393 FIDELIO. Opera in two acts Music by Ludwig van Beethoven Libretto by Joseph Sonnleithner and Georg Friedrich Treitschke after the French drama Léonore, ou L'amour conjugal by Jean-Nicolas Bouilly First performed at the Theater auf der Wieden, Vienna, on November 20, 1805 CHARACTERS Florestan, a Spanish nobleman: tenor Leonore, his wife in male attire, passing herself off as Fidelio: soprano Don Fernando, the King's Minister: bass Don Pizarro, governor of the prison: baritone Rocco, the jailer: bass Marzelline, Rocco's daughter: soprano Jaquino, assistant to Rocco: tenor Soldiers, mers, populace, and children The action takes place in XVI century Spain, within the precincts of a state prison THE PLOT ACTI In the courtyard of the prison, Marzelline is doing her ironing, while lending an unwilling ‘ear to her would-be suitor, Jaquino, her father's assistant. Jaquino is continually being called away to attend (o business at the outer door. Eventually Marzelline makes it quite clear she Ihave none of him. ‘When Jaquino has finally departed, Marzelline admits that she had once been rather fond of the boy, but since the coming of Fidelio — a strange youth whom her father has taken on as a second assistant — her feelings have undergone a complete change. She now imagines herself blissfully united as wife to this Fidelio, Fidelio, it is time to explain, is really Leonore in disguise, wife of Don Florestan, a Spanish nobleman, who has been unjustly imprisoned by his enemies. Leonore doesn't know where he is imprisoned and by obtaining a position in this state prison disguised in male attire, she hopes to be able to search for him. Rocco, the jailer enters inquiring if Fidelio has still not yet returned. He had sent the young “man” into town to fetch the mail and to have some chains repaired. Hardly are the words out of his mouith when the youth himself appears. The good jailer misconstrues his new assistant's zeal as being due to love for his daughter Marzelline. In the ensuing quartet the characters voice their reactions to a rather complex situation. Marzelline is confident the young "man" loves her, Rocco remarks what a fair pair they would make, Jaquino confesses hhimself frustrated by Marzelline's attitude, and Leonore muses about the dangerous situation she is in, ruefully admitting Marzelline's hopeless infatuation which will lead nowhere, At the conclusion of the quartet Rocco clinches matters still further by stating plainly, that, though he hasnt the faintest idea from where Fidelio hails, he is prepared to make "him" his son-in-law. He wams the young couple, however, that love alone is not enough — money394, is also essential if a marriage is to rest on firm foundations. But Leonore, the true and devoted wife, remains unshakably convinced that the union of kindred souls is the highest happiness on earth. Somewhat diffidently, she admits that there is one other thing she prizes almost as much ~ the jailer’s trust. Why, she asks him, will he not let her help with his exhausting labors in the underground dungeons of the prison? Rocco feels that, despite his severity, the governor of the prison, Don Pizarro, must surely be finally induced to allow it, though, he tells Fidelio, there will always be one place to which his assistant will not be permitted to accompany him. Marzelline rightly guesses that this is the dungeon where a certain prisoner of whom her father has often spoken is kept in harsh solitary confinement. When Leonore/Fidelio suggests he must be an important prisoner, Rocco replies: "Or else have important enemies" adding that he has been ordered by the govemnor to reduce the unfortunate man’s rations litle by litte to barely a crumb of bread and a cup of water — his end cannot be far off! Struck by Fidelio's reaction, Marzelline begs her father not to take “nim down there, at which Leonore fiercely cries: "I have courage and strength.” After the former leave the stage, a military march is heard and a platoon of soldiers enters, followed by Pizarro. He curtly demands to see the latest dispatches, which are handed to him. One of these catches his attention. In it he is advised that Don Fernando, the Minister, having heard that several prisoners are being unjustly detained, is on the way to find out for himself. Pizarro is immediately alarmed at the thought of what may happen if Don Fernando discovers that Florestan, whom he believes to have been dead for many years, is really rotting underground in this very prison. Pizarro decides to deal with the emergency immediately and in summary style by killing his enemy himself. He orders the captain of his guard to post a sentry on the walls right away to watch out for Don Fernando's possible approach and to sound an alarm on a trumpet the moment this may occur. He then calls Roceo, and, handing him a purse of money with a promise of more to come, orders him to kill Florestan. This Rocco refuses to do. Pizarro then instructs him to prepare a ‘grave in one of the cisterns in the prison vaults; he will himself accomplish the deed. Leonore, who has been hiding and overheard Pizarro's vile intentions, voices her horror at the Governor's villainy. She also invokes the help of heaven to discover her husband's whereabouts and rescue him Accompanied by Marzelline and Jaquino, Rocco returns and Leonore takes the opportunity to beg him to allow the prisoners to leave their cells for a short while to enjoy the spring sunshine. Lacking the Governor's permission, Rocco hesitates for a moment but relents when Marzelline adds her persuasion to Fidelio's. Rocco orders Jaquino to unlock the cells, and then goes off to see Pizarro about permission to grant the marriage of his daughter to his new assistant, and also to allow this new assistant to help him in more important duties in the prison. The prisoners begin to emerge, blinking in the unaccustomed light. Leonore intently scrutinizes each face. They sing of the joy of freedom regained, even if only for a short, Dlessed while, Rocco returns, delighted at having received the Governor's assent to both his requests. Leonore can hardly restrain herself in her eagerness to embark on her new duties, but is abashed when she learns that one of her duties will be to help Rocco dispatch the unfortunate prisoner in the dungeon. The jailer assures her, however, that he is no murderer. Their duty is only to dig the poor wretch’s grave. Leonore agrees. As they are about to descend into the dungeon, Marzelline and Jaquino come running to warn Rocco that the Captain of the395 Guard told Pizarro that Rocco has allowed the prisoners temporary liberty and that the Governor, in a towering rage, is hastening in search of him. Rocco orders Marzelline and Jaquino to return the prisoners to their cells immediately. Pizarro storms in, raging at Rocco's presumption. With great presence of mind the latter reminds him that today is the King's birthday and that this is a way to celebrate it. Pizarro grumbles a half-hearted assent bbut orders the jailer to hasten to the dungeon to make preparations for getting rid of his hated enemy. The prisoners return to their cells. ACTIL The setting is the underground dungeon containing the ruined cistern which is to be converted into a grave. The starving prisoner, Florestan, speaks of his unjust suffering, going on to affirm his faith in God's ultimate goodness. In the succeeding state of his delirium, he thinks he sees his wife Leonore as a blessed angel coming to rescue him. Now Rocco descends the lone stone stairs leading into the vault, closely followed by Leonore. They are carrying a spade and pickax. When their eyes have become accustomed to the gloom, they discern the prisoner lying prone, so stil that at first they think he might be dead, but finally conclude he is only asleep. They proceed with their task. Leonore feels great pity for the prisoner and is intent on loosening his chains come what may. They pause from their labors. Rocco takes a swig from his flask, as Leonore tries in vain to see the prisoner's face. She notices, and informs Rocco of the fact, that the prisoner is now awake. ‘As the latter turns to ask his jailer, for the hundredth time, who the Governor of the prison is, Leonore at last glimpses his features. "Oh God, itis he”, she exclaims, and obtains Rocco's permission to give him some food and drink. Florestan thanks the "youth" for his kindness. The grave has been dug and it is time for Pizarro to enter and make himself known to his enemy, drawing his dagger for the fatal thrust. Leonore throws herself in his way. Pushed aside, she again interposes herself between the would-be murderer and his victim, exclaiming "First kill his wife!", then points at him a loaded pistol which she has had concealed. At this very tense moment a trumpet call rings out from the direction of the fortress wall. Jaquino appears at the head of the stone stairway leading down into the dungeon and announces that the Minister of State is at the gate. Florestan is saved, Pizarro is utterly frustrated, and husband and wife embrace, overcome by joy. Above ground, the Minister of State recognizes his friend Florestan, whom he believed to have died, according to the reports of Pizarro, who himself is now in custody. To Leonore is assigned the joyful task of unlocking her husband's fetters and freeing him from his chains. ‘A chorus of rejoicing brings the opera to a close.396 Fidelio, Act I ACTI The courtyard of the state prison (in the background is the main gate and a high wall with ramparts over which trees are visible. In the gate itself, which is shut, there isa little wicket, which is opened for occasional visitors on foot. Near the gate is the porter’s lodge. The wings to the side represent the prisoners’ cells; all the windows are barred and the doors, which are numbered, are reinforced with iron and shuttered with heavy bolts. Marzelline is ironing laundry in front of her door; at her side is a brazier on which she keeps the iron hot. Jaquino, having gotten rid of some people delivering packages, which he sets down by the ‘gate, approaches Marzelline in an amorous demeanor, rubbing his hands.) DUET JAQUINO jetst ‘Jetscon Jjetst zint vise alllaen Jetzt, Schitzchen, jetzt sind wir allein, Now, sweetheart, now weare alone, vir ‘koennan fertraolig nun plaodam wir kénnen vertraulich nun plaudern, we can confidentially now have achat. MARZELLINE (continuing her ironing) es vit ja: —migts ‘vigtigos zaen Es wird ja nichts wichtiges sein, It will then nothing important be, ie darf_—bae der arbaet mgt tsaodamn ich dart bei der Arbeit nicht zaudern. 1 must over my — work not -—_Linger. (it will not be that important, I must not linger over my work.) JAQUINO. gen ‘Voertgon di: wotsigo du: Ein Wértchen, du ‘Trotzige, du! One little word, you stubbom girl, you! MARZELLINE, zor Fprignur = 1g ‘hesra jas ts So sprich nur, ich dre ja zu, Then speak, Tam listening. JAQUINO ven du mir mug frogntligor —_‘blukkast Wenn du mir nicht freundlicher _blickest, If you atme not — friendlier ‘look, zo: bag Kaen ‘voertgon herfor so bring'ich kein Wortchen—_hervor. then Tcan get nota word out. (If you won't give me a friendlier look, I won't be able to get a word out.)Fidelio, Act I 397 MARZELLINE, ven du: dig nigt im mig ‘fakast Wenn du dich nicht in mich schickest, If you don't fall in with my wishes, fer ftopf 1g mise ‘follants das for verstopf ich mir vollends das Or. 1 shall plug altogether my —_ear(s). JAQUINO aen —‘vaelgan nur ‘hore mist tsu: Wellchen, nur hore mir zu, A — moment, just_»hear- me = out, dan lasig dig vidor mn dann lass’ ich dich wieder in Ruh. then Till leave you again in peace. MARZELLINE 20: hap 1g den ‘ummarmex ru So hab’ ich denn nimmermehr Rub’ Since (otherwise) T'Lhave then never again peace, zor rerdo nur tsu: so redemur zu. then just talk away. JAQUINO 1. ‘haibo tum vaep dig gaveilot ferftesst du: Teh... ich habe zum Weib dich gewalet, verstehst du? L.. 1 have fora wife chosen you, do you understand? MARZELLINE das ist jas dox klar Das ist ja doch” klar. That is indeed very clear. JAQUINO unt) ven mir daenja:vort nigt felt vas maenst du: Und wenn mir dein Jawort nicht fehlet, was meinst du? And if tome your "yes" word —_is not lacking, what do you think? (And if your consent is not lacking — what do you think?) MARZELLINE, zo: zint vir en par So sind wir ein Paar. Then we'll be a pair. JAQUINO vir ‘koentan m —venigon Wir kénnten in wenigen We — could, in afew398 Fidelio, Act I MARZELLINE rect fon dur baftimst Jon tsaet Recht schén, du bestimmst schon die Zeit? Quite nice, you aresetting already the time! (That's wonderful! You are already fixing the date!) (A knocking is heard.) JAQUINO tsum —‘henker das ‘exvigo poxan Zum Henker das ewige Pochen! Tothe devil (with) that eternal knocking! da: var 1g zo herlig im gan Da war ich so__herrlich im Gang, There was I so nicely started, unt immer entvift mix der fan und — immer entwischt mir der Fang. and always escapesme the —_prey. (was getting started so nicely with her, and this blasted knocking made me lose my prey!) (He goes to the wicket, takes a parcel and places it in his hut. Meanwhile Marzelline works on) MARZELLINE mw bn ig So bin ich Now am I ‘entlig bofraet endlich befreit! finally freed (of him)! mic ban, mir bang, me anxious, vii maxt zaen Wie macht seine How makes his vi verdan ‘Jtundon mist lan wie werden Stunden mir lang. how become the hours long for me. (How his love makes me anxious and how long the hours seem!) (dread his wooing ~ how bored I am by it!) ty vaes. das dex arma 2g ‘kveslat Teh weiss, dass der Arme sich quiilet, 1 know’ that the poor lad is suffering, es twtmir zo: laet_ ox min es futmirso eid auch um ihn! it makesme feel sorry also for him! fidesio hap 1g Fidelio hab’ ich Fidelio ThaveFidelio, Act I in ‘libon ast y'sar gevin ihn lieben ist siisser Gewinn, him tolove is asweet prize. JAQUINO (returning) vo: var Gt zit mig migt_ an. Wo war ich? Sie sieht mich nicht an! Where was 12 She islooking = aatme not (~ (She's not looking at me!) (an/sehen is a separable prefix verb meaning "to look at") MARZELLINE da: st ex — fent ‘visdar Zan Da ister—er —_flingt wieder a There he is— he's starting all over again! JAQUINO. van vist du: das ja:vort ‘mist ‘ge:ban Wann wirst du das Jawort mir geben? When will you the "yes" give to me? (When will you give me your consent?) es ‘koenta ja: ‘hota nox zaen Es kénnteja heute moch sein. It could today well be. MARZELLINE (aside) o: ver ex — ferbmtart = maen_‘Tesbon Owen! Er verbittert_ mein Leben, Alas! He — embitters. my _—_iife, (to Jaguino) jetst ‘morgan ont mar naen naen jetzt, morgen und immer nein, nein! now, tomorrow, and always, no, no! JAQUINO du bist dox vairhaftrg fon flaen Du bist doch wahrhaftig von Stein, You are truly made of stone, kaen ‘vynfon kaen ‘bition geit aen kein Wiinschen, kein Bitten geht ein. No wishing, no begging can move you. MARZELLINE, ie mus jaz zo: hart omit’ «im = zaen Teh muss ja so hart mit ihm — sein, I must so hard «on = him be,400 Fidelio, Act I ex heft bae dem ‘mindostan Jaen er hofft bei dem ~—mindesten Schein. he hopes at =the -— smallest. sign. JAQUINO zo: vist. dus dig ‘mummar boke:ron So wirst du dich nimmer bekehren? Then will you never change your mind? vas maenst du: Was meinst du? What do you think? MARZELLINE, du; ‘koentast nun gem Du —kénntest. nun geh'n, You could leave now. JAQUINO vir dig Pantsu:ze:n vist du: mir'verron = gox— das nox Wie? Dich anzuseh'n, willst du wehren? Auch das noch? What? To look at you will you forbidme? Also. that? MARZELLINE zo: ‘blaeba hisr tern So bleibe hier steh'n, Then stay here. JAQUINO du: hast mir zo: oft’ dox fer proxon Du hast mir so oft_—_doch versprochen... You did tome so often promise... MARZELLINE, ferfproxon naen das get tsuz—vaet Versprochen? Nein, das geht zu weit! Promise? No, that goes too ‘far! (Another knock is heard.) JAQUINO ‘Zum Henker das ewige Pochen! MARZELLINE, zor bing —dox'entlig—_bo fraet So bin ich doch endlich _befreit! Now am I atlast set free! das ist gen vilkommanar Klan Das ist ein__willkommener Klang, That is a welcome — sound,Fidelio, Act I 401 es vorda su: torda mir ban es wurde zu Tode mir bang. Twas to death _ frightened. JAQUINO es vartir mest fom ban Es wardibr im Ernste schon bang, She was inall seriousness quite alarmed, ver vaes op es mis nigt gaan wer weiss, ob es mir nicht gelang. who knows whether | might not have succeeded, (aquino runs off. Marzelline remains alone.) DIALOGUE" MARZELLINE dew — ?armo dsa'ki:no ‘daoat mig baenan” Der ~arme Jaquino dauert mich beinahe. That poor Jaquino makes me sorry, almost. kan ig es ‘abo ?endon Kann ich es aber /_indern? Can Tit but change? ie vax im zonst Regt gut Teh war __ ihm sonst recht gut, 1 used to like him well enough; da: kam m ‘onze hos unt zaet_— dew da kam in unser Haus, und seit der then came Fidelio into our house, and since that time ist alas m mia unt um mig_fea?endat ist alles in mir und) um mich _veriindert. is everything inside me and around me changed. END OF DIALOGUE ARIA MARZELLINE over ig fom mit dir fer?aent O wir’ ich schon mit dir vereint, Oh were I already with you united, " Some of the dialogue in the original version of this opera has become dated and/or superfluous. Singers are often notably uncomfortable with spoken dialogue on the opera stage, and with a view in ‘mind to tighten the action and accommodate singers, producers have throughout the years eliminated unnecessary speeches. The dialogue used in this translation is the one basically employed at the ‘Metropolitan Opera and major European opera houses, * Notice the use of certain new phonetic symbols in dialogues: Der shows @ "reduced r" using the symbol [2] and arme uses the guttural r sound [k]. This is used in dialogues only, notin the sung text!402 Fidelio, Act unt dyrfta man dig nennan und darfte Mann dich nennen! and might 1 husband call you! (Oh, if only I were already united with you and could call you my husband!) en ‘mectgon darf ja: vases maent Ein Madchen —darf ja, was es meint, A maiden may what she thinks tur ‘helfta nur — bokennon zur ‘Hailfte nur —_bekennen. its half only admit. (A maiden may only half-admit what she's thinking.) dox ven 1g mgt. erostan mus Doch wenn ich nicht erréten ‘muss, Yet when I not —_ blush have to (But when I do not have to blush) 2p ‘aenam ‘varman ‘hertsanskus ob einem warmen Herzenskuss, ata warm, heartfelt kiss, ven nigts ons fiat oof esrdan wenn nichts unsstért = auf Erden~ when nothing can disturb us on earth — (sighing and laying a hand on her breast) dis‘hofnun form erfvit diz brost Die Hoffnung schon erfillt die Brust Hope already fills my breast mit “unaosfpreclig zyssar lust mit unaussprechlich —_—siisser Lust; with — unspeakably sweet delight; vis glyklig wilig ‘verdan wie gliicklich will ch werden! how happy shall be! m tus ‘Jallor ‘hogsligkaet —ervax 1g ‘jedan ‘morgan In Ruhe stiller Hiuslichkeit erwach' ich jeden Morgen, In thepeace of quiet. domesticity Iwill awake every morning, ‘grysson uns mit ‘tsextligkaet griissen uns mit Zartlichkeit, greet one another with _tendemess, dex flaes _ferfoogt is 'Zorgan der Fleiss _verscheucht die Sorgen. toil will banish our cares.Fidelio, Act I 403 unt ist div‘arbaet_——apgotam Und ist die Arbeit abgetan, ‘And once work is finished, dan flaegt dis ‘holdo naxt eran dann schleicht —die_—_—holde Nacht heran, then creeps the blessed night — upon us, dan run vie fon bafveirdan dann ruh'n wir von Beschwerden. then rest. we from (our) troubles. Die Hoffnung schon erfullt die Brust, ete. DIALOGUE ROCCO (entering) ‘guton tak — martselima st_—_—fderljo nox migt.—tsutrvk Guten Tag, Marzelline, ist Fidelio noch nicht zuriick? Good day, Marzelline, is__—_‘Fidelio not yet back? MARZELLINE naen fate Nein, Vater. No, father. ROCCO ie mus dem guvesing dit “brgon, Teh muss dem Gouverneur die bringen, 1 must tothe Govemnor the _—_etters bring di: fideijo ‘aphorln ——"zolta die Fidelio abholen sollte. which Fidelio pick up should (must bring the letters that Fidelio is picking up to Pizarro.) (Leonore enters, disguised as Fidelio, wearing men's attire. She is carrying provisions and heavy chains over her arms, which she lays down as she enters.) MARZELLINE da; iste jar Da ister} There he is nowt... ROCCO ‘arma fideo hast du: Armer Fidelio, hast du Poor Fidelio, thistime _youhave ‘tu fid diz ‘oofgalaxdon zu viel toomuch taken upon yourself.404 Fidelio, Act I LEONORE 1g mus gafte:an ie bin aenvemig ea'my:dat Ich muss gestehen, chin. ein’ wenig_ermildet. T must admit, Tam abit. weary. deo Smit ‘hata an dem ‘Ketan zo: ‘lap ‘costsubeson Der Schmied hatte an den Ketten solange _auszubessern... The blacksmith did with the chains so. long_—_take to repair... ROCCO zint zit jetst- «gut gamaxt Sind sie jetzt gut gemacht? Are they now well repaired? LEONORE Regt gut unt ftark Recht gut und — stark. Quite good and strong. "kaena dex gofayonan viet zis tseo*bregon Keiner der Gefangenen wird sie zerbrechen. None ofthe prisoners —_will_be able to break them. ROCCO gut brarf Gut! Brav! Good! Fine! LEONORE ie "Zuxo su: tun vas mise: 'mosklig ist Ich suche zu tun, was__ mir moglich ist. 1 try to do. what ean, ROCCO (to himself) dea — felm giipt z1g ‘aay maena: martsellima ‘veigan Der —Schelm gibtsich _alleMihe _—_meiner Marzelline wegen. The rascal is taking all this trouble for the sake of my Marzelline. (aloud) ja dus bist brat unt zae_—_feo'zigot Ja, du bist brav, und sei__versichert, Yes, you are agoodlad, and be ~— assured daen lon —virot mgt ‘cosblaebon dein Lohn wird nicht ausbleiben. your reward will not —_be long in coming, LEONORE ©: glaopt mgt das tg maena ‘fuldickaet, © —glaubtnicht, das ich meine Schuldigkeit Oh, don'tthink "that. «T= my dts,Fidelio, Act I 405 nue des ‘lomas ‘ve:gon nur — des Lohnes wegen... only for the sake of reward... ROCCO (amiably) ful maenst du: 1g © ‘Koena dis © migt_«ns_——sheats, ‘zeron Sein! Meinstdu, ich —kdnne dir nicht ins Herz sehen? Ohbequiet! Doyouthink I can you not inthe heart _ see? (Do you think I can't see what's in your heart?) END OF DIALOGUE QUARTET MARZELLINE (to herself) mir 1st zo: —‘vundarbar es ent das her's Mir ist so wunderbar, es engt das Herz feel so wonderful, itispentup my heart ex —lipt mg es Klar 1 ‘veda ‘glyklig zaen er liebt mich, es Kiar, ich werde gliicklich sein! he loves me, that is clear, Twill be happy! LEONORE (likewise) : gros st dit gofar vir vax dex hofnuy Jaen Wie gross ist die Gefabr, wie schwach der Hoffaung Schein! How great is the danger, how weak —_hope's ray! zit lispt, «somig ses —st’ Klar 0 © ‘nasmanlozza—_paen Sie liebt mich, es ist Klar, 0 —mamenlose Pein! She loves me, that is clear, oh —nameless_-——_—pain! ROCCO (likewise) zi: lipt sim es st Klar Sie liebt ihm, es ist Klar, She loves him, it is clear, ja: ‘mestgon ex daen ja, Madchen, er_-—wird dint yes, maiden, he willbe yours! aen —‘guitas jones par zit ‘verrdon ‘glyklig zaen Ein gutes, junges Paar, sie werden gliicklich seint A good, young couple, they will be happy! JAQUINO (likewise) mist troopt zig fon das har dex fatar ‘villi 7aen Mir strubt sich schon das Haar, der Vater _willigt ein, It stands on end already my hair, the father is consenting, zo: ‘vundorbax mise felt Kaen ‘mittal Zaen so wunderbar, — mir fullt kein Mittel ei so strange, can see no way out!406 Fidelio, Act I DIALOGUE, Rocco ‘hoa fidesljo ven ig —_Gox nigt vaes Hore, Fidelio, wenn ich auch nicht —_ weiss isten, Fidelio, evenif 1 donot know vothe du; bist woher du bist, where you come from, zo: vaes 1g — dox vas ig tus so weiss ich doch, was ich tue... so know I however what I willdo... ie 'maxo dig tsus_—"maenem toxtaman ich mache dich zu meinem Tochtermann. TH make you (into) my son-in-law, MARZELLINE (oyfidly) ist das van fait: Ist das wabr, Vater? Is that true, Father? ROCCO (laughing indulgently) iat ha:pt 996 dox 20m lisp‘ maena ‘kinde- Ja, habt_ euch doch sehr lieb, meine Kinder, Yes, you love eachother indeed very much, my children, (iiebfhaben is a separable expression meaning "to be in love") bo das ist mgt alas aber das ist nicht alles, but that isnot all vas tsu:'aen® —‘gurton unt fea’gny:ktan ‘haoshaltun ——_gahoist was zu einer guten und vergniigten _Haushaltung geht, that a good and contented household requires, man braoxt ox man braucht auch.. one needs also... (He makes a gesture with his fingers as ifcounting money.) END OF DIALOGUE ARIA ROCCO hat man nig. © goxgolt__bae'ne:bon Hat man nicht auch Gold _beineben, Has one not also gold too, (Ifone does not also have money,)Fidelio, Act I 407 kan man nigt— gants_‘glyklic zaen kann man nicht ganz gliicklich seins can one not quite happy be; (one cannot really be happy;) ‘woorg Slept zig fort das ‘lesbon traurig sehleppt sich fort das Leben, sadly drags on fe, (life drags sadly on,) ‘mangor ‘kommar fuelt 21g aen mancher Kummer _ stellt sich ein. many an anxiety sets in. doxvens im dem —tafon faen ‘kimplt unt rolt Doch wenn's in den ‘Taschen fein klingelt und rollt, But —whenit in your _ pockets nicely klinks and rolls, (But when money Klinks and rolls in your pockets,) da heltman das ‘kzacl gefanan da haltman = das_— Schicksal ~—_gefangen, then one canhold one's fate prisoner, (one can control one's fate,) unt maxt unt ferfaft dir das golt und Macht und Liebe verschafft dir das Gold, and power and love willbring you gold, (and money will bring you power and love,) unt fullat das ‘kyinsto ferlayon und st das kilhnste Verlangen. and sat your keenest longings. das glyk dint vi aen —knegt fyr alt DasGlick dient _ wie ein ‘Knecht fir Sold, Luck works like a servant, for wages; (Luck, like a servant, works for wages;) es ist gen ‘formas ‘goldnas diy das golt es ist cin schnes, ——_gold'nes Ding das Gold. it isa pretty, golden thing, money. ven zig migts mit nigts ferbindat Wenn sich Nichts mit —_Nichts verbindet, If isnothing —to_—_nothing added, (Ifyou add nothing to nothing,) ist unt blaept di: ‘zummo Klaen ist und bleibt die Summe Klein; is and stays. the = sum small; (the total is and stays small;)408 Fidelio, Act 1 vex bee uf nur tsbo—findat wer bei Tisch nur Liebe findet, whoever at-_—table only love finds, (if you find only love at the dinner table,) viet nasx ‘tifa ‘hung zaen wird nach Tische hungrig sein, will, after dinner hungry be. (you will be hungry after dinner.) drum ‘leglo dex 'tsufal 90g ‘gnexdig unt holt Drum Hichle der Zufall euch gniidig und — hold, Then (may it) smile fortune conyou favorably and_—_—kindly, (Then may fortune smile favorably and kindly upon you,) unt ‘Zegna unt lenk —‘ogor_‘ftrerbon. und segne und lenk’ ewer Streben; and bless and guide your efforts; das tipgon m ‘arma im ‘bogtal das galt das Liebchen = im_=—Arme, im Beutel das Gold, your sweetheart in your arm(s), in your purse the gold, mkt ir fil jaa durgleibon so mégt ihr viel_ Jahre durchleben. thus may you many years ive. (so may you live many years.) Das Gliick dient wie ein Knecht fiir Sold, es ist ein michtig Ding, das Gold. DIALOGUE LEONORE i —koent das —laegt —‘zaigon ‘maesto- ‘nok Thr —kénnt das leicht sagen, Meister Rocco, You may that easily say, Master Rocco, (That may be easy for you to say, Master Rocco,) ‘abo y= bahaopts «= as-is, fea Paentguy aber ich behaupte, dass die —_Vereinigung but 1 sustain that the union ‘tsvaeo iglaeggofumten ‘heatson zweier gleichgestimmten Herzen oftwo kindred hearts di: kvela des 'varron iglvkos 1st die Quelle des wahren Gliickes ist. the source of true happiness is. (is the true source of all happiness.) 0: ‘dias. glk mus dex ‘gnasta © dieses Glick muss der —grisste Oh, this happiness must the greatestFidelio, Act I 409 Jats oof ‘eden zaen Schatz auf Erden sein. treasure on earth be, ‘fraelig gipt es nox ‘etvas, Freilich, _—_gibtes noch etwas... To speak truly, there is something else... ROCCO unt vas ‘vero den das Und was wire denn das? And what would that be? LEONORE ‘oa fea'traoon —_feavtsaet mia ‘maesta'eoko Euer Vertrauen. Verzeiht_ ~—mir, Meister Rocco, Your trust, Forgive me, Master Rocco, ‘abo oft zea ig 20¢ aos dein gavcelbon aber oft seheich euch aus den Gewilben but often Tsee you outof the dungeons gants ‘aos ‘astm unt ea'matat tsuevkkomon ganz ausser Atem und ermattet —_zurickkommen. quite out of breath and exhausted coming back. (but I see you often coming back from the dungeons out of breath and exhausted.) varum ea‘laopt ix mie mgt 26g dah su: boiglaeton Warum erlaubt ihr mir nicht, euch dahin zu begleiten Why don't youallowme you there to. accompany unt bae—‘20Ra- ‘abaet tsu:‘helfon und bei eurer Arbeit zu elfen? and with your work to help? (Why don't you allow me to accompany you and help you with your work?) ROCCO ja du:—hast’ Regt “dizoJvema ‘arbaet Ja, du hast recht, diese schwere Arbeit Yes, you are right, this hard work viat miso dox ‘entig su: fid wird mir doch endlich mu viel. isbecoming forme eventually too much. pitsaro ist tsvae aen "frena- guives'no Pizarro zwar ein strenger Gouverneur; Pizarro indeed a strict governor; ex — mus mie ‘abe dox ea'laobon dig dix_——gahaemon er muss. miraberdoch erlauben, dich. in die_—_geheimen he must -mehowever allow you in the secret410 Fidelio, Act 1 keako mit mie tsu:‘neman. Kerker mit mir zu nehmen. cells with me to —_ take, (but surely he'll allow me to take you with me into the secret cells.) hnige:gon, en gavoelba Hingegen gibt es ein Gewatbe, Onthe other hand, there is ‘one dungeon m das og dig. Volt, verwda ‘fysnan “dyno in das ich dich_-wohl_ nie _—_werde fulhren diirfen... into. which I you well_ never will to lead be allowed.. (into which I may well never be allowed to lead you...) MARZELLINE fea'mutlig vo: dew gofayone- zits, Vermutlich wo der Gefangener_sitzt, Obviously where the prisoner is kept fon dem du: gafproxan hast von dem du —gesprochen hast. about whom you spoken have. (I suppose that’s where the prisoner you spoke about is kept.) Rocco. du: hasts- e'Rattan Du _hast's erraten, Marzelline, You have guessed it, Marzelline. LEONORE (breaking in) 1g “glaobs esist fon ‘lagghem dase —_gofanon ist Teh glaube, esist schon langeher, dass er —_gefangen ist? 1 believe itis already alongtime that_-he —_is imprisoned? ROCCO 'ytbo tsvae jaime Uber zwei Jahre. Over two years. LEONORE yibo tsvae jako Uber zwei Jahre? Over two years? e= mus aen ‘gros featbreg> ——zaen Er muss ein grosser Verbrecher sein. He must a big criminal be... (He must be a very important criminal...)Fidelio, Act 1 4ul ROCCO ‘ode emus ‘gros ‘faendo ‘haibon Oder er muss grosse Feinde haben... Or he = must big enemies have... (Or he must have very powerful enemies...) nun es kan mgt’ sme ‘lage mit im = ‘daoan Nun, es kann nicht mehr lange mit ihm — dauern, Well, it can not any — longer with him last, (Well, he cant last much longer now.) zaet ‘aenam ‘momat fon mus 1¢ —aof_pitsaros bofed Seit einem Monat schon muss ich auf Pizarros. ~—_—Befehl For a month already must I on_—_—Pizarro's, orders ‘zaeno portsjomon —‘klaena- unt —_‘klaena- ‘maxon seine Portionen Kleiner und Kleiner machen. his portions smaller and smaller make. (It's already been a month since Pizarro ordered me to reduce his rations.) jetst hat ew mn -Fironttsvantsig ‘Jtundon Jetzt hater in —_vierundzwanzig Stunden Now he has every twenty-four hours rigts me:x als tsvae _‘untson_‘Jvartsos bro nichts mehr als zwei Unzen schwarzes Brot nothing more than two ounces of black bread ont ‘aena‘halbo mass vase. kaen ligt und eine habe Mass Wasser, kein Licht, and a half measure of water, no light, kaen fimo: migts kein Stroh, nichts... no straw, nothi LEONORE (to herself) ‘gRoso- got Grosser Gott! Great God! MARZELLINE, o: ibe fate fysa_fiderljo ja: migt tsu: ism © lieber Vater, fiihre Fidelio ja nicht m ihm! Oh dear father, take Fidelio not to him! ‘diszan Zanbltk Keenta em mit ea-traigon Diesen Anblick kénnteer nicht ertragen. The sight (of him) he could not endure.42 Fidelio, Act I LEONORE varum den migt te harbo mut unt kraft Warum denn nicht? Ich habe Mut und Kraft! Why thennot? 1—shave courage and strength! END OF DIALOGUE TRIO ROCCO gut ‘zongan gut hap immer must Gut, Séhnchen, gut, hab’ immer Mut, Good, son, good, have always courage, dan vies di ox golmen dann wird'sdir auch —_gelingen; then you will also achieve your ends; das herts vist hart das Herz wird hart the heart becomes hardened durg ‘gegonvart —bae—frrgtarlign—‘dmyon dureh Gegenwart bei flirchterlichen Dingen. through the presence of frightful things. LEONORE ie habe mut mit ‘Kaltom blust Teh habe Mut! Mit kaltem Blut T have courage! With cold blood wily hinap mig'vagon fy ‘horn Jon will ich hinab mich wagen, Fir — hohen Lohn Iwill down there dare go. For — ahigher reward kan tbo Jon aox ‘hoo ‘laedan ‘wagon kann Liebe schon auch hohe Leiden tragen. can love also great suffering bear. (For great reward love can bear even great suffering.) MARZELLINE, daen ‘guitas herts vist 'mangon Jmens Dein gutes Herz wird manchen Schmerz Your kind heart will anya pain m —‘dizon_‘grvfton ‘laedon in diesen Gritften leiden; in these dungeons suffer; dan kext tsuryk — dem'litbo glk dann kehrtzuriick der Liebe Gltick then shall retum love's happinessont unnenba:re—_‘frogdan und unnennbare —Freuden, and nameless joys. ROCCO du: vist daen glvk Du —wirst dein Glick You will your happiness Fidelio, Act I 413 gants ganz quite ‘nigor‘baoan sicher bauen, surely build. (You will build your happiness on sure ground.) LEONORE ig hap aof_ got unt Teh hab’ auf Gott und 1 have in God and (Ltrust in God and righteousness.) MARZELLINE, du: darfst_ mir ox ms Du —darfst mir auch ins You may tome also inthe (You may look me in the eyes, t00:) derlbo — maxt ist 00x der Liebe Macht ist auch love's power is also jaja: vir. verdon Ja, ja, wir werden Yes, yes, we will LEONORE Ja jase kan nox Ja, ja, ich kann noch Yes, yes, I can still Rocco ja jain ‘veurdat Ja, ja, ihr werdet Yes, yes, youtwo will dex guvernr —zol_—hoot Der Gouverneur soll heut” The Governor must__ today das dus mt mir diz dass du mit mir die for you with me — the LEONORE du: vierst mir ‘alla Du wirst mir alle You will from me all regt Recht right fertraoon Vertrauer confidence. ‘Joon schauen: ook: “eoge Auge eye Klaen Klein, small. nugt nicht not ‘glvklig zaen glicklich sein. be happy. ‘glvklig zaen gliicklich sein. be happy. ‘glvklig zaen glicklich sein, be happy. erlaobon erlauben, give permission ‘arbaet taelst Arbeit tellst. work to share, ‘ua Ruhe peace ‘raobon rauben, rob,‘morgan morgen tomorrow Fidelio, Act I nur fervaelst nur —_verweilst. only delay. (You will rob me of all peace if you delay even till tomorrow.) 44 ven du: bis wenn du bis if you till MARZELLINE jet ‘guitar fatar Ja, guter Vater, Yes, good father, sm ‘kortsom in kurzem (and) shortly ROCCO bmn jas Teh bin ja 1 willbe indeed (Lwill soon die,) ty "braoxe ich brauche 1 need. (some) LEONORE vi Taq bing Wie lang’ bin ich How long Thave b du; ‘hofnun du, Hoffnung, You, hope, MARZELLINE ax factor Ach, Vater, Ah, father, Jan, froont Lang’ Freund Fora long time a friend ROCCO nur oof der Nur auf der Now on your gefult vise “o¢or gestillt wird euer led will be your bt im ‘hota bit’ ihn heute, ask him today, cant vir dan aen pat sind wir dann ein Paar. wewillbe then a pair. bat des ‘graibos ‘boote bald des Grabes Beute, soon the — grave's, prey, brif es ist, jat Var Hair, es ist wabr. help, that is quite true, des ‘kummars ‘boota des Kummers Beute! een anxiety’s prey! mir abun dace reichst Labung dar. give me solace. vas felt o9¢ aen was flllt euch what are you thinking of unt ‘rastor myst ir ons zaen und Rater miisstihr uns sein. and advisor youmust tous be. hut dan gest es gut Hut, dann geht es gut, guard, then all goes well, ‘zeman Sehnen. longing.Fidelio, Act 1 41s MARZELLINE, othacbo mut o: —velga glut O habe Mut, © welche Glut! Oh, have courage, oh, what fire! 0: velgaen—tifas‘zesnan © welch ein tiefes Sehnen! Oh, what a deep _—_ longing! LEONORE, ir zaet_ zo: gut iy_ = maxt’ mir mut Ihr seid. so gut, ihr ~— macht mir Mut, You are so good, you give me courage, gefult vist balt maen ‘zeman gestillt wird bald mein Sehnen, stilled will be soon my longing. ROCCO geipt 20¢ di: hant ont list das bant Gebt euch die Hand und —schliesst das Band, Take each other's hands and cement the bond (Join hands and plight your troth) m —‘zysan_‘fropdontrean siissen Freudentrinen, in sweet tears of joy. LEONORE (to herself) 1 = gap dix —shanttsum_‘zy'son_bant Ich gab die Hand zum — siissen Band, 1 gave my — hand forthe sweet bond, es kostat ‘bittratreman es kostet tt're Triinen. it iscosting me bitter _ tears. MARZELLINE, en festas ban mit herts unt hant Ein festes Band mit Herz und Hand! A strong bond with heart hand! o: ayo ‘zys0 ‘zyso‘2yso_froodantremon © siisse, siisse Triinen! 0 _siisse, siisse Freudentrinen! Oh, sweet, sweet tears! Oh, — sweet, sweet tears of joy! (Marzelline exits. Leonore stays to one side, half hidden. Rocco remains.) MARCH (During this march the main gate is opened by sentries outside. Officers and a platoon enter, {followed by Pizarro; the gate is closed behind them.)416 PIZARRO (brusquely, to Rocco) di depefon Die Depeschen! The dispatches! ROCCO (handing them 10 him) hie Hier. Here Fidelio, Act I DIALOGUE PIZARRO (opening and glancing briefly through the contents of several) ‘ime empfeilonon Immer Empfehlungen Always recommendations (his eye catching sight of one of the missives) vas Zev Ig 1g keno ‘Was seheich? —‘Ich_—ikenne What do see? 1 know (tearing it open and reading to himself) 1g ‘gesbo ‘non naxxragt das ich gebe Ihnen Nachricht, dass "[ wish to inform you that 1m eo‘farzug gotbraxt hat das in Erfahrung gebracht hat, dass has been informed that ‘demon zi: fowfteon 'me:naRa denen Sie vorstehen, mehrere which you command, several em —_Raest 'morgon ?ap Er __reist morgen ab, He will leave tomorrow om zi: mt ‘aeno um Sie mit einer order you with an (in order to surprise you with an inspection.) "zaan zit cof ima hut SeienSie auf Ihrer Hut Be on = your guard got ven em —entdekta Gott, wenn er entdeckte, God, if he discovered ‘ode forrvyrfe oder Vorwiirfe! or reproofs! ‘diz fruft diese Schrift. this handwriting. dew — mintsto- der Minister the Minister di: —‘ftatsgofennise die Staatsgeftingnisse, (in) the state prisons pf ‘vilkyrligs ——_gavalt_enthalton Opfer willkirlicher Gewalt enthalten. vietims of arbitrary force are contained. unta"zuxxuy isu: —_ysbe‘Rafon Untersuchung zu —_lberraschen. inspection to._—_ surprise. unt ‘zuxon zk 21g "z1gor tsu:'ftelon und suchen Sie sich sicher 2u stellen.” and try to cover yourself.” as jizon ‘flomestan dass ich sen Florestan that «1 this FlorestanFidelio, Act I 47 m ‘Ketan ‘ligan ‘harbo dem ex —lenst tot glaopt in Ketten liegen habe, den er —ingst_tot__—_glaubt... in chains lying have, whom he long dead believes... (God, if he were to discover that this Florestan, whom he believes long dead, is being kept in chains by me...) dox es gispt.aen_—‘mital ‘eno ‘kyna tart Doch es gibt cin Mitel! Eine kiihne Tat... But there is a way! A bold movi END OF DIALOGUE. ARIA WITH CHORUS PIZARRO ha: velgaen —‘coganblk = dix_—'raxa vest 1g kky:lon Ha! Welch ein Augenblick! Die Rache werd'ich —_kilhlen, Ha! What a = moment! My — revenge Iwill satisfy, dy rusfat dan gafik dich rufet dein Geschick! you (are being) called (by) your fate! (fate is calling you!) mzaenom —_‘hertson ‘vyilon o:-vonna ‘grosses glvk Inseinem Herzen willen, oWonne, grosses, Glick! Inhis heart toburrow, oh bliss, great joy! (Oh what bliss, what great joy to be able to rip out his heart!) Jon var 1g na; im ‘ftaoba Schon war ich nah’ im Staube, Once Twas nearly inthe dust, dem ‘lootan {pot tsum ‘aobs dem —lauten Spott zum — Raube, of loud mockery the prey, dathn gofftrekt tsur zaen dahin gestreckt mu sein, laid low to be, (to be laid low, a prey to open mockery.) nun istes mist govordan dem —‘moerder zelpst su: ‘mordan Nun istes mir geworden, den Mérder selbst zu orden. Now ithas befallenme the murderer himself to murder. (Now it is my lot to murder the man who was trying to murder me.) 1m "zaenar ‘letstan. ‘ftunda dem fal =m “‘zaenar ‘vunda In seiner letzten Stunde, den Stahl in seiner Wunde, In his last hour, my steel in his. wound, im nox ms. tsus_—fraen ihm noch ins Ohr zu sehrei'n tohim still inhis ear to. scream:418 Fidelio, Act 1 triomf dex zik ist maen “Triumph! Der Sieg ist’ mein: “Triumph! Victory is mine!" (Oh, to be able to scream in his ear in his last hour, as my dagger rips out his heart: "Triumph!, Victory is mine!") SENTRIES (under their breath) ex Iprigt fon tot unt ‘vundo Er spricht von Tod und — Wunde! He speaks of death and wound! mun fort cof ‘unzra_tunda vit nun fort auf unsre Runde! Wie Now off on our rounds! How PIZARRO. Ha! welch ein Augenblick, ete. ‘SENTRIES Er spricht von Tod und Wunde, ete. DIALOGUE, PIZARRO (imperiously, to the captain of the sentries) ‘hooptman be ftaegan zi: mit ‘aenom trompeste Hauptmann, besteigen Sie mit einem Trompeter Captain, climb with a trumpeter zoglaeg den turm sogleich den Turm. immediately the tower. (Captain, mount the tower at once with a trumpeter.) zen mit dea —‘grgsstan ‘axtzamkaet Sehen Sie mit der —_grissten Achtsambeit Watch with the greatest attention cof dis “ftraso fon zevilia auf die Strasse von Sevilla. atthe road from _ Seville (Watch the road coming from Seville with the greatest attention.) zobalt zit ‘aenan ‘va:gan Sobald Sie einen Wagen Assoonas you a coach fon ‘Raeton baglactat ——zeran von Reitern begleitet_ sehen, with riders accompanied — see, (As soon as you see a coach accompanied by outriders,) mus es zaen muss es sein! it must be!Fidelio, Act I 419 lasen zi: ‘cogonbliklig dure den — tromipeita- Iassen Sie augen! den Trompeter let instantly through the trumpeter aen —zigna:l igeban fea'fteran zi: “aogonbliklig ein Signal geben. Verstehen Sie? Augenblicklich! a signal be given. Do you understand? Instantly! (order the trumpeter to instantly give a signal!) 1g e'vanta di: ‘grossto 'prnkthigkaet Teh erwarte die grdsste Painktlichkeit! 1 expect the utmost punctuality! zi: ‘haftan mix mit ‘imom Kopf daffy: Sie haften mir mit ihrem Kopf dafiir. You _ will answer me with your head for that (You'll answer for it with your head.) (to the sentries) fort of ‘odo ‘poston Fort! Auf eure Posten! Off! To — your posts! (when the sentries have gone) ‘noko Rocco! ROCCO her Herr! Sir! D OF DIALOGUE DUET PIZARRO Jetst ‘altor jetst hat es 2aele Jetzt, Alter, jetzt hat es Eilet Now, oldman, now there's need for haste! i viet en glyk tsu: taelo wird ein Glick zu Teile, For you there's some happiness on the way, du; vixst aen‘raegor_man du wirst ein reicher Mann: you will become a == rich man: (throwing him a purse)420 Fidelio, Act I das gep ig nur daran das geb’ ich nur daran, this Tgive you only as an advance, ROCCO zo: zakt dox mur im —‘aelavormit 1g “dian kan So sagtdochnur in Eile, womit ich denen kann! Then tell me in haste how I ——_cansserve you! PIZARRO du: bist fon ‘kaltom ‘blusta fon ‘unfertsa:ktom ‘mi Du bist von kaltem Blute, von unverzagtem Mute You have cold-blooded from undaunted courage org ‘Tanpn disnst gevordan dureh langen Dienst geworden. through long service become. (You have developed steady nerve and undaunted courage from your long service.) ROCCO vas zal 1g ‘rerdat ‘Was soll ich? Redet! What mustIdo? Tell me! PIZARRO ‘mordan Morden! ‘Murder (someone)! ROCCO Wie? What? PIZARRO ‘hore mig nun an = duz_—_beipst bist du: aen man Hore mich nun an! = Du_bebst? Bist du ein Mann? Now listen tome! You are trembling? Are you a man? vir ‘dyrfon_gasr migt ‘zooman Wir darfen gar nicht ——_siumen, We — must notaatall delay, dem ‘tata lickt daran dein ‘bg:zan ‘untarta:n dem Staate liegt daran, den basen Untertan the State depends onit, that evil underling Jel cos dem = vek su: Togmon schnell aus dem Weg zu rumen. quickly out ofthe way to put. (to put that evil underling out of the way.)Fidelio, Act 1 a2 ROCCO o her O Herr! Oh, Sit! PIZARRO du; ftesst nox an Du _stehst noch an? You hesitate? (to himself ex darf —migt'‘lenar ‘tesbon. Er darf nicht linger leben, He — must not longer live, zonst om mig gafen sonst um — mich gescheh'n. else itis with me over. (He must not stay alive, or else it's all over with me.) pitsaro ‘zalta‘besbon du: felst te verrda fen Pizarro sollte beben? Du ‘fillst, ich —_werde steh'n, Pizarro should tremble? You will fall(and) Twill stand. (Florestan will fall and I shall remain standing!) ROCCO di: glidar fylig ‘be:ban Die Glieder fuhl ich eben, My limbs feel trembling, vi koent 1g das baj wie kénnt'ich das besteh'n? how could stand for that? ie nem im nigt das ‘lesban Ich nehm’ ihm nicht das Leben, 1 willtake fromhim not the —_—‘iife, {shall not take his life,) {will not kill him,) mak vas vil geen mag was will gescheh'n. whatever may happen. naen her das ‘lerbon. ‘newman das st mugt_‘maena pfligt Nein, Herr, das Leben nehmen, das_ ist’ — nicht meine ‘Pflicht. No, Sir, a life totake, that is not = my — duty. PIZARRO vil mig zelpst_—_bokvexmen Ich will mich selbst bequemen, 1 will bymyself take the trouble,422 ven an mut wenn an Mut if in courage nun ‘alo raf ont Nun eile rasch_ und Now hurry swiftly and du: vaest du weisst... you know... ROCCO dex —koom = mex wder kaum mehr who barely any more PIZARRO tsu: dem su: desm hrnap Zu dem, zu dem hinab! To him, downto him! du: grespst m du grist in you will dig in ROCCO ont dan Und dann? ‘And — then? PIZARRO dan vert 1g Jel Dann werd’ ich schnell, Then Twill quickly, mig im den kerkar mich in den Kerker (myself) into the cell aen fio Ein Stoss, One blow, (showing his dagger) unt ex — ferftumt -wund er verstummt! -and he issilenced! Fidelio, Act I gebrigt gebricht. are lacking ‘montor su munter mu. sharply to lept ont vir lebt, und wie isalive and like eo vart Teh wart! Ti wait der tsistemo zeit der Cisterne sehr the cistem very fermumt vermummt, emom man hrnuntar Jenem Mann hinunter, that man below, aen ‘fatton ein Schatten a shadow mm ‘Klaenar in Kleiner ata nearby Inet en schnell ein quickly a ‘wrapped (in my cloak), ‘flaegon sehleichen: creep, vet schwebt? hovers? ‘fea Ferne, distance, grap Grab. grave.Fidelio, Act I 423 ROCCO ferhujamt =m —dem‘Ketton = ertrrker lap paen. Verbungernd in den Ketten ertruger lange Pein, Famished, in hischains. ~—heendured long torment; n'toton —shaest im‘retton © dew dol vist_—_itm bofraen ihn téten heist _ihmretten, der _—-Doleh_ wird ihn befrei’n. tokillhim means tosavehim, the dagger will set him free. PIZARRO ex fterp im ‘zaenan ‘ketton su: kurts var ‘zaeno_paen Ersterb' in seinen ‘Ketten, mu kurz war seine Pein! Lethimdie in his chains, (much) too short. ‘was his torment! zaen tot nur kan mig ‘retton Sein Tod our kann mich retten, His death alone can save me, dan vert 1g ‘ruse zaen dann werd’ ich ruhig sein! then will 1 in peace be! Jetzt, Alter, jetzt hat es Eile! hast du: mug ferftandon du: aen Hast du mich verstanden? = Du ein Have you understood me? You willgiveme a dann werd! ich selbst, vermummt, etc. ROCCO Verhungernd in den Ketten, etc. PIZARRO. Er sterb! in seinen Ketten, etc. tsaegan, Zeichen, signal. (As they go off, Leonore, who has been listening unnoticed, comes forward.) ARIA LEONORE (in great agitation) apfooligar vo: aelst du: hin Abscheulicher! Wo cilst du hin? Detestable wretch! Where are you hurrying? vas hast du: for mm vildom ‘gnmma Was hast du vor in wildem Grimme? What have you onyourmind in yourwild rage? des'mitlaets ruff der 'menfhaet_— ‘Jumma Des Mitleids Ruf, der Menschheit | Stimme, Pity's call, of humanity (the) voice,424 Fidelio, Act 1 ryt nigts mex ‘daenon tiegarzin rihrt nichts. mehr deinen Tigersinn? touches nothing else your tiger-mind? (Does the call of pity, the voice of humanity or anything else touch your tiger-heart?) dox torban cox vit_—_'mesresvorgan Doch toben auch wie Meereswogen Yet (though) may storm like ocean breakers dirmdex ‘zea tsom unt vut dirinder —Seele Zorn und Wat, inside your soul hatred and fury, (Yet though hatred and fury may be raging like a roiling sea inside your soul,) 20: ‘Togtat mi aen —_‘farbonboigen so leuchtet mir cin Farbenbogen, there shines forme a rainbow dex hel cof —‘dunklon ‘volkon, rut der hell auf dunklen Wolken ruht. which brightly on dark clouds rests. dex bikt zo: full zo: frit ‘nidar Der blickt so still, so friedlich ——_nieder, It looks so calm, so peacefully down, dex ‘fpisgalt ‘alto ‘tsaeton visdor der spiegelt alte Zeiten wieder, it reflects old times again, unt nog bazenftrgt_ val’ = maen lust und neu bestinftigt —wallt mein Blut. and anew calmed flows my blood. (and my blood can thus flow calmly anew.) kom ‘hofinun las dem —‘etstan_ fte Komm', Hoffnung, lass den letzten Stern Come, hope, Tet the = last star dex ‘my:don nigt_ erblaegan der Miiden nicht _erbleichen! ofthe weary not fade! (Oh, let not the last gleam (of hope] fade from my wearied [eyes]!) o: kom erhel man ‘sil zaes nox zor. fem 0 komm, erhell’ mein Ziel, sei’s noch so fern, Oh come, brighten, my goal, beit ever so far, ‘bo zi ists etraegan die Liebe, sie ird's erreichen, my love, it will attain it,Fidelio, Act I 425, 1g folk dem ‘inno. Ich folg’ dem innern Triebe, 1 follow my inner compulsion, ie vanka mit. mug fterkt di: pfligt ich — wankenicht, mich stirkt die Pflicht 1 willnotfalter, Tam strengthened (by) the duty dex ‘trogen ‘gattanli:bo der — treuen Gattenliebe! ofa — faithful conjugal love! o dus fy dem gallos tuk O du, fiir den ich alles trug, Oh you, for whom I everything ~—_ endured, (Oh {my beloved husband], for whose sake I have endured it all,) koent 1g tsur ‘tells ‘drmpn konnt" ich zur Stelle dringen, could 1 (but) the place penetrate vo: ‘bo:zhaet dem essaln wo — Bosheit dich Fessein where evil you in chains (where evil clapped you in chains,) ont ‘zysontrosst ix ‘brajon und siissen Trost dir bringen! and sweet comfort bring to you! ch folg' dem innern Triebe, etc. DIALOGUE, (Rocco now re-enters, accompanied by Marzelline and Jaguino.) LEONORE (approaching Rocco) ‘maesto- ‘Roko i fea'fpraxt. mim zo: oft Meister Rocco, Ihr _verspracht so oft, Master Rocco, you promised me so often di: ‘armon gofajonon = m= ‘unzaron ‘festugsgartan tu: lason die armen Gefangenen in —_unseren Festungsgarten zu lassen. the poor prisoners in. our fortress garden toallow. (to allow the poor prisoners to come out into the fortress garden.) ‘hoote ist das vet zo fon Heute ist das Wetter so schin! Today is the weather so pretty!426 Fidelio, Act I ROCCO ‘ono ea‘laopnis des guvexinees Ohne Erlaubnis des Gouverneurs? Without permission from the Governor? MARZELLINE, ‘abe ea — fprax 20: ‘ane mit fasta. Aber er sprach so Tange mit dir, Vater. But he spoke forsucha longtime with you, _ father. filaegt zolst dus iim ‘aenon_gofalon tun Vielleicht _sollst du ihm einen Gefallen tun. perhaps youshould tohim a —_ favor do. (perhaps you should do him a favor [or something].) ROCCO (thinking it over) ‘aenan_gefalon vol den i geo jetst tsu:—_pttsaro Einen Gefallen? | Wohl denn! Ich gehe jett zu Pizarro... A favor? Well then! T amgoing now to Pizarro... dgakisno unt fidesljo ‘efnot dit ‘Taegtonon ——_gafenntso Jaquino und Fidelio, Afinet die leichteren _Gerfingnisse. Jaquino and Fidelio, open the low-security prison cells. (let the Jess-important prisoners out.) END OF DIALOGUE (Rocco goes off Leonore and Jaquino unfasten the barred cell doors, then withdrav with Marzelline into the background as the prisoners slowly come out. Leonore scrutinizes each one closely.) FINALE PRISONERS' CHORUS o. velgo lust nm —‘fracar oft den ‘tam laegt tur ‘herbon © welche Lust! In freier Luft den Atem leicht zu eben! Oh what joy! Inthe open air our breath easily to take! (To be able to breathe with ease in the open air!) nur his ist Tesbon. dex ‘kerkor ‘ena gruft Nur hier ist Leben, der Kerker cine Gruft. Only here is the prison, a tomb, FIRST PRISONER vir ‘Vollon mt —fertraoan cof gottas ‘hylfe ‘boson Wir wollen mit Vertrauen auf Gottes Hilfe bauen. We want with trust on God's help to build. (With trust we will build on God's help.) di:‘hofmun —_flystart zanft mir tsu: Die Hoffnung flistert sanft mir zu: Hope whispers gently to me:Fidelio, Act I 427 vir ‘verdan frae findan nu: wir werden frei, finden Rah’! we will be free, shall find peace! ‘hummal rettuy velg aen glyk Himmel! —_Rettung!__—_weleh ein Glick! heaven! Deliverance! What joy! frachaet erst du: tsurvk © Freiheit, ——_Kkehrst du zuriick! Oh freedom, ‘you return! SECOND PRISONER Sprect ‘laez> ‘haltat 906 tsurvk Sprecht leise, haltet euch zuriick! Speak sofly, hold yourselves back! (restrain yourselves!) vir zt balaoft mt for unt bik wir sind belauscht mit“ Ohr und _ Blick. we are being watched by ears. and eyes. PRISONERS Sprecht leise, haltet euch zurtick, ete. (The prisoners move away into the garden. Rocco returns and Leonore goes to him.) LEONORE nun fpregt guys: Nun sprecht, wie ging's? Now tell me, how did itgo? ROCCO rect gut tsuzammon raft ig ‘maenen must Recht gut; zusammen rafft'ich meinen Mut Quite well; I gathered up my courage unt truck im ‘allas for unt zoltst dss ‘glaobon und trugihm alles vor, und —_sollt'st du's__glauben, and aid itall before him; and can you believe vas er tsur ‘antvort mis gap was er zur Antwort mir gab? what he foran answer gave me? (and can you imagine what he answered me?) di: haerat unt das du: vil ex erlaobon Die Heirat und dass du will er erlauben, The — marriage and that you should help me he will allow, (He will allow you to marry [Marzelline] and become my helper;)428 Fidelio, Act I nox ‘hogta._ fysr1g m dis ‘kerkor noch heute fiihr’ ich in die Kerker ‘even today Iwilllead into the dungeons (this very day I'll take you [with me] down to the dungeons.) LEONORE. nox hoot ove. aenglvk =o velgo Noch heute! © welch ein Glick! O welche This very day! Oh, what happiness! Oh, what ROCCO iy zea daena ‘fropda nur nox aen Teh sche deine Freude. Nur noch ein 1 see your happiness. Only just @ dan ‘geson vir fom "baeda dann gehen wir schon beide... then we shall go, both of us... LEONORE vorhin Wohin? Whereto? ROCCO tsu:jemam man hrnap dexm 1g zaet Za jenem Mann hinab, dem ich seit To that man below, towhom 1 for teas ‘vemigor tsu:‘esson_ gasp stets weniger mu essen gab. continuously lessandless to eat_—_gave. (whom I have been giving less and less to eat for many weeks.) LEONORE. vit ex —_Tosge'fproxen Hat wird er _losgesprochen? Hal Will he ~—_—be released? ROCCO o: naen O nein! ‘Ob, no! LEONORE zo: — Sprig So sprich! Then speak! ROCCO O nein! dig hrnap dich hinab. you — down. ‘vonna ‘Wonne! bliss! ‘cogonblik Augenblick, ‘moment, ‘felon ‘voxon vielen Wochen many weeks429 ‘fur oof desm ‘mundo Finger auf dem = Munde- finger at our mouth— (finger to our lips fin secrecy)) Fidelio, Act I vir ‘myssonin — dox Wir milssen ihn— doch We — must- but ex mus m —‘aenar_‘ftonda den Er muss in einer Stunde - den He — must in one hour— our fon uns bograrbon——zaen von uns begraben —_— sein, by us buried be. (be buried by us.) LEONORE, zo: tex tot So ist er tot? Then is he — dead? ROCCO nox migt Noch nicht! Not yet! LEONORE. ist im tsu—oiton‘daena_pfligt Ist ihn zu tite deine Pflicht? Is him to kill your duty? (is it your duty to kill him?) ROCCO naen ‘guitor ‘june ‘ttre migt Nein, guter Junge, zittre nicht! No, my good lad, tremble not! som ‘mordon dint aug ‘rokko nigt Zum Morden dingt sich Rocco nicht. To murder hires himself Rocco not. (Rocco does not hire himself out as a murderer.) dex guverno: komt zelpst Der Gouverneur kommt selbst The Govenor —willcome himself vir‘baeds —_‘gra:bon mur das grasp wirbelde graben nur das Grab. the twoofus will dig only the grave. LEONORE (to herself) fillaegt das grap des ‘gattas Vielleicht das Grab des Gates, Pethaps the grave of my husband hynap hinab; below; ‘graibon graben? to dig?430 Fidelio, Act I vas kan frgtarligar —zaen ‘Was kann fiirchterlicher sein! What could more terrible be! ROCCO ie darf—im_—migt,—mit_—“fpaezo ‘latbon Teh darf ihn nicht mit _—Speise labens 1 may him not with food sustain; (I:may not sustain him with any food;) im vier im ‘graiba.‘bessor zaen ihm wird im —_Grabe besser sein, he will inthe grave better off be. vir ‘mysson glaeg tsum ‘verka 'fraeton Wir miissen gleich zum Werke schreiten; We — must now to work go; (Now we must go to work) du: most mix‘helfon mig beglaetan du musst_mirhelfen, mich begleiten; you must helpme, accompany me; hart st des_—_‘kerkormaestars hart ist des Kerkermeisters Brot. hard is the —_jailer's bread. (ailers eam their bread the hard way.) LEONORE, 1g Tolga dir vers mdemn tot Ich folge dir, witr’s in den Tod. 1 will follow you, even unto death ROCCO m dex tserfallonon —_tsisterna boraeton vir di: ‘grubo Taegt In der —_zerfallenen Cisterne —_—bereiten wir die Grube leicht; Inthe ruined cistem ‘we will prepare the grave easily; et es glaobe mir nigt_ ‘gemma ich tu’ es, glaube mir, nicht gerne, 1 doit, believe me, not -—_ gladly, cox dir t Joong vit mig doogt auch dir ist schaurig, wie mich deucht. also for you itis gruesome, as_—Tcan see LEONORE bm es muir oX mgt gavomnt Teh bin es nur noch” nicht gewohnt. 1 am —toit only not yet-—_accustomed. (it it just that I am not yet used to it)Fidelio, Act I 431 ROCCO 1 hetto ‘gemo dig ferfomt Ich hitte gerne dich verschont, 1 wouldhave gladly spared you, dox viet es mir aillaen tsu; doch wirdes mir but itis forme alone too unt gar z0: fren ist unzor_her und garso streng ist unser Herr. and everso strict is our master. LEONORE (to herself) co: velg —aen fmerts © welch ein Schmerz! Oh, what sorrow! ROCCO (to himself) Jaent ex 'vaena Mir scheint, er weine, It seems to me he is weeping, (aloud) naen du: —_blaepst hire ge: Nein, du bleibst hier, ich geh” No, you will stay here, I will go LEONORE oo naen = mus im zen dem ‘arman © nein! Ich muss ihnseh'n, den Armen Oh no! Ts must see him, that poor man ont myst ig zelpst_ tsus grundo gein und — miisst'ich —_selbst_zu Grunde geh’n! even if I should myself die! (even if I should die doing so!) BOTH o:'zo0men vier nun enor nigt O — sumen wir nun linger Oh, —_letus delay now longer not, (Oh, let us not delay any longer,) vir folgon ‘unzror ‘trenon flict wir folgen unsrer strengen —_Pificht. we follow our strict duty. (Jaquino and Marzelline hurry in breathlessly.)432, Fidelio, Act I MARZELLINE ax fastor_aelt ‘Ach! Vater, eilt! Ab! Father, hurry! ROCCO vas hast du: den ‘Was hast du denn? What is the matter with you? JAQUINO nigt 'lenor vaelt Nicht Kinger we Delay no longer! Rocco vas ist gafem Was ist gescheh'n? What has happened? MARZELLINE, fol tsom folkt mir tsar nax er — ‘droat dix Voll Zorn folgtmir Pizarro nach, er drohet dirt Full of anger follows me Pizarro (-), he’s threatening you! (nach/folgen is a separable prefix verb meaning "to follow someone") ROCCO gemax Gemach! Gently! LEONORE zo: ‘aelot fort So ellet fort! Well, hurry then! ROCCO (to Jaquino) nur nox diss vort_— Jpg vaes ext Jon Nur noch dies Wort: Sprich, weiss er schon? Just one more word: Tell me, does he know already? JAQUINO ja er —vaes_ es fom Ja, er weiss es schon, Yes, he knows it —_ already. ckt im vas vir sagt’ ihm was wir The officer told him = what weFidelio, Act I jetst. dem gofayonan —_go'vexron jetzt den Gefangenen _gewahren. now the prisoners allowed (to do). ROCCO last. ‘alla Jnel tsurvkka ‘ke:ron Lasst alle sehnell zurdicke kehren! Make themall quickly get back! MARZELLINE ir vist jas ex tobet_unt—_‘kennat ‘zaena Thr wisst ja, wie er —tobet, und —_kennet seine You know well how he rages and know his LEONORE (to herself) vis misrs am ‘innorn ‘bot emporat ist Wie mir's im Innern tobet, empéret ist How inside me all rages, boiling. is ('m so outraged that my blood is boiling!) ROCCO (io himself maen herts hat mig galorbat me dex tyran Mein Herz hat mich gelobet, sei_=der_— Tyran My — heart guided me right, though the tyrant (is) (Pizarro enters, followed by sentries and two officers.) PIZARRO fervegonat “altar velga ‘recta Verwegener Alter, welche Rechte Presumptious old man, what rights leckst du: dix ‘fresfalnt ‘zelbor bae legst du dir frevelnd selber do you ascribe wrongfully to yourself (bei/legen is a separable prefix verb meaning "to ascribe”, "to assume") ont tsimt es dem gaduqnan ——‘knegta Und ziemtes dem gedung'nen —Knechte, And isitfitting fora hired servant geben di: gafaynan rae geben die Gefang'nen frei? allow the prisoners _their freedom? Rocco oO: her O Herr! Ob, Sir! ust Wat. maen mein my in ina 433 blut Blut! blood! vut ‘Wut! rage!434 Fidelio, Act I PIZARRO voilan Wohlan! Go on! ROCCO (hesitatingly) des ‘fryims ‘kommen das_—‘haetro ‘varma ‘zonnonligt dan Des Frihlings Kommen, das warme Sonnenlicht, dann... Spring's arrival, that warm sunlight, then. (composing himself ir vol om axt genomman ihr wohl in Acht genommen, you well into account taken vas zonst tsu:. © ‘maenam ——_foutael Spmict was sonst zu meinem Vorteil spricht? what else in = my favor speaks? (Have you realized what else may speak in my favor [for what I did]?) des ‘kosnigs ‘naxmansfest 1st ‘hoot Des Kénigs Namensfest ist heute, The King’s name-day is_—_—today; das faeom vir of “zolga art das feiernwir auf solche Art. this wecelebrate in sucha way. (confidentially, to Pizarro) dex ‘unton, Seurpt dox last dis ‘andam Der unten stirbt, doch asst die Andern The one down there isdying... please let the -—others jetstfroslig hin unt visdar ‘vandam, jetzt frénlich hin und wieder wandern! now happily about wander! ({Look], the man below is dying; why not let these other men wander about in [some semblance of] happiness?) PIZARRO zo: ‘aelo im — zaen grap su: ‘graibon So eile, ihm sein. Grab zu graben, Then hasten him his grave to dig, (Then hurry and go dig his grave,) hi —vilig ‘falls ‘uz tha:bon hier will ich stille Ruhe haben. here Twant quietly to have peace.Fidelio, Act 1 435 Sli, di: gofannon ——Virdor_aen Schliess die Gefang'nen wieder ein, Lock up the prisoners again inside, mockst du: nis = mex fervergan zaen mogst du nie mehr _verwegen sein! may you never again be rash! PRISONERS lesp vol du; ‘varmas "zonnanligt Leb' wohl, du warmes Sonnenticht, Farewell, you warm sunlight, Jnel ‘Joindost du: ons schnell schwindest du uns (how) quickly vanish you from us MARZELLINE, vir ‘aelton zis tsum "zonnanligt Wie eiltensie = zum Sonnenlicht, How they hurried —towardsthe sunshine, unt ‘faedon ‘raorig ‘vindor und scheiden ——traurig wieder! and part sadly again! LEONORE, JAQUINO ir hort das vot drum _ts@igort gt Thr hort das Wort, drum zdgert nicht, You heard the — word, then tarry not, kert im dem ‘kerkor itdar Kehrt in den Kerker wieder! return to your cell again! PIZARRO. nun ‘Tokko ‘soxg ‘lenpr nigt Nun, Rocco, zg're linger nicht, Now, Rocco, tarry no longer, Jtaek m dem ‘kerkor edo steig’ in den Kerker nieder. go down into the dungeon - (nieder/steigen is a separable prefix verb meaning "to descend”, "to go down") ROCCO naen her 1g —_ts-gro ‘lenor nigt Nein, Herr, ich zbg're linger nicht, No, Sir, I won'tdelay any longer, ie ‘flaega ‘aelont ‘nisdor ich steige cilend 1 willgodown ina hurry436 Fidelio, Act 1 "beiban ‘maens ‘glisdor o: unglykzesag ‘hart pfligt Mir eben meine Glieder! O ungliickselig, hate Pflicht! Tome tremble my limbs! Oh what hapless, hard task! (My legs are shaking!) PIZARRO ict ‘ext kesrst du: ‘vidor bis ig —foltsoigon das gomigt Nicht eher Kehrst du wieder, bis ich_~—vollzogen = das_—Gericht! Not sooner will youcome back, until ‘I(have)carried out the _—_ sentence! (You shall not return until I've carried out the sentence.) LEONORE ayst mt — dor ‘maena ‘glisdor Angst rinnt durch meine Glieder, Fear runs through my limbs, eraelt dem freiflor kaen gorict ereilt den Frevier kein Gericht! overtakes that criminal no judgment! {is there no judgment that can overtake that criminal!) MARZELLINE di: ‘andom ‘murmoln jidar Die Andern murmeln _nieder, The others are mumbling softly, hir vont dis lust di:'fropdo nit hier wobnt dieLust, die Freude nicht! here dwells delight (and) happiness not! JAQUINO zi: ‘zmnan cof unt ‘nizdar Sie sinnen auf und nieder! They ponder this and that! koent i ferftem vas je:dar prigt Kénnt ich —versteh'n, was jeder spricht! Could I (but) understand what _each one is saying! PRISONERS Jorn zane di: naxt hernisdor ‘Schon sinkt die Nacht hernieder, Already isdescending the night os dex z0:_—balt’ Kaen ‘morgon brigt aus der so bald kein. Morgen brieht! outof which so soon no moming will break! (The prisoners return to their cells; Leonore and Jaquino lock them in.) END OF ACTIFidelio, Act II 437 ACT IL (A dungeon. Through the grating at the back is a flight of steps. To one side is a heap of stones and ruin, Florestan, in rags and looking haggard, is lying on the ground; the chains around his body are attached to the wall.) ARIA FLORESTAN got velg—‘dunkal hi Gott, welch Dunkel hier! God! What gloom here! o ‘grooenfolls ‘full ° grauenvolle Stille! Oh, (what) ghastly quietness! st es um smig_—her 6a’ ist es um_—mich hers Desolate it around me here; (Around me all is desolate;) nigts ‘lebat ‘aosor mir ot ‘Ivers ‘pryfun nichts lebet ausser mir. O schwere Priifung! nothing is living but me. Oh, (whata) heavy trial! ox goregt ist ‘gottas ‘villa ig ‘mum aigt Doch gerecht ist Gottes Wille. Ich murre nicht, Yet righteous. = is. God's will, 1 shall not complain, das mass dex ‘laedan fet bae dix das Mass der Leiden steht bei dir. the measure ofmy suffering is with Thee. m des lesbons-_fry:Imsta:gon In des Lebens —_Friihlingstagen In life's springtime-days (in the springtime of my life) ist das glvk fon mi gaflon ist dasGliick von mir gefloh'n, did happiness from me —_ flee; (Lwas bereft ofall my happiness:) ‘vathaet varkt 1¢ kyn ts: zaxgon Wahrheit wagt'ich kin zu sagen, the truth I dared boldly to speak, unt dis ‘ketton zt maen lon und die Ketten sind mein Lohn. andthe chains are = my —_ reward, ‘villig dutt ig ‘alla ‘Jmertson, Willig duld'ich alle ‘Schmerzen, Willingly endure all (my) pains,438 Fidelio, Act If ‘ends ‘mesg ‘maeno ban ende schmihlich meine Bahn; (and) end shamefully the course (of my life); ‘zysor trosst m —‘maenam = “hertsan silsser Trost in meinem Herzen: (but there is) sweet consolation in. my heart: ‘maena pfligt hap 1g gotan meine Pflicht hab’ ich —_getan! my duty have I done! (Idid my duty!) unt Jpyir ig nigt—‘inds zanft. ‘zopzainds loft Und spir'ich nicht _tinde, sanft siuselnde Luft? And do feel not agentle, soft rustling breeze? (Am I not feeling a gentle, soft rustling breeze [in here]?) unt Ist migt_—maen graxp mi erhellot und ist nicht mein Grab mir erhellet? And is not my —_ grave _ being illumined? (is there not a light shining inside this grave of mine?) ig ze: vis aen empl, sm_—_toxzigon doft Teh seh’, wie ein Engel im _rosigen Duft 1 see, how an angel ina rosy haze zig trostant —tsusr_‘zaeta_misr'ftellat sich tréstend zur Seite _ mir stellet. consolingly atmy side places himself. gen ‘empl leonoron der ‘gattin 0: glaeg Ein Engel, Leonoren, der Gattin so. gleich, An angel, Leonore, my —_ wife. so like, (An angel resembling my wife Leonore,) der der fyrt mi sur ‘fraehaet ns humlifa raeg der, der fdhrt mich zur Freiheit ins _himmlische Reich! who, who leads. me to_freedom into. heaven's realm! (Florestan lies exhausted on the floor with his face hidden. Rocco comes down the stairs, carrying a lantern and a flask of wine; he is followed by Leonore, who is carrying a shovel and a pickax.) MELODRAMA, DIALOGUE AND DUET DIALOGUE LEONORE vir kalt. ates im ‘ditzam ‘unte?imdifon geveelbo Wie alt istes in diesem unterirdischen Gewalbe! How cold itis in this subterranean vault!Fidelio, Act IT 439 ROCCO das ist natyalig «= ess jaz tit Das ist natiirlich! «Es ist ja tet. That is natural! It isvery deep. ({tis to be expected! We are very deep down.) LEONORE ie ‘glaopta fon vier ‘vvrdan Teh —_glaubte schon, wir wiirden 1 believed already (that) we would den ‘aengan gar mgt findan den Eingang ——garnicht —_finden. the entrance not atall find, (Lstarted to believe we would never find the entrance.) ROCCO (suddenly perceiving Florestan lying on the floor) da: stem Da ister. There hes. LEONORE ex — Jaent gants ‘oma be'vergun Er scheint ganz ohne Bewegung. He seems (tobe) quite _ motionless. ROCCO filaegt Ist ex tort Vielleicht ister tot! Perhaps heis dead! LEONORE i maent es Thr meint es? You — think so? ROCCO (observing Florestan a bit closer) naen eo — fle:ft das 'myson vie —_bonutson Nein, er schlift. Das missen wir _benutzen No, he —isasleep. This.» we must. take advantage of unt glaeg ans veak ‘gen und — gleich ans Werk gehen; and immediately to work go; (We must take advantage [of the fact that he is asleep] and immediately go to work;) via ‘haibon ‘kaena tsaet su: feavlison wir haben keine Zeit zu verlieren. we have no time to _ lose.440 Fidelio, Act IT LEONORE (to herself) es st ‘unmgklig——"zaeno unta:faedan Es ist unmdglich, seine unterscheiden. It is impossible his discem. got fie: mix bae Gott steh’ mir bei, (May) God stand by me ROCCO hie ‘unt ‘dizan ‘Jtaenen ist dit tsisterno Hier unter diesen Steinen ist die Cisterne. Here, under these stones is the cistern. vi ‘braoxon mgt fil tsur_—‘gratbon Wir brauchen nicht viel zu graben. We — need not alot to dig. (We needn't dig much.) mio di ‘havo dus ftela dig mir die Haue, Du stelle dich me the —_pickax. You place yourself over here. du: ‘tsttest “fungtast dus dg Du zitterst-__flirchtest du dich? You are trembling - are you afraid? LEONORE, o: =o maen es st’ nue oral O nein, es ist’ «mur so._——kallt. Oh no, it is. only. sooo. (oaly, itis so cold.) ROCCO zo: maxo fort im ‘arbaeton Jon varm ‘verodan ‘So mache fort, im Arbelten schon warm werden, Then go to, by working you will soon warm be. (work will soon warm you.) END OF DIALOGUE (As Rocco begins to dig, Leonore tries to observe the prisoner.) DUET ROCCO nur hortigfort nur frif gegraiban Nur hurtigfort, nur frisch Now set towork, now quickly es vert nigt lan ex komt heraen es wihrt nicht lang’, er kommt herein, it won't belong (before) he ~—-comes here. {it won't be long before [Pizarro] comes.)Fidelio, Act IT LEONORE. ix zolt jax mgt tsu:—‘Klaxgon Thr solltja nicht zu lagen You will” not to complain ix zolt gots tsufrisdon Thr —sollt gewiss zufrieden you will certainly pleased 441 ‘ha:bon haben, have, zaen sein. be. (You will have no complaints {about my work] and you will surely be satisfied with it) ROCCO (lifting a large stone) kom hil dox —‘dizzan_ftaen Komm, hilf doch diesen ‘Stein Come, help now this stone (help me lift this stone now.) hap axt es hat govigt Hab’ Acht! Es hat Gewicht. Take care! It has weight. LEONORE 1g hele fon zorkt og migt Ich helfe schon, —_sorgt euch nicht, 1 willhelp you, have no care, 1 vil mir ‘allo 'mysa‘ge:bon ich will miralle Miihe geben. 1 will with all the effort I can. ROCCO aen ‘vemig nox Ein wenig noch. A littl farther. LEONORE gedult Geduld! (Have) patience! ROCCO ex vaegt Er weieht. It is giving way. LEONORE. nur ‘etvas nox Nur etwas noch. Only alittle more. mise mir me442 Fidelio, Act IT ROCCO es ist —migt—_laegt Es ist nicht leicht. It is not _ light. LEONORE ‘Nur etwas noch. (They let the stone roll down.) ROCCO Nur hurtig fort, ete. LEONORE last mig must virdor “krefto Lasst_ mich nur wieder Krifte Allow me only again my strength vir ‘verdan balt teu: ‘endo wir werden bald m Ende we will soon atthe end ‘ha:bon haben, to have, zaen sein. be. (Let me recover my strength and we will soon be finished.) ROCCO Nur hurtig fort, ete. LEONORE, ver du; cox zest = teva ig tettan Wer du auch seist, ich will dich retten, Whoever you mightbe, «T= want_torescue you. ROCCO -=€5 wiihrt nicht lang, etc. LEONORE bae got du: zolst_ kaen ‘opferzaen Bei Gott, du sollst kein Opfer sein! By God, you must no _victim be! (You shall not be sacrificed!) govis loz ‘daena ‘kettan ja: Gewiss, ich Wise deine Ketten, ia For sure 1 willloosen your chains, yes, vl du armor dig bofraen ich will, du Armer, dich befrei'n. 1 will, you poorman, —_—free you. ROCCO vas tsaodarst du: mm ‘daenar pfigt ‘Was zauderst du in deiner Pflicht? Why are youhanging back in your duty?Fidelio, Act II 443 LEONORE. maen ‘fator naen 1g ‘tsaodro nigt Mein Vater, nein, ich — zaud're nicht. My — father, no, I ammot hanging back. ROCCO Nur hurtig fort, ete. LEONORE, Ihr solit ja nicht zu klagen haben, ete. DIALOGUE (While Rocco takes a swig from his flask, Leonore looks intently at Florestan.) LEONORE, c= ea'vaxt Er —_erwacht! He is waking up! ROCCO, ea ex'vaxt zaikst du: Er erwacht, sagst du? He is waking up, you say? LEONORE, eo = hat dem ~—kopf__gaho:bon Ja, er hat den Kopf gehoben. Yes he has the ~—ihead —_iifted. (Yes, he lifted his head.) ROCCO ome ‘tsvaefol ‘Ohne Zweifel Without doubt ‘taozant ‘fraigan an mig ftelon tausend Fragen an mich stellen. athousand questions at_—=sme_—_ direct. (He will again have a thousand questions to ask me.) Stack hinap unt —‘Rooma nox zor fill vek Steig’ hinab und riumenoch — so viel weg, Go down and clearthings as much away das man di: tsisterna——‘efnan_ kan dass man die Cisterne ——ffnen kann, so that we — the cistern open can. (Go down there and clear away enough things for us to be able to open the cistern.) (to Florestan)444 Fidelio, Act II nun ix hapt ‘aenigo ‘aogonblika gout Nun, Ihrhabt wieder einige Augenblicke geruht? Well, did youhave again some moments —_to rest? FLORESTAN gorut vit fend ig Rue Geruht? Wie ‘ffindeich_~=—-Ruhe? Rest? How couldI find rest? LEONORE (catching sight of his face for the first time) got ew ists Gott! Erist's! God! It ishe! FLORESTAN (insistently, to Rocco) zackt mi ‘enthig vem Ist guveaing —dizas._gofennisas Sagt mir endlich, wer ist Gouverneur dieses Geflingnisses? Tell me —atlast, who is thegovernor of this. prison? ROCCO jest kan 1 es im ‘oma gofar ‘zasgen Jett kann ich es ihm ohne Gefahr sagen. Now can I it — tohim without danger tell. (Now I can safely tll him.) dex guve'ngix st. don_piitsaro Der Gouverneur ist... Don Pizarro. The governor is... Don __Pizaro. FLORESTAN don pitsaro fuk zofort max zevilja Don Pizarro! —_Schickt sofort nach Sevilla — Don Pizarro! Send (someone) immediately to _Seville~ frackt nax leonors —flomestan—zaikt_ ita fragt nach Leonore ——Florestan. ~—Sagt ihr, Ask after Leonore Florestan. Teller das his om ‘ketan_liga dass ich hier in Kettem liege... that I here in chains am lying, LEONORE (to herself) got eo amt nigt das zi jets’ zaen grap grespt Gott! Er ahntnicht, dass sie jetzt_ sein. Grab grabt! God! He hasnoidea that she now grave is digging! ROCCO es st unmpsklig © g_——'Vvardo. mig ns fea‘deabon ‘feratson Es ist’ unméglich. Ich wilrde mich ins Verderben stdrzen, That is impossible. 1 would only ruin myself,Fidelio, Act It 445 ‘oma 20g gainvtst tsu:—‘ha:bon ohne euch —geniitzt zu haben, without you ofservice to. —_—have been. (without having been of any service to you.) FLORESTAN ven 1g den fea'damt bm hie ‘endan Wenn ich denn verdammt bin, hier enden, if 1 then am damned here my life to — end, last mig mgt lanza feo'fmaxton asst mich nicht Iangsam —_verschmachten. let me not _—_ slowly die a lingering death. LEONORE o: got vem «kan das ea'traxgan © — Gott! wer kann das ertragen? Oh — God! Who can stand this? FLORESTAN 0s barmheotsickaet_ © geipt_ mix "vaso Aus Barmherzigkeit, gebt_ mir — Wasser. Outof pity, give me water. (For pity’s sake, give me some water.) ROCCO ‘alos vas 1g =o ‘anbitton kan Alles, was ich euch ambieten kann, All that 1 you — offer can wt diss -Restgan vaen das gm “krusgo ‘haibo ist dies Restehen Wein, das ich im_~—_Kruge habe. is this little drop of wine tht I inmy flask have. fideljo Fidelio! LEONORE da: Da. Here FLORESTAN veo ist das Wer ist das? Who is that? ROCCO maen ‘liso unt m= ‘vemigen. ~——taigan maen ‘aedazm Mein Schliesser, und in wenigen Tagen mein Eidam. My assistant jailer, and in afew days, my son-in-law.446 Fidelio, Act IT (to Leonore) fide:jo du: bist jar gants_boverkt Fidelio, du bist ja ganz_bewegt. Fidelio, you are really quite moved. LEONORE. vea —zolt es mgt zaen ise zelpst ‘maesta-'zoko ‘Wer sollt'es nicht sein? Ihr selbst, Meister Rocco... Who could not be? You yourself, Master Rocco... ROCCO est = var de menf hat zo: ‘aena ‘Juma Es ist’ wahr, der Mensch hat so eine __‘Stimme. That is true; the = man has such a voice... LEONORE jar dunt m — dk_—tifo des ‘heatsans Ja, sie dringt die Tiefe des Herzens. Yes, it penetrates. into-the-— depths of the heart. END OF DIALOGUE TRIO FLORESTAN 20g 'verds lon m ‘bess ‘velton Euch werde —Lohn in bessern Welten, May yoube rewarded in (a)_better world, dex tummal hat o8¢ mir gofikt co: dank der Himmel hat euch mir —geschickt. = © Dank! heaven has you tome sent. Oh thanks! ix haxpt mig zyss erkvikt Thr —habt mich sss erquickt; You have me — sweetly refreshed; (You have given me sweet refreshment;) 1 kan dit vorltat rigt fergelton ich kann die Wohitat nicht vergelten. T can your gooddeed not _—repay. ROCCO 1 lapt in gem ‘armen man Teh labt’ ihn gern, armen Mann, 1 refreshed him gladly, the poor man, es ost ja; Balt’ «om imgatam es ist ja bald um ihn —_getan. it will be — soon with him over. (it will soon be all over with him.)Fidelio, Act IT 447 LEONORE. vi heft ras herts Wie heftig pochet dieses Herz, How — mightily beats my heart, es vorkt in fropt unt ‘farfom Jmens es wogt in Freud’ und scharfem Schmerz! it ismoved in. joy and sharp pain! FLORESTAN boveskt zei1g myn Bewegt seh’ ich den Jiingling Moved Tcan see this youth (Lean see this youth here is moved,) unt rysuy tsaekt cox ‘divzar man und Rihrung zeigt auch dieser. Mann, and compassion shows also. this man. (and this man also shows some compassion.) ROCCO vas Teh tu’, was 1 do what dox has ig doch ass" ich but Thate LEONORE, di: hero Die hehre The — sublime, di tot mir die Tod mir which death tome FLORESTAN oe: got du: O Gott, du Oh — God, Thou das eis, dass ich sie that them ‘maena pfligt gaboot meine Pflicht gebeut, my duty demands, ‘allo ‘graozamkaet alle Grausamkeit. all cruelty. ‘bay tunda vigkt bange Stunde winkt, fearful hour is beckoning, ower ‘rettun bint oder Rettung bringt. or salvation —_will bring. "rendast ‘hofno mis sendest Hoffaung mir, sendest, hope tome, nox govmnen kan noch gewinnen kann, still winover can (that I can win their sympathy.) LEONORE (to Rocco, taking a piece of bread from her pocket) dis ‘fovkgan Dies Stiiekchen This little piece brost ja zaet tsvae taigon Brot— seit. zwei Tagen ofbread~ well, for two days.448 Fidelio, Act It track re es ‘immer fon bac mir trag’ ich es immer schon bei mir. Thave been carrying it always with — me. ROCCO (restraining her) Ig ‘moegta gem dox zak 1g disr Ich —_mdchte gern, doch sag’ ich dir, T would gladly (let you) but Trtell you, das thiso “virklag teu: fil ‘vaxgon das —hiesse wirklich zu viel wagen. it wouldbe really too much to dare. (it would be really too risky.) LEONORE. ax itr ‘lasptat gem dem ‘armon_man Ach! Ihr —labtet gern den armen Mann. Ah! You gavereffeshment gladly tothat poor man. ROCCO das gett migt an Das geht nicht an. That has nothing to do with it. LEONORE, es ist jar alt um im gotam Es istja bald um ihn —_getan. It will soon with him —_ be over. (He hasn't much longer to live.) ROCCO Das geht nicht an, (As Leonore insists, Rocco finally relents.) zw: mae es jatar zaes du; kanst So sei es, ja, s0_—sei's, du kannst So be it yes, s0.—beit, you can LEONORE (giving the piece of bread to Florestan) da; nm = das. bot’. du: ‘armar ‘armer man Da, nimm das Brot, du armer, armer Mann. Here take this bread, you poor, poor man. FLORESTAN (taking it and eating it ravenously) o: dank dir O Dank dir! Oh — thank you! Euch werde Lobn in bessern Welten.Fidelio, Act II 449 LEONORE. desr‘himmal ‘Jukka vrettoy dir Der Himmel schicke Rettung dir, May heaven send deliverance to you, dan vist mir thor Jon gevert dann wird mir —_hoher Lohn gewahrt. then will tome a higher reward be granted. FLORESTAN (to Rocco and Leonore) Der Himmel hat euch zu mir geschickt, o Dank! Ihr habt mich siiss erquickt. ROCCO (to Florestan) mig tyrta oft daen ‘laedon hie Mich rihrte oft dein Leiden hier, Me moved often your suffering _—_—here, (was often moved by your suffering down here,) dox ‘hilfo var mix ‘firey ferveat doch Hilfe war mir — streng verwehrt. but help was tome strictly prohibited. FLORESTAN Bewegt seh’ ich den JUngling hier, und Rahrung zeigt auch dieser Mang, ete. o: ven zi:ge'vinnan kan 0, wenn ich sie gewinnen kann!.. Oh, if 1 camonly win them over... ©: das 1 00g mit Toman kan oO dass ich euch nicht lohnen kann... Oh, (the fact) that I cannot reward you. LEONORE, oe mer als ertraigon kan ° mehr, als ich —_ertragen kann! Oh, (this is) more than T can bear! DIALOGUE ROCCO ‘alos st baRaet ie gen das zignad tsu:geiban Alles ist bereit. Teh gehe, das Signal m geben. Allis ready. 1 go the signal to give. (L will now go and give the signal.) LEONORE O Gott! FLORESTAN vo: geit ew hm Wo — gehter hin? Where is he going?450 (as Rocco blows his whistle) Fidelio, Act II ist das. dea = fowboia == maenas ‘odes Ist das der _—_-Vorbote meines Todes? Is that the harbinger of my death? LEONORE Nein, Nein! FLORESTAN (1o himsel)) o:'maena leonora ml «dy on vid> ean O meine Leonore, soll. ich dich_nie_—_wieder sehen? Oh my Leonore, shall ‘I you never again see? LEONORE zae ‘Rug vas du; aox ‘zen unt ‘hoon maikst Sei ruhig, Was du auch sehen und hdren magst, Be calm. Whatever you see and hear may, fea'gis mgt das yibartal ‘aena fozewn st vergiss nicht, dass iberall eine Vorsehung ist, donot forget’ that everywhere a Providence there is, jar es gipt , ‘aeno forzeun ja, es gibt "eine Vorsehung! yes, there is a Providence! (Be calm. Whatever you there is indeed a Providence!) PIZARRO (entering, to Rocco) may see and hear, do not forget that Providence is everywhere, yes, st ‘alas boraet Ist alles bereit? Is everything _ready? ROCCO jas lw ‘keton ‘apnesman Ja, soll ich Ketten abnehmen? Yes, should I his’ chains remove? PIZARRO naen ‘abo iiss in fom flaen los dis tsaet deme Nein, aber schliess' ihn vom Stein los. Die Zeit dringt. No, | but —unchain him from the stone Time is pressing. (los/schliessen is a separable prefix verb meaning "to unchai (He draws a dagger. Rocco carries out his order.) END OF DIALOGUEFidelio, Act II 451 QUARTET PIZARRO ex'fierbo dox ex zol_—exst_"vissan Ersterbe! och er soll erst wissen, He must die! But he must first know ver imzaen —_—_‘ftoltsos herts tserflaeft wer — ihm sein stolzes Herz _zerfleischt. who his proud heart tears out. (who itis that will tear out his heart.) dex 'raxo ——_dunkal zae —_tserisson Der Rache Dunkel sei zerrissen, (Let) revenge’s gloom be rent, (Let the veil of gloom be rent from my revenge.) (No longer will the reasons for my revenge be a secret.) ((o Florestan) zi her du:_—hast_«mig_— ict gatoaft Sich her! Du hast mich nicht _getiuseht! Look here! You have me — not tricked! (You did not trick me!) pitsaro dem du: ‘ftvrtsan ‘voltast Pizarro, den du _stirzen wolltest, Pizarro, whom you sought to overthrow, pitsaro den du: frrgton ‘zoltast Pizarro, den du _flirchten solltest, Pizarro, whom you should have feared, fret mun als 'regor hice steht nun als Richer hier. isstanding now as avenger here. FLORESTAN gen ‘moerdor Stet for mir Ein Morder steht vor — mir, A murderer —isstanding before me. PIZARRO nox ‘aenma:l mf 1g dir vas. dus gotan tsuirk Noch einmal ruf ich dir, was du getan, muritek. ‘Once again recall 1 foryou what you havedone = (>). (Once again I will recall for your benefit what you have done.) (zuriick/rufen is a separable prefix verb meaning "to recall”) mur nox aen—‘aoganbhk unt ‘ditzar_ dole Nur noch ein Augenblick, und — dieser“ Dolch... Just. still one moment and this dagger. Just a moment longer and this dagger...)452 Fidelio, Act It LEONORE (throwing herself between the two) tsurvk uriick! ‘Stand back! FLORESTAN 0: gat O Gott! Oh — God! ROCCO vas zal Was soll? What is this? LEONORE durgboron must du: emst_ “‘dizza Durchboren musst du erst diese Pierce must you first this (You must first pierce me through the heart!) dex zae dix gafvoron — fy ‘daeno_‘moerdorlust Der Tod sei dir geschworen fir deine Mérderlust! Death be — toyou_swom for your _bloodthirstiness! (Lhave sworn your death for your bloodthirstiness!) PIZARRO ‘vamzmnniger Wahsinniger! Madman! (He pushes her aside.) ROCCO (10 Leonore) halt aen Halt ein! Stop! FLORESTAN O Gott! PIZARRO ex zal _—_beftrarfat Er —soll_bestrafet He — must punished LEONORE (shielding her husband once more) tot est. zaenvaep Tot! erst sein Weib! Kill first his wife!Fidelio, Act If PIZARRO Sein Weib? FLORESTAN maen vaep Mein Weib! My — wife! LEONORE (to Florestan) jat hit leonora Ja, sich hier Leonore! Yes, see here Leonore! FLORESTAN Leonore! LEONORE (to the others) ig bn = zaen--vaep gofvorron hapigim =u Teh sein Weib, geschworen hab ich ihm Trost, Tam his wife; sworn have Ito him — comfort, (turning to Pizarro) ferderbon dix Verderben dirt destruction for you! (Lhave sworn to obtain comfort for him and destruction for you!) PIZARRO, ROCCO Sein Weib! FLORESTAN Mein Wei LEONORE Ja, ich bin sein Welb, ete. PIZARRO velg‘unerhoxtar must Welch unerhdrter Mut! What unheard-of courage! FLORESTAN for froods Start maen blurt Vor _ Freude starrt mein Blut. Outof happiness is standing still my blood. ROCCO mix ftart vor ast maen blu, Mir starrt vor Angst mein Blut. Inme stands still outof fear my blood, 453454 Fidelio, Act IT LEONORE (to herself ig wolsoZaenar vut ferderbon im Ich trotze seiner Wut! Verderben ihm! 1 defy his. rage! Destruction to him! PIZARRO ha: zal «1g for ‘genom 'vaebo "beiban Hat Soll ich vor einem Weibe beben? Ha! Shall [before a= woman tremble? 10: ‘baeda ‘maenom = ghim So beide meinem Grimm! Then sacrifice both ofthem tomy fury! gotaelt hast du: = mit’ =—zaen_Tecbon Geteilt hast du mit ihm sein Leben, Shared have you with him his _ife, zo: ‘taelo num — dem tor mit ism so telle. mun den Tod mit ihm! then share now — death with hit LEONORE Der Tod sei dir geschworen, ete. (suddenly brandishing a pistol at him) nox‘aenen aot unt «dus ist tot Nocheinen Laut und du bist tot! One more sound and you are. dead! (The trumpet sounds from the tower.) du: bist gorettat ‘grosor got Du bist gerettet!_ «Grosser Gott! You are saved! Great God! FLORESTAN Ach! Ich bin gerettet! Grosser Gott! Tam PIZARRO ha: dex — minister heel unt tot Ha! Der Minister! HII" und Tod! Ha! The Minister! «© Helland death! (Hell and damnation!) ROCCO o: vas st. «das gotegtar get O! Was ist das? Gerechter_ Gott! Oh, what is this? Righteous God!Fidelio, Act IT 455 (Pizarro and Rocco stand dumbfounded. Leonore and Florestan embrace. The trumpet sounds again, but louder. top of the staircase.) Jaquino, two officers, and soldiers bearing torches, appear at the DIALOGUE, JAQUINO ‘fat 'Roko dea hea minister st ‘angakoman Vater Rocco! Der Herr Minister ist angekommen. Father Rocco! The — Minister has arrived. zaen gafoiga ‘vaRtat Jon im ‘flosho:f Sein Gefolge wartet ‘schon im Schlosshof. His retinue iswaiting already inthe castle yard. ROCCO (aside, joyfully and surprised) goilorpt zae got Gelobt sei Gott! Praised be God! (to Jaquino, aloud) vi ‘komon ‘coganbliklig unt ‘diz loota mit fakoln Wir kommen —_augenblicklich Und diese Leute mit Fackeln We arecoming at once! ‘And these people with torches "zolonhe'runtaftaegan ont den ean guves'nd ——hrnaofboglaeton. sollenheruntersteigen und den Herrn Gouverneur hinaufbegleiten. ‘must come down here and the Governor escort up. (and escort Mr. Governor [Pizarro] up.) (The soldiers descend the stairs. The officers and Jaquino leave.) END OF DIALOGUE LEONORE, es fleskt der‘raxo ——‘ftundo du: zolst_gorettat zaen Es schliigt derRache Stunde! Du sollst _gerettet sei ‘There strikes vengeance’s hour! You will be saved! FLORESTAN Es schhigt der Rache Stunde, ich soll gerettet sein! PIZARRO ferfluxxt ze Verflucht sei Cursed be di: thooglor Die Heuchler The hypocrites Twil iza‘Jtunda diese Stunde! this hour! ‘Jpottan maen spotten mein! are mocking me!456 Fidelio, Act IT ROCCO. co: fyrgtorligg funda 9: gat vas ‘vartat_ maen © firehterliche Stunde! OGott, was wartet mein? Oh fearful hour! ‘Oh God, what awaits. me? PIZARRO fertsvaefluy vist. im —‘bunda Verzweiflung im Bunde Despair will in league mit ‘maener ‘raxo zaen mit meiner Rache sein! with — my revenge be! Verflucht sei diese Stunde, ete. LEONORE, di: litbo viet am == ‘bundo mit ‘muita dig bofraen Die Liebe wird im Bunde mit Mute dich befrei'n! Love will in league with courage free you! FLORESTAN Die Liebe wird im Bunde mit Mute mich befrei'n! Es schligt die Rache Stunde, ete. me ROCCO vil_—omigt’ mera bunda mit 5m ‘vystrig zaen Ich will nicht mehr im — Bunde mit diesem Wiltrich sein. T wish no longer in league with this tyrant tobe. O fiirchterliche Stunde! ete. (Pizarro rushes away, signalling Rocco to follow him. Rocco clasps the hands of Florestan and Leonore, clasps them to his heart, points to heaven and rushes out. The soldiers light Pizarro's way up the stairs.) DIALOGUE FLORESTAN ©: ‘maene leono:ro vas hast du: fy = mig gotan ©, meine Leonore, was hast du fir ~~ mich_getan? Oh, my —Leonore, what have you for += me done? LEONORE, nigts maen florestan Nichts, mein Florestat Nothing, my Florestan! END OF DIALOGUE, DUET FLORESTAN o: —‘narmanloiz> —frosda © —namenlose Freunde! Oh nameless joy!Fidelio, Act IT LEONORE maen man an ‘maenar brust Mein Mann an meiner Brust! My husband at omy, breast! FLORESTAN an leonoans An Leonorens At Leonore's BOTH na:x ‘unnenbarran —‘Taedon zo: 'y:borgro:sa Nach unnennbaren Leiden so fibergrosse After inexpres suffering, such immense LEONORE, du: ‘vider nun om = 'maenan ‘armen Du wieder nun in meinen Armen! You again now in my arms! FLORESTAN o: got vis. © gros. st’ © daen_erbarman © — Gott! Wie gross ist dein Erbarmen! Oh God, how great is © Thy mercy! BOTH dank got fy ‘ditza ust © Dank dir, Gott, fiir diese Lust! Oh — thank ‘Thee, God, for this _joy! LEONORE Mein Mann an meiner Brust! FLORESTAN Mein Weib an meiner Brust! du: bists Du bist It is you! LEONORE, 1g bins Teh bin'st Itis me! FLORESTAN co: humlifas enitsykkon © —himmlisches Entzticken! ~—Leonore! Oh — heavenly ecstasy! Leonore! LEONORE Florestan! lost Lust! delight! 497458 Fidelio, Act It BOTH O namenlose Freude!, ete. Scene Two (The castle parade grounds, with a statue of the king. The castle guards march on and form an open quadrangle. Then from one side enters the Minister, Don Fernando, accompanied by Pizarro. A crowd hurries forward. From the other side Jaquino and Marzelline lead in the state prisoners, who kneel before Don Fernando.) FINALE CHORUS OF PEOPLE AND PRISONERS hael zae dem tak hael zae der ‘funda Heil sei dem Tag, heil sei der ‘Stunde, Hail to the day, hail, tothe hour, an erzemt dox ‘unfermaent die lang’ ersehnt, doch _unvermeint, the long-awaited —yeamed for yet. —_ unforeseen; gerecugkaet mit —hult im —“bunda Gerechtigkeit mit Huld im — Bunde righteousness in league with mercy at ‘UnZOs bos tor erfaent yor — unsres Grabes Tor — erscheint! before our grave's door appears! (Fighteousness and mercy appears at the threshold of our graves!) DON FERNANDO des ‘beston ‘kemigs vk ont villa Des besten Kénigs Wink und Wille Our best king's will and command fyrt omg ts: gist ‘aman. hex fihrt mich zu euch, ihr Armen, her, leads me to you, you poor people, _here, (ur most gracious king sends me to you, you poor people,) das dew fresfal_naxt enthylla dass ich der _—_Frevel Nacht enthillle, sothat I the -—_crime's night uncover (60 that I may uncover the dark erimes,) dial umfaon arts ont fver die all’ umfangen, schwarz und schwer. which all encompass. black and heavy. (which have enveloped you all in its heavy gloom.) naen ict ‘leypr ‘knit ‘skla:vif inidar Nein, nicht linger knieet sklavisch _nieder, No, no longer kneel slavishly down, (No longer shall you kneel down in servitude,)Fidelio, Act IT 459 tyrannanftrenp me fern ‘Tyrannenstrenge sei fern! stem tyranny be fromme far! (stern tyranny be far from me!) es muxt dex ‘bruxder ‘zaena ‘bry:dar Es sucht der Bruderseine Briider, It seeks the brother his brothers, (A brother seeks his brothers,) vot kan er = ‘helfon hilt er gem und kann er helfen, hilft er gern, and can he —_help, helps he gladly. (and if he can help [him], he does so gladly.) CHORUS. Heil sei dem Tag! Heil sei der Stunde! DON FERNANDO Es sucht der Bruder, ete. (Rocco, Leonore and Florestan break through the crowd and appear before the Minister.) zo: ‘helfet helft den ‘arman Wohlant = So_—helfet, helft' den Armen! Wellthen, now help, help these _poor people! PIZARRO vas zerig ha: Was seh'ich? = Ha! What do I see? Ha! ROCCO (to Pizarro) boverkt es dig Bewegt es dich? Does this move you? PIZARRO (to Rocco) fort Fort! Away! DON FERNANDO (to Rocco) nun ‘rexdo Nun rede! Now — speak! ROCCO al erbarman—_‘feraena zzam ‘para 21g AM’ Erbarmen —_vereine diesem Paare sich! (May) all mercy reunite this pair to itself? (May [heaven's] mercy reunite this couple!)460 don floxestan Don Florestan... Don Florestan, DON FERNANDO (stunned) Fidelio, Act It dex —totgaglaopta dex Der —Totgeglaubte, der The one believed dead, the dex fy ‘vashaet Stone der fiir Wahrheit —_stritt? who for the truth fought? ROCCO vont ‘kvailon ‘oma tsa ert und Qualen ohne Zahl cerlitt. and torments without number endured. (--and who suffered numberless torments.) DON FERNANDO maen front dex totgaglaopta gofessolt Mein Freund, der —Totgeglaubte? Gefesselt, My friend, the one believed dead? In fetters, blaeg ftert ex for mix bleich steht er vor — mir. pale hestands —before_me. LEONORE, ROCCO ja: floyestan = ir. zest im Ja, Florestan, ihr seht'— ihn Yes, Florestan — you see — him _ here, (Yes, you see Florestan standing before you.) Und Leonore.. And Leonore. DON FERNANDO (still astonished) Leonore! ROCCO dex fran tsirds fyx ig for zit kam hitrhesr Der Frauen Zierde fahr'ich vor; sie kam — hierher... Ofwomen the paragon Tring before you; she came _here.. (C bring before you a paragon among women; she came here...) PIZARRO ‘vorta ‘zaigan Zwei Worte sage words to say... (May I say two words...)DON FERNANDO. kaen —vort Kein Wort! Nota word! (to Rocco) zi kam Sie kam... She came. Rocco dort an maen dort an mein there at = my ont” tat als und trat als and entered as ont tat und tat and performed das ig tsum dass ich zum that I fora MARZELLINE. 0: ver mits O web mir! Oh woe is me! ROCCO dex —‘unmenf Der — Unmensch The inhuman one an an to wreak on Fidelio, Act IT 461 tor Tor, gate, knegt m ——‘maeng ‘dimsta Knecht in meine Dienste, aboy into my service, zo: ‘bra:va ‘trae ‘dimsto so brave, treue Dienste, such good, loyal services, ‘aedaim Zit erkor Fidam son-in-law vas fernimt ‘Was vernimmt What _ perceives (What do I hear?) volt mn wollt' in wanted in flowestan den Florestan den Florestan the maen or mein Ohr? my ear? ‘dizar ‘Jtundo dieser Stunde this hour mort Mord. murder, (This inhuman man [Pizarro] would have wreaked murder on Florestan.) PIZARRO mut Volizieh'n, — mit Wreak, with im ihm! him! (Yes, but he was in on it too!)462 Fidelio, Act It ROCCO mit uns m_— ‘bunds Mit uns im = Bunde, With us in league, (turning to Don Fernando) nur ‘ser ‘kommen rif im fort nur euer Kommen —rief ihn fort. only your arrival called him away. CHORUS boftrat za de © ‘bozavigt §=— de ‘unfult vontardrvkt Bestrafet sei. der _—-Busewicht, der Unschuld-——_unterdriickt! Punished be the ~—_villain who innocence _oppresses! garectigkaet helt tsum —gatact Gerechtigkeit halt zum Gericht Righteousness holds for judgment dex ‘axa Jvext gatsvkt der — Rache Schwert geatickt. the vengeance sword drawn, (Righteousness holds the drawn sword of vengeance in judgment.) (Pizarro is led away by the guards.) DON FERNANDO (to Rocco) du: ‘Jlossast cof des. ‘exdlan grap Du —schlossest_ auf des Eden. Grab; You opened up this noble man's grave; jetst. mum ism ‘zaeno ‘kettan ap jetzt nimm ihm seine Ketten ab! now take from him his chains off! (now remove his chains!) dox halt o¢ exdla frog aillaen Doch halt! Euch edle Frau allein, But wait! Yours, noble lady alone, 29g tsimt es gants im —tsu:_—befraen euch ziemt es ganz, ihn zu _befrei'n. falls the right real him to free. (Yours, noble lady, yours alone is the real right to set him free.) LEONORE co: gat_—velgaen_—_‘coganbluk © — Gott! welch ein Augenblick! Oh God! What a moment!Fidelio, Act It 463 FLORESTAN ©: ‘unaosfpreglig zysos glk © ——_unaussprechlich silsses Glitc Oh unspeakable, sweet happiness! DON FERNANDO garegt o: got ast daengarigt Gerecht, 0 Gott, ist dein Gericht! Righteous, oh == God, is. Thy judgment! MARZELLINE, ROCCO du: prysfast| du: ferlest uns nigt Du prilfest, du verlisst uns nicht. Thou tryest, Thou abandonest us not. CHORUS, LEONORE, MARZELLINE, FLORESTAN, DON FERNANDO, ROCCO © Gott! O welch ein Augenblick!, ete. ‘CHORUS ver en ‘holdas vaep —erronon Wer ein holdes Weib errungen, He who a fair wife has won, Jum =m ‘unzarm ‘jubal aen stim’ in unser Jubel ein. Ietjoin in our rejoicing = (~). (Let him who has won a fair wife join in our rejoicing.) (cin/stimmen is a separable prefix verb meaning "to join in") ni: vist es tsu: shox batzogon Nie wird es zu hoch _besungen, Never will it too highly be praised, ‘rettorn des ‘gattan zaen Retterin des Gatten sein. savior of her husband. (Never can we praise too much the savior of her husband's life.) FLORESTAN ‘daeno too erhitl ‘maen ‘te:bon Deine Tren erhielt mein Leben, Your loyalty sustained © my _iife, ‘tuigant Srekt dein ‘beizovct Tugend sehreckt den Bisewicht. virtue frightens the villain, LEONORE ‘ikbofyrto maen__boftresbon Liebe fiihrte mein Bestreben, Love guided my efforts,464 Fidelio, Act It ‘var “fergtatnigt wahre Liebe firchtet nicht. true love does not fear. CHORUS praest mit ‘hosr frogda glut leonowons.—‘e:dlan_ mut Preist mit hoher FreudeGlut Leonorens _edlen Mut! Praise with high blazing joy Leonore's noble _ courage! FLORESTAN and CHORUS ‘Wer ein solches Weib errungen, etc. such a LEONORE ‘Tebont istes mir golujen digs Ketton tsu: befraen Liebend istes mir gelungen, dich aus _—_Ketten m — befrei Lovingly itwasgiventome you outof yourchains to -—‘free. “Tbont zae es hoxx bezunan florestan ist "Vidor maen Liebend seles hoch besungen, Florestan ist. ~—_ wieder mein! Lovingly be it sung aloud, Florestan is again mine! MARZELLINE, JAQUINO, ROCCO, DON FERNANDO Wer ein solches Weib errungen, ete. CHORUS ‘Wer ein holdes Weib errungen, etc. LEONORE Liebend ist es mir gelungen, etc. MARZELLINE Liebend ist es ihr gelungen, ihn aus Ketten zu befrei'n. toher him FLORESTAN Liebend ist es dir gelungen mich aus Ketten zu befrei'n. to you ‘me JAQUINO, DON FERNANDO, ROCCO Liebend ist es ihr gelungen, ihn aus Ketten zu befrei'n. CHORUS Nie wird es zu hoch besungen ete. END OF THE OPERA