vatytsce Mais sur lous tates, Brahma A suspondu sa_—vongeance, But above their heads, Brahma has poised His vengeance, © ROL te Ieklaterra ‘sce Sorta la delivrdsce et quand “elle “éclatora, co sora la —dlivrance. and when it bursts forth, it willbe our _—_ deliverance. ‘ama reve, sosurdyi ta pai'sasce ‘dee Dans ma retraite ‘aujourdhui, la puissance de This priest” he is roferring to is himsolf, whom the British mock end insull. This opera ie eat atthe time ofthe long British presence in India, with its many blessings but alo its many difficulties. 216 Laké, Act I ‘ye le wa ye meg je le vois, jo onto’ Iai, T behold him, 1 — risoupto him, xo sata prie ‘ma ijoe quand Fontnds, pier ma fille! when I hear daughter! {whenever Teer my daughter Lekiné preying) LAKME (appearing) ‘blafe durga ‘pale siva_pyisa gancesa Blanche Dourge, — pale. Siva, puissant © Ganeca! White Dourga, pale Siva, powerful Ganegal? ow ke kee rama apeze ‘vu ——_proteye ‘mu ° Brahma, appaisez-vous, protégez-nous! Oh you, whom created Brahma, be appeased, " protect us! (Oh you, whom Brahma created...) NILAKANTHA (to the Hindus) ale 78 'pe reed, «=p partt ta pri, yo. matt Allez “on paix, _reditos n= pertant Ia prigve au matin Go in _poace, recite on leaving the prayer to the moming ‘gio vant Dieu vous entond! God listens to you! CHORUS A Theure accoutumée, otc. No. 1B SCENE NILAKANTHA lakme ‘se wa ki protesee Lakmé, Cost toi qui_nous protiges, Takmé, itis you who protects us, © si eH rave Te Hence sakrilesce ot si jo poux braver los hainos sacrilagos and if 1 can defy the —_ hate sacrilegious ‘dee lence iota de Yennomi—_triomphant, ofthe enemy triumphant, se kee dio pra pitje doe taker eare est que Diou prond pitié de la candour = d'enfant. itis becauso god takes pity on the innocence of a child. LAKME, “orskor brama dasa Klemdsce—O brwaj_ tyme ler in Brakmanism,thoso are thes deities. A EER TE LN TT I TE ESET aT Lakmé, Act I 217 LAKME “Torskoe rama da ‘sa Klemasoe = brwaja_—ynce_fleer Lorsque Brahma dans sa clémence, on broyant_/ une flour, When Brahma in his compassion while crushing a —_flower, fi ta tel ge toe sel fit Ia tere “ot = loci, created the earth and the —_heaven, ad itesa ‘le mel © ety esperasce ly laisse lo mic! et ce fat’—‘Tespérance! He —lefttherein the honey and it was _hope! NILAKANTHA ‘fo ‘koe ge te kL ye lesa T faut que jo toquitto, = _——‘Tinstant. Itis necessary that I leave you this. moment. (must leave you this moment.) LAKME “wa dea Quoi, déja? What, already? NILAKANTHA ‘wa ‘5d ‘Krétoe da ta——_palgodce ‘ste Sois sans crainte, Dans la —_pagode sainto Be without fear. At the pagoda holy Kies, koe doe'bu a avi Jo mata qui reste ‘encore debout, & ——lavilio‘on —_mattond which remains still standing, in town they _are awaiting me. la fetce ‘doe deem. mapelee Le fate do domain m'appelle! The celebration of tomorow —_is calling me! (To the sorvants.) reste pre ‘de lakme Rostez prs do Lakmé! Stay close to —_Lakmé! HADI. ‘nu vejeer ‘sy seloe Nous veillerons sur elle! We shall watch over her! MALLIKA ‘nu vejcer wi Nous veillorons _tous dou! We shall watch, both of us! NILAKANTHA ‘se scrre ‘doe ree'tur a fey ur Jo sorai de retour avant la fin. © du jour. T shall return before the end of the day. 218 Lakmé, Act I LAKME, HADJI, MALLIKA ‘Kee “ee sel ‘toe protece ‘tor'gidee «= par, ame Que Ie ciel to profige, teguide par la—main, May heaven protect you, guide you by the -—hand,, “Josce ‘tu sakrile, © o'lwe'dae tO fem chasse tout sacrilago au loinde ton chemin. drive off all__— sacrilege — along your way. NILAKANTHA Quo le ciel me protage, me guide par Ia main, chasse tout sacrilégo au loin do mon chomin. (Nilakantha leaves. Lakmé removes her jewelry and places it on a stone bench.) No. 2. DUET LAKME, vie malika Te ance. A fer ete dese "og fObroe Viens, Mallika, les lianes ‘en flour _jottent dja Jour ombro Come, Mallika, the vines in bloom cast already their shade ‘yr le yiso sakre ki kuloe kal me ‘sbbree sur lo ruissoau sacré qui coule, calme et sombre over the stream sacred which runs, calm and gloomy eveje ‘parle fa devo tapa'scer éveillé par lo chant dos oisoaux tapagours! wakened by the song of the birds noisy! MALLIKA, o metreso: se ee ue toe wa suiticoe Oh, maitresse, c'est.‘ Theure ot je to vols Oh, mistress,’ itis the hour © when I see you smiling, ‘oeroe benis uo eeu iree Theure bénio ot je is lire the hour blessed when I can read gale keer—tugur ferme ‘de lakme dans le coeur toujours forms do Lakmé! into the heart always closed of Lakme! LAKME, MALLIKA ‘ute don ‘ble sasme Sous le déme blanc jasmin Under the dome white jasmin a a ozee—sestbloe ‘yr aL leer a Ia rose sascomblo, sur la. rive «en flows with the rose blends, over the banks in bloom, ie go tre mate ‘mu, gael sastblee vient ‘au frais matin nois appellent ‘ensomble. laughing inthe cool moming, summon us together. vie destido_——_pftstble Viens, descondons “ensemble. Come, let us go down together. Lakmé, Act I 219 dusoema aliso syiva eed Doucoment _glissons suivant Te courant Gently lot us slip in, following the current a sqiva ‘toe kur fyija en suivant Jo courant fayant; while following the current fleeting. MALLIKA ‘de slo. farma sqivo ‘oe kira fyija De son lot charmant ~—suivons le courant fayant. Of its waves charming —let us follow the current fleeting. BOTH ‘0 doe fremisatce —“dynce. mend fate Dans Tondo frémissanto, d'une main nonchalanto, In thewaves quivering, witha hand unhurried, Vie gains loo bor uta suse ‘dor Iwa'z0 “Yate viens, gagnons Io bord ot = la_—source dort Toisoau chante; come, letusreach the bank where the source. sleeps, the bird sings. LAKME me 50e nce ‘se “Keloe “Krttaesybitee sttparoe ‘de mwa Mais, je ne sais quelle crainto subite semparo demo, But I donot know what fear — sudden takes hold of -~— me, ‘KO mO perce Va sel ar Viloe odie quand mon pore va soul & —lour ville maudito; as my father goes alone to their city accursed; ye rable aefrwa tremble deffroi! tromble with fear! MALLIKA ‘purkee ‘le ‘dio gance’sa ‘or protesoe Pourque te.‘ iouGanoca Jo protage, So that the god Ganoga may protect him, ‘sys.ka kw u seater swale jusqua Tétang oh —sébattont = joyeux uptothe pond where frolic happily Je since «0 geloe “dee nego Jes cygnes aux alles de _neigo, the swans with wings of snow, alo loys ble allons lotus bleus. let usgo gather the lotus _ blue. (Go that the god Ganega may protect him, let us go to the pond where snow winged swans frolic happily, let us go gather the blue lotus.) “The sense ofthis perfumed, flowery poss shat Laks and Malika wish to ake «boa da! They slip into the boat retig on quivering wales ofthe river and with unhurried (nonchalant) pad strokes rach the bank onthe ther sid, ‘wher birds sing and rom wher thay can flow the vas current 220 Laks, Act 1 BOTH Sous le déme épais, otc. (They go down to the river bank, where a small boat is tied among the reeds. Lakmé and Mallika ‘embark and the boat slowly drifts away. As they leave, the English party, consisting of Miss Rose, ‘Miss Ellen, Mistress Bentson, Gérald and Frédéric enters.) RECITATIVE A MISTRESS BENTSON, MISS ROSE, MISS ELLEN, FREDERIC, GERALD BENTSON ‘mis ‘roz s ‘elon respekte le Klotyro Miss Rose, Miss Ellon, respoctez les. clotures! Miss Rose, Miss Ellen, respect the fences! ELLEN (spreading the bamboo fence) le'se ma vwar 0 = mwépardesy = le. batbu Laissez-nous voir, au moins, pardessus les. bambous. Permit usto look, at least under the bamboo. ROSE ta bre, Je ela 8H pase La briche est faite, on pout passer! The gap is made, we can_ pass! GERALD (helping Mistress Bentson pass through) ywala ‘mistres ‘bentson ‘ki ur Te, gavatyroe Voila, Mistress Bentson, qui cout les “aventures! There, Mistress Bentson, who runsafter (the) _adventure (s}! BENTSON sere, giregylie Cost tres ! Itis quite irregular! GERALD me ‘see, gamyza Mais clest trésamusant! But itis quite amusing! FREDERIC (entering) aasoere "keller ‘twa Dangerewx quelquo fois! Dangerous, some times! GERALD vwala'soe “ki ‘nu toe Vollace qui nous tente! That is what tempts us! BENTSON ‘me mwa ye ‘wa yetroe pryddtce © ‘komee guvernatce Mais moi, je dois” “tre pradente comme ‘gouvernante! But me, I must be prudent, —as-_—(a)_—_governess! ELLEN (picking some flowers) ‘se, arbree_, ge Cos arbres et These trees and FREDERIC ne lite Ne vous y fox Do not you in that trust (Do not believe in that!) ‘setce flor adsrabloe Cotte flour adorable, This flower adorable, a el Sk dans inde ost “un in India is a BENTSON de. gabominabloe Linde ‘est’ “abominable! India is abominable! GERALD eae pei Cost “un pays Itis a country puisko ah puisquon = y pout since one there can FREDERIC © patete perdy “da © poste, perdu dans Oh, post, lost in reekoine ty ‘te reconnais-tu lo Do you recognize the ‘la palgodae kale La —_pagode cachéo Lakmé, Act I ‘se Mer ‘n0 cos flours niont these flowers have ‘po pas! not! ‘sce datyra si yr co datura si pur, this datura so pure, pwa'2a poison, poison, afatcer enchantour magical mutic 8 morda_ mourir en mordant die while nibbling on oe el ty lo ciel “ot tw the sky where you lotys ‘de braimance lotus des Brahmanes? lotus of the Brahmans? ‘face oi Ton chante we ion nothing ceklatatoe éclatante dazzling tyno: leer ‘une flour! a flower! ‘plance soar! The pagoda hidden where they sing (in worship of) ‘nu ‘somoe "Je nilakata Nous sommes chez Nilakantha. We are in Nilakantha's grounds. ‘THE OTHERS Nilakantha! GERALD ‘se brama_, pease ki su, Co Brahmane = indompté = qui_—souffle. That Brahman unsubdued who breathes flo_ into the 221 ‘doe meena'sa do monagant. that is threatening, ‘dor blatfoer do blancheur, with whiteness, brama Brahma? Brahma? 222 Lakmé, Act 1 Ta "encevagoeresce 1a hain vongeresse? the hate —_revengeful? FREDERIC Ta fe desk dyno: divinite 1 oa fait’ de sa fillo ‘une divinité, He has made outof his daughter. += a_— divinity, ‘mj. gitkore ‘ynoe — farmeereso mioux encore, une charmoresse! better yet, a sorceress! (Mysteriously.) ‘Ki soe kafor di esi Kye de'esce qui socache, —dit-on, ainsi qu'une déosse, who hides, they say, like a ——_goddess, dase du paratdi © profance ferme ola nome Lakme dans co doux _paradis, aux profenes ——_fermé. On la nomme Laks. in this gentle paradise to the infidels closed. ‘They call her Lakmé. (in this gentle paradise forbidden to infidels.) GERALD Laks? No. 3 QUINTET AND COUPLETS ELLEN ‘KO syne fe me si Solis] Jaf tore seekafe Quand "une femme est si jolie elle a bien tort. de —_se cachor. When a = womanis so_—pretly she is indeed wrong to hide. FREDERIC ‘a sep wl ge Dens co pays tout st In this country everything is © sadme tu mwa st et jadmets tout moi sans broncher. and Tadmit itall myself without flinching. GERALD 'y gitdoloe 6 divinizoe Une “idole quon diviniso. An (female) idol that we worship. ROSE ‘koe 1 pafer_ mavek ferverr Que Ton “enferme ‘avec forvour! Whom they incarcerate with devotion! (A goddess whom they devotedly incarcerate.) GERALD © ki sakme ‘noe symatnizce Et qui jamais no shumanise! And who never becomes human! Lakmé, Act I 223 BENTSON ‘sea krwa ‘ee fa ferce per Jo lacrois lade ‘@—fairo pour! 1 believe her tobe __ugly (enough) to —_give , fright! (I think she is frightfully ugly!) ELLEN ‘ynoe fa, me sur Uno fommo est toujours A womanis always satsi_ plo ys. pmasce a) ‘yi 18 sensible ‘au justo hommage —quon Tui rond. responsive tothe deserved attention -—_—that is given hor. se be pa'sible cst bion possible; itis well possible; amuro “ay [ascema Boaux faisours de systdmes, amoureux du changement, Fine creators of conventions, fond of. changes, le'se ta vo patemoe © rezond_ ack mot laissez 1d -vos_—podmes et raisonnons «un = momont. leave behind your poems and let us reason fora moment. wi te Tamer so party Je ‘meme ‘for_ sorszoema Oui, les fommes sont partout los mémes fort hourousoment! Yes, (the) women are always the same, Tam glad to say! FREDERIC ee | tue sistema sopserve = tu stploema. Je ais tous les systdmos, observe — tout _simplement I hate all (the) conventions, observe quite simply ‘0 ‘ferce ‘doe polemoe —3opservee «= tu_——stploema sans faire de podmes, observe tout _simplement without writing pooms Tnotice quite simply (Aight of fancy) Te Tamer ‘noe's0 ‘pa partu ‘le ‘memoe seozema Jos fommes no sont pas _partout Jos mémes, hoursusemont! (the) women are not everywhere the samo, luckily! ELLEN ‘i ‘nu fer fig. 12 pe ‘sa trasce si nous cherchions “un pou sa trace What if we searched abit her traces 224 Lakmé, Act I ‘dase aklo misteri dans cot enclos mistérioux? inthis enclosure mysterious? FREDERIC o'nd ‘se sexe ‘ty, pada, a Oh! non! = Co sorait d'une “andace a Oh no! That wouldbe ofa boldness to ero: bodir uw oer io faire bondir tous ours diewx! cause to fly into rage all their gods! (Ob no! Such boldness would cause all their gods to fly into a rage!) ROSE (flippantly) ate, Jynce ‘grasce divinoe Actelle ‘une grace divino? Doss she have a grace _ divine? (Does she possess divine grace?) FREDERIC ‘md ‘jo. mwa ye ——lima’since Mon Dieu! Moi je —_‘Timagino! My God! Me, I imagine so! GERALD (joking) fesdre "il Vi ya se oem Faudraitil vive “A ses-—_gonoux? Would we have to live at — her _—_—knees? (Must we live prone at her fest?) BENTSON “dive ‘40 ‘ke ‘mje koe nu Ditos donc quelle mioux que nous! Tell us then that she better than us! FREDERIC ye ‘nee “i ‘pa ‘setce sotizee Je ne dis pas cotte sottiso, T donot say such foolishness, ‘me ‘su ‘sce bo sic) doe fe farce Mais sous co beau cil do fou, los fommos, But under this lovely sky of _fire, the + women ‘koe er sollej._‘grizoe ‘de notre iferce ape quo lour soleil _griso, des nétres different un peu. whom their sun intoxicates from ours are different a bit. (But intoxicated by the sun of their tropical tropical sky, these women are a bit different from ours.) ‘leer erty bizarce makee dapatra Lour vertu bizarre manque dlapparat; ‘Their virtue strange lacks flashiness; Jtmur ‘s0_naparce ‘sa wa ni kota Lamour ston emparo sans loi ni contrat. Love takes hold without law nor agreement. Lakmé, Act I 225 ‘se ‘ne ply datmur ofa koketo: Co most ply Tamour aux fagons coquettos, It isnolonger love in the fashion coquettish, (It is no longer flirtatious love as we know it,) ‘ene ply ‘etre dutta co nest plus = ce_—tendre ot |= doux sentiment, it ismolonger that tender and sweet _ sentiment, ‘@ boner dattyrce diskretoe ‘Ki fini re moraloema un bonheur ——dallures. a happiness of demeanor discreet that discrotes © qui init ‘ts moraloment. ends very morally. (being rather happy to show a discreet demeanor, making it all end in a very moral way.) nd oer keer sOtivrce ‘dy plezir deme Non, our coour senivre du plaisir daimer, No, their hearts delight inthe pleasure of loving, © por eloeVivree sor ‘ne kee Jarme et pour lles, vivre co niest quo ‘charmer! and for them living it is nothing but to charm! (and their only reason to live is to be able to charm!) ELLEN ‘se ‘sD We fame zide'alce i Jarmoe_ \sestatanema Co sont des femmes idéales. qui charment —“instantanémont They are — women ideal, who charm at once © ‘nu er pare't banaloe et nous Jour paraitrons banalos, and we —appeartothemas —_banal,, ‘mi wuld ‘ple. sotreema nous qui voulons plaire ‘autromont. we — who wish to please —_ina different fashion. ‘nu 'somoe Koki, ga'vek ‘we dekla Nous sommes conquises “avec moins a6clat; We canbe won over with less dazzle ‘doe per, de syrprizee ta rez koa de peur des surprios Ia_—raisom combat, out of fear of surprises. our_reason fights back, ‘me_ ele ‘00 ‘pa VoL ghfoteeresce mais “elles n'ont pas, vos “enchanterosses, but they do not possess, your enchantresses, le, gefrwa Jarma ‘de preemie za've los “effrois charmants dos. promiers—“avoux, the dread charming of the first avowals, (the dreaded charm of love's first avowals,) wile truble ‘nile givresce niles troubles niles vrossos neither the sadness nor the —_ intoxication Lakmé, Act 1 228 ‘dc boincer “koe 0 ee dun bonheur que Ton rove ofa happiness _—_that one dreams se bate selestce ‘saver tw Cos boautés célostes savent tout Those beauties heavenly knowhow all ‘me nu ply—moldestce =u save Mais nous, plus medestes, nous _savons But we, more modest, we know how FREDERIC ‘noe krwaije ‘pa ‘koe ye koparce No croyez pas quo jo compare! Do not think that I am comparing! ELLEN, ROSE, BENTSON se "VoL grespri Kivu, gegarce Cost votre “esprit qui vous égare! Itis your wit thet is misleading you! GERALD (laughing) le naif verite Test — naif, on vérité! He is _ naive, in truth! FREDERIC see KO ‘ma rakote Je dis coquon ~— ma racont6 1 say what has been told me, ‘nO ye krwa ‘sce ko ‘ma rakote non, je crois coquon —m'a raconté! no, I believe what has been told me! ‘THE OTHERS vre'ma ‘BL pespri seigarce ‘se Vraimont son aprit s6gare! Cost ‘Truly his wits have left him! It is keyeloe kredylite bo foe'zer ‘dee Grualle crédulite! Boaux_faisours do Cruel credulity! Fine concocters of amuire ‘ay Joscema amoureux du changement... fond of changes... FREDERIC sopserves tu seplcema Jobsorve tout simplomont. Tobserve, quite simply. ya's ‘a doux! as a loving pair! Jarme charmer, to charm, geme ‘aimor. to love ‘to ‘dee naivee'te trop do naiveté! too much _ingenuousness! sistemo: systomes theories Lakmé, Act I ‘THE OTHERS lese la vo polemoe Laissez-la vos. podmes! Drop your poems! {Lot go of your ights of fancy!) ELLEN, ROSE © rewnd = pe mom Et raisonnons un = moment. ‘And letus reason fora moment. BENTSON, GERALD rez0nd frwadeema Raisonnons _froidement. Let us reason coldly. FREDERIC ‘sa ‘ferce ‘dee poems —_gop'servor Sans faire de podmes —_fobsarve Without making poems, Tobserve, ee tte sistemoe Je his tous les systdmos! 1 hate all the theories! ‘THE OTHERS garde'va——gardo ‘nu dee Gardez-vous _(gardons-nous) do ion Mind you, (let us be careful) to-—_nothing FREDERIC wi parfwa Jose Oui, parfois ‘changer. Yes, sometimes change... ‘THE OTHERS a patmur Je dae En “amour cost “un danger! In love itis a danger! FREDERIC ‘ye ‘ni vwa_ poke dase Je ny vois ‘aucun danger! T donot see in it any danger! BENTSON, GERALD Ah, laisso7-12, (Iaissons-Ia) cos beaux systémes... FREDERIC ‘se ne ve ‘sui yroke sistemce jo no voux suivre “aucun systime... 1 donot wish to follow any theory. ‘THE OTHERS Partout los fommos sont bien los mames! 227 ‘tw stplarma tout simplomont quite simply. 228 Lakmé, Act 1 FREDERIC Partout les fommes ne sont pas los mimes! ‘nu kometB_ yo sakrlesce ket, ped ‘noe pardonce ‘pa Nous commettons ‘un sacrilage © quiun ‘Hindou no pardonno pas! We arecommiting a sacrilege ©=—=—thata Hindu will not forgive! GERALD kepor_ ja ‘de solda Quimporte dos soldats! What does that matter to soldiers (like us)! FREDERIC ° WL be gure ‘bryi ferme ‘aa ‘plesce On tombe un jour sans bruit enformé dans “un__ pidge! We can fall some day, without (any) noise, caught in a trap! BENTSON parts Partons! Let us leave! ROSE (catching sight of Lakmé's jewels lying on the bench) ode bigu Oh, des Bijoux! Oh, the jewels! BENTSON ‘mwa ‘Suivez-moil Follow me! ELLEN ‘de isu ravisd ‘lesce‘nu ‘Te vwer Des bijoux ravissants! —Laisso-nous les voir! Some jewels exquisite! Let us look a: them! BENTSON ‘nd Non, non! No, nol ELLEN ‘kel domasce Quel dommage! What a pity! GERALD ete st ratdre ‘oe dest Eh bien! Jen prendrai le dessin. Ah welll Tofthem —willmake a _— sketch, (Well then, I will make a sketch of them.) ELLEN ‘wu restore ‘sa ‘nu Vous restorez sans You — will stay here without us? Lakmé, Act I GERALD (gallantly) ‘vale metre oe Sur td notre mariagoe Vous les mottroz Te jour do notre mariage! You will wear them (on) the day of our _ marriage! ELLEN porta si sete dager Pourtant, si cétait_ dangereux.. Allthe same, if it were dangerous... GERALD ‘n0 Non! No! FREDERIC a see, ge pryda Ah, cost trés “imprudent! ‘Ab, itis very unwise! GERALD pore Pouroux! Coward! FREDERIC ate vil metje kee serlyi dome ‘sasce Ah! lo vilain métior quo celui dihomme —sage! Ah! The nasty task that one ofaman _ sensible! (Ah! What a nasty task it is being the sensible one!) (All leave except Gérald. He begins to make a drawing of the jewels.) No. 4a ARIA GERALD ‘pradrae Yoo dest dtu ese OS kosi “gravee Prondro Te dessin d'un bijou, ost-co donc “aussi grave? Tomake a _— sketch ofa jewel, isit then so serious? a frede'ik e fw Ah! Frédéric ost’ fou! Ah! Fredrick = is_—_crazy! ‘me ‘du ‘vie metarna ‘sete re__Psttsea Mais dot vient maintenant cote _crainto insonsée? But whence comes now this fear senseless? ‘kel satima symatyrel a truble mma —_pasece Quol sontiment sumaturel 2 _—troublé ma —_ponséo What feeling uncanny has_- troubled = my _ thoughts ceva ‘sce “kalmoe solanel dovant co in the presence of ‘Tijoe doe m—_—katprisce 1kony © devo me, ie Fille de mon ceprice, Yinconnue est devant mes yeux! Child of — my — fancy, the unknown gill stands before my eyes! 29 230 Lakmé, Act I sa wa ta ‘mo_ patrejce ‘glisce de mo misterie ‘00 Sa voix & mon orille lisse des mots mistériowx. Non! Her voice in my — ear whispers some words mysterious. No! fate'tice © dive masbsce ty reve megare kor Fentaisio aux divins monsonges, tu —_rovions m‘égaror encor. Fantasy of divine illusions, you come to lead me astray again. va reetumee 0 pei de 5ce © fOtezice 0 2eloe ‘dor Va, retoume — au_—pays des —_songes! Oh faintaisio auxailes dior! Go, retum tothe land of dreams! Oh fantasy with wings of gold! (He picks up a bracelet and examines it.) otra poli ‘dela pajence Au bras poli de la__palenne On the arm sleck of the heathen girl se_ Jancele vy cot “annelet dut this _ bracelet must have (This bracelet must have circled the sleek arm of the heathen girl!) ‘ele edre tu gata mjenee Ello tiondrait toute en la mionne, She would rest. it fully in mine, ‘ame ki sly ‘po poise la main qui souley pout passer! the hand that alone through it can _—_ slip! (I would clasp in my hand, the small hand that alore can slip through that bangle!) ‘soe ‘serkloe ‘dor eee sypoze Co cercle dor, jo le suppose, This circlet of gold, 1 suppose, a sqivi Te pa wwaja3oer a saivi les pas voyagours has followed the -—steps-_ errant d@ patti ple ki_ nee sce poe d'un petit pied qui no se pose ofa litle foot that does not tread. ‘koe yee tm ju gy te fleer quo sur la — mousse ou © sur los. flours. but on (the) moss or on (the) flowers. ‘se koje 1 kor parfyme ‘dele Co collier encor parfumé dello This necklace _—still_—_ smelling sweet of hes, ‘doe sa per'soL poor ‘tw, gnbome de sa personne = “encor tout “ombaumé, of her person still all fragrant, was tu tout all 20 Non, No, Py pu able to tresaja_ t a-flutter fate fayes, begone, soir ‘sontir feel Jo at the Fierce ‘patroe batire Lakmé, Act I 231 ‘ker fildeloe son cour fidale, the beating of her heart faithful, ‘nd name chimares! visions! Fantaisie aux divins mensonges, etc. ‘dy —djfneme du bion-aimé. of her beloved. revee_ gefemere ki_—_invble ‘ma réves Gphéméres qui_—_troublex ma raison. Dreams ephemeral that trouble my RECITATIVE C GERALD ‘00 Se ne wpa tue a'sepalryree ‘doe ‘yeence Tijce ‘nd Non! je no voux pas toucher sos parures de jeune fille! Non! Nol I donotwant totouch these omaments of (a) young girl! No! ‘se. Jynce profana'sjo ——_lakme le goto Cost “une jon! Lokmé!.. lo joli_ nom. Ttis a profanation! Lakmé!. the lovely name... ‘me kel Se ‘du myrmyroe Mais quols sont cos doux murmures? But whet is that swoot- murmuring? el se Opti danivratee lageer Quols sont cos chants omplis denivrante languow:? What is that singing filled witha rapturous ——_languor? se_ Jel ‘se lame te me pence ‘dee ler Cost “lle! Cost Lakmé, es mains pleines de flours! Itis she! tis Lakmé, her hands full of —_ flowers! © twa Ki mu protesce garde mu “de jesce © — foi qui_—_nous protiges, garde-nous dos pidgos Oh Thou who protect us," protect us from the snares ‘dos no —_persekytcer do nos porsécutours! of our _persecutors! © meternd «dase Yo. ttsparttce Et maintonant, dans cotio “eau _transparento ‘And now, inthis water transparent ‘Ki 'sye“loe—sabloe ‘dor myrmy_ qui sur le sable dor + murmure—insouciante, which over the sand golden murmurs _carefree, 232 Lakmé, Act 1 ‘de sole} akatbla vit brave le, gartdcer d'un soleil accablant —vions braver les ardeure. ofa sun —_ overpowering come todefy the heat. (And now, in the clear water that murmurs carefree over the golden sand, come and defy the blazing heat of the overpowering sun.) MALLIKA wi profits de tere propisoe Oui, profitons de Thoure propice Yes, lotus take advantage of thehour —_—_ favorable uel arbre ify repaidee ‘ye los “arbres toufus répandont sur where the trees leafy spread over Ya Spree protektrisce la rive “uno ombro Protectrice. the bank a shade protecting. (Let us take advantage of the favorable hour, when the leafy trees spread a protecting shade over the riverbank.) (Mallika disappears behind the trees. Lakmé who has made a movement as if to follow her, stops hesitatingly.) ‘me oe Sms de myrmyre kot Mais je sens en © mon coeur des murmures —_confus! But I feel in © my —_ heart. some murmuring confusing! No. Sa RECITATIVE AND STANZAS LAKME le flee ‘moe paresce ‘ply ‘beloe Les flours me paraissont plus belles, The — flowers seem tome more beautiful, oe sel ply respladisa. Le ciel est plus__resplendissant! the sky is more_ resplendent! Je ‘bwa, yb deft smiveloe Les bois’ ‘ont des chansons nouvelles. The woods have some songs. new. ‘ler ‘Ki pol se ly kare'sa Lair qui passe “est plus carossent. The breeze that blows is more caressing. ‘yo ‘noe 'se ‘kel parfe m@nivre Jo no sais quel parfum mienivre. 1 donot know what perfume {s intoxicating me. ‘wu patito: © ye koma sa vivre Tout palpito ot jo commence vivre. Everything quivers. and 1 begin to live, purkwa ‘0 le gr bwa seme, 3a megarre Pourquoi dans les. grands bois aimé-je & — mégaror Why in the great forest dollove to _— stray Lakmé, Act I 233 pu si leere pour y plourer? to there weep? purkwa ‘sui gatristee © ofl “dynce_kollobee Pourquoi suis-je attristée au chant d'une colombo, Why am] saddened by the cooing ofa dove, ‘pur ‘ynoe leer fanece ynor forjor “ki Whee pour une flour fando, uno fonille qui tombe? by a flower faded, 2 leaf that _falls? © sceptida ‘se ploer, 0 ‘de "Yarmce ‘pur mwa Et cependant ces. pleurs ont des. charmos. pour moi, And yet these tears have some charm for me. (And yet these tears bring me some pleasure.) ‘ye mae'sh_ roe purkwa Je mesons heurouse, pourquoi?” I feel happy. why? purkwa ferfe. se (3omyrmyree de, Pourquoi chercher_ = un sons ‘aux murmures des Why seek a meaning inthe ‘murmurings of the _ waters oe wo purkwa, ‘se volypte dans les rosoaux? Pourquoi. «ces voluptés in the —_ reeds? Why these sensual feclings a stir, “44 espasce ‘ko Jn ‘suflee dive & sentir dans espace ‘comme ‘un souffle divin do I feel in space as were a breath divine ‘ki mobo. sme ki ‘pose mombaume et qui passo? qui that perfumes my senses and that _ passes? parfwa, ost. ma “bu Ja suri matgre ‘mwa Parfois ‘aussi ma bouche ‘@— sourt_ malgré moi, Sometimes also my mouth has smiled in spite of __ myself. Jo me sons hourouse. Pourquoi? No. sb RECITATIVE LAKME (noticing Gérald) a malika Ah! Mallika! MALLIKA (running to her) Lakmé! HADJI (aiso running to her) "kel ditse tor meenasce Quol danger to menace? What danger threatens you? Lakmé, Act I 234 LAKME (controlling herself) Oke ‘yoo mee trbipe ww metre osurdy ‘Aucun! Je mo trompais... tout méffraio —aujourd/hui! None! Twas mistaken... everything frightens me today! ‘md perce ne vito pur “loeroe ‘pasce Mon pare ne vient pas, ot —pourtant —‘'houre passe... My — father does not come and yet time passes... ale wae ‘ver yi ate Allez tousdewx vers Ii, allez! Go bothofyou to him, 0! (Hadji and Mallika leave, observing Lakmé with some astonishment. Lakmé walks straight to Gérald, who watches her enraptured.) No. 6a DUET LAKME (angrily) ‘du ‘vie ty ‘ke We'y Dor viens-tu? Que —_voux-tu? From where do you come? What do you want? ‘pur pynir t_ poldasce 8 tre tye devo mwa Pour punir ton audaco on teurait tué devant moi! To punish your boldness they wotld have you —ikilled before me! (You could have been killed before my eyes as punishment for your boldness!) ‘me ye mui ‘de m8 pefrwa Mais jo rougis de = mon effroi! But T blush at my __fright! © ye nee Vo pa 1% safe et jen voux pas quon sache and 1 donot want that they should know ke le ple dt arbare a sje dynce afer quo lo —piod d'un barbare a souillé d'uno tacho that the foot ofa barbarian has sullied witha blemish ‘la doemoerce «= sakre um perce ‘sce aloe Ja domoure = sacrée ot += mon pire_s0 cache! the abode sacred where my — fathor is in hiding! voli © = pursame = ski rape tel io Oublie et pourjamais co qui frappe tes _youx, Forget and forever that which strikes your eyes. (Forget forever what you have seen.) vata esi Tijce de dio Vacton! Je suis’ fille dos Dieux! Go from here! 1 am ~—daughter-_—of the _gods! GERALD bite ‘Koo sete Vyce ‘toc nedre'sd tu, jetmyoe Oublier que je tai vue, to redressant tout “émue To forget that «+1 have seen you, drawn upright, all _oxcited Lakmé, Act I ‘up estce trite ‘dee sous un gosto triomphant! Do with a gesture of triumph! With efieksiblee —meena'sdtce © atvek sce inflexible, monacante, avec ce unbending, threatening, with that LAKME same ‘le ply temererce © same, Jamais lo plus. téméraire, jamais Never the most bold, never (Never would the boldest of men, even a Hind nozce're parle. gsi oe nosorait parlor ‘ainsi! Et wouldn't dare to speak thus! And pynira O —sakrilesoe va ta punire ton sacrildge, va fen, will punish your sacrilege: Go, GERALD ublie ‘koe ye te yee Oublior quo jo tai vue! To forget that «

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