Professional Documents
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Version
1 (Completed June 5, 2014)
Disclaimer
This is an authentic, de novo translation from the original text, performed with little or no
reference to earlier translations. Any resemblance between any portion of this work and the
translations of others is either coincidental or is an artifact of the process of translation from a
common source.
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Preface
Some years ago, as I was preparing to go with my son to a performance of Die Zauberflöte
in Brevard, North Carolina, I cast about trying to find an English translation to read to him to
familiarize him with the plot of the opera. The best I could come up with was a musty old volume
from the local library, published a century or so ago, whose text (evidently a stage translation) was
so riddled with tortured syntax, pseudo-Shakespearean and pseudo-Biblical archaicisms, and other
Victorian baggage that it was a disappointment to me. The original, after all, was written in the
popular German of its time, so why should an English translation not reflect, to the extent that the
original allows, the realities of how we speak to one another today? Later, I located another stage
translation in the liner booklet to a CD set I own–but if anything, this one seemed even worse!
Thinking I might find something in more intelligible, modern English on the Internet, I was
shocked instead to find nothing! I was well aware that professional-quality stage translations of this
revered work do exist (the Martin and Porter translations come to mind), but evidently the terms of
their copyrights must prevent their online posting, and the local library did not have them. It
appeared to me that there was a real lacuna in the literature here, at least in terms of anything readily
available online. I realized that the translations I had in hand were of such mediocrity that I could
do better myself, and thus this project was launched.
At first, I decided on the format of a reading translation, written in plain, undistorted prose
to give the closest possible rendition of the meaning of Schikaneder’s words. Later, I decided to add
a stage translation, something which could actually be sung to Mozart’s music. I found the idea of
the parallel translations appealing, as each fulfils a different function.
This project turned out to be more complex than I realized, and it certainly was not ready
before we went to that performance in Brevard (which, incidentally, used the Martin translation); but
it has been a delight to work on, and I hope that the online public will realize as much pleasure from
it as I have. A detailed explanation and apologia follows.
The Reading Translation. The priorities here were simple: I wished to give the closest
rendition of Schikaneder’s words that was feasible. However, there are limits here: a too-literal,
word-for-word translation would quickly degenerate into an unintelligible morass of mistranslated
idioms, inappropriate word order, implication brackets, and so on. I resolved that this translation
would be written in proper modern English, and that the closest equivalent English idiomatic
expression would be substituted for German idioms found in the original. The reading translation
is written in prose and no attempt to take the music into account is made (although it may be suitable
for supertitle use).
The Stage Translation: This, being inevitably a verse translation, is a more complex
undertaking. The need for good English is as stringent here as in the reading translation; but equally
paramount is the consideration that the words one writes should not, through their accentuation
pattern or otherwise, obstruct the flow of the music or be at cross-purposes with it. In the best such
translations, the words float effortlessly on the music, to the extent that no one not otherwise
informed would even realize that they are hearing a translation. Important, too, is the preservation
of some of the rhyming schemes in the original text, and judgment must be exercised here: the
structure of Mozart’s score emphasizes some of these rhymes while basically ignoring others, and
an effort to duplicate the former in the translation is definitely called for (although there some places
where it proved beyond my ability.) Another matter to beware of concerns the pithy clusters of
unvoiced consonants so beloved of English poets, and so admired by readers of English poetry: these
can be death if carelessly dropped in the middle of a sustain or legato vocal line (just try sustaining
a note over a word like ‘lipstick’); thus, a retreat from conventional ideals of poesy is sometimes
called for.
On the other hand, it is frequently possible to be freer in the particulars of the stage
translation than is the case with a reading translation, as long as the general spirit and thrust of the
librettist’s words are honored, and one has fewer qualms about rearranging the order in which things
are said, as long as one respects those places where Mozart paints the words with music (the phrase
‘zum Grabe’ in Sarastro’s first aria comes to mind).
These considerations dictate that any stage translation is going to be a compromise; it is but
to be hoped that the compromise arrived at is an acceptable one.
Racism, Sexism, and the Alternate Blocks: Two issues bedevil anyone presenting this
opera in the modern world. The first is that one of the chief villainous characters, Monostatos, is
described as “black”, or having black skin, being of Moorish (African-Arab) ancestry; and the color
of his skin is equated in an heraldic/metaphysical sense with the evil of his personality. To American
audiences, especially, this smacks so much of anti-African-American racism that it is politically
infeasible to present the work in North America without Bowdlerizing the text in some manner to
disguise the nature of what the original says.
Ironically, Schikaneder’s text does not, on close examination, actually seem to be bigoted in
this manner. The world of 1791 Vienna would appear to be as remote as the moon from the tragic
realities of North American racial history, and the “black” character Monostatos is certainly not
African-American. Moreover, Monostatos’s aria “Alles fühlt der Liebe Freuden” can legitimately
be read as a cri de coeur against racism. Nonetheless, it is appearance rather than ultimate reality
which must often be the deciding factor here.
The second issue, that of the shrill misogyny which pervades parts of the libretto (coming,
perhaps, from the darker side of early Masonic ideology), cannot be dismissed so easily, and it is a
genuine blemish on the integrity of what is otherwise a very high-minded work. In fact, my
observation is that many of the snide comments about women and femininity are acutely
embarrassing to modern audiences, especially if rendered into the listeners’ native tongue. Yet,
producers have troubled themselves much less over this issue than over the matter of racial propriety;
the reasons for this lie in the political peculiarities of our culture.
The reading translation in Column 2 is reasonably faithful to the original in these respects,
as I believe it properly should be. As to the stage translation included here, rather than taking sides
as to what should or should not be appropriate to present on the stage, I have included text written
both ways–in Column 3 is found a reasonably “straight” rendition which makes no particular effort
to hide what the original says, while, in those places where it is an issue, I have included blocks of
“sanitized” text in Column 4. It is my opinion that the decision of what to censor lies properly with
the producer, based on the circumstances of presentation, and that the translator’s role is to provide
him or her with the wherewithal to make the choice possible.
There are also a few alternate passages in Column 4 whose presence has nothing to do with
racism or sexism issues; they are merely variations which I find interesting enough to include, and
they are indicated as such.
Legend
Repetitions and Bracketing-Out. In some places, as we know, Mozart repeats a phrase from the
text multiple times, usually varying the underlying musical treatment. If there is no explicit
indication to the contrary, it is assumed that Mozart’s repetition pattern in the original will be
transparently mapped onto the corresponding line in the stage translation. However, there are places
where I found it expedient to vary the underlying English text in places where Schikaneder’s German
is merely repeated. Rather than writing these repetitions out explicitly, I surround the original
repeated German passage in Column 1 in curly braces and then, in column 3, the English lines
corresponding to the successive repetitions of the original text are written out in order preceded by
numerals in square brackets. Thus,
{Ich kann nichts tun, als dich [1]I’ve only sympathy to offer;
beklagen, There’s not much I can do
Weil ich zu schwach zu helfen alone.
bin.} [2] There’s not much help that
I can offer,
For I don’t have the strength
alone.
is equivalent to
Ich kann nichts tun, als dich I’ve only sympathy to offer;
beklagen, There’s not much I can do
Weil ich zu schwach zu helfen alone.
bin.
Ich kann nichts tun, als dich There’s not much help that I
beklagen, can offer,
Weil ich zu schwach zu helfen For I don’t have the strength
bin. alone.
Alternate Block Mapping: Wherever substitutable text occurs in Column 4, the text opposite in
Column 3 which is to be replaced is enclosed in curly braces.
Syllabic Mapping: Here and there are places where the text in Column 3 has a different number of
syllables than the original German text it replaces. Where this may cause confusion with respect to
how the translated text is supposed to map onto the music, comments may appear in Column 4
suggesting how this might be accomplished. If the score adheres to the written convention that not
more than one syllable may be mapped onto one written note, then some syllabic mappings may
imply minor modifications to the lengths of individual notes sung consecutively. At no time should
it be inferred that the overall duration or melodic contour of such a sequence differ from that of the
written original.
Original Text Reading Translation Stage Translation Alternate Blocks and
Margin Notes
Erster Aufzug First Act First Act
Eine felsige Gegend, hie und da A rocky area, here and there A rocky area, here and there
mit Bäumen überwachsen. overgrown with trees. Tamino overgrown with trees. Tamino
Tamino kommt im Jagdkleide appears in hunting clothes from appears in hunting clothes from
von einem Felsen herunter mit underneath a boulder carrying underneath a boulder carrying
einem Bogen, aber ohne Pfeil. a bow, but without arrows. A a bow, but without arrows. A
Eine Schlange verfolgt ihn. giant snake is pursuing him. giant snake is pursuing him.
(Er fällt in Ohnmacht. Die Drei (He falls in a faint. The Three He falls in a faint. The Three
D a m e n e r s c h e i n e n , Ladies appear,veiled, carrying Ladies appear,veiled, carrying
verschleiert, mit silbernen silver javelins.) silver javelins.)
Wurfspießen.)
(Sie stossen die Schlange (They hack the snake in two) (They hack the snake in two) A variation on this has the
entzwei.) snake cut into three pieces
(entdrei), reinforcing the
Triumph! Triumph! Sie ist Triumph! Triumph! The heroic It’s done! It’s done! ubiquity of the mystical
vollbracht, deed is complete! He is freed By noble deed the day is won! number 3.
Die Heldentat! Er ist befreit by our humble bravery. We’ve set him free
Durch unsres Armes Tapferkeit. With might and modest
bravery.
Ich sollte fort? Ei, ei, Wie fein! I’m supposed to go? Oh, how And when I go? Well, that’s
Sie wären gern bei ihm allein - wonderful. They would love to just grand!
{{Nein, nein!} Das kann nicht be alone with him.... They’d love to be alone with
sein!} No, no! That can’t be! him...
[1a,2a]No way!
[1b,2b]The chance of that is
slim,
[3b] I think we understand.
(Eine nach der andern, dann (Sequentially, then in unison) (Sequentially, then in unison)
alle drei zugleich)
Was wollte ich darum nicht What wouldn’t I give to be able What sacrifice would be too
geben, to live with this youth! If I had great,
Könnt' ich mit diesem Jüngling him alone with me.. If I could have him as my mate!
leben! But no one is leaving; it can’t If I could be alone with him...
Hätt' ich ihn doch so ganz be. It’s best that I go now. But here we stand; it’s not to
allein! be;
Doch keine geht; es kann nicht I might as well be on my way.
sein,
Am besten ist es nun, ich geh'.
Du Jüngling, schön und Handsome and lovely youth, Goodbye, my handsome O.T.: It is part of the unreality
liebevoll, beautiful youth, farewell, until traveler, of this fairy-tale world that
Du trauter Jüngling, lebe wohl, I see you again. Fair treasure, I will think of you perfect strangers use the
Bis ich dich wiederseh'. Until we meet again. familiar form of address with
each other; this would
(Sie gehen) (Exeunt.) (Exeunt.) certainly not be true of 18th-
century German in the real
Monolog Monologue. Monologue. world.
Tamino (erwacht, sieht Tamino (awakens and looks Tamino (awakens and looks
furchtsam umher): fearfully about): fearfully about):
Wo bin ich? Ist's Fantasie, daß Where am I? Is it fantasy that I Where am I? Do I merely
ich noch lebe, oder hat eine am still alive, or has a higher imagine being still alive, or has
höhere Macht mich gerettet? power rescued me? a higher power rescued me?
(Er steht auf und sieht umher.) (He arises and looks around) (He arises and looks around)
Wie? - Die bösartige Schlange How? The evil serpent is dead? What’s this? The monster is
ist tot? dead?
(Man hört von fern ein (A pan-pipe is heard in the (A pan-pipe is heard in the
Waldflötchen.) distance.) distance.)
Was hör ich? - Ha, eine What am I hearing? Hey, here What’s that I hear? Ah, here
männliche Figur nähert sich comes a human figure. comes someone who looks
human.
(Er versteckt sich hinter einem (He hides behind a tree) (He hides behind a tree)
Baum.)
Der Vogelfänger bin ich ja, I am the bird-catcher, always Yes, I’m the guy who catches
Stets lustig, heisa, hopsassa! jolly, [glossolalia]! I am known birds;
Ich Vogelfänger bin bekannt as bird-catcher by young and I’m never lost for happy words.
Bei Alt und Jung im ganzen old in all the land. Both kids and seniors know me
Land. I would like a net for maidens; well:
Ein Netz für Mädchen möchte I’d catch dozens of them for “Yes, he’s the bird man,” they
ich, myself. Then I’d lock them up will tell.
Ich fing sie dutzendweis für with me, and all maidens would If I could only cast a net,
mich; be mine. Just think of all the girls I’d
Dann sperrte ich sie bei mir ein, get!
Und alle Mädchen wären mein. I’d lock them up and keep the
key,
And then they’d all belong to
me.
Wenn alle Mädchen wären When all maidens were mine, When all the girls belonged to
mein, I’d trade them fairly for sugar. me,
So tauschte ich brav Zucker I’d give the sugar to my I’d trade them in for sweets and
ein. favorite one. She would then tea.
Die, welche mir am liebsten kiss me tenderly. She would be Then, I’d select my favorite one O.T., S.T. syllabic mapping:
wär', my wife, and I, her husband. And offer her a sugar bun. “Lieb[sten]” > “favor[ite]”
Der gäb' ich gleich den Zucker She would go to sleep by my She’d kiss me then so tenderly,
her. side; I would rock her to sleep I’d kneel, and ask her to marry
Und küßte sie mich zärtlich like a child. me.
dann, She’d drift to dreamland in my
Wär' sie mein Weib und ich ihr arms;
Mann, I’d sing, and hold her to keep
Sie schlief' an meiner Seite ein, her warm.
Ich wiegte wie ein Kind sie ein.
(Pfeift, will nach der Arie nach (He blows on his pipe, and (He blows on his pipe, and
der Pforte gehen.) makes as if to leave.) makes as if to leave.)
Warum siehst du so verdächtig Why are you giving me that Why are you giving me that
und schelmisch nach mir? suspicious, rascally look? suspicious, rascally look?
(Er geht auf ihn zu) (He starts to approach him) (He starts to approach him)
Wenn er sich nicht bald von If he doesn’t become scared of If he doesn’t become scared of
mir schrecken lässt, so lauf ich me soon, I’m out of here. me soon, I’m out of here.
davon.
(Er sieht auf die Schlange) (He looks at the snake) (He looks at the snake)
Also warst du wohl gar mein Then I suppose you were my Then I suppose you were my
Erretter, der diese giftige savior who fought off this savior who fought off this
Schlange bekämpfte? venomous serpent? venomous serpent?
(Er sieht sich um, weicht (He looks around; seeing the (He looks around; seeing the
zitternd einige Schritte zurück) snake, he backs up a few paces, snake, he backs up a few paces,
trembling.) trembling.)
Ah! Ah! Ist sie tot oder Aaah! Is it dead or alive? Aaah! Is it dead or alive?
lebendig?
Bin in meinem Leben nicht so I’ve never been so strong in my I’ve never been so strong in my
stark gewesen, als heute. life as today. life as I have today.
(Die Drei Damen erscheinen (The Three Ladies appear (The Three Ladies appear
verschleiert.) wearing veils.) wearing veils.)
Drei Damen (drohen und rufen Three Ladies (threateningly Three Ladies (threateningly
zugleich): and in unison): and in unison):
Papageno! Papageno! Papageno!
Ah, du fragst, ob sie schön You were asking if they were You were asking if they were
sind, da kann ich dir nichts beautiful; I can give no other beautiful; I can give no other
anderes darauf antworten, als answer, but that I have never answer, but that I have never
daß ich in meinem Leben nichts seen prettier ones in my life. seen prettier ones in my life.
Reizenderes gesehen habe.
Jetzt werd ich gleich wieder gut Now things will be okay for Now I hope things will be okay
sein. me. for me.
Drei Damen (noch näher Three Ladies (approaching Three Ladies (approaching
tretend, drohend): closer, threateningly) closer, threateningly)
Papageno! Papageno! Papageno!
Erste Dame (reicht ihm ein First Lady (hands him a First Lady (hands him a
Gefäß mit Wasser): container of water): container of water):
Dafür schickt dir unsere Fürstin For that our queen sends you For that our queen sends you
heute zum ersten Mal statt today, for the first time, instead today, for the first time, instead
Wein reines, helles Wasser. of wine, clean, clear, water. of wine, clean, clear, water.
Zweite Dame:
Und mir befahl sie, daß ich, Second Lady: Second Lady:
statt Zuckerbrot, diesen Stein And she commanded me to And she commanded me to
dir überbringen soll. Ich bring you, instead of pastries, bring you, instead of pastries,
wünsche, daß er dir wohl this stone. I hope you will find this stone. I hope you will find
bekommen möge. it to your liking. it to your liking.
(Sie schlägt ihm das Schloß (She puts the lock on his mouth. (She puts the lock on his mouth.
vor. Papageno hat seinen Papageno starts gesturing.) Papageno starts gesturing.)
Scherz durch Gebärden.)
(Papageno bejaht es durch (Papageno nods his head.) (Papageno nods his head.)
Nicken mit dem Kopf.)
(Papageno verneint es, durch (Papageno shakes his head.) (Papageno shakes his head.)
Schütteln mit dem Kopf.)
Dritte Dame (zu Tamino): Third Lady (to Tamino): Third Lady (to Tamino):
Wir waren's, Jüngling, die dich We were the ones who freed We were the ones who freed
befreiten. Hier, dies Gemälde you. Here, the great queen you. Here, the great queen
schickt dir die große Fürstin; es sends you this portrait. It is a sends you this portrait. It is a
ist das Bildnis ihrer Tochter. portrait of her daughter. She portrait of her daughter. She
"Findest du," sagte sie, "daß said to tell you, “If you find her said to tell you, “If you find her
diese Züge dir nicht a p p e a r a n c e mo r e t h a n a p p e a r a n c e mo r e t h a n
gleichgültig sind, dann ist indifferent, then happiness, indifferent, then happiness,
Glück, Ehr' und Ruhm dein honor, and glory will be your honor, and glory await you.”
Los!" Auf Wiedersehen. lot.” Good-bye.
Good-bye.
Tamino (blickt das Bildnis an): Tamino (gazes at the portrait): Tamino (gazes at the portrait):
Dies Bildnis ist bezaubernd This likeness is enchantingly What tender eye has yet beheld
schön, beautiful, such as no eye has A shining vision such as this;
Wie noch kein Auge je gesehn! ever before beheld! [1]Such sweetness,
{Ich fühl es,} wie dies I feel how this divine image [2]Such radiance,
Götterbild fills my heart with new Calling out to me
Mein Herz mit neuer Regung stirrings. Awakens a thrill within my
füllt. I cannot name this something, heart;
Dies Etwas kann ich zwar nicht but I feel it burn here like fire. I have no name for this new
nennen, Could the feeling be love? yearning,
Doch fühl' ich's hier wie Feuer Yes, yes, it is love alone. I feel it here within me burning.
brennen. Oh, if I could only find her! Maybe it is...is it possible?
Soll die Empfindung Liebe Oh, if she already stood before [1]That’s it!
sein? me! [2] Of course!
{Ja, ja,} die Liebe ist's allein. I would...would..warmly and It really must be love.
O wenn ich sie nur finden absolutely..what would I do? Oh, if I just knew where to find
könnte! I, overflowing with joy, would her!
O wenn sie doch schon vor mir press her to this hot bosom, Oh, if she stood here now
stände! And she would be mine before me!
Ich würde, würde, warm und forever! I’d go and...go and...oh, what
rein, was I saying now?
Was würde ich? I’d hurry forth, and hold her
Ich würde sie voll Entzücken tightly,
An diesen heißen Busen Her shining eyes would
drücken, welcome me brightly
Und ewig wäre sie dann mein! And ever after she’d be mine!
(Tamino will abgehen. Die (Tamino makes as if to exit. The (Tamino makes as if to exit. The
Drei Damen treten auf.) Three Ladies return.) Three Ladies return.)
Ihr Götter, was ist das? Gods, what is that? Gods, what is that?
Zum Leiden bin ich auserkoren, I am singled out for suffering. For I am singled out to suffer!
Denn meine Tochter fehlet mir; For I do not have my daughter, My only daughter’s lost to me.
Durch sie ging all mein Glück All my happiness was lost with My hope and joy departed with
verloren, her, her;
Ein Bösewicht entfloh mit ihr. A villain fled with her. A wicked fiend bore her away.
Noch seh' ich ihr Zittern I still can see her trembling I still see her cringing,
Mit bangem Erschüttern, with anxious shock, Just speechless with terror
Ihr ängstliches Beben, Her terrified shaking, She looked at me,pleading,
Ihr schüchternes Streben. Her quiet struggling. As iron hands clenched round
Ich mußte sie mir rauben sehen, I had to watch her being torn her;
»Ach helft! ach helft!« war from me; She struggled but could not
alles, was sie sprach. Oh, help! Oh, help! Was all she escape them;
Allein vergebens war ihr said. “Oh, help, oh, help!” was all
Flehen, But her entreaties were in vain, she said to me.
{Denn meine Hilfe war zu for my help was too feeble. And even this she spoke in
schwach.} vain,
[1]For there was nothing I
could do.
[2] I had to watch as they
dragged her, pale and shaking,
away.
Du, du, du wirst sie zu befreien You will go and free her, You, you, you shall go to set
gehen, You will be my daughter’s her free;
{Du wirst der Tochter Retter rescuer. [1]You are my sword of
sein.} And if I see you as victor, victory,
Und werd' ich dich als Sieger she will be forever yours. [2]Yes, you shall save Pamina’s
sehen, life.
So sei sie dann auf ewig dein. And from the moment of our
triumph
She’ll be forever yours, I vow!
(Mit den Drei Damen ab. Das (Exeunt Queen and Three (Exeunt Queen and Three
Theater verwandelt sich Ladies. The scene is restored to Ladies. The scene is restored to
wieder, so wie es vorher war.) its previous appearance.) its previous appearance.)
Tamino (nach einer Pause): Tamino (after a pause): Is Tamino (after a pause): Is
Ist's denn auch Wirklichkeit, what I just saw reality? Good what I just saw real? Good
was ich sah? O ihr guten gods, don’t deceive me! gods, don’t play games with
Götter, täuscht mich nicht! me!
Papageno (deutet traurig auf Papageno (points sadly to the Papageno (points sadly to the
das Schloß am Munde): lock on his mouth): lock on his mouth):
Hm, hm, hm, hm, hm! Hm, hm, hm, hm, hm! Hm, hm, hm, hm, hm!
(Die Drei Damen erscheinen, (The Three Ladies appear and The Three Ladies appear and
und treten zwischen Tamino pass between Tamino and pass between Tamino and
und Papageno.) Papageno) Papageno)
(Sie nimmt ihm das Schloß vom (She removes the lock from his (She removes the lock from his
Munde.) mouth.) mouth.)
Erste Dame (gibt Tamino eine First Lady (gives Tamino a First Lady (gives Tamino a
goldene Flöte): golden flute): golden flute):
O Prinz, nimm dies Geschenk Oh prince, take this gift from O prince, accept this gift from
von mir! me! Our queen sends you this. me.
Dies sendet uns're Fürstin dir. The magic flute will protect you I bring it from her Majesty.
Die Zauberflöte wird dich and support you in the greatest Whenever danger looms around
schützen, adversity. you,
Im größten Unglück This magic flute will just
unterstützen. astound you.
Erste Dame (gibt Papageno First Lady (gives Papageno a First Lady (gives Papageno a
ein Kätschen mit einem little cabinet with a little cabinet with a
Glockenspiele): glockenspiel): glockenspiel):
Hier, nimm dies Kleinod, es ist Here, take this little gift, it is Here, take this treasure, it is
dein. yours. yours.
(Die Drei Knaben erscheinen) (Enter the Three Boys.) (Enter the Three Boys.) “Drei Knaben” is here
Drei Damen: Three Ladies: Three Ladies: translated as “Three Boys”,
Drei Knäbchen, jung, schön, Three little boys, young, These three have come to be because that is what the name
hold und weise, beautiful, sweet, beloved, and beside you, literally means. Obviously,
Umschweben euch auf eurer wise, shall accompany you on With patience and with truth to these characters are not boys
Reise. your journey. They will be your guide you; in the literal sense, but rather
Sie werden eure Führer sein, leaders; follow their So let their wisdom light the allegorical apparitions taking
Folgt ihrem Rate ganz allein. instructions exclusively. way; the form of boys; and some
Pay close attention to what theytranslators have called them
say. the “Three Spirits” or the
“Three Genii” . None of these
Tamino, Papageno: Tamino, Papageno: Tamino, Papageno: labels really seems quite on
Drei Knäbchen, jung, schön, Three little boys, young, These three have come to be the mark. In some productions
hold und weise, beautiful, noble, and wise, shall beside us, actual boys sing the parts, or
Umschweben euch auf eurer accompany us on our journey. With patience and with truth to they can be sung by adult
Reise. guide us. female sopranos (as was done
in 1791). If the former is
attempted, miking is advised
to preserve dynamic balance,
as boys’ voices do not have a
lot of power.
{
Drei Damen: Three Ladies: Three Ladies: Three Boys:
Sie werden eure Führer sein, They will be your leaders; So let their wisdom light the We’ll keep our vigil over you;
Folgt ihrem Rate ganz allein. follow their instructions way; Mark what we say: our word
closely. Do just exactly as they say.} is true.
This variation allows all three
groups on the stage to sing
Alle: All: All: sequentially, in a kind of
So lebet wohl! Wir wollen So farewell! We want to go. And so it’s time to go, my ascending order.
gehn, Farewell! Farewell, until we friends,
Lebt wohl, lebt wohl, {auf meet again! Goodbye, until [1]we meet
Wiederseh'n!} again!
[2,3,4,5]So long, for now.
________________________ ________________________
2. Auftritt Scene 2 Scene 2
(Sklaven legen ihr Fesseln an.) (The slaves do so.) (The slaves do so)
Mein Haß soll dich verderben! My hate shall ruin you! My hatred shall destroy you!
(Sie sinkt ohnmächtig auf ein (She slumps unconscious onto a (She slumps unconscious onto a
Sofa.) sofa.) sofa.)
(Die Sklaven gehen ab. (Exeunt slaves. Papageno Exeunt slaves. Papageno
Papageno kommt.) enters, in an adjacent space.) enters, in an adjacent space.)
Wo bin ich wohl? Wo mag ich Where am I, anyway? Where do What is this place? Where
sein? I want to be? should I go?
Aha! da find' ich Leute. Aha! I spy people there. Aha! I see some people.
Gewagt, ich geh' hinein. Resolved: I’ll go in. Okay, I’m going in.
Schön Mädchen, jung und rein, Pretty girl, young and pure, What a looker...young and
Viel weißer noch als Kreide. Far whiter than chalk..... pure;
No snowdrift ever was whiter!
Papageno:
I’d....
Monostatos:
...b est...
Papageno:
...get...
Monostatos:
...lost...
Papageno:
...and...
Papageno, Monostatos:
... fast!!
(Laufen beide ab.) (They dash off in opposite (They dash off in opposite
directions.) directions.)
(Er sieht das Portrait an.) (He examines the portrait.) (He examines the portrait.)
Die Augen schwarz - richtig, Eyes: black–OK , black. Eyes: black–OK , black.
schwarz. Die Lippen rot - Lips: red–OK, red. Lips: red–OK, red.
richtig, rot. Blonde Haare - Blonde hair–blonde hair. Blonde hair–blonde hair.
blonde Haare. Alles trifft ein, Everything matches, except the Everything matches, except the
bis auf Hände und Füße. Nach hands and feet. According to hands and feet. According to
dem Gemälde zu schließen, the painting, you should have the painting, you should have
sollst du weder Hände noch neither hands nor feet, for none neither hands nor feet, for none
Füße haben; denn hier sind are shown here. are shown here.
keine angezeigt.
(Sie gehen, Pamina kehrt um) (They start to go. Pamina turns (They start to go. Pamina turns
around.) around.)
(Sieht ihn bedenklich an) (Looks at him doubtfully) (Looks at him doubtfully)
Das Theater verwandelt sich in A grove of trees. In the A grove of trees. In the
ein en Ha i n . G a n z im background is a splendid background is a splendid
Hintergrunde der Bühne ist ein temple bearing the inscription, temple bearing the inscription,
schöner Tempel, worauf diese “Temple of Wisdom”. This “Temple of Wisdom”. This
Worte stehen: Tempel der temple is connected by temple is connected by
Weisheit. Dieser Tempel führt colonnades to two other colonnades to two other
mit Säulen zu zwei anderen temples. The right-hand one is temples. The right-hand one is
Tempeln, rechts auf dem einen inscribed “Temple of Reason”; inscribed “Temple of Reason”;
steht: Tempel der Vernuft. the left-hand one, “Temple of the left-hand one, “Temple of
Links steht: Tempel der Natur. Nature”. Nature”.
Drei Knaben führen Tamino Enter Tamino, led by the Three Enter Tamino, led by the Three
herein. Boys. Boys.
8. Finale 8. Finale 8. Finale
(Er geht an die Pforte zur (He goes to the right-hand gate He goes to the right-hand gate
rechten Seite, macht sie auf, and opens it; as he prepares to and opens it; as he prepares to
und als er enter, voices are heard from enter, voices are heard from
hinein will, hört man unfern inside.) inside.)
Stimmen)
(Er geht zur linken Pforte. (He goes to the left-hand gate (He goes to the left-hand gate
Stimmen von innen.) and hears, as before, voices and hears, as before, voices
from inside.) from inside.)
Da seh' ich noch eine Tür, I see one more door. Maybe I’ll There’s one I haven’t tried.
Vielleicht find' ich den Eingang find the entrance here. Perhaps this is the way inside.
hier.
(Er klopft an der mittleren (He knocks on the middle gate. (He knocks on the middle gate.
Pforte, der Sprecher erscheint.) The Speaker appears.) The Speaker appears.)
(Geht ab.) (Exit Speaker.) (Exit Speaker.) I like it when the Speakerexits
via a darkened, descending
Tamino (allein): Tamino (alone): Tamino (alone): flight of stairs, the door slowly
O ew'ge Nacht! Wann wirst du O eternal night! When will you O endless night! Must you closing after him.
schwinden? disappear? When will the light defeat me?
Wann wird das Licht mein find my eye? When will the morning ever
Auge finden? greet me?
(Er nimmt seine Flöte heraus) (He takes out his flute.) (He takes out his flute.)
O wenn ich doch imstande Oh, if I were only in a position, Oh, if I only had the power,
wäre, almighty ones, in your honor, Almighty ones, to truly thank
Allmächtige, zu eurer Ehre. to describe my thanks with you
Mit jedem Tone meinen Dank every note [I play], the way I Each note I play would ring the
Zu schildern, wie er {hier} feel it here! sky
entsprang. In gladness as it
[1]springs,
[2] springs
from my heart!
(Aufs Herz deutend. Er spielt, (He points to his heart. He (He points to his heart. He
sogleich kommen Tiere von plays; immediately, all manner plays; immediately, all manner
allen Arten hervor, ihm of animals appear to listen to of animals appear to listen to
zuzuhören. Er hört auf, und sie him. He stops, and the animals him. He stops, and the animals
fliehen. Die Vögel pfeifen disappear.The birds sing disappear.The birds sing
dazu.) along.) along.)
{Wie stark ist nicht dein How gentle is your magical [1]Shining flute, the lilt of your
Zauberton, tone, for, beautiful flute, by magic sound
Weil, holde Flöte, durch dein your playing the wild animals Melts ferocity asunder;
Spielen themselves feel joy. When the strains of your music O.T., S.T. syllabic mappings:
Selbst wilde Tiere Freude But Pamina, only Pamina is are all around, “Weil, holde”>”Your”;
fühlen.} still missing! Even animals delight and pause “Spielen”>”gentleness” (one
Doch Pamina, nur Pamina in wonder. note per syllable)
bleibt davon! [2]Your melody enfolds us with
its mild caress;
Your tone is the balm of
gentleness;
Shining flute, when your music
is all around,
Even animals delight and
pause........
But, but Pamina, but Pamina is
not here!
Pamina! Pamina! Höre, höre Pamina! Pamina! Hear me! Pamina! Pamina! Answer me!
mich! In vain! In vain!
Umsonst!
Wo? Ach, wo find' ich dich? Where, oh, where can I find Where, oh where can I find you
you? now?
(Er spielt, Papageno antwortet (He plays. Papageno answers (He plays. Papageno answers
von innen mit seinem from offstage with his pipe.) from offstage with his pipe.)
Flötchen.)
Ha, das ist Papagenos Ton! Ha, that is Papageno’s sound! There, I hear Papageno’s pipe!
(Er spielt. Papageno antwortet) (He plays. Papageno answers.) (He plays. Papageno answers.)
Vielleicht sah er Pamina schon, Maybe he has seen Pamina Perhaps he’s with Pamina now;
Vielleicht eilt sie mit ihm zu already; maybe she is hurrying Perhaps they’re hurrying to me;
mir! with him to me! Maybe the Perhaps that sound can be my
Vielleicht führt mich der Ton sound will lead me to her. guide!
zu ihr.
(Er eilt ab. Papageno und (He hurries off. Papageno and (He hurries off. Papageno and
Pamina eilen herbei.) Pamina rush past.) Pamina rush past.)
(Pfeift. Tamino antwortet mit (He blows on his pipes; Tamino (Blows on his pipes; Tamino
seiner Flöte.) answers with his flute.) answers with his flute.)
Monostatos (ihrer spottend): Monostatos (mocking them): Monostatos (mocking them): O.T., S.T. syllabic mapping:
Nu r geschwinde! Nur Now quickly! Now quickly! Better hustle! Better hustle! ‘hab’ ich noch’>’I have’
geschwinde! Ha, have I caught you now? Ha! I have caught you now!
Ha, hab' ich euch noch Bring me chains, I’ll do the
erwischt? Now come here with steel and honors;
Nur herbei mit Stahl und Eisen; iron; Now it’s time to teach you
Wart', ich will euch Mores Wait; I will teach you manners. manners.
weisen. You thought you could enchant Sneaking round like thieving
Den Monostatos berücken! Monostatos! jackals!
Nur herbei mit Band und Now bring fetters and ropes! Bring me irons, bring me
Stricken, Hey, slaves, come here! shackles!
He, ihr Sklaven, kommt herbei! Hey, you loafers, bring them
here!
(Sklaven kommen, mit Fesseln.) (Enter slaves with shackles.) (Enter slaves with shackles.)
(Er spielt a u f sein em (He plays on his glockenspiel. (He plays on his glockenspiel.
Glockenspiel. Sogleich tanzen Immediately, Monostatos and Immediately, Monostatos and
und singen Monostatos und die the slaves start dancing and the slaves start dancing and
Sklaven.) singing.) singing.)
(Ein starker Marsch mit (A march with trumpets and (A march with trumpets and
Trompeten und Pauken fällt drums begins offstage.) drums begins offstage.)
ein)
(Monostatos führt Tamino (Monostatos brings Tamino in.) (Monostatos brings Tamino in.)
herein.)
(Er trennt sie; kniet dann vor (He forcibly separates them, He forcibly separates them, and
Sarastro nieder.) and then kneels before then kneels before Sarastro.)
Sarastro.)
Dein Sklave liegt zu deinen Your slave lies at your feet. Let Your slave kneels humbly here
Füßen, the cheeky sinner pay for that. before you.
Laß den verwegnen Frevler Look how brazen the boy is: he Let there be justice, I implore
büßen! was going to make off with you.
Bedenk, wie frech der Knabe Pamina through the cunning of Observe the brashness of this
ist: this rare bird. I was the only boy:
Durch dieses seltnen Vogels one who knew how to sniff him With this rare bird, his clever
List out. You know me! My ploy
Wollt er Pamina dir entführen. vigilance— Would have allowed him to
A l l e i n i c h wu ß t ' i h n abduct her.
auszuspüren. But I, alone, was not a sucker.
Du kennst mich! Meine You know me! My keen
Wachsamkeit- vigilance...
(Der Sprecher und zwei (The Speaker and two other (The Speaker and two other
Priester bringen eine Art Sack priests produce two sacks and priests produce two sacks and
und bedecken cover the heads of Tamino and cover the heads of Tamino and
die Häupter der beiden Papageno.) Papageno.)
Fremden)
Das Theater ist ein A palm forest. All the trees A palm forest. All the trees
Palmenwald, alle Bäume sind have a sheen like silver, with have a sheen like silver, with
silberartig,die Blätter von golden fronds.There are 18 golden fronds.There are 18
Gold, 18 Sitze von Blättern. Auf seats made out of these fronds. seats made out of these fronds.
einem jeden Sitze steht eine On each is a pyramid and a On each is a pyramid and a
Pyramide und ein großes, large black horn trimmed with large black horn trimmed with
schwarzes Horn mit Gold gold. The largest trees, and the gold. The largest trees, and the
gefaßt. In der Mitte die größte largest pyramid, are in the largest pyramid, are in the
Pyramide, auch die größten center. center.
Bäume.
(Sarastro nebst anderen (Sarastro,and the other priests (Sarastro,and the other priests
Priestern kommen in feierlichen enter with solemn strides, each enter with solemn strides, each
Schritten, jeder mit einem carrying a palm frond. A march carrying a palm frond. A march
Palmenzweig in der Hand. Ein w i t h w in d instrum e n t s w i t h w i n d instrument s
Marsch mit accompanies the procession.) accompanies the procession.)
Blasinstrumenten begleitet den
Zug.)
(9. Marsch der Priester) (9. March of the Priests) (9. March of the Priests)
Sarastro (nach einer Pause): Sarastro (after a pause): Sarastro (after a pause):
Ihr, in dem Weisheitstempel Servants of the great gods Isis Servants of the great gods Isis
eingeweihten Diener der großen and Osiris, and initiates of the and Osiris, and initiates of the
Götter Osiris und Isis! Mit Temple of Wisdom! I tell you Temple of Wisdom! I tell you
reiner Seele erklär' ich euch, today without any doubt that today without any doubt that
daß unsre heutige our gathering today is one of our gathering today is one of
V ersammlu n g ein e d er the most important of our time. the most important of our time.
wichtigsten unsrer Zeit ist. Tamino, the son of a king, came Tamino, the son of a king, came
Tamino, ein Königssohn, to the north gate of our temple; to the north gate of our temple;
wandelte an der nördlichen he wishes to tear the veil of he wishes to tear the veil of
Pforte unsers Tempels; will night from himself so he, too, night from himself so he, too,
seinen nächtlichen Schleier von may gaze into the sanctuary of may gaze into the sanctuary of
sich reißen und ins Heiligtum that greatest light. that greatest light.
des größten Lichtes blicken. To watch over this To watch over this
Diesen Tugendhaften zu virtuous young man, to offer virtuous young man, to offer
b e wa c h t en , i h m him our hand in friendship, is him our hand in friendship, is
freundschaftlich die Hand zu today our most important duty. today our most important duty.
bieten, sei heute eine unsrer
wichtigsten Pflichten.
Erster Priester (steht auf): First Priest (rises): First Priest (rises):
Er besitzt Tugend? He has virtue? Is he virtuous?
(Sie blasen dreimal in die (The horns sound three times.) (The horns sound three times.)
Hörner.)
Gerührt über die Einigkeit eurer Moved by the unity of your Moved by the unity of your
Herzen, dankt Sarastro hearts, Sarastro thanks you in hearts, Sarastro thanks you in
eu ch im Namen der the name of mankind. May we, the name of mankind. May we,
Menschheit. Mag immer das the initiated, always stand free the initiated, always stand free
Vorurteil seinen Tadel über uns of the shame of prejudice! of the shame of prejudice!
Eingeweihte auslassen! Jedoch, However, this wicked prejudice However, this wicked prejudice
das böse Vorurteil shall pass away. It shall pass shall pass away. It shall pass
soll schwinden; und es wird away at the very moment when away at the very moment when
schwinden, sobald Tamino Tamino himself comes into Tamino himself comes into
selbst die Größe unserer possession, into mastery, of the possession, into mastery, of the
schweren Kunst besitzen wird. full grandeur of our difficult full grandeur of our difficult
Pamina haben die Götter dem way. way.
holden Jüngling bestimmt; dies The gods have chosen The gods have chosen
ist der Grund, warum ich sie Pamina for the noble youth; Pamina for the noble youth;
der stolzen Mutter entriß. Das this is the reason I tore her this is the reason I tore her
Weib dünkt sich groß zu sein; away from her proud mother. away from her proud mother.
hofft durch Blendwerk und That woman believes herself That woman believes herself
Aberglauben das Volk zu great, and hopes to enchant the great, and hopes to enchant the
berücken und unsern festen people through illusion and people through illusion and
Tempelbau zu zerstören. Allein, superstition, and so to destroy superstition, and so to destroy
das soll sie nicht. Tamino, der our steadfast temple, our our steadfast temple, our
holde Jüngling, soll ihn mit uns brotherhood. However, she brotherhood. However, she
befestigen und als Eingeweihter shall not. Tamino, the fair shall not. Tamino, the fair
der Tugend Lohn, dem Laster young man, will tie his destiny young man, will tie his destiny
aber Strafe sein. with ours, and as one of the with ours, and as one of the
initiated, shall reap the rewards initiated, shall reap the rewards
of virtue, instead of suffering of virtue, instead of suffering
the punishment for wickedness. the punishment for wickedness.
(Der dreimalige Akkord in den (The Threefold Chord is (The Threefold Chord is
Hörnern wird von allen repeated by all the horns.) repeated by all the horns.)
wiederholt.)
(Der dreimalige Akkord wird (The Threefold Chord is (The Threefold Chord is
wiederholt) repeated.) repeated.)
Man führe Tamino mit seinem Let Tamino be brought into the Let Tamino be brought into the
Reisegefährten in den Vorhof temple antechamber with his temple antechamber with his
des Tempels ein; und du, traveling companion; and you, traveling companion; and you,
vollziehe dein heiliges Amt: fulfill your holy office: teach fulfill your holy office: teach
lehre sie beide die Macht der them to recognize the might of them to know the might of the
Götter erkennen. the gods. gods.
10. Arie mit Chor 10. Aria with Chorus 10. Aria with Chorus
Nacht. Der Donner rollt von Night. Thunder rolls in the Night. Thunder rolls in the
weitem. Das Theater distance. A small temple distance. A small temple
verwandelt sich in einen kurzen vestibule, from which ruins of vestibule, from which ruins of
Vorhof des Tempels, wo man fallen columns and pyramids fallen columns and pyramids
Reste von eingefallenen Säulen are visible, many with thorn- are visible, many with thorn-
und Pyramiden sieht, nebst bushes next to them. On both bushes next to them. On both
einigen Dornbüschen. An sides are tall, old-Egyptian- sides are tall, old-Egyptian-
beiden Seiten stehen style doors giving access to style doors giving access to
praktikable hohe, altägyptische additional wings on the side. additional wings on the side.
Türen,welche mehr
Seitengebäude vorstellen.
(Tamino und Papageno (Tamino and Papageno are led (Tamino and Papageno are led
werden vom Sprecher und dem in by the Speaker and other in by the Speaker and other
andern Priester hereingeführt. priests.The priests remove the priests.The priests remove the
Die Priester lösen ihnen die sacks from their heads and sacks from their heads and
Säcke ab und entfernen sich leave with them.) leave with them.)
damit.)
(Ein sehr s t a r k e r (Very loud clap of thunder.) (Very loud clap of thunder.)
Donnerschlag.)
O! o! o! Das ist mein letzter Oh, oh, oh! This is my final Oh, oh, oh! I’m about to die!
Augenblick! moment!
(Der Sprecher und der Zweite (The Speaker and the Second (The Speaker and the Second
Priester erscheinen mit Priest appear with torches.) Priest appear with torches.)
Fackeln.)
(Sie reichen sich die Hände) (They join hands.) (They join hands.)
Sprecher (zu Tamino): The Speaker (to Tamino): The Speaker (to Tamino):
Auch dir, Prinz, legen die Upon you, too, the gods impose On you, too, the gods impose a
Götter ein heilsames a healing order of absolute healing order of absolute
Stillschweigen auf; ohne dieses silence; without this, both of silence; without this, both of
seid ihr beide verloren. Du you are lost. You will see you are lost. You will see
wirst Pamina sehen, aber nie sie Pamina, but never be allowed Pamina, but never be allowed
sprechen dürfen; dies ist der to speak to her. This is the to speak to her. This is the
Anfang eurer Prüfungszeit. beginning of your time of trials. beginning of your trials.
(Die Drei Damen kommen aus (The Three Ladies appear out (The Three Ladies appear out
der Versenkung.) of the gloom.) of the gloom.)
Drei Damen (zu Tamino): Three Ladies(to Tamino): Three Ladies(to Tamino):
Warum bist du mit uns so Why are you so aloof from us? But why are you so slow to
spröde? answer?
(Tamino deutet bescheiden, (Tamino signals discreetly that (Tamino signals discreetly that
daß er nicht sprechen he is not permitted to speak.) he is not permitted to speak.)
darf.)
Auch Papageno schweigt - so Papageno is also silent–speak! And Papageno too; let’s hear
rede! your banter!
(Die Drei Damen wollen (The Three Ladies make as if to (The Three Ladies make as if to
gehen, die Eingeweihten rufen leave; then the priests call from leave; then the priests call from
von innen.) offstage.) offstage.)
(Ein schrecklicher Akkord mit ( A frightful chord with all ( A frightful chord with all
allen Instrumenten, Donner, instruments, thunder, lightning, instruments, thunder, lightning,
Blitz und and explosion;simultaneously, and explosion;simultaneously,
Schlag, zugleich zwei starke two loud thunderclaps.) two loud thunderclaps.)
Donner.)
(Sie stürzen in die Versenkung.) (They sink into the abyss.) (They sink into the abyss.)
Papageno (fällt vor Schrecken Papageno (falls to the ground Papageno (falls to the ground
zu Boden): with fear): with fear):
O weh, o weh, o weh! Oh dear! Oh dear! Oh dear! Oh no! Oh no! Oh no!
(Der Sprecher und Priester (Enter the Speaker and priests Enter the Speaker and priests
treten mit Fackeln with torches.) with torches.)
ein.)
(Er gibt ihm den Sack um.) (He places the sack over his (He places the sack over his
head.) head.)
(Er geht mit Tamino ab.) (Exeunt Speaker and Tamino) (Exeunt Speaker and Tamino)
(Er gibt ihm den Sack um.) (He places the sack over his He places the sack over his
head.) head.)
Das Theater verwandelt sich in A pleasant garden: trees are A pleasant garden: trees are
einen angenehmen Garten; arranged in a horseshoe arranged in a horseshoe
Bäume,die nach Art eines configuration, in the midst of configuration, in the midst of
Hufeisens gesetzt sind; in der which stands an arbor of roses which stands an arbor of roses
Mitte steht eine Laube von and other flowers. Pamina is and other flowers. Pamina is
Blumen und Rosen, worin asleep inside the arbor. The asleep inside the arbor. The
Pamina schläft. Der Mond moon illuminates her face. A moon illuminates her face. A
beleuchtet ihr Gesicht. Ganz grassy bank is in the grassy bank is in the
vor steht eine Rasenbank. foreground. foreground.
(Monostatos kommt, setzt sich (Enter Monostatos. He sits (Enter Monostatos. He sits
nach einer Pause.) down after a pause.) down after a pause.)
(Er macht sich Wind mit beiden (He fans himself with both (He fans himself with both
Händen.) hands.) hands.)
Das Mädchen wird noch um This girl’s going to be my This girl’s going to be my
meinen Verstand mich bringen. undoing in these circumstances. undoung yet.
(Er sieht sich allenthalben um.) (He glances around him (He glances around him
everywhere.) everywhere.)
Es ist doch eine verdammte It’s such a damned fool thing It’s such a damned fool thing
närrische Sache um die Liebe! with love! I’d think you could with love! You’d think you
Ein Küßchen, dächte ich, ließe excuse one little kiss. could excuse one little kiss.
sich entschuldigen.
Alles fühlt der Liebe Freuden, Everything feels the joy of love: Billing, cooing, hugging,
Schnäbelt, tändelt, herzt und billing and cooing, dallying, kissing,
küßt; hugging and kissing; and I am All the world feels joy of love;
Und ich sollt' die Liebe meiden, supposed to avoid love, {Yet, because a black man’s Yet, because they say I’m
Weil ein Schwarzer häßlich ist! because a black man is ugly! Is ugly,} ugly, etc.
Ist mir denn kein Herz no heart then given to me? Am I am granted none thereof!
gegeben? I not of flesh and blood? It Must I have no heart to
Bin ich nicht von Fleisch und would truly be the fires of hell, cherish?
Blut? to have to live without a Am I not of flesh and blood?
Immer ohne Weibchen leben, woman forever! Therefore, I Better in the flames to perish,
Wäre wahrlich Höllenglut! wish, because I am alive, to bill Than accept such O.T., S.T. syllabic mapping:
and coo, kiss, and be tender; bachelorhood. “Höllenglut” >
Drum so will ich, weil ich lebe, dear moon, forgive me! A white “bachelorhood”
Schnäbeln, küssen, zärtlich one has captured my fancy. While I’m yet among the living
sein! White is lovely! I must kiss her! I must find out what I miss.
Lieber guter Mond, vergebe, Moon, hide yourself! If it Oh, sweet moon, now be
{Eine Weiße nahm mich ein.} should offend you too much, forgiving;
Weiß ist schön! Ich muß sie then close your eyes! {[1]She is white and I am not, [1,2]I shall dare to steal a kiss!
küssen; [2]Yet I dare to steal a kiss!}
{Mond, verstecke dich dazu!} There’s no doubt; I just must
Sollt' es dich zu sehr kiss her.
verdrießen, {[1]See her skin, as white as [1]See her skin, as smooth as
O so mach' die Augen zu! snow!} silk!
[2]Such a beauty, such a prize!
Moon, if what I do offends you,
Turn away and close your eyes!
(Er schleicht langsam und leise (He sneaks up slowly and (He sneaks up slowly and
hin. Die Königin der Nacht quietly . Enter the Queen of the quietly . Enter the Queen of the
kommt unter Donner aus der Night, with thunder, rising out Night, with thunder, rising out
mittleren Versenkung, und so, of the abyss so as to stand of the abyss so as to stand
daß sie gerade vor Pamina zu directly before Pamina.) directly before Pamina.)
stehen kommt.)
(Sie fällt ihr in die Arme) (She falls into her arms.) (She falls into her arms.)
Der Hölle Rache kocht in The vengeance of hell cooks in The wrath of hell is holocaust
meinem Herzen, my heart. Death and despair within me;
Tod und Verzweiflung flammet flame all around me! If Sarastro Death, desolation flaming all O.T.: should this read
um mich her! does not feel the pain of death around! »flammen um mich her!«?
Fühlt nicht durch dich Sarastro through you, you shall never be Either you move
Todesschmerzen, my daughter again. You shall To kill Sarastro swiftly,
So bist du meine Tochter be forever disowned, forever Or else you’re not my daughter
nimmermehr. forsaken, all bonds of nature any more.
Verstoßen sei auf ewig, forever destroyed, if you do not Forever I’ll disown you!
verlassen sei auf ewig. make Sarastro’s blood drain Forever I’ll forsake you!
Zertrümmert sei'n auf ewig away! Hear, gods of vengeance, Forever I will sunder
{alle Bande der Natur,} hear a mother’s vow! [1,2]All nature’s loving bonds,
Wenn nicht durch dich Sarastro [3 (legato triplets and second
wird erblassen! chime-note run)]All of nature’s
{Hört}, Rachegötter, hört der loving bonds,
Mutter Schwur! Unless his blood is drained into
the gutter!
[1,2]Hear,
[3]de-
mons of vengeance,
hear this mother’s vow!
(Sie versinkt mitten in Donner (She descends away in thunder (She descends away in thunder
und Blitz.) and lightning.) and lightning.)
Pamina (mit dem Dolch in der Pamina (with the dagger in her Pamina (with the dagger in her
Hand): hand): hand):
Morden soll ich? - Götter, das I am supposed to murder? I am supposed to murder?
kann ich nicht! Gods, I cannot do that! Gods, Gods, I cannot do that! What
Götter, was soll ich tun? what shall I do? shall I do?
Sarastro (hält ihn schnell ab): Sarastro (grabs him and pulls Sarastro (grabs him and pulls
Monostatos! him sharply back): him sharply back):
Monostatos! Monostatos!
In diesen heil'gen Mauern, Within these holy walls Within these walls of power
Wo Mensch den Menschen Where one person loves We love as brothers do;
liebt, another, No traitors lurk or cower
Kann kein Verräter lauern, No traitor can lurk, Where we forgive our foe.
Weil man dem Feind vergibt. Because one forgives the [1]The fool who hears these O.T., S.T. syllabic mappings:
{Wen solche Lehren nicht enemy. words and still cannot see “Lehren”>”hears these
erfreun, Whoever is not delighted by Does not deserve his humanity. words and”;
Verdienet nicht ein Mensch zu such lessons, [2,3] The fool who hears and “erfreun”>”cannot see”
sein.} Does not deserve to be a human cannot see
Ein Mensch being. Does not deserve humanity.
Ein Mensch zu sein. Deserve
humanity.
Das Theater verwandelt sich in A hall, in which it is possible to A hall, in which it is possible to
eine Halle, wo das Flugwerk operate the flying platform. The operate the flying platform. The
gehen kann. Das Flugwerk ist platform is surrounded with platform is surrounded with
mit Rosen und Blumen roses and other flowers, into roses and other flowers, into
umgeben, wo sich sodann eine which a door opens. In the which a door opens. In the
Türe öffnet. Ganz vorne sind foreground are two rose- foreground are two rose-
zwei Rasenbänke. covered benches. covered benches.
(Tamino und Papageno (Tamino and Papageno are led (Tamino and Papageno are led
werden ohne Säcke von den in, bareheaded, by the two in, bareheaded, by the two
zwei Priestern hereingeführt.) priests.) priests.)
(Tamino setzt sich auf eine (Tamino sits down on one of (Tamino sits down on one of
Rasenbank.) the benches.) the benches.)
Papageno (nach einer Pause): Papageno (after a pause): Papageno (after a pause):
Tamino! Tamino! Tamino!
Papageno (pfeift): Papageno (plays his pipe): Papageno (plays his pipe):
Nicht einmal einen Tropfen You don’t even get a drop of You don’t even get a drop of
Wasser bekommt man bei water [to drink] from these water to drink from these folks,
diesen Leuten; viel weniger folks, much less anything else. much less anything else.
sonst was.
(Ein altes häßliches Weib (An old, ugly woman appears (An old, ugly woman appears
kommt aus der Versenkung, out of the gloom, holding a out of the gloom, holding a
hält auf einer Tasse einen large goblet of water on a large goblet of water on a
großen Becher Wasser.) saucer.) saucer.)
Papageno (sieht sie lang an): Papageno (examining her at Papageno (examining her at
Ist das für mich? length): length):
Is that for me? Is that for me?
Papageno (sieht sie wieder an, Papageno (examining her Papageno (examining her
trinkt): again, drinking): again, drinking):
Wasser! Nicht mehr und nicht Water! Nothing more and Water! Nothing more and
weniger als Wasser. - Sag du nothing less than water... nothing less than water...
mir, du unbekannte Schöne, Tell me, unknown beauty, are Tell me, unknown beauty, are
werden alle fremden Gäste auf all strangers entertained this all strangers entertained this
diese Art bewirtet? way? way?
Papageno (nimmt schnell das Papageno (grabs the water Papageno (grabs the water
Wasser und spritzt sie ins quickly and dashes it in her quickly and dashes it in her
Gesicht): face): face):
Sag du mir, wie heißt du denn? Tell me then, what’s your Tell me then, what’s your
name? name?
(Die Alte hint schnell ab) (She suddenly runs away and (She suddenly runs away and
disappears.) disappears.)
(Tamino steht auf, droht ihm (Tamino arises, threatening (Tamino arises, threatening
mit dem Finger.) him with his finger.) him with his finger.)
Nun sprech' ich aber kein Wort From now on I won’t speak From now on I won’t speak
mehr! another word! another word!
(Die Drei Knaben kommen in (Enter the Three Boys in a (Enter the Three Boys in a
einem mit Rosen bedeckten rose-covered flying platform. In rose-covered flying platform. In
Flugwerk. In der Mitte steht ein the middle stands a beautifully the middle stands a beautifully
schön gedeckter Tisch. Der eine decorated table with enticing decorated table with enticing
hat die Flöte, der andere das food. One of the boys is food. One of the boys is
Kätschen mit Glöckchen.) carrying the flute; another, the carrying the flute; another, the
cabinet of bells.) cabinet of bells.)
(Unter dem Terzett setzen sie (As they sing, they lay the table (As they sing, they lay the table
den Tisch in die Mitte und down center-stage and then fly down center-stage and then fly
fliegen auf.) off.) off.)
(Tamino bläst uaf seiner Flöte) (Tamino plays his flute.) (Tamino plays his flute.)
Blase du nur fort auf deiner Go ahead and play your flute. Go ahead and play your flute.
Flöte, ich will meine Brocken I’ll just mind my own business. I’ll just mind my own business.
blasen. Herr Sarastro führt eine Mr. Sarastro has a good cook. Mr. Sarastro has a good cook.
gute Küche. Auf die Art, ja, da In this way, certainly, I’ll keep I’ll keep quiet, when I get such
will ich schon schweigen, wenn quiet, when I get such good good food as this. Now let me
ich immer solche gute Bissen food as this. Now let me see if see if the wine cellar is also
bekomme. Nun, ich will sehen, the wine cellar is also stocked stocked so well.
ob auch der Keller so gut so well.
bestellt ist.
(Er trinkt.) (He drinks.) (He drinks.)
Ha! Das ist Götterwein! Ah! That is wine of the gods! Ah! That is wine of the gods!
(Papageno hat einen Brocken (Papageno has a mouthful of (Papageno has a mouthful of
in dem Mund, hält mit food in his mouth and food in food in his mouth and food in
beiden Händen die Speisen zu, each hand. He also waves her each hand. He also waves her
winkt fortzugehen.) away.) away.)
Ach, ich fühl's, es ist Oh, I feel it, it has vanished; So it’s true, so swiftly
verschwunden, Love’s happiness gone forever! vanished,
{Ewig hin der Liebe Glück!} Its hours of happiness will Like a rose in winter wind!
Nimmer kommt ihr never return to my heart! Look, [2]Just like that, my hope is
Wonnestunden Tamino, these tears flow for gone.
{Meinem Herzen mehr you alone, trusted one! If you Loving, sweet anticipation
zurück!} no longer feel love’s yearning, Never can return as balm
Sieh', Tamino, diese Tränen, I shall only find peace in death. [2]For the aching in my heart.
Fließen, Trauter, dir allein, Look, Tamino, see me weeping:
Dir allein! All my tears are shed for you,
Fühlst du nicht {der Liebe Only for you!
Sehnen,} If you love me now no longer,
So wird Ruh' {im Tode sein.} [2]If you don’t love me,
Just one peace remains for me:
[2,3,4]The silent tomb.
(Sie geht traurig ab.) (Exit Pamina, sorrowfully.) (Exit Pamina, sorrowfully.)
Monolog. Monologue. Monologue.
D e r K o c h u n d d e r Long live the cook and the Long live the cook and the
Kellermeister sollen leben. cellarmaster. cellarmaster.
(Dreimaliger Posaunenton. (The Threefold Chord is heard. (The Threefold Chord is heard.
Tamino winkt Papageno, daß Tamino gestures to Papageno Tamino gestures to Papageno
er gehen soll.) that it is time to go.) that it is time to go.)
Geh du nur voraus, ich komm You go first; I’ll be right You go first; I’ll be right
dann schon nach. behind you. behind you.
(Tamino will ihn mit Gewalt (Tamino tries to lead him on by (Tamino tries to lead him on by
fortführen.) force.) force.)
Nein! Der Stärkere bleibt da! No! The stronger one stays No! The stronger one stays
here! here!
(dreimaliger Posaunenton) (The Threefold Chord is heard (The Threefold Chord is heard
again.) again.)
Aha, das geht uns an. Aha, that’s for us. OK, I guess that’s for us.
Wir kommen schon. - Aber hör We’re coming!–But listen, We’re coming!–But listen,
mal, Tamino, was wird denn Tamino, what will happen to us Tamino, what will happen to us
noch alles mit uns werden? now? now?
(Tamino deutet den Himmel.) (Tamino points to the sky.) (Tamino points to the sky.)
Ach, du meinst, die Götter soll You mean, I should ask the You mean, I should ask the
ich fragen? gods? gods?
Ja, die könnten uns freilich Yes, they could certainly tell us Yes, they could certainly tell us
mehr sagen, als wir wissen! more than we know now. more than we know.
(Dreimaliger Posaunenton. (The Threefold Chord sounds (The Threefold Chord sounds
Tamino reißt ihn mit Gewalt again. Tamino pulls him again. Tamino pulls him
fort.) forcibly onward.) forcibly onward.)
Wile nur nicht so, wir kommen Don’t be in such a hurry; we’ll Don’t be in such a hurry; we’ll
noch immer zeitlich genug, um be along in good enough time be along in good enough time
uns braten zu lassen. to be roasted. to be barbecued. O.T., R.T.: the phrase »um
uns braten zu lassen« could
(Ab.) (Exeunt.) (Exeunt.) also be an idiomatic
expression meaning “to make
________________________ ________________________ fools of ourselves”; however,
5. Auftritt Scene 5 Scene 5 a literal rendering makes
more sense to me in this
Das Theater verwandelt sich in A crescent of pyramids in the A crescent of pyramids in the context.
das Gewölbe von Pyramiden. background. background.
(Der Sprecher und einige (The Speaker and several other (The Speaker and several other
Priester treten auf. Zwei priests enter. Two of the priests priests enter. Two of the priests
Priester tragen eine erleuchtete carry an illuminated pyramid carry an illuminated pyramid
Pyramide auf den Schultern; on a stretcher-like carrier on a stretcher-like carrier
jeder Priester hat resting on their shoulders; each resting on their shoulders; each
eine transparente Pyramide in priest has a lantern-sized priest has a lantern-sized
der Größe einer Laterne in pyramid in his hand. The pyramid in his hand. The
der Hand. Achtzehn Priester in e i g h teen p riests a r r a y e i g h teen priests a r r a y
Form eines Dreiecks zu je 6 themselves in three triangular themselves in three triangular
aufgestellt.) formations, six to a formation.) formations, six to a formation.)
(Eine Stille herrscht bei allen (A hush falls over all the (A hush falls over all the
Priestern; Pamina wird mit priests. Pamina is brought in priests. Pamina is brought in
eben diesem Sack, welcher die with a sack over her head, such with a sack over her head, such
Eingeweihten bedeckt, as that used by the initiated; as that used by the initiated;
hereingeführt; Sarastro löst die Sarastro unties the cords Sarastro unties the cords
Bande am Sacke auf.) holding the sack on.) holding the sack on.)
(Er sucht herein.) (He comes inside, searching.) (He comes inside, searching.)
Wenn ich nur wenigstens If I just knew where I was.-- If I just knew where I was.--
wüßte, wo ich wäre. - Tamino! Tamino! Tamino, I promise, I Tamino! Tamino, I promise, I
Tamino, solang ich lebe, geh' won’t leave you again as long won’t leave you again as long
ich nicht mehr von dir! Aber as I live! Just this once, please as I live! Just this once, please
dies einmal verlaß mich armen don’t leave your poor don’t leave your poor
Reisegefährten nicht! companion here! companion here!
(Er kommt an die Türe, wo (He comes to the door, out of (He comes to the door, out of
Tamino abgeführt worden ist.) which Tamino was led.) which Tamino was led.)
Eine Stimme (ruft): Voice (with commanding tone): Voice (with commanding tone):
Zurück! Stay back! Stay back!
(Er kommt an die Türe, wo er (He comes to the doors where (He comes to the doors where
hereinkam) he entered.) he entered.)
Und muß am Ende gar And I will finally starve to And I will finally starve to
verhungern. - Geschieht mir death here. Serves me right! death here. Serves me right!
schon recht! - Warum bin ich Why did I come along on this Why did I come along on this
denn auch mitgereist? trip? trip?
(Der Sprecher tritt ihm (Enter the Speaker, opposite (Enter the Speaker, opposite
entgegen) him.) him.)
(Ab. Sogleich kommt ein großer (Exit Speaker. Immediately, a (Exit Speaker. Immediately, a
Becher, mit rotem Wein large pitcher, full of red wine, large pitcher, full of red wine,
angefüllt, aus der Erde.) appears out of the earth.) appears out of the earth.)
(schlägt sein Glockenspiel): (He plays on his bells while (He plays on his bells while
singing.) singing.)
Ein Mädchen oder Weibchen Papageno wishes to have a I’ve always felt this yearning
Wünscht Papageno sich! maiden or little woman for To love a pretty lass;
O so ein sanftes Täubchen himself. Such a gentle little Each night to be returning
Wär' Seligkeit für mich! dove would be bliss for me! To peace and happiness.
Food and drink would taste
Dann schmeckte mir Trinken good again; I could measure My dinner would be more
und Essen, myself against kings! I’d enjoy delicious;
Dann könnt' ich mit Fürsten lifelike a wise man, and it Each second of life would be
mich messen, would be as if I were in precious;
Des Lebens als Weiser mich Elysium! I’d feel as serene as a sage,
freun, Papageno wishes to have a And strut on a heavenly stage!
Und wie im Elysium sein! maiden or little woman for
himself. Such a gentle little
Ein Mädchen oder Weibchen dove would be bliss for me! I’ve always felt this lomging
Wünscht Papageno sich! Oh, can’t I appeal to any of the For one to call my own;
O so ein sanftes Täubchen pretty girls? Unless someone To whom I’d feel belonging,
Wär' Seligkeit für mich! helps me out of this An anchor, and a home.
predicament, I’ll pine myself to
Ach, kann ich denn keiner von death! Oh, can’t I be noticed by any
allen Papageno wishes to have a Young beauty? Oh, there are so
Den reizenden Mädchen maiden or little woman for many!
gefallen? himself. Such a gentle little If none of them reach out to
Helf' eine mir nur aus der Not, dove would be bliss for me! me,
Sonst gräm' ich mich wahrlich If no one grants me love, then I’ll pine away surely, you see.
zu Tod! the flames must consume me!
But if a woman’s mouth kisses So often have I wondered
Ein Mädchen oder Weibchen me, I’ll be well again! How love might come to me;
Wünscht Papageno sich! Perhaps a jolt like thunder,
O so ein sanftes Täubchen Perhaps more quietly.
Wär' Seligkeit für mich!
If none of them give me
Wird keine mir Liebe affection,
gewähren, I’ll die of the pain of rejection;
So muß mich die Flamme A kiss,and a chance to unite,
verzehren! And that will set everything
Doch küßt mich ein weiblicher right.
Mund,
So bin ich schon wieder
gesund!
(Die Alte, tanzend und auf (Enter the Old Woman, dancing (Enter the Old Woman, dancing
ihren Stock dabei sich stützend, and leaning on her cane.) and leaning on her cane.)
kommt herein.)
(Das Weib verwandelt sich in (The Old Woman is (The Old Woman is
ein junges Weib, welches transformed into a young transformed into a young
ebenso gekleidet ist, wie woman [Papagena], clothed woman [Papagena], clothed
Papageno). similarly to Papageno.) similarly to Papageno.)
(Er will sie umarmen.) (He attempts to embrace her.) (He attempts to embrace her.)
Sprecher (kommt und nimmt The Speaker (entering, and The Speaker (entering, and
sie hastig bei der Hand): taking Papagena quickly by the taking Papagena quickly by the
Fort mit dir, junges Weib! Er ist hand): Away with you, young hand): Away with you, young
deiner noch nicht würdig! woman! He is not yet worthy of woman! He is not yet worthy of
Zurück! sag ich. you! (To Papageno) you! (To Papageno)
Get back, I say! Get back, I say!
Sprecher (Er schleppt sie The Speaker (dragging her The Speaker (dragging her
hinein, Papageno will ihr away, as Papageno tries to away, as Papageno tries to
nach): follow): follow):
Zurück, sag ich! Oder zittre! Back off, I say, or tremble [at Back off, I say, or tremble at
the consequences]! the consequences!
(Er sinkt hinab.) (He sinks into the earth.) (He sinks into the earth.)
________________________ ________________________
7. Auftritt Scene 7 Scene 7
(Die Drei Knaben fahren (The Three Boys descend from (The Three Boys descend from
herunter.) above.) above.)
Zweiter Knabe, Dritter Second and Third Boys: Second and Third Boys:
Knabe: Where is she then? Where is she then?
Wo ist sie denn?
(Sie gehen beiseite. Pamina (They station themselves on the (They station themselves on the
kommt, halb wahnwitzig, mit side. Enter Pamina, half- side. Enter Pamina, half-
einem Dolch in der Hand.) crazed, with a dagger in her crazed, with a dagger in her
hand.) hand.)
Pamina (zum Dolch): Pamina (to the dagger): Pamina (to the dagger):
Du also bist mein Bräutigam? So you are my bridegroom? By You’re all I’ve left; it’s really
Durch dich vollend' ich meinen you I shall end my sorrow. true.
Gram. I’ll end my sorrow embracing
you..
Holdes Mädchen, sieh uns an! Fair maiden, look at us! Fair Pamina, look at us!
(auf den Dolch zeigend) (Indicating the dagger) (Indicating the dagger)
Dies gab meine Mutter mir. My mother gave me this. Mother gave me this to use.
(Sie holt mit der Hand aus, um (She extends her arm with the (She extends her arm with the
sich zu erstechen.) dagger and prepares to stab dagger and prepares to stab
herself to death.) herself to death.)
Drei Knaben (halten ihr den Three Boys (restraining her): Three Boys (restraining her):
Arm): Unhappy one, stop! If your Think what you’re about to do!
Ha, Unglückliche, halt ein! young man could see you, he If Tamino could see this horror,
Sollte dies dein Jüngling sehen, would die of grief, for he loves He would surely die of sorrow;
Würde er vor Gram vergehen; you alone. For his heart belongs to you.
Denn er liebet dich allein.
________________________ ________________________
8. Auftritt Scene 8 Scene 8
Das Theater verwandelt sich in A scene with two high A scene with two high
zwei große Berge; in dem mountains; on the one mountains; on the one
einenein Wasserfall, worin man mountainside is a waterfall mountainside is a waterfall
Sausen und Brausen hört; der whose foaming and thundering whose foaming and thundering
andere speit Feuer aus; jeder is clearly audible, while the is clearly audible, while the
Berg hat ein durchbrochenes other mountain spews fire. other mountain spews fire.
Gegitter, worin man Feuer und Ea ch mountain has a Ea ch mo untain has a
Wasser sieht; da, wo das Feuer perforated grate, beyond which perforated grate, beyond which
brennt, muß der Horizont fire and water, respectively, are fire and water, respectively, are
hellrot sein, und wo das Wasser visible. Where the fire burns, visible. Where the fire burns,
ist, liegt schwarzer the horizon is tinted bright red; the horizon is tinted bright red;
Nebel. Die Szenen sind Felsen, the water is obscured by dark the water is obscured by dark
jede Szene schließt sich mit mist. A pyramid stands in the mist. A pyramid stands in the
einer eisernen Tür. middle background next to the middle background next to the
fire grate. fire grate.
************** **************
(Tamino ist leicht angezogen, Tamino, lightly dressed and Tamino, lightly dressed and
ohne Sandalen. Zwei without sandals, is led in by without sandals, is led in by
schwarzgeharnischte Männer two men in black armor. Fire two men in black armor. Fire
führen Tamino herein. Auf burns atop their helmets; they burns atop their helmets; they
ihren Helmen brennt Feuer; sie read to him, in the following read to him, in the following
lesen ihm die transparente piece, the transparent writing piece, the transparent writing
Schrift vor, welche auf einer on the pyramid. on the pyramid.
Pyramide geschrieben steht,
diese Pyramide steht in der
Mitte ganz in der Höhe, nahe
dem Gitter.)
(Die Tür wird aufgemacht; (The door is opened; Tamino The door is opened; Tamino
Tamino und Pamina and Pamina embrace.) and Pamina embrace.)
umarmen sich.)
(Sie nimmt ihn bei der Hand.) (She takes his hand.) (She takes his hand.)
Sie mag den Weg mit Rosen It will strew our path with And love will strew our path
streun, roses, for roses always have with roses
Weil Rosen stets bei Dornen thorns. Play the magic flute; it (Remember, roses all have
sein. will protect us on our journey. thorns);
Spiel du die Zauberflöte an; My father carved it out of the So take the magic flute and
Sie schütze uns auf uns'rer deepest parts of a thousand- play;
Bahn. year-old oak in a magical hour, Its sound will shield us on our
Es schnitt in einer with thunder, lightning, storm, way.
Zauberstunde and roaring wind all about. My father, in a magic moment,
Mein Vater sie aus tiefstem Now, come on and play the Once carved it, of the toughest
Grunde flute; it shall lead us on our heartwood
Der tausendjähr'gen Eiche aus, grim way. Extracted from an ancient oak
Bei Blitz und Donner, Sturm As thunder crashed and
und Braus. mountains shook.
Nun komm und spiel' die Flöte So lift it to your lips and play,
an, That it may lead us on our way.
Sie leite uns auf grauser Bahn.
(Die Türen werden nach ihnen (The gates are shut behind (The gates are shut behind
zugeschlagen; man sieht them; Tamino and Pamina are them; Tamino and Pamina are
Tamino und Pamina wandern; seen to go forth; howling wind seen to go forth; howling wind
man hört Feuergeprassel and the crackling of fire is and the crackling of fire is
und Windgeheul, manchmal heard, along with the heard, along with the
auch den Ton dumpfen intermittent sounds of muffled intermittent sounds of muffled
Donners und thunder and rushing water. thunder and rushing water.
Wassergeräusch. Tamino bläst Tamino plays his flute; muffled Tamino plays his flute; muffled
seine Flöte; drums accompany him now and drums accompany him now and
gedämpfte Pauken then. As soon as they emerge then. As soon as they emerge
akkompagnieren manchmal from the fire, Tamino and from the fire, Tamino and
darunter. Sobald sie vom Pamina embrace and pause Pamina embrace and pause
Feuer herauskommen, center-stage.) center-stage.)
umarmen sie sich und bleiben
in der Mitte.)
(Tamino bläst; man sieht sie (Tamino plays; we see the two (Tamino plays; we see the two
hinuntersteigen und nach of them go down and, after a of them go down and, after a
einiger Zeit wieder while, reemerge. At this point, while, reemerge. At this point,
heraufkommen; sogleich öffnet a door opens; beyond, a a door opens; beyond, a
sicheine Türe; man sieht einen brilliantly lit temple entrance is brilliantly lit temple entrance is
Eingang in einen Tempel, visible. For a moment, there is visible. For a moment, there is
welcher hell beleuchtet ist. Eine solemn silence. This scene must solemn silence. This scene must
feierliche Stille. Dieser Anblick portray a most perfect glory. portray a most perfect glory.
muß den vollkommensten Glanz Presently, the chorus is heard Presently, the chorus is heard
darstellen. Sogleich fällt der with trumpets and drums, but with trumpets and drums, but
Chor mitPauken und first Tamino and Pamina.) first Tamino and Pamina.)
Trompeten ein. Zuvor aber
Tamino und Pamina.)
Pamina, Tamino: Pamina, Tamino: Pamina, Tamino:
Ihr Gö tter, welch ein You gods, what a moment! Oh, gods, what joy could rival
Augenblick! Isis’s happiness is granted us! this?
Gewähret ist uns Isis' Glück! Now Isis grants us happiness!
Das Theater verwandelt sich We see the garden scene we We see the garden scene we
wieder in den vorigen Garten. saw before. saw before.
(Papageno kommt, dann die (Papageno enters, then the (Papageno enters, then the
drei Knaben, zuletzt Three Boys; finally, Papagena.) Three Boys; finally, Papagena.)
Papagena.)
Diesen Baum da will ich zieren, I will adorn this tree over here, Here you’ll see me slowly
Mir an ihm den Hals so I may hang myself, for life swinging,
zuschnüren, doesn’t agree with me. Good Here you’ll see my body
Weil das Leben mir mißfällt; night, you false world. Because hanging,
Gute Nacht, du falsche Welt. you mistreated me, granting me Life just isn’t any fun,
Weil du böse an mir handelst, no pretty one, it’s all over, I’ll So goodbye, you nasty world.
Mir kein schönes Kind die now; pretty girl, think of Since you treated me so badly,
zubandelst, me! Will anyone take pity on Taking what I cherished gladly,
So ist's aus, so sterbe ich; poor me, before I hang myself? Now it’s time for me to die;
{Schöne Mädchen, denkt an Let it be now: Just say “yes” or [1]Papagena, now goodbye;
mich,} “no”.... [2]Think of me, remember why.
- Will sich eine um mich -If there’s anyone around me
Armen, Who is waiting to astound me
Eh' ich hänge, noch erbarmen, With compassion, speak out
Nun, so laß ich's diesmal sein! now!
Rufet nur, ja oder nein. - Just reply, say “yes” or “no”...
Keine hört mich; alles stille! No one hears me; it’s all quiet! No one hears me, not a
Also ist es euer Wille? So is it your will then? whisper!
Papageno, frisch hinauf! Papageno, hustle up there; go So that’s really what you want,
Ende deinen Lebenslauf! on and end it all. then?
Papageno, take the dive;
It is time to end your life!
(Sieht sich um.) (He looks around again.) (He looks around again.)
Nun, ich warte noch, es sei, Well, I’m still waiting; I’ll wait I’m still waiting here, you see,
Bis man zählet: eins, zwei, drei. until I count one, two, three. Speak up before I count to
three.
(Sieht sich um, pfeift) (He looks around, then blows (He looks around, then blows
again.) again.)
(Sieht sich um, pfeift) (He looks around, then blows (He looks around, then blows
again.) again.)
Nun, wohlan, es bleibt dabei, Well, that’s just the way it’s So that’s how it has to be;
Weil mich nichts zurücke hält, going to be. Since nothing is Now there’s nothing stopping
Gute Nacht, du falsche Welt! holding me back, good night, me;
false world. And this jump will set me free!
(Will sich hängen.) (He starts to hang himself.) (He starts to hang himself.)
Drei Knaben ( f a h r e n Three Boys (descending from Three Boys (descending from
herunter): above): above):
Halt ein, o Papageno! und sei Stop, O Papageno! and be Hold on now, Papageno, use
klug, smart, you only live once and your head:
Man lebt nur einmal, dies sei that should be enough for you! There’ll be no hope for you if
dir genug! you are dead!
(Unter diesem Schlagen laufen (While he is singing, the Three (While he is singing, the Three
die Drei Knaben zu ihrem Boys go to their flying platform Boys go to their flying platform
Flugwerk und bringen das and return with Papagena, who and return with Papagena, who
Weib heraus.) has been concealed there.) has been concealed there.)
(Papageno sieht sich um; beide (Papageno looks around; (Papageno looks around;
haben unter dem Ritornell during the ritornello, he and during the ritornello, he and
komisches Spiel.) Papagena, sighting each other, Papagena, sighting each other,
enact a comical pantomime.) enact a comical pantomime.)
________________________ ________________________
10. Auftritt Scene 10 Scene 10
(Monostatos kommt. Die (Enter Monostatos, the Queen (Enter Monostatos, the Queen
Königin und die Drei Damen of the Night, and the Three of the Night, and the Three
kommen von beiden Ladies, out of the gloom, Ladies, out of the gloom,
Versenkungen; sie tragen carrying black torches in their carrying black torches in their
schwarze Fackeln in der hands.) hands.)
Hand.)
(Man hört dumpfen Donner, (Muffled thunder and the sound (Muffled thunder and the sound
Geräusch von Wasser.) of rushing water are heard.) of rushing water are heard.)
Königin, die Damen: Queen of the Night, Ladies: Queen of the Night, Ladies:
Ja, fürchterlich ist dieses Yes, this rumbling is frightful, Yes, thunder and the water
Rauschen, like the echo of distant thunder! tumbling,
Wie fernen Donners Widerhall! Reverberating from afar!
(Man hört der stärksten (A strong chord from the (A strong chord from the
Akkord, Donner, Blitz, orchestra is heard, together orchestra is heard, together
Sturm.) with thunder, lightning, and with thunder, lightning, and
storm sounds.) storm sounds.)
(Sie versinken. Sogleich (They sink out of sight. (They sink out of sight.
verwandelt sich das ganze Immediately, the scene is Immediately, the scene is
Theater in eine Sonne. Sarastro flooded with bright light, with a flooded with bright light, with a
steht erhöht; Tamino,Pamina, sun-symbol as backdrop. sun-symbol as backdrop.
beid e in p riesterlicher Sarastro stands at the most Sarastro stands at the most
Kleidung. Neben ihnen die elevated position; Tamino and elevated position; Tamino and
ägyptischen Priester auf beiden Pamina, in priestly garb, stand Pamina, in priestly garb, stand
Seiten. Die Drei Knaben halten beside him, flanked by the beside him, flanked by the
Blumen.) Egyptian priests. The Three Egyptian priests. The Three
Boys are carrying flowers.) Boys are carrying flowers.)
[21e. Rezitativ u n d [21e. Recitative and Final [21e. Recitative and Final
Schlußchor:] Chorus:] Chorus:]