Recovering, restoring, recording and performing the forgotten operatic heritage of the 19th century

DONIZETTI LE DUC D’ALBE

Slipcase, digipack, CD faces and booklet cover: design by Caroll & Co Opposite: ( Rara Archive)

ORC54

Opera Rara would like to thank the Monument Trust, without whose support this recording would not have been possible

1 Gaetano Donizetti LE DUC D’ALBE Opera in four acts by Eugène Scribe and Charles Duveyrier

Henri de Bruges, a young Flemish patriot Hélène d’Egmont Le Duc d’Albe, governor of Flanders Daniel Brauer Gianluca Buratto Sandoval, captain of the Spanish troops David Stout Carlos Trystan Llŷr Griffiths Balbuena Robin Tritschler Un Tavernier Dawid Kimberg

Soldiers, Sailors, Flemings, Spaniards, People – Chorus Stephen Harris, chorus master

Hallé Lyn Fletcher, leader

Sir Mark Elder, conductor

2 Producer Editing Jeremy Hayes Steve Portnoi, Jeremy Hayes, Sir Mark Elder Opera Rara production management Kim Panter Recorded at Hallé St Peter’s, Ancoats, Manchester, June 2015 Assistant conductor Martin Fitzpatrick Gaetano Donizetti, Le Duc d’Albe, edited by , srl, Milano, Répétiteur by arrangement with G. Ricordi & Co. Aldert Vermeulen () Ltd; with additional material by Martin Fitzpatrick French coach Nicole Tibbels For this recording we made the decision to record only the first two acts of Recording company and chorus manager Le Duc d’Albe, the part of the opera that Ruth Mulholland was 95% completed by Donizetti himself. Acts 3 and 4, although they have some Session photography sketches of Donizetti’s ideas, have virtually Russell Duncan no orchestration and leave two large sections (the first number of Act 3 and the crucial Introductory essay and synopsis finale of Act 4) with virtually no music at all. Roger Parker However, Acts 1 and 2 show thrillingly how, at the end of his hectic career, the composer Recording engineer was still adapting his musical language to Steve Portnoi, Vanessa Nuttall (assistant) new dramatic challenges.

3 The Hallé First violins Violas Oboes trombone Lyn Fletcher Timothy Pooley Stephane Rancourt Les Storey Sarah Ewins Julian Mottram Hugh McKenna Ophicléide Tiberiu Buta Piero Gasparini Clarinets Tony George Ian Watson Robert Criswell Lynsey Marsh Timpani Zoe Colman Chris Emerson Rosa Campos- John Abendstern Peter Liang Sue Baker Fernandez Percussion Alison Hunt Martin Schäfer Bassoons David Hext Helen Bridges Katrina Brown Gretha Tuls Ric Parmigiani Nicola Clark Cellos Ben Hudson Erika Öhman Victor Hayes Nicholas Trygstad Horns Off-stage percussion Michelle Marsh Simon Turner Laurence Rogers Mark Wagstaff Anya Muston Dale Culliford Julian Plummer Harry Percy Steven Proctor David Petri Richard Bourn Julian Wolstencroft Peter Liang Jane Hallett Andrew Maher Harp Second violins Paul Grennan Trumpets Marie Leenhardt Eva Thorarinsdottir Double basses Tom Osborne Philippa Heys Daniel Storer Kenneth Brown Paulette Bayley Yi Xin Salvage Trumpets (stage band) Julia Hanson Beatrice Schirmer Neil Fulton Rosemary Attree Rachel Meerloo Tim Barber Caroline Abbott Flutes Andy Dallimore Grania Royce Katherine Baker Craig Kilgour Elizabeth Bosworth Patricia Ruiz Asperilla Trombones John Purton Joanne Boddington Katy Jones Hannah Smith Carol Jarvis

4 Opera Rara Chorus

Sopranos Basses Jillian Arthur Peter Bamber Trevor Alexander Kathryn Jenkin Ronan Busfield Jeremy Birchall Helen Miles Jim Clements Colin Campbell Juliet Oppenheimer Paul Curievici Bryn Evans Glenys Roberts Huw Evans Spiro Fernando Prudence Sanders Andrew Glover Simon Grant Juliet Schiemann Hurdis Grandison Stephen Kennedy Emma Silversides Simon Haynes Tom Kennedy Peter Kerr Cheyney Kent Mezzo-sopranos Dawid Kimberg Freddie Long Jeanette Ager Vernon Kirk Darron Moore Tamsin Dalley Neil Mackenzie Gula Nagy Melanie Lodge Simon McEnery Lance Nomurra Deborah Miles-Johnson William Morgan Adrian Peacock Hyacinth Nicholls Henry Moss Philip Shakesby Alison Place Gerald Place Jochem van Ast Zoe Todd Philip Pooley Jonathan Wood Jennifer Westwood

5 With thanks to the Friends of Opera Rara for their continued support

Chairman’s Circle Rossini Circle Charles Alexander Lady Alexander Glenn Hurstfield Marco Compagnoni Islée Oliva Salinas Alan Godfrey Patrick and Marian Griggs Artistic Director’s Circle Malcolm Herring Dr Michael Peagram Madeleine Hodgkin Sir Simon Robertson Jonathan and Yvonne Horsfall-Turner Richard Circle Stratton Mills Trifon and Thespina Natsis John Nickson Jerry Wakelin and Ivor Samuels Donizetti Circle Michel Plantevin Meyerbeer members Peter Rosenthal David Casstles Imogen Rumbold Sir Anthony Cleaver Adam Swann Dr Marian Gilbart Read Colin and Suzy Webster Sir Timothy Lloyd Chris and Dominique Moore John Paine Howard Shewring and Angelo di Cico Robert Taylor

6 This recording has been made possible with generous support from the following:

With thanks to the Monument Trust Supporters: for its support of this recording Dorothy Bailey Baruch Haviv Patron: Forbes Hurry Alan Jackson Alex Reinhard Jeremy Roberts Benefactors: Rosalind Rowett George Chapman Kenneth Stampp Geoffrey Collens Richard Anwyl Williams Lawlor Susan Williams Anne Stoddart Moira Yip

7 CONTENTS

Le Duc d’Albe restored Page 12

The Story Page 25

Argument Page 27

Die Handlung Page 29

La trama Page 32

Libretto Page 35

8 CD1 44’58

ACT I Duration Page [1] Prélude 3’46 36 [2] Chorus, Carlos, Sandoval: ‘Espagne! Espagne! Espagne!’ 4’05 37 [3] Sandoval: ‘Par Saint-Jacques, messieurs’ 2’47 37 [4] Sandoval: ‘Voyez donc cette belle’ 2’07 41 [5] Hélène: ‘C’est donc ici!!... Daniel...’ 3’06 44 [6] Chorus: ‘Honneur à lui! Ce guerrier...’ 2’05 46 [7] Balbuena: ‘Pourquoi dans cette foule...’ 1’47 47 [8] Hélène: ‘Au sein des mers...’ 1’55 48 [9] Hélène: ‘Du courage, du courage’ 2’26 50 [10] Chorus: ‘Cette fille noble et belle’ 3’27 52 [11] Le Duc: ‘Race faible et poltronne’ 3’10 54 [12] Henri: ‘Hélène! O ciel!... Henri...’ 2’20 55 [13] Le Duc: ‘Toi tu resteras!’ 2’24 58 [14] Henri: ‘Punis mon audace!’ 2’25 60 [15] Le Duc: ‘Je devrais te punir!’ 1’38 61 [16] Henri: ‘Non, non, point de grâce’ 2’27 63 [17] Henri: ‘Je suis libre et sur la terre’ 2’50 64

9 CD2 48’40

ACT II Duration Page [1] Chorus: ‘Liqueur traîtresse’ 1’19 66 [2] Daniel: ‘Ici l’on travaille’ 2’48 67 [3] Chorus: ‘Vive la bière’ 0’34 68 [4] Daniel: ‘Mais j’entends battre la retraite’ 0’40 68 [5] Hélène: ‘Es-tu seul?’ 2’12 69 [6] Hélène: ‘Ton ombre murmure’ 4’43 70 [7] Hélène: ‘Quoi! Déjà de retour?’ 1’12 71 [8] Daniel: ‘Plus bas! plus bas!’ 1’54 72 [9] Hélène: ‘Vous exposer encore!’ 1’12 73 [10] Hélène: ‘Comment dans ma reconnaissance’ 2’03 74 [11] Henri: ‘Ah! Oui, longtemps en silence’ 5’05 76 [12] Hélène: ‘Malheureuse et proscrite...’ 1’59 76 [13] Hélène, Henri: ‘Noble martyr de la patrie’ 1’52 77 [14] Chorus: ‘Les derniers feux...’ 6’13 79 [15] Henri: ‘Amis! L’heure d’agir...’ 1’44 80 [16] Henri: ‘Marchons...’ 1’04 81 [17] Henri: ‘Liberté... chérie!’ 2’59 81 [18] Henri: ‘Ciel!’ 1’02 82 [19] Chorus: ‘Liqueur traîtresse’ 0’38 84

10 Duration Page [20] Sandoval: ‘Maître Daniel est seul...’ 2’23 84 [21] Hélène, Henri, Daniel, Chorus: ‘Nous n’avons qu’un roi...’ 1’09 87 [22] Henri: ‘Oui, bravons le tyran...’ 0’50 87 [23] Hélène: ‘O ciel, O surprise’ 2’47 88

11 LE DUC D’ALBE RESTORED as the ‘Opéra’. The first of these so-called grands opéras (works in French on the THE FIRST TIME Le Duc d’Albe appears largest scale, in four or five acts, with in Donizetti’s correspondence is in a letter an obligatory ballet divertissement and to his beloved teacher Simone Mayr, dated many opportunities for scenic display) Paris, 8 April 1839. By that time Donizetti was due in September 1839, and was had been domiciled in the French capital to be a French remake of , now for half a year, having arrived there in entitled . The second was as October 1838, still smarting from the royal yet unnamed but would be due in January ban placed on his opera Poliuto in Naples. 1840. The pressure of deadlines was, even Although his letters frequently complain for Donizetti, extreme. There is perhaps about Parisian life, in particular the even a hint of defensiveness in his letter to expense of living there, and routinely Mayr: ‘Perhaps you’ll ask: where do I find express wishes to return to Italy, the the time? But I find it, and often go out for composer was – as ever – extremely a walk in the middle of the day, and while industrious, and on three main fronts. walking can carry on working. I love art, There were various projects for staging and love it with a passion.’ some of his recent Italian at the True to his word, Donizetti finished Théâtre Italien (the home of Italian- Les Martyrs on time, and by mid-May language opera in Paris); he had already 1839 had announced in letters that he begun work on two comic operas in had started on his second work for the French, Deux Hommes et une femme Opéra, which now had the title Le Duc () and La Fille du régiment; and, most d’Albe. Composition continued apace: in important of all, he had two commissions a letter dated 5 July, Donizetti told the for Paris’s grandest theatre, the Académie Italian publisher that Royale de Musique, usually known simply Les Martyrs would be going into rehearsal

12 in October and that Le Duc would follow composition and rehearsals of La Fille du soon afterwards, a plan that was seemingly régiment, which premiered at the Opéra still in place at the start of October, when Comique in February 1840 and so must the composer declared that Les Martyrs have occupied much of the time in the would start rehearsal ‘next week’. preceding months – inevitably had an We can guess that Donizetti had, by this effect on the composition ofLe Duc, which stage, written about half of his new opera remained little more than half finished. in full, and had much of the remainder For a brief period after theMartyrs in some kind of draft form. But then, as premiere Donizetti still assumed that so often at the Opéra, a series of delays Le Duc would follow soon afterwards; but ensued – and they would eventually prove before returning to it he left for Italy to disastrous for Le Duc. In the first instance, arrange the premiere of La Fille and these affectedLes Martyrs. The planned also to visit his home town of Bergamo October rehearsals were repeatedly for a revival there of L’esule di Roma and a deferred, mostly because the opera that reunion with Mayr. He was then planning was to precede it, Halévy’s Le Drapier, was to go to Rome to stage a new , itself delayed by its composer constantly , but in mid-August he was called tinkering with his score. When Les back to Paris by the director of the Opéra, Martyrs did finally get into rehearsal, Léon Pillet. The surprise here was that the it was further delayed by a series of urgent call was not for Le Duc but for yet illnesses afflicting the principal singers. another grand opéra. Donizetti was driven to distraction: Exactly why Le Duc was postponed eventually Les Martyrs was premiered at was not explained at this point to the the Opéra on 10 April 1840, nearly a year composer, but it is certain that he after he had finished it. assumed, either then or later, that the All these delays – not to mention the reason lay in the soprano part, which

13 had been written for the voice of Julie 1840 and became one of the most Dorus-Gras, who had also premiered the frequently performed works in the Opéra’s lead soprano role in Les Martyrs. Pillet, 19th-century repertoire. he assumed or was told, was now anxious So the half-finishedLe Duc was again to find a role for the new leading soprano put to one side; but there is no doubt that at the Opéra, Rosine Stoltz, whose voice at this stage Donizetti was confident that it was lower and less flexible than that of would eventually be staged in Paris. In the Dorus-Gras. This tale, of a self-obsessed meantime he was – as always – frantically prima donna triumphing over a powerless busy with numerous other projects. From composer, is one eagerly (too eagerly) time to time in his later correspondence, repeated by most commentators, but the title would crop up. In January 1842, there is no firm evidence to corroborate when in Milan to supervise the premiere it. Indeed, in a later account of the affair, of , he told his Parisian Pillet himself denied the story, insisting agent, Michele Accursi, that Sophie Löwe, that Stoltz had not seen a single note of his principal soprano in Padilla, would Le Duc, and that he (Pillet) had delayed be perfect in Le Duc. In a further letter to its production because he felt its subject Accursi, who was an important contact matter unsuited to the Opéra. with the musical scene in Paris when, as Whatever the truth of the matter, now, Donizetti was elsewhere, he made Donizetti, resourceful as ever, took up clear that he now considered Stoltz to be the challenge of providing a new opera critical to the fortunes of Le Duc at the by rescuing a further, recently abandoned Opéra, and that he was willing to make work, L’ange de Nisida, and converting it changes to accommodate her: into a grand opéra featuring Stoltz; the I’m also of the opinion that in opera that emerged, renamed , the Duca d’Alba there are various was premiered at the Opéra in December modifications to do: making a

14 little less powerful the conspiracy, Meyerbeer is ahead of me’. Needless to a little warmer the love interest; say, Meyerbeer yet again postponed (the but I would have thought that opera in question, Le Prophète, would not it could have a big effect. Above see the light until 1849). But in 1843, with all I’ve taken great care of the a revival of Les Martyrs and the premiere soprano role: it’s perhaps new of Donizetti’s last grand opéra, Dom for the theatre, an action role Sébastien already scheduled, the composer while almost always the woman inevitably had again to bide his time with is passive. Here she’s a young Le Duc. In 1844, becoming exasperated, he enthusiast, a lover, a Joan of Arc. suggested to Pillet a compromise in which And I would have thought that he would reduce the opera to three acts, Mad. Stoltz would be admirable in and then sell the exclusive French rights to it, because there are many, many Pillet, keeping those elsewhere for himself situations which inspired me, and (this would, presumably, have meant I’m certain that I’ve never done translating the opera into Italian). By 1845 a more beautiful and more novel his attitude had hardened further. He role for a woman. wrote to a friend, ‘I will have my libretto Perhaps this advocacy had some effect, and my music free and belonging to me.’ because in the middle of 1842 Donizetti Around that time, one of the authors wrote to Ricordi announcing that, as of the libretto, the redoubtable Eugène Meyerbeer and Halevy had both declared Scribe, launched – and won – a court case themselves not ready, Le Duc might yet to claim 7,500 francs damages from Pillet be destined for the Opéra. But again he because the opera had not been staged. was mistaken: by November of that year (Scribe thus profited very well from his his letters report that the opera had no libretto: a decade later he adapted it to a chance for the next two years ‘because different setting, in 12th-century Sicily;

15 under the title Les Vêpres siciliennes it and pronounced too fragmentary. In was set to music by Verdi and premiered 1875 Bergamo established a commission at the Opéra in 1855.) By the middle of to investigate the score anew, but again 1845 Donizetti pronounced himself keen it was declared unperformable. In 1881 to proceed with a similar court case, but the score was offered by the Donizetti by then his health was in severe decline; heirs to the Ricordi firm, but they refused it soon became clear that he would it, saying they did so out of respect for not recover and early in 1846 he was the composer. That same year, though, committed to the insane asylum at Ivry, the score was bought by Ricordi’s great near Paris. rival, the Milanese publisher Giuseppina One of his very last letters, hopelessly Lucca, who promptly appointed a jury of confused, still complains bitterly about distinguished local professori (Antonio Le Duc and its abandoned state; there are Bazzini, Cesare Dominiceti and Amilcare accounts even later of occasions on which, Ponchielli, the composer of La Gioconda) although profoundly disabled by his to supervise completion of the score. illness, he pathetically lamented his ‘half- The major part of the work was finished’ opera. When he died in 1848, the undertaken by a minor composer called incomplete score of Le Duc d’Albe was one Matteo Salvi, who as a young man had of the saddest items of his legacy. studied with Donizetti briefly in Vienna. What we might call the post-Donizetti The text was translated into Italian by afterlife of Le Duc d’Albe can be more Angelo Zanardini and the completed briefly told. Some months before opera received its first performance (asIl Donizetti’s death, the new director of Duca d’Alba) at the Teatro Apollo in Rome the Opéra, Charles Duponchel, began to on 22 March 1882. enquire whether he might produce Le Duc. Il Duca d’Alba enjoyed various revivals But the score was examined by experts in the 1880s, but then disappeared

16 from view until, in 1951, the conductor becomes clear that about 50% of the opera Fernando Previtali discovered a copy of (almost the whole of the first two acts) is Salvi’s completion on a second-hand book written in full by Donizetti (both vocal stall. Previtali organised a RAI broadcast lines and orchestration); about 35% of the (which has subsequently been released rest remains in the form of vocal lines and on CD), and since then Il Duca, always (usually) some sketchy instrumental cues in Italian, has been revived and recorded by Donizetti; the remaining 15% is missing several times: by Thomas Schippers entirely. As well as a fair sprinkling of (Spoleto, 1959), Donato Renzetti recitatives and the brief Prelude, there (Florence, 1981) and Enrique Mazzola are three main sections that are seriously (Montpellier, 2007). wanting. The first is the opening of Act The burning question in all this tangled 3, intended as an aria for Le Duc and history is, of course, what remains of one of the most fragmentary numbers Donizetti’s opera, begun in May 1838 and in Donizetti’s autograph: only the vocal abandoned a few months later? The main lines of the opening sections of two lyrical sources that have survived are: Eugène passages are present. Salvi felt obliged to Scribe and Charles Duveyrier’s libretto invent rather more freely than elsewhere, for Le Duc d’Albe, a document that also even to the extent of ignoring material in has some marginal musical annotations the autograph that he could have used. by Donizetti; Donizetti’s sketches for The second is the opening of Act 4, which the opera, which are housed in the was intended as an aria for the , but Bibliothèque nationale de France in Paris; is completely absent from Donizetti’s and, most important of all, Donizetti’s autograph (the reason being that he autograph full score, housed in the Ricordi had placed it, with new words, in the archives in Milan. equivalent position in La Favorite). Salvi From an examination of these sources it composed a new aria, ‘Angelo casto e bel’, a

17 piece that, ironically in the circumstances, effective, and of course has some claims to became the most famous aria in the ‘authenticity’ in that Salvi was a pupil of opera. However, sketches of Donizetti’s Donizetti. However, it is also the case that, original aria survive in the Bibliothèque although he was usually scrupulous in nationale. The third large missing section making use of anything Donizetti wrote, is the Finale of Act 4. Again, the autograph Salvi considered the moments in which score is fragmentary. Scribe’s libretto is he was obliged to invent new material typical of grands opéras of the time in as chances to display his own (much imagining a scenically impressive closing later) compositional style. This is the scene, with an extensive aria for Le Duc case in his additional orchestrations, and and much choral participation, both particularly in his additional recitatives, from his supporters and those rebelling which are in places very distant from against him. Salvi and his Italian librettist Donizettian harmonic or melodic practice invented something much simpler, in (the comparison with Franco Alfano’s the process bringing back material from ‘completion’ of Puccini’s Turandot might earlier in the opera. be apposite here). With such a fragmentary array of In 2012, a fresh solution was taken by materials, it is obvious that there are Vlaamse Opera (with the assistance of the numerous available routes to those present author): what might be called a who wish to present a performance of partial revision of Salvi’s reconstruction. Donizetti’s unfinishedLe Duc d’Albe. This version made three major alterations There can never be a ‘definitive’ version to the usual Il Duca d’Alba. First, it of this score, merely different solutions restored to the opera its original, French to the problems inherent in the opera’s text. This was unproblematic for much fragmentary state. For many across the of the opera: as mentioned above, 85% years, Salvi’s completion has proved of the score’s vocal lines were written by

18 Donizetti in French, and Scribe’s libretto is While, as mentioned, many of the vocal available for any missing portions. It did, lines are intact in these last acts, the though, in some places entail adapting complete absence of orchestration (not Scribe’s French to passages (mostly of to mention the large gaps in numbers at recitative) composed by Salvi in Italian. the start of Act 3 and at the end of Act Second, the Vlaamse Opera version 4), left – we thought – too much of a gap: reconstructed the opening of Act 4 (the reconstruction would not be possible, tenor aria) on the basis of Donizetti’s wholesale recomposition (in the manner sketches and his subsequent orchestration of Vlaamse Opera with Battistelli) would of the revised aria in La Favorite. Although have been the only option. On the Salvi’s ‘Angelo casto e bel’ is a magnificent other hand, the first two acts are almost and much-loved piece, there is no real completely by Donizetti, and we thought doubt about what Donizetti wanted in this that the few missing sections could well be place in the score. Third, it commissioned completed in a manner that stayed much from the Italian composer Giorgio closer to Donizetti’s idiom than did Salvi. Battistelli entirely new numbers, written in To this end, we decided to limit this his own, 21st-century idiom, for the two recording to those first two acts, and most prominent missing sections of the we commissioned Martin Fitzpatrick score, namely the opening aria of Act 3 to complete the few parts of the score and the opera’s Finale. that were left unfinished. These parts The solution adopted by Opera Rara are as follows: for this recording is very different. We Act 1 decided, as did those first juries in the Prélude 19th century, that the final two acts of This piece is not present in Donizetti’s the opera are simply too fragmentary to autograph, but among his annotations warrant revival as a ‘Donizetti’ opera. to Scribe’s libretto the composer left

19 himself notes about how he was going As Donizetti failed to compose this to construct it. He made it clear that divertissement, we have omitted these the main melodies should be taken bars of introductory recitative. from the funeral march in Act 3; No. 2 Aria Hélène, Trio, et Duo Duc both melodies were written in full et Henri by Donizetti in his autograph, and This number is entirely by Donizetti there is even some orchestration. The (both vocal parts and orchestration) rest of the Prélude is the invention of except for: orchestration in the latter Martin Fitzpatrick, who has added part of the chorus ‘O fille du martyre’; a further melody from the opera the passage beginning at Hélène’s ‘Ah! (this one from Hélène’s entrance in Que du ciel descende’, which leads to Act 1) and orchestrated all parts not the reprise of her aria; and the very completed by Donizetti. final bars of that aria, leading to the No. 1 Introduction entrance of Le Duc. For this last, This number is entirely by Donizetti crucial moment, there is a sketch of (both vocal parts and orchestration). the link in Donizetti’s autograph, and However, after the opening chorus Martin Fitzpatrick has elaborated on (‘Espagne!... Espagne!...’), Donizetti that (Donizetti’s fully orchestrated – following Scribe’s libretto – wrote text begins again at Le Duc’s ‘Race some bars of recitative between faible’). Sandoval and some ‘Femmes Act 2 Brabançonnes’ in which Sandoval No. 3 Introduction asks them to dance. This brief The vocal lines and bass of the section ends with the annotation chorus are by Donizetti, and the ‘Danses’ (clearly an indication for composer contributed occasional the obligatory ballet divertissement). instrumental cues. The remainder

20 of the orchestration is by Martin and loss. However, what survives of the Fitzpatrick. (This chorus then opera constantly reminds us that this reappears twice, in slightly different was a period in which the challenges of form, during the latter parts of the a new musical and cultural environment act.) From Daniel’s ‘Ici l’on travaille et stimulated Donizetti’s always remarkable l’on chante!’ onwards the number is creativity to new heights. We can only entirely by Donizetti (both vocal parts imagine what he might have made of and orchestration). Scribe’s extraordinary final scene, for No. 4 Romance Hélène, Ensemble de example, or how he might have negotiated la Ronde et Duo Hélène et Henri other missing passages, or indeed how The opening recitative (up to the start he might have altered his score had it of Hélène’s ‘Ton ombre murmure’) is reached rehearsal at the Opéra. As they composed by Martin Fitzpatrick. The stand, however, the almost-completed remainder of the number is entirely first two acts have many fine moments by Donizetti (both vocal parts and – passages which will above all remind orchestration). us that Donizetti (like Rossini before No. 5 Scène de la Conjuration him, and like Verdi to come) changed The entire number is by Donizetti in important ways when he adapted his (both vocal parts and orchestration) idiom to the French stage. apart from the chorus ‘Nous n’avons A hint of these changes comes as qu’un roi’, in which the orchestration early as the opening chorus. While cori is by Martin Fitzpatrick. d’introduzione in Donizetti’s Italian operas are usually little more than The story of Donizetti’sLe Duc d’Albe is, scene-setting in their ambitions, here inevitably in the historical circumstances, (prompted by Scribe) the composer gives one imbued with a sense of incompletion us a musical hint of the fundamental

21 dramatic contrast in the opera, with the finale, a ‘Scène de la Conguration’ that arrogant Spanish troops counterpointed rivals Meyerbeer (and notably anticipates against sinister chromatic murmurings Verdi) in its masterly handling of grand from the oppressed Belgians. Then, in choral forces pitted against each other. Hélène’s aria, we are introduced to what One might well, in the light of these Donizetti himself (in the letter quoted remarkable scenes, wonder how the above to Michele Accursi) described as remainder of the opera might have an extremely unusual operatic soprano: developed. Even from Donizetti’s vocal ‘an action role … a young enthusiast, a lines, we can guess that the end of lover, a Joan of Arc’; from Hélène’s rabble- Act 3, with its funeral march and grand rousing ‘Du courage!’ outburst, the route confrontation between the principals, to Verdi’s most energetic soprano heroines would have been magnificent. One can, is short indeed. And to round off the first though, only imagine how the character act, there is a magnificent tenor- of Le Duc would have developed in his duet – one that has in places all the energy Act 3 aria (perhaps a moment to rival King and vivacity that we might expect from Philippe’s great soliloquy at the start of such a pairing, but with an added layer of Act 4 of ); or, especially, how ambiguity (the suspicion with which Henri Donizetti might have developed Scribe’s views Le Duc’s proffered friendship) that show-stopping finale, in which Le Duc constantly enriches the musical invention. bids his dominion an agonised farewell In Act 2, Hélène’s musical personality while the warring nations overflow in moves into a more gentle mode, before the hatred against each other. Ensemble e la Ronde and the closing duet But such imaginings need not be put into the clearest context Donizetti’s melancholy. They can, indeed, encourage debt to Bellini’s last (Paris-based) opera, us to celebrate Donizetti’s astonishing I Puritani. Ending the act is a magnificent creativity at this final stage of his career,

22 in particular the manner in which a new venue and new theatrical traditions inspired him, leading to an extraordinary burst of fresh invention.

© Roger Parker, 2015

23 Martin Fitzpatrick (assistant conductor), Jeremy Hayes (producer) and Sir Mark Elder (conductor) THE STORY and – unaware of the Duke’s identity – roundly condemns the Spanish overlords. The scene is set in Brussels in the late 16th However, to the amazement of his soldiers, century. The country is under Spanish the Duke fails to respond, merely sending domination. The Count of Egmont (scion everyone away so that he can be alone of a wealthy Low Countries dynasty) has, with Henri. The Duke questions Henri the day before the action begins, been about his parentage, and then invites beheaded by order of the Duke of Alba, him to enlist in the Spanish army; Henri the despotic Spanish ruler of the region. refuses angrily. The Duke warns him to stay away from the rebels, but Henri, ACT 1 defiant to the last, enters Daniel’s brewery The Grand Place in Brussels. Spanish as the curtain falls. soldiers rejoice while the Flemish populace mutter resentfully. Daniel (bass), a master ACT 2 brewer and Flemish patriot, has taken into Daniel’s brewery. The workers celebrate his care Hélène (soprano), daughter of the the joys (and lament the painful Count of Egmont, and escorts her to the aftermath) of drinking. They go off to very place where her father was executed. work and Hélène appears. She believes Goaded into singing by Spanish soldiers, that Henri has been arrested, and calls on Hélène launches into a song in defiance the ghost of her father to aid him. Henri of Spanish rule, thereby enthusing the arrives and explains how, for reasons he people. Their newfound courage is cannot understand, he was released by the immediately dampened, though, by Duke. They both swear their love for each the arrival of the feared Duke of Alba other and their commitment to the cause (baritone). Henri de Bruges (tenor), of freedom. Daniel appears with a group a young Flemish firebrand, appears of conspirators, who arm themselves with

25 weapons hidden in one of the beer barrels. of Act 4 takes place in Hélène’s chapel. Spanish soldiers, commanded by Sandoval Hélène reveals that she is determined (bass), burst in and discover the weapons. to assassinate the Duke. Henri tries to Everyone is arrested except Henri, who dissuade her and admits that the Duke is angrily demands why he has been spared. his father. Hélène is horrified and sends Sandoval tells him it is on the Duke’s him away. The finale takes place at the orders. The act ends in confusion, neither port of Antwerp. Soldiers welcome the the conspirators nor Henri understanding Duke, who is about to return to Spain. why he is apparently being shielded by Hélène approaches him, as if to offer a the Duke. tribute of flowers, and then draws her The remainder of the opera unfolds as dagger. Henri throws himself forward follows. In Act 3, set in the Duke’s study, to protect the Duke and is stabbed by the governor reveals in a soliloquy how he Hélène. In his dying speech, Henri asks has discovered that Henri is his long-lost for Hélène’s forgiveness. The Duke curses son. He sends for Henri and, to the young Flanders while the opposing forces hail man’s horror, reveals the truth of their or revile him. relationship. Outside, the conspirators, including Hélène, are being led to their © Roger Parker, 2015 execution. Henri begs for their lives, but the Duke will only show clemency if Henri acknowledges publicly that they are father and son and agrees to join the Spanish troops. Henri reluctantly agrees. Hélène, Daniel and the others are spared; but they condemn Henri when they see that he is in the service of the Duke. The first scene

26 ARGUMENT (baryton). Henri de Bruges (ténor), jeune Flamand plein de fougue, fait alors son L’action se déroule à Bruxelles à la fin entrée et – ignorant tout de l’identité du du seizième siècle. Le pays est alors sous duc – tient des propos insultants pour les domination espagnole. La veille du jour autorités espagnoles. À la grande surprise où débute l’histoire, le comte d’Egmont des soldats, le duc reste impassible. Il (descendant d’une riche famille des se contente de renvoyer tout le monde Pays-Bas) a été décapité sur l’ordre du duc pour rester seul avec Henri. Après avoir d’Albe, qui gouverne en despote la région. interrogé le jeune homme sur ses origines, le duc l’invite à s’engager dans l’armée ACTE I espagnole ; Henri refuse vivement. Le duc La Grand Place à Bruxelles. Les soldats le prévient de ne pas se mêler aux rebelles, espagnols s’abandonnent à leurs mais Henri, toujours aussi impétueux, réjouissances tandis que la population pénètre dans la brasserie de Daniel tandis flamande murmure son ressentiment. que tombe le rideau. Daniel (basse), maître brasseur et patriote flamand, a pris sous son aile la fille du ACTE II comte d’Egmont, Hélène (soprano), et La brasserie de Daniel. Des ouvriers y l’escorte sur le lieu d’exécution de son vantent les plaisirs de la boisson (malgré père. Lorsque les soldats espagnols la les lendemains de fête douloureux) avant pressent de chanter, Hélène entonne d’aller reprendre le labeur. Hélène apparaît. un chant qui réprouve la domination Elle pense qu’Henri a été arrêté, et en espagnole, redonnant ainsi courage à ses appelle à l’esprit de son père pour lui venir compatriotes. Mais ceux-ci se trouvent en aide. Henri arrive et dit avoir été – pour immédiatement arrêtés dans leur nouvel des raisons qu’il ignore – libéré par le duc. élan par l’arrivée du redoutable duc d’Albe Les jeunes gens se jurent de s’aimer et de

27 défendre la cause de la liberté. Daniel fait reconnaisse publiquement être son fils et son entrée accompagné de conspirateurs s’engage dans l’armée espagnole. Henri venus chercher des armes cachées dans un accepte à contrecœur. Hélène, Daniel et les tonneau de bière. Des soldats espagnols autres ont la vie sauve, mais vilipendent commandés par Sandoval (basse) font Henri en le voyant aux côtés du duc. La irruption dans la brasserie et découvrent première scène du quatrième acte a lieu les armes. Toutes les personnes présentes dans la chapelle d’Hélène. La jeune femme sont arrêtées, sauf Henri qui, furieux, déclare qu’elle a décidé d’assassiner le exige de savoir pourquoi il se trouve duc. Henri tente de l’en dissuader et lui épargné. Sandoval répond que c’est sur avoue que c’est son père. Hélène, horrifiée, les ordres du duc. L’acte s’achève dans le renvoie. Le finale a lieu dans le port la confusion, car ni les conspirateurs ni d’Anvers. Des soldats saluent le duc, qui Henri ne comprennent pourquoi le duc s’apprête à retourner en Espagne. Hélène paraît le protéger. s’approche de lui comme pour lui offrir Le reste de l’action se déroule comme des fleurs, puis sort un poignard. Henri se suit. Le troisième acte s’ouvre sur un jette entre eux pour protéger le duc et c’est monologue du gouverneur qui, seul lui qui reçoit le coup fatal. Ses derniers dans son cabinet de travail, explique mots sont pour Hélène, à qui il demande avoir découvert qu’Henri est son fils pardon. Le duc maudit les Flandres longtemps disparu. Il envoie chercher ce tandis les factions rivales l’encensent ou dernier et, au désespoir du jeune homme, l’injurient. lui révèle qu’il est son père. Dehors, l’exécution d’Hélène et des conspirateurs © Roger Parker, 2015 se prépare. Henri supplie le duc de les Traduction : Mireille Ribière épargner. Celui-ci se dit prêt à faire preuve de clémence à condition qu’Henri

28 DIE HANDLUNG mit sich. Doch deren neu gefundener Mut schwindet sofort, sobald der gefürchtete Die Oper spielt Ende des 16. Jahrhunderts Herzog von Alba (Bariton) Einzug hält. in Brüssel. Das Land ist unter Der junge flämische Hitzkopf Henri de spanischer Herrschaft. Am Tag, ehe die Bruges (Tenor) erscheint und verflucht, da Handlung einsetzt, wurde der Graf von er die Identität des Herzogs nicht kennt, Egmont (Spross einer wohlhabenden die spanischen Herrenmenschen in aller niederländischen Dynastie) auf Befehl Deutlichkeit. Zur großen Überraschung des Herzogs von Alba, des despotischen der Soldaten reagiert der Herzog jedoch spanischen Herrschers der Region, gar nicht darauf, sondern schickt nur enthauptet. alle fort, um unter vier Augen mit dem jungen Mann zu sprechen. Allein gelassen, 1. AKT fragt er ihn nach dessen Herkunft und Der Grand Place in Brüssel. Die fordert ihn auf, in die spanische Armee spanischen Soldaten jubeln, während einzutreten, ein Ansinnen, das Henri die flämische Bevölkerung ihrem wütend zurückweist. Der Herzog warnt Protest mit leisem Murren Ausdruck ihn davor, sich mit den Aufständischen verleiht. Daniel (Bass), ein Meisterbrauer einzulassen, doch als der Vorhang fällt, und flämischer Patriot, hat Hélène betritt Henri trotzig Daniels Brasserie. (Sopran), die Tochter des Grafen von Egmont, bei sich aufgenommen und 2. AKT führt sie zu dem Platz, an dem ihr Vater Daniels Brasserie. Die Arbeiter besingen hingerichtet wurde. Aufgestachelt von die Freuden (und beklagen die leidvollen den spanischen Soldaten, stimmt Hélène Folgen) des Trinkens, dann brechen sie zur ein Widerstandslied gegen die spanische Arbeit auf. Hélène tritt ein. Sie glaubt, dass Herrschaft an und reißt die Umstehenden Henri verhaftet wurde, und beschwört

29 den Geist ihres Vaters, ihm beizustehen. lässt den jungen Mann zu sich rufen und Dann erscheint Henri und erklärt, dass gibt sich ihm zu dessen Entsetzen als sein der Herzog ihn aus Gründen, die ihm Vater zu erkennen. Auf dem Platz werden unbekannt seien, habe ziehen lassen. Beide unterdessen die Verschwörer, unter ihnen schwören sich ewige Liebe und geloben, auch Hélène, zu ihrer Hinrichtung geführt. sich mit aller Kraft für die Freiheit ihres Henri fleht um ihrer aller Leben, doch Landes einzusetzen. Daniel kommt mit der Herzog ist nur bereit, Gnade walten einer Gruppe von Verschwörern hinzu, zu lassen, wenn Henri sich öffentlich die Männer rüsten sich mit den Waffen, zu ihm als sein Sohn bekennt und sich die in einem der Bierfässer versteckt den spanischen Truppen anschließt. sind. Da stürmen spanische Soldaten Widerstrebend willigt Henri ein, und alle unter ihrem Befehlshaber Sandoval Verschwörer werden begnadigt. Als diese (Bass) herein und entdecken die Waffen. jedoch erkennen, dass er im Dienst des Alle Anwesenden werden verhaftet, bis Herzogs steht, verdammen sie ihn. Die auf Henri, der zornig fragt, weshalb er erste Szene des 4. Akts findet in Hélènes verschont werde. Sandoval erklärt, das Kapelle statt. Sie gelobt, den Herzog zu geschehe auf Befehl des Herzogs. Der ermorden, und im Versuch, sie von ihrem Akt endet in allgemeinem Chaos, weder Plan abzubringen, gesteht Henri, dass er die Verschwörer noch Henri können dessen Sohn ist. Schockiert schickt Hélène verstehen, weshalb der Herzog ihn nicht ihn fort. Das Finale spielt am Hafen von ebenfalls festnehmen lässt. Antwerpen, Soldaten empfangen den Die weitere Handlung entspinnt sich Herzog, der sich nach Spanien einschiffen wie folgt: Im 3. Akt erklärt der Herzog in will. Hélène nähert sich, als wollte sie ihm der Abgeschiedenheit seiner Gemächer zur Ehrbezeigung Blumen überreichen, in einem Monolog, er habe erfahren, dass zieht dann aber ihren Dolch. Henri stürzt Henri sein verloren geglaubter Sohn ist. Er sich dazwischen, um den Herzog zu

30 schützen, und Hélènes Dolch bohrt sich in ihn. Sterbend fleht er um ihre Vergebung. Der Herzog verflucht Flandern, während die Versammelten ihn, je nach Loyalität, bejubeln oder schmähen.

© Roger Parker, 2015 Übersetzt von Ursula Wulfekamp

31 LA TRAMA temuto Duca d’Alba (baritono). Entra Henri de Bruges (tenore), un giovane La vicenda è ambientata a Bruxelles, alla agitatore fiammingo, che – ignaro fine del XVI secolo, mentre il Paese si dell’identità del duca – pronuncia parole di trova a subire la dominazione spagnola. aperta condanna contro i signori spagnoli. Il Conte di Egmont (rampollo di una ricca Tra lo stupore dei suoi soldati, il Duca non dinastia dei Paesi Bassi) è stato decapitato reagisce e si limita a sgombrare il campo il giorno prima per ordine del Duca per poter rimanere da solo con Henri. Gli d’Alba, il dispotico governatore spagnolo rivolge alcune domande sulla sua famiglia della regione. e poi lo invita ad arruolarsi nell’esercito spagnolo. Henri rifiuta sdegnosamente e ATTO 1 il Duca lo ammonisce di tenersi lontano La piazza davanti al Palazzo Comunale dai ribelli ma il giovane, con un gesto di di Bruxelles. I soldati spagnoli bevono aperta sfida, entra nella birreria di Daniel allegramente mentre i popolani mentre cala la tela. fiamminghi esprimono a mezza voce il loro risentimento. Daniel (basso), birraio ATTO 2 e patriota fiammingo, che si è assunto la La birreria di Daniel. I lavoratori esaltano tutela di Hélène (soprano), figlia del Conte i piaceri dell’alcool (lamentandone le di Egmont, accompagna la fanciulla fino al dolorose conseguenze). Quando escono punto in cui suo padre è stato giustiziato. per andare a riposare, entra Hélène. Incitata a cantare dai soldati spagnoli, Convinta che Henri sia stato arrestato, Hélène intona un inno di sfida contro la invoca lo spirito del padre perché venga dominazione spagnola, infiammando il in suo aiuto. Arriva Henri e spiega popolo. Il barlume iniziale di coraggio, che il Duca lo ha rilasciato per motivi tuttavia, si spegne subito all’arrivo del a lui incomprensibili. I due giovani si

32 dichiarano amore reciproco e giurano di nelle truppe spagnole. Henri accetta, combattere per la libertà. Entra Daniel controvoglia. Hélène, Daniel e gli altri con un gruppo di congiurati venuti a vengono risparmiati, ma condannano prendere le armi nascoste in una delle Henri quando capiscono che è al servizio botti di birra. Fanno irruzione i soldati del Duca. La prima scena dell’Atto 4 si spagnoli, comandati da Sandoval (basso), svolge nella cappella di Hélène. La donna e scoprono le armi. Tutti vengono arrestati rivela di essere decisa ad assassinare tranne Henri, il quale esige con rabbia di il Duca. Henri cerca di dissuaderla sapere perché è stato risparmiato. L’atto si e ammette che il Duca è suo padre. conclude tra la confusione generale: né i Inorridita, Hélène gli intima di andarsene. congiurati né Henri riescono a spiegarsi Il finale si svolge al porto di Anversa. la manifesta indulgenza del Duca nei I soldati salutano il Duca che sta per confronti del giovane. tornare in Spagna. Hélène gli si accosta La seconda parte dell’opera ha il come per offrirgli in dono dei fiori e poi seguente svolgimento. Nell’Atto 3, durante estrae il pugnale. Henri si frappone fra i un soliloquio ambientato nello studio del due per proteggere il Duca e viene colpito Duca, il governatore rivela di aver capito dalla pugnalata mortale. Nelle sue ultime che Henri è il figlio che temeva di aver parole prima di spirare, Henri chiede perduto. Lo fa chiamare e gli rivela la vera perdono a Hélène. Il Duca maledice la natura del loro rapporto, suscitando orrore Fiandra tra le acclamazioni e le proteste nel giovane. All’esterno i congiurati, tra cui delle opposte fazioni. si trova Hélène, vengono accompagnati al patibolo. Henri chiede che vengano © Roger Parker 2015 risparmiati, ma il Duca è disposto alla Traduzione: Emanuela Guastella clemenza solo a patto che il figlio riveli pubblicamente il loro legame e si arruoli

33 Sir Mark Elder (conductor) Gaetano Donizetti LE DUC D’ALBE Opera in four acts Libretto by Eugène Scribe and Charles Duveyrier Composed to a French libretto, 1839 First performance (in Italian): 22 March 1882, Teatro Apollo, Rome

ORIGINAL CAST (Italian version)

Il duca d’Alba/Le Duc d’Albe Leone Giraldoni Amelia di Egmont/Hélène d’Egmont Abigaille Bruschi Chiatti Marcello di Bruges/Henri de Bruges Julián Gayarre Sandoval Hjalmar Frey Carlo/Carlos Giovanni Paroli Daniele Brauer/Daniel Brauer Alessandro Silvestri Il taverniere/Un Tavernier Romeo Sartori

Soldiers, Sailors, Flemings, Spaniards, People

The action takes place in Brussels and Antwerp, 1573

35 ACTE I ACT I

[1] Prélude

SCÈNE 1 SCENE 1 Le théâtre représente la place de l’hôtel de ville The Town Hall square in Brussels on a festival à Bruxelles un jour de kermesse. Au fond à day. At the back to the left, the Town Hall gauche l’hôtel de ville où l’on arrive par un at the top of a stairway. A column stands perron de plusieurs marches. Au milieu de la in the middle of the square. On the right, place une colonne. A droite sur le premier plan front, Daniel’s brewery. On the left, front, the la brasserie de Daniel. A gauche sur le premier entrance to the harquebusiers’ barracks. plan l’entrée de la caserne des arquebusiers.

Au lever du rideau la kermesse est au moment As the curtain rises, the festival is at its le plus animé. Des gens du peuple se livrent height, with people dancing local folk dances. à des danses du pays. Tableau d’une fête A tableau of a Flemish festival. On the right flamande. A droite et à gauche des bourgeois and on the left, the bourgeoisie of Brussels de Bruxelles assis près de larges tables ont sit at large tables with beer tankards in front devant eux des pots de bière. Sortent de la of them. Sandoval and a number of Spanish caserne à gauche Sandoval et plusieurs soldats soldiers come out of the barracks to the right. espagnols. Les danses cessent. Sandoval et ses The dancing stops. Sandoval and his soldiers soldats s’approchent de la table de gauche. approach the table on the left. Sandoval grabs Sandoval prend un verre qu’un bourgeois the tankard of a man and drinks it. Following venait de se verser et le boit. Ses soldats en font suit, his soldiers send the Flemings away and autant, renvoient les Flamands et prennent take their places. leur place.

36 [2] CHŒUR D’ESPAGNOLS, CHORUS OF SPANIARDS, SANDOVAL, CARLOS SANDOVAL, CARLOS Espagne!... Espagne!... Espagne!... Spain!... Spain!... Spain!... O mon pays!... Je bois à toi! My country!... I drink to you! A toi que la gloire accompagne To you, which glory escorts Et que guide la sainte foi! and holy faith guides! Vive l’Espagne! Vive son roi! Long live Spain! Long live its king! CARLOS CARLOS De ce houblon qui mousse et qui pétille Good Flemings, pour us the nectar Mes bons flamands, versez-nous le nectar! of those hops that froth and sparkle! C’est notre bien!… L’étendard de Castille It is our own!... The banner of Castile Depuis six ans, flotte sur ce rempart! has waved on this rampart for six years! SANDOVAL SANDOVAL Nos armes ont conquis, à travers les tempêtes, We have braved the storms and conquered Un nouveau monde et de nouveaux sujets. a new world and new subjects. Et le soleil qui luit sur nos conquêtes And the sun shining over our conquests Ne se couche jamais! never sets! CHŒUR D’ESPAGNOLS CHORUS OF SPANIARDS Espagne!… Espagne!… Espagne!… etc. Spain! Spain! Spain! etc CHŒUR DE FLAMANDS (à demi-voix) CHORUS OF FLEMINGS (softly) Maudite soit l’Espagne A curse on Spain Et maudit soit son roi! and a curse on its king! Partout la terreur l’accompagne, Terror escorts it everywhere les bûchers éclairent sa foi! and stakes light up its faith! Mort à l’Espagne! Death to Spain! Mort à son roi! Death to its king! [3] SANDOVAL SANDOVAL Par Saint-Jacques, messieurs, on ne boit By Saint-Jacques, sirs, only in Brussels do qu’à Bruxelles we drink

37 David Stout (Sandoval) and Trystan Llŷr Griffiths (Carlos) Cette bière qui vaut le porto le meilleur! Beer like this, as good as the best port! Maître de la taverne?… Innkeeper!... Holà! D’où te vient-elle? Ho there! Where does it come from? LE TAVERNIER (ôtant avec respect INNKEEPER (lifting his cap as a sign son bonnet) of respect) De chez maître Daniel, un célèbre brasseur From Master Daniel, a famous brewer. Dont voici la maison! There is his house! (montrant la brasserie à droite) (pointing to the brewery on the right) SANDOVAL (à Carlos) SANDOVAL (to Carlos) Que dit-on sur son compte? What can you tell me about him? CARLOS CARLOS Un vrai Belge dans l’âme!… A Belgian through and through!... Un ami des Nassau! A friend of Nassau! Méditant en secret quelque complot nouveau! He’s always plotting some conspiracy! Dans ses discours hardis, chaque jour Every day in words he brazenly attacks il affronte L’Espagne et le Duc d’Albe! Et fut même Spain and the Duke of Alba! And was assez prompt also quick A plaindre hautement, le feu comte openly to mourn the deceased Count d’Egmont! of Egmont! SANDOVAL SANDOVAL Et notre général a, contre son usage, And our general has, against his custom, Epargné ce rebelle! spared this rebel? D’AUTRES OFFICIERS (montrant leur pot SOME OFFICERS (showing their tankards de bière) of beer) Il fit bien! He did well! SANDOVAL SANDOVAL Il a tort! He did not! LES OFFICIERS THE OFFICERS Car il a du talent! Because he has talent! 39 LE TAVERNIER (bas à Sandoval) INNKEEPER (aside, to Sandoval) De sa maison il sort! He’s coming out of his house! Ainsi que ses tonneaux! He and his barrels!

SCÈNE 2 SCENE 2 Les précédents. Daniel, sortant de la brasserie The above. Daniel, coming out of his brewery à droite. Devant lui passent plusieurs garçons to the right. Several young brewers pass in brasseurs, roulant dans des petites brouettes front of him, rolling small barrels of beer. des quartauts de bière.

SANDOVAL SANDOVAL Que j’arrête au passage! Stop them! (faisant signe à Daniel) (making a sign to Daniel) Je les retiens pour nous! I’ll keep them for us! (aux garçons brasseurs) (to the young brewers) Chez les arquebusiers… To the harquebusiers… La caserne ici près!… allez… The barracks near here! Go… Qu’on les transporte Take them there. M’entendez-vous? Do you hear me? DANIEL (faisant signe à ses garçons DANIEL (making a sign to his young brewers de sortir) to leave) Très volontiers. Very gladly. (s’approchant de Sandoval) (approaching Sandoval) C’est vingt ducats! That will be twenty ducats! SANDOVAL (ricanant) SANDOVAL (sniggering) Vraiment! Really? DANIEL (avec bonhomie) DANIEL (good-naturedly) La somme n’est pas forte! It isn’t very much!

40 SANDOVAL SANDOVAL Le bonhomme Daniel veut rire! Our good Daniel likes to joke! DANIEL (de même) DANIEL (likewise) C’est le prix! It’s the right price! SANDOVAL (avec hauteur) SANDOVAL (haughtily) Eh! Depuis quand dans ce pays Eh! Since when in this country L’Espagnol paierait-il des biens dont Must a Spaniard pay for what he rules over? il est maître? Car tout nous appartient… et toi-même For everything belongs to us… you too, peut-être. perhaps. N’est-ce pas un honneur pour vous Isn’t it an honour for you other Flemings autres flamands Que de désaltérer des vainqueurs? to quench the thirst of conquerors? DANIEL (avec colère) DANIEL (angrily) Des brigands! Of bandits! TOUS LES ESPAGNOLS (se levant) ALL THE SPANIARDS (rising) Mort à lui! Kill him! SANDOVAL (les arrêtant) SANDOVAL (stopping them) Non vraiment!... No, wait!... (montrant Hélène qui sort de la brasserie) (pointing to Hélène, coming out of the brewery) [4] Voyez donc cette belle Look at the beautiful lady Qui sort de sa maison!… coming out of his house!... Si c’est sa fille, amis, If it’s his daughter, friends, Je lui pardonne!... Mais pour elle! I pardon him!... but only for her sake!

41 SCÈNE 3 SCENE 3 Les précédents. Hélène, vêtue de noir et sortant The above. Hélène, dressed in black, slowly lentement de la brasserie à droite. Elle s’avance coming out of the brewery to the right. She au bord du théâtre en rêvant et sans faire comes to the front of the stage, absorbed in attention à ceux qui l’entourent. thought, paying no attention to what is going on around her.

SANDOVAL (à Daniel) SANDOVAL (to Daniel) Qui est-elle? Et pourquoi ces lugubres Who is she? And why does she wear that habits? sombre apparel? DANIEL (d’un air sombre) DANIEL (gravely) Elle porte le deuil! She is in mourning! SANDOVAL SANDOVAL Et de qui? For whom? DANIEL (de même) DANIEL (likewise) De son père For her father, Que l’on assassina! who was murdered! SANDOVAL (d’un air de compassion) SANDOVAL (seeming to be moved) Pauvre enfant! Poor child! Depuis quand dans ces murs? Since when has she been here? DANIEL DANIEL Depuis la nuit dernière. Since last night. SANDOVAL SANDOVAL Et c’est chez toi qu’elle descend? And she has come from your house? DANIEL (vivement) DANIEL (animatedly) Ah! Je suis trop heureux de lui donner asile! Ah! I am more than happy to give her shelter! SANDOVAL SANDOVAL Elle est de ta famille? Is she a relative of yours? DANIEL (hésitant) DANIEL (hestitating) Oui! Oui c’est ma pupille… Yes! Yes, she is my ward… 42 Gianluca Buratto (Daniel Brauer) De ses parents du moins je fus le serviteur I served her parents Et donnerais mes jours et tous mes biens and I would give my life and all I possess pour elle! for her! SANDOVAL SANDOVAL Cela lui pourrait faire une dot assez belle That would give her a very fine dowry, Qui d’un brave Espagnol tenterait fort which can sorely tempt the heart of a good le cœur! Spaniard! (allant à Carlos) (going to Carlos) Nous en reparlerons! We’ll talk about it again! DANIEL (à part) DANIEL (aside) Ah! C’est trop d’audace! Ah! He is too bold! [5] HÉLÈNE (qui jusque là n’a pris aucune HÉLÈNE (who until then has paid no part à leurs discours, s’adressant à demi-voix attention to their conversation, softly à Daniel) to Daniel) C’est donc ici!!... Daniel... It is here then!... Daniel... DANIEL (de même et lui montrant la colonne DANIEL (likewise, pointing to the column qui est au milieu de la place) in the middle of the square) Oui... oui, là sur cette place Yes... yes, there, in the square, Où se réjouissait un peuple indifférent where an indifferent crowd had gathered, J’ai vu tomber ta tête, o mon maître! I saw your head fall, o master! HÉLÈNE (tombant à genoux près de HÉLÈNE (falling to her knees near la colonne) the column) O mon père! O my father! Je vengerai ta mort!... Je t’en fais le serment! I shall avenge your death!... I swear it! (On entend dans les rues voisines à droite un (Drum rolls and shouts are heard from the roulement de tambours et de cris.) nearby streets to the right.) CHŒUR CHORUS Aux armes!… Le Duc d’Albe! To arms!... The Duke of Alba! CARLOS (regardant par la rue à droite) CARLOS (looking up a street to the right) Oui, voici sa litière! Yes, I can see his litter! 44 SANDOVAL (souriant) SANDOVAL (smiling) A l’hôtel de ville il se rend He’s on his way to the Town Hall, Pour un nouvel impôt qu’à la Flandre to introduce a new tax that he will require il demande of Flanders, Et que paiera gaiment la nation flamande which the Flemish nation will gladly pay Car c’est pour notre solde! because it is for our wages! CARLOS CARLOS Un grand homme! A great man! SANDOVAL SANDOVAL Un héros! A hero! CARLOS CARLOS Un ami du soldat! A friend of the soldiers! SANDOVAL (souriant) SANDOVAL (smiling) Un ami des impôts! A friend of taxes! (Se retournant et apercevant Hélène qui est (They return and look at Hélène, who is still toujours à genoux au milieu de la place.) kneeling in the middle of the square.) Au Duc d’Albe, as-tu donc quelque demande Do you, then, have a request for the Duke à faire? of Alba? Qu’ainsi sur son passage on te voit à genoux? Is that why you greet him on your knees? HÉLÈNE (se relevant vivement) HÉLÈNE (abruptly standing up) A genoux… moi! On my knees… me! (bas à Daniel) (aside to Daniel) Devant le bourreau de mon père! Before my father’s murderer! DANIEL (de même) DANIEL (likewise) Ah! Par grâce modérez-vous! Ah! For pity’s sake, calm down! Chacun, au seul aspect du tyran sanguinaire, At the very sight of the bloody tyrant, Se tait… baisse les yeux… Car ce peuple all fall silent... lower their eyes... These tremblant timorous people Craint d’en être frappé rien qu’en le are afraid to be punished if they so much as regardant! look at him! 45 SCÈNE 4 SCENE 4 Les précédents. Le Duc d’Albe, dans sa litière The above. The Duke of Alba, on his litter, qui est fermée se rendant à l’hôtel de ville which has stopped in front of the Town précédé et suivi d’Albanais, d’arquebusiers Hall, preceded and followed by Albanians, et de gardes wallonnes. Les magistrats et harquebusiers and Walloon guards. The notables de la ville marchent à pied derrière magistrates and notables of the city walk lui. Don Carlos et ses soldats sortis de la behind. Don Carlos and his soldiers exit from caserne se mettent en bataille, présentent les the barracks and assemble, presenting arms. armes. Les tambours battent aux champs, Drums roll, banners are lowered in front of the les étendards s’inclinent devant la litière qui litter, which is slowly carried up the staircase monte lentement les degrés de l’hôtel de ville. to the Town Hall. Sandoval and Carlos go Sandoval et Carlos vont regarder le duc. closer to see the Duke.

[6] CHŒUR D’ESPAGNOLS CHORUS OF SPANIARDS Honneur à lui! Ce guerrier notre idole Honour to him! This warrior, our idol, Dont l’univers admire les travaux! whose deeds are admired by the entire world! Noble soutien de la gloire espagnole, He is the noble pillar of the glory of Spain, Que devant lui s’inclinent nos drapeaux! let all banners be lowered before him! CHŒUR DE PEUPLE (à demi-voix et se CHORUS OF PEOPLE (quietly and speaking parlant les uns les autres) among themselves) Le voilà! Celui qui désole There he is! The man who afflicts Et nos villes et nos hameaux, our cities and villages, Voilà le chef de nos bourreaux, there is the leader of our murderers, Et par lui, la race espagnole on whose orders the Spanish race De notre sang verse les flots. spills our blood in rivers. (En ce moment les soldats espagnols regardent (The Spanish soldiers cast threatening glances d’un air menaçant le peuple, et crient.) at the people and shout.) Honneur! Honneur! Honour! Honour! A notre gouverneur! To our Governor!

46 (Don Carlos, Sandoval et les officiers ont été (Don Carlos, Sandoval and the officers have rejoindre le cortège. Il ne reste plus que des gone to join the retinue. Only the soldiers soldats. L’un d’eux, Balbuena, qui est à moitié are left. One of them, Balbuena, who is half- ivre s’approche d’Hélène qui est restée seule et drunk, approaches Hélène, who has remained pensive au coin du théâtre à droite.) alone and pensive at the side on the right.) [7] BALBUENA (ivre à Hélène) BALBUENA (to Hélène, intoxicated) Pourquoi dans cette foule heureuse Why, when everyone in this crowd is so et satisfaite happy and satisfied, Tes yeux sont-ils baissés? Et ta bouche do you lower your eyes and keep your mouth muette? closed? Crie avec nous: Vive le gouverneur! Shout with us: long live the governor! (Hélène le regarde avec mépris et ne lui (Hélène looks at him with contempt and does répond pas.) not answer.) DANIEL (s’avançant) DANIEL (coming forward) Et de quel droit? What right do you have? BALBUENA (ivre) BALBUENA (drunk) Pour toi, maître brasseur, As for you, master brewer, Tais-toi!... Je veux qu’elle répète be quiet!... I want her to shout Vive le gouverneur!... Long live the governor!... Et de plus je prétends And then I want her to sing with us our Qu’elle chante avec nous la chanson Spanish song. espagnole. DANIEL (portant la main à son poignard) DANIEL (his hand on his dagger) Va-t-en... ou de ma main à l’instant Go away... or I kill you with my own hand je t’immole! here and now! HÉLÈNE (bas à Daniel qu’elle retient) HÉLÈNE (aside to Daniel, stopping him) Insensé!… Tu vois bien qu’il n’a pas son Fool!... You can clearly see that he’s drunk. bon sens.

47 (Pendant ce temps les soldats ont porté une (Meanwhile some soldiers have brought a grande table au milieu du théâtre. Ils s’assoient large table to the middle of the stage. They sit pour boire.) at it and drink.) BALBUENA (debout se soutenant à peine et BALBUENA (unsteady on his legs, banging frappant sur la table) on the table) Allons! … La chanson espagnole! … Come on!... The Spanish song!... Ou celle du Duc d’Albe! Or that of the Duke of Alba! HÉLÈNE (retenant un mouvement HÉLÈNE (restraining herself with a gesture of d’indignation) indignation) Ah! je ne la sais pas! Ah! I don’t know it! BALBUENA (s’asseyant et se versant BALBUENA (sitting down and pouring à boire) himself a drink) Chante alors ce que tu voudras! Then sing whatever you want! Mais chante... Je le veux! But sing!... I order you! DANIEL DANIEL Infamie et supplice, Infamy and agony, Par eux rien n’est révéré! they have respect for nothing! HÉLÈNE (les regardant et regardant Daniel, HÉLÈNE (looking at them and then at elle dit avec force) Daniel, she says forcefully) Eh bien, oui... je chanterai. All right, yes... I will sing. (Les soldats espagnols sont tous assis autour de (The Spanish soldiers are all seated around the la grand table qu’ils ont apportée au milieu du large table in the middle of the stage. People théâtre. Derrière eux le peuple qui les entoure.) stand behind, surrounding them.) [8] HÉLÈNE (s’avançant au bord du théâtre) HÉLÈNE (coming to the front of the stage) Au sein des mers et battu par l’orage In the middle of the sea and prey to a storm, Voyez ce beau vaisseau prêt à faire naufrage! look, a fine ship is about to be wrecked! Malgré le bruit des vents et la fureur des flots Over the noise of wind and waves, Entendez-vous les cris des matelots? can’t you hear the sailors’ cries? Viens à nous, Dieu tutélaire! Come to our rescue, protecting God!

48 Robin Tritschler (Balbuena) Apaise enfin ton courroux! Forget your anger! Exauce notre prière, Listen to our prayers, Sauve-nous!… Protège-nous! save us!... Protect us! Et Dieu disait dans ses décrets suprêmes; And God replies, in his supreme wisdom: N’avez-vous donc d’espoir qu’en des do you only trust in divine aid? secours divins? Vos jours dépendent de vous-même, Your life depends on you. Votre salut est dans vos mains! Your safety is in your own hands! [9] Du courage!… du courage Courage!... Courage! Et pour braver l’orage. And to brave the storm, A l’ouvrage!… à l’ouvrage! to work!... To work! Car le péril est là! For there is danger ahead! Oui, vaillant équipage, Yes, brave crew, Ne perdez pas courage, do not lose heart, Veuillez être sauvés et Dieu vous sauvera! Save yourselves and God will save you! (regardant le peuple qui l’entoure) (looking at the people around her) A quoi bon des prières vaines, What good are vain prayers, N’est-il plus de sang dans vos veines? is there no longer blood in your veins? D’effroi, de stupeur accablés Fear and dejection Devant le danger vous tremblez! make you tremble in the face of danger! La mort vient et vous sommeillez! Death comes and you’re asleep! Debout! Debout!!… au fracas des tempêtes On your feet!... Hear the storm Qui vont mugissant sur vos têtes. that howls around your heads. Réveillez-vous! Levez-vous tous! Wake up! Arise, all of you! Du courage!… du courage! etc. Take heart!... Take heart! etc. CHŒUR DE PEUPLE (à part et à CHORUS OF PEOPLE (aside, and softly) demi-voix) Quels accents! Quel langage! What ardour! What words!

50 Angela Meade (Hélène) A sa voix le courage Her voice rekindles En nous renaît déjà! the courage in our hearts! Oui, vengeons notre outrage Yes, let us avenge our slights! Oui, sortons de l’esclavage! Yes, let us break our fetters! Veuillons être sauvés et Dieu nous sauvera. Let us save ourselves and God will save us. [10] CHŒUR DE PEUPLE (à demi-voix CHORUS OF PEOPLE (softly, and to à Daniel) Daniel) Cette fille noble et belle, That noble and beautiful girl, La connais-tu?… do you know her?… DANIEL (à demi-voix) DANIEL (softly) C’est la fille d’Egmont! She is Egmont’s daughter! TOUS (entre eux avec respect) ALL (to one another, deferentially) La fille d’Egmont! Egmont’s daughter! (entourant Hélène et à demi-voix) (surrounding Hélène, in a low voice) O fille du martyre, O daughter of the martyr, Ta voix nous inspire, your voice inspires us, Les Belges te suivront the Belgians will follow you Et te vengeront!... and will avenge you!... HÉLÈNE (avec force et regardant Balbuena HÉLÈNE (with force while looking at Balbuena et les Espagnols qui se retournent vers elle) and at the Spaniards, who turn to her) Les matelots ont entendu!! The crew has understood!! Et l’espoir en leur cœur est déjà descendu! And hope is already born in their hearts! (avec enthousiasme) (with enthusiasm) Ah! Que du ciel descende Ah! It is heaven that kindles L’espérance en vos cœurs! Hope in your hearts! Il vient… il vient… de la Hollande, He’s coming… he’s coming… from Holland, J’ai vu briller les trois couleurs!... I have seen his three colours shine forth!... Courons! Ah, frappons, frappons! Come on! Ah, let’s strike! Let’s strike! Du courage! du courage! etc. Take heart! Take heart! etc.

52 CHŒUR DE PEOPLE CHORUS OF PEOPLE Courons, frappons! Come on, let’s strike! Et que dans notre main brille le fer. Our swords shining in our hands. Du courage, du courage, etc. Take heart! Take heart! etc. CHŒUR D’ESPAGNOLS CHORUS OF SPANIARDS C’est bien! Mais par dommage, etc. Good! But truly, etc. (Les Flamands ont pris dans les maisons (The Flemings have taken axes and swords voisines de la place, des haches et des sabres. from nearby houses. They are about to hurl Ils s’élancent sur les Espagnols et vont les themselves on the Spaniards when suddenly, frapper. Tout à coup au haut du perron de at the top of the Town Hall stairway, a man l’hôtel de ville paraît un homme vêtu de noir, dressed in black appears, alone and without seul et sans gardes.) guards.) TOUS (effrayés et baissant leurs armes) ALL (in fear, lowering their weapons) Le Duc d’Albe! The Duke of Alba! (Ils se retirent peu à peu en baissant la tête, (They gradually withdraw, with lowered heads, se rapprochent de leurs maisons et laissent returning to their houses and leaving the vide tout le milieu de la place. Le Duc descend middle of the square empty. The Duke slowly lentement et tranquillement les marches du and calmly comes down the steps. The soldiers perron. Les soldats se sont levés avec respect. stand up as a sign of respect. Daniel and Hélène Daniel et Hélène restent seuls sur le devant du are left alone, front stage. Everyone else has théâtre. A droite tous les autres ont reculé.) withdrawn to the right.) Oh! terreur!! Oh! Terror!! HÉLÈNE (à part) HÉLÈNE (aside) Ah! Qu’est-ce que je vois! Ah! What do I see! Son aspect seul les a glacés d’effroi! The sight of him freezes them with fear! TOUS ALL Le Duc d’Albe! The Duke of Alba! (Le Duc promène sur la foule un regard calme (The Duke gives the crowd a calm and unruffled et tranquille puis il fait un geste de la main. glance; then he makes a gesture with one hand.

53 Tous s’enfuient, et cette place qui était couverte Everyone takes flight, and the square, which de monde en un instant se trouve déserte. Il ne was packed with people, is empty. Only the reste en scène que le Duc, Daniel et Hélène.) Duke, Daniel and Hélène remain on stage.)

SCÈNE 5 SCENE 5 Hélène, Daniel, le Duc d’Albe Hélène, Daniel and the Duke of Alba

[11] LE DUC (à part) THE DUKE (aside) Race faible et poltronne Weak and cowardly race Qui devant moi frissonne, that shivers before me, De vous ce que j’ordonne what I plan for you C’est l’arrêt du destin! is your complete ruin! A son joug ordinaire, In vain do these bold people Ce peuple téméraire attempt to avoid Veut en vain se soustraire… their yoke... Il tremble sous ma main! they tremble under my hand! HÉLÈNE HÉLÈNE Moi-même je frissonne I too tremble Et l’horreur m’environne!! and am filled with horror!! Ah! Tout mon sang bouillonne Ah! My blood boils Et s’agite en mon sein! and my heart is in turmoil! Immobile se taire To keep silent Quand je vois, o mon père, when I see, my father, Le tyran sanguinaire the bloodthirsty tyrant Qui fut ton assassin. who murdered you! DANIEL DANIEL Quelle horreur m’environne, What horror invades me, De fureur je frissonne, I tremble with fury! Ah! Tout mon sang bouillonne Ah! My blood boils

54 Et s’agite soudain! And I am in turmoil! Maître que je révère My revered master, Rien n’a pu te soustraire nothing could save you Au tyran sanguinaire from the bloodthirsty tyrant Qui fut ton assassin. who murdered you!

SCÈNE 6 SCENE 6 Les précédents. Henri arrivant par le fond et The above. Henri enters from the back without sans voir le Duc, qui est à gauche, courant à seeing the Duke, who is on his left. He runs to Hélène et Daniel qu’il aperçoit à droite. Hélène and Daniel, who he sees on his right.

[12] HENRI (vivement) HENRI (excitedly) Hélène! Hélène! HÉLÈNE HÉLÈNE O ciel!... Henri! O heaven!... Henri! DANIEL DANIEL Dois-je en croire mes yeux? Can I believe my eyes? HENRI (vivement) HENRI (spiritedly) Oui, j’arrive de Bruges, oui, j’accours en Yes, I come from Bruges, yes, I have hurried ces lieux. here. Je suis libre! I am free! HÉLÈNE, DANIEL HÉLÈNE, DANIEL Que dites-vous? What do you mean? HENRI HENRI Que les juges, tremblants devant la tyrannie, The judges who tremble before tyranny, Pour la première fois, mes amis, ont absous! have for the first time issued a pardon! HÉLÈNE HÉLÈNE Est-il possible? How is it possible? HENRI HENRI Ils ont osé m’absoudre! They have dared pardon me! 55 Laurent Naouri (Le Duc) Sans craindre que sur eux ne retombât Without fearing the thunderbolt that will la foudre! strike them! LE DUC (passant entre Hélène THE DUKE (passing between Hélène et Henri) and Henri) Vous devez du Duc d’Albe admirer You ought to admire the Duke of Alba for la clémence! his mercy! HENRI HENRI Ou plutôt la fatigue! … en ce moment Or for his exhaustion!... undoubtedly son bras his arm D’égorger sans-doute était las; was tired of cutting throats; Il se repose, afin de mieux frapper! He must be resting so that he can strike better! HÉLÈNE (avec effroi) HÉLÈNE (in fear) Silence! Be quiet! HENRI (étonné) HENRI (surprised) Et pourquoi me tairais-je avec vous, Why should I keep quiet with you, mes amis, my friends? Vous qui savez ma haine pour ce traître! You know how much I hate that traitor! LE DUC (avec ironie) THE DUKE (sarcastically) De la haine!... jeune homme... eh! Hate him!... Young man... what! Quoi sans le connaître! Without knowing him? HENRI HENRI Eh! qu’en est-il besoin?...fléau de mon pays What need is there?... Scourge of my country, Il a tout renversé, brisé par les tempêtes he has destroyed everything and built Et n’a rien élevé!... rien!... que des échafauds. nothing!... Nothing... except scaffolds. HÉLÈNE HÉLÈNE Imprudent! Madman! HENRI HENRI En quoi donc?… ah, si dans ces remparts What’s the matter? Ah, if only I could glimpse Quelque heureux sort bientôt le montre à him by some lucky chance, soon on those mes regards… ramparts... 57 LE DUC (tranquillement) THE DUKE (calmly) Tu le verras!... Modère tes alarmes! You will see him!... Curb your excitement! HENRI HENRI Où donc? Where? LE DUC THE DUKE Devant toi!! He stands before you!! HENRI HENRI Ciel! Heavens! HÉLÈNE (à part) HÉLÈNE (aside) C’est comme un trépas! He’s as good as dead! LE DUC THE DUKE Eh bien!... tu ne me réponds pas? Well, then!... You have nothing to say? HENRI HENRI Je ne le puis!... Je suis sans armes!! I cannot...! I am unarmed! (Sandoval et des soldats sortent dans ce (Just then Sandoval and some soldiers come moment de la caserne et s’arrêtent sur un geste out of the barracks; they stop at a sign from the du Duc.) Duke.) LE DUC (à Daniel et Hélène) THE DUKE (to Daniel and Hélène) Laissez-nous!... Leave us!... (à Henri) (to Henri) [13] Toi tu resteras! You stay!

58 SCÈNE 7 SCENE 7 Daniel et Hélène rentrent dans la brasserie à Daniel and Hélène return to the brewery droite. Henri et le Duc restent en scène. Plus on the right. Henri and the Duke remain loin Sandoval et ses soldats devant la porte on stage. At some distance, Sandoval and de la caserne, l’arque-buse sur l’épaule, et his soldiers wait in front of the entrance to attendant les ordres de leur maître. Le Duc, the barracks, harquebus on their shoulders, Henri, Sandoval et les soldats au fond. waiting for orders from their leader. The Duke, Henri, Sandoval and soldiers at the back.

LE DUC THE DUKE Quel est ton nom? What is your name? HENRI HENRI Henri! Henri! LE DUC THE DUKE Pas d’autre? No other? HENRI HENRI Henri de Bruges! Henri of Bruges! Bruges dont les remparts m’ont servi Bruges, the ramparts of which have been de refuge! my refuge! LE DUC THE DUKE Et ton père? And your father? HENRI HENRI Jamais, on m’en a parlé! I was never told about him! J’ai cru savoir pourtant que proscrit, exilé, But I have learnt that he was exiled, Il finit loin de nous sa vie et sa misère. that his life ended far from us. LE DUC THE DUKE Et ta mère... réponds? And your mother... Answer! HENRI HENRI Ah! Je n’ai plus de mère Ah! I no longer have a mother,

59 Et depuis plus d’un an je l’ai perdue, hélas! I lost her more than a year ago, alas! Je vais la retrouver! One day I shall see her again! (montrant le ciel) (looking up at the sky) LE DUC THE DUKE Mais avant son trépas But before she died Chez le comte d’Egmont, tu fus placé Didn’t she arrange for you to stay with par elle? the Count of Egmont? HENRI HENRI Oui, le noble Egmont, ce héros… Yes, noble Egmont, that hero… LE DUC THE DUKE Ce rebelle… That rebel… HENRI HENRI Au sentier de l’honneur guida mes He guided my first steps on the path premiers pas! of honour! Fidèle à ses leçons, je prendrai pour modèle Faithful to his lessons, I shall emulate Si non sa vie, au moins sa mort... if not his life, at least his death... Tu sais tout maintenant! You know everything now! Dispose de mon sort! My fate is in your hands! [14] Punis mon audace! Punish my boldness! Je sais que ton cœur I know that your heart Ne fait point de grâce... has no mercy... J’attends sans frayeur! I wait without fear! Et mourrai sans crainte And without fear I shall die Comme mes amis like my friends Pour ma cause sainte for my sacred cause Et pour mon pays! and for my country! LE DUC THE DUKE J’aime son audace I like his courage

60 Et sa jeune ardeur. and his youthful ardour. La mort le menace Death threatens him Et pourtant son cœur and yet his heart Braverait sans crainte would fearlessly Tous ses ennemis face all his enemies Pour sa cause sainte for his sacred cause Et pour son pays. and for his country. [15] Je devrais te punir!... I should punish you!... Mais je plains ton jeune âge! But I take pity on your young age! HENRI HENRI Toi! Me plaindre? You! Take pity? LE DUC THE DUKE Oui, j’ai pitié de ton erreur Yes, I take pity on your error Et veux pour te sauver offrir à ton courage and to save you I want to offer you, brave man, Le seul moyen digne d’un noble cœur! the only path worthy of a noble heart! (lui frappant sur l’épaule) (with a pat on his shoulder) La gloire, j’en suis sûr, aurait pour toi des I am sure that glory has its attractions for you. charmes. HENRI HENRI La gloire? Où donc est-elle? Glory? Where is it? LE DUC THE DUKE Elle est sous nos drapeaux! Under our banners! Viens dans nos rangs!… Join our ranks! Viens servir sous nos armes. Serve in our army. Ta grâce est à ce prix! Your pardon comes at this price! HENRI HENRI Moi? Moi? Servir nos bourreaux! Me? Me? Serve our murderers?

61 Michael Spyres (Henri) [16] Non, non, point de grâce, No, I want no mercy. Apprends que mon cœur, Know that my heart Craint moins ta menace fears your threats Que le déshonneur! less than it fears dishonour! Je mourrai sans crainte I will bravely die Et tel que je suis, here and now Pour ma cause sainte for my sacred cause Et pour mon pays. and for my country. LE DUC THE DUKE Ah! C’est trop d’audace!... Ah! Too bold!... Fidèle à l’honneur The heart that beats Sous cette cuirasse, under this breastplate Bat un noble cœur. is noble, honourable. Je brave l’atteinte I brave the attack De ses ennemis of my enemies Pour sa cause sainte for my sacred cause Et pour son pays. and for our country. SANDOVAL (s’avançant) SANDOVAL (coming forward) C’est trop longtemps souffrir son insolence. We have suffered their insolence enough. Parlez, ordonnez son trépas! Speak, order his death! LE DUC (froidement) THE DUKE (coldly) J’ordonne qu’il soit libre! (à Henri) I order him to be left free! to( Henri) Et ne veux même pas t’imposer And don’t impose on yourself Le fardeau de la reconnaissance... the burden of gratitude... Mais, dans ton intérêt, jeune homme, But, in your own interest, young man, encore un mot... one more thing... (montrant la brasserie) (showing him the brewery) Tu vois cette maison... You see that house...

63 HENRI HENRI Eh bien! What of it? LE DUC THE DUKE Que la prudence en éloigne tes pas! Be prudent, keep away from it! HENRI HENRI Pourquoi donc? Why? LE DUC THE DUKE Il le faut! You must! (à demi-voix) (in a low voice) Redoute pour ton cœur une flamme Your heart must fear a reckless flame. insensée. HENRI (étonné) HENRI (stunned) O ciel! Heavens! LE DUC THE DUKE Je vois tes secrets! I know your secrets! Fuis cette femme!… Je l’ordonne! Keep away from that woman!... I order you! HENRI HENRI Et de quel droit? What right have you? LE DUC THE DUKE Fuis cette femme… Keep away from that woman… Je le veux, je le veux! I command it! I command it! HENRI HENRI Et moi, je n’accorde à personne, Nobody has the right Le droit de diriger mes vœux! to rule over my wishes! (avec fierté) (proudly) [17] Je suis libre et sur la terre I am free and on this earth De mon cœur je suis la loi. I alone dictate to my heart. Oui, je brave ta colère Yes, I brave your wrath Et je marche sans effroi! and go with my head held high! 64 LE DUC THE DUKE Téméraire! Téméraire! Rash man! Rash man! Par le ciel, obéis-moi. By heaven, obey me. Ne tente pas ma colère Do not provoke my wrath Ou malheur!... malheur à toi! or woe on you!... Woe on you! Dans ton intérêt, In your own interests, Fuis cette femme!... Keep away from that woman!... HENRI HENRI Non, non, non! No, no, no! Je suis libre sur la terre etc. I am free and on this earth, etc. LE DUC THE DUKE Fuis cette femme, Keep away from that woman, Ah, malheur à toi! Or woe on you! Je saurai briser tant d’orgueuil, I know how to break your arrogance, De ce logis ne franchis pas le seuil, Do not cross the threshold of that place, Je le défends... moi I forbid you... Le Duc d’Albe! I, the Duke of Alba! (Henri qui est près de la porte en laisse tomber (Henri, near the door, lets the knocker fall le marteau.) against it.) Malheur à toi! Woe on you! (Le Duc lui fait un signe de menace et part.) (The Duke makes a threatening gesture and leaves.)

FIN DU PREMIERE ACTE END OF THE FIRST ACT

65 ACTE II ACT II

Le théâtre représente la brasserie de Daniel. Daniel’s brewery. On the right, vats, stills and A droite les cuves, alambics et tonneaux. A barrels. On the left, tables, chairs and the door gauche des tables, des chaises et la porte de to Hélène’s room. At the back, the door that la chambre d’Hélène. Au fond la porte qui leads outside. A large, Gothic stained-glass conduit au dehors. Une grande fenêtre à window. vitraux gothiques.

SCÈNE 1 SCENE 1 Au lever du rideau tous les ouvriers de la As the curtain rises, most workers in the brasserie sont en mouvement. Un groupe reste brewery are busy. An idle group on the left oisif à gauche et semble regarder avec mépris seems to look in contempt on the happiness la joie et l’insouciance de leurs compagnons. and carefree attitude of their companions. Daniel va et vient, il surveille et dirige les Daniel comes and goes, overseeing and travaux. directing the work.

[1] CHŒUR (les ouvriers qui travaillent) CHORUS (the workers who are busy) Liqueur traîtresse Treacherous liquor, Le vin nous laisse after we’ve been drunk, Après l’ivresse the wine makes us, Sombre et chagrin. sombre and unhappy. Sous la tonnelle Under a barrel’s influence Chacun chancelle everyone staggers Ou se querelle or quarrels Jusqu’au matin. until dawn. Sa blanche mousse The white froth, Légère et douce light and sweet, Jamais n’émousse never dulls

66 notre raison. our minds. Vive la bière! Hurrah for beer! [2] DANIEL DANIEL (contemplant les ouvriers à l’ouvrage) (watching the men work) Ici l’on travaille et l’on chante! Here they work and sing! Aucun souci ne les tourmente! No troubles torment them! Rien à faire avec eux... There’s nothing to be done with them... (regardant les ouvriers qui ne font rien) (casting a glance at the idle workers) J’aime mieux l’ouvrier sombre et silencieux! I prefer a sober and silent worker! (allant auprès d’eux à demi-voix) (approaching them, in a low voice) Vous ne travaillez pas? You don’t work? LES OUVRIERS WORKERS A quoi bon, sous un maître What for, under a master Qui dispose à son gré de nos biens, who disposes as he wishes of our goods de nos jours! and lives? DANIEL DANIEL Espérez! Have hope! LES OUVRIERS WORKERS De l’espoir! Il n’en est plus! Hope! There is no more hope! DANIEL DANIEL Peut-être! On espère toujours! Perhaps there is! We must always hope! (plus bas) (more softly) D’autres que vous sont las de vivre esclaves. There are others like you, tired of living as slaves. LES OUVRIERS (de même) WORKERS (likewise) Qu’attendent-ils? What are they waiting for? DANIEL DANIEL Que des cœurs généreux For some generous hearts Viennent vaincre avec eux! to join them in the victorious fight!

67 LES OUVRIERS (vivement) WORKERS (eagerly) Nous viendrons tous! We are all ready! DANIEL DANIEL C’est bien! C’est bien! Good! Good! Désormais je compte sur vous! From now on I’ll count on you! Mais jusqu’au jour de la vengeance, But until the day of vengeance, De la prudence! be careful! Séparons-nous! Let us separate! A leurs travaux, à leurs chants mêlez-vous! Go and join in their work and songs! (Les ouvriers passent à droite et prennent part (The workers cross to the right and start aux travaux de leurs compagnons.) helping their comrades.) CHŒUR ET DANIEL CHORUS AND DANIEL Nectar joyeux! Riche breuvage! Joyful nectar! Powerful beverage! Verse toujours aux cœurs flamands Always give the Flemish hearts Un doux sommeil pendant l’orage sweet rest during the storm Et la gaîté dans les tourments! and happiness in times of trouble! [3] Vive la bière, etc. Hurrah for beer! etc. Liqueur traîtresse, etc. Treacherous liquor, etc. (À la fin du chœur le théâtre s’est obscurci. (As the chorus finishes, the stage darkens. Des ouvriers ont allumé des lampes et des Some workers have lit lamps and torches. flambeaux. On entend le tambour dans le Drum rolls in the distance.) lointain.) [4] DANIEL (aux ouvriers) DANIEL (to the workers) Mais j’entends battre la retraite I hear the retreat Et voici l’heure du repos. And it’s time to rest. Amis, séparons-nous!… Friends, go on your way!... A demain les travaux!… Work can wait till tomorrow!…

68 LES OUVRIERS WORKERS Bonsoir patron! A demain les travaux! Good night, master! Until tomorrow! (Les ouvriers sortent. Hélène paraît à la porte (The workers leave. From a door on the left de gauche qu’elle entrouvre.) Hélène appears.)

SCÈNE 2 SCENE 2 Hélène, Daniel Hélène, Daniel

[5] HÉLÈNE (à voix basse à Daniel) HÉLÈNE (softly, to Daniel) Es-tu seul? Are you alone? DANIEL DANIEL Oui, venez! Quelle terreur secrète Yes, come! What secret terror Agite vos esprits? Troubles your heart? HÉLÈNE HÉLÈNE Tout est perdu, Daniel! All is lost, Daniel! Henri! Henri! DANIEL DANIEL Et bien, parlez! What about him? Speak! HÉLÈNE HÉLÈNE Il est arrêté! He has been arrested! DANIEL DANIEL Ciel! Heavens! HÉLÈNE HÉLÈNE J’en ai reçu l’avis. Tout à l’heure à vos porte I have been informed. Immediately at your door Le Duc a fait un signe et soudain son escorte the Duke made a sign and then his escort Au palais a conduit ses pas. led him to the palace. DANIEL DANIEL Oh noble cœur! Puisse le ciel protège son Noble heart! May Heaven protect his bravery! audace!

69 HÉLÈNE HÉLÈNE Daniel, il faut voler à son secours. Daniel, we must go to his aid. Va trouver nos amis! Go to our friends! Dis-leur qu’il est captif! Tell them that he has been captured! Que pour ses jours je tremble! That I fear for his life! Qu’il meurt si nous tardons et qu’il faut He will die if we delay; we must, on this aujourd’hui very day, Vaincre pour le sauver ou se perdre avec lui! fight to save him or die with him! (Daniel prend son chapeau et son manteau et (Daniel takes his hat and cloak and leaves sort par le fond.) at the back.)

SCÈNE 3 SCENE 3

HÉLÈNE (seule) HÉLÈNE (alone) Henri! Noble jeune homme! Ah, j’ai lu dans Henri! Noble young man! Ah, I read his son âme! heart! Pas un mot, un soupir, rien n’a trahi sa Not a word, not a sigh, nothing betrayed his flamme! passion! Et pourtant que d’amour… qu’ai-je dit? Quel And yet love… what am I saying? What effroi, fear A ce mot seul, s’est emparé de moi! Seizes me, at the sound of that word! [6] Ton ombre murmure, o mon père! Your ghost murmurs, father! Et ton cœur s’indigne aujourd’hui And your heart frets because today Que pour un autre, ma prière my prayer goes up to heaven Du ciel ose invoquer, l’appui! daring to plead the cause of another! Ah, pour lui de mortelles alarmes For him my soul is in turmoil Je sens mon âme tressaillir! filled with mortal anguish! C’est lui qui fait couler mes larmes! It is for him that my tears fall!

70 Grâce, mon père!... Il va mourir! Have mercy, father!... He is going to die! Mais non! Tu comprends ma souffrance! But no! You understand my suffering! Et ton cœur veut la partager! And your heart shares it! Mon père, il a pris ta défense! Father, he took your part! Il a juré de te venger! He swore to avenge you! Lorsque sans moi, noble victime, When I see him go to his death À la mort je le vois courir, without me, the noble victim, Ah, prier pour lui n’est pas un crime, ah, it is no sin to pray for him, Mon père, il va mourir! father: he will die! (tombant à genoux) (falling to her knees) Prions, mon père! Il va mourir! Let us pray, father! He will die! Oh, mon père, il a juré de te venger. Oh, father, he swore to avenge you. Prions, mon père! Il va mourir! Let us pray, father! He will die!

SCÈNE 4 SCENE 4 Daniel, Hélène Daniel, Hélène

[7] HÉLÈNE HÉLÈNE Quoi! Déjà de retour? What! Back already? DANIEL (entrant avec précaution. A voix DANIEL (entering cautiously. In a hushed basse) voice) Que rien ne vous trahisse! Do not betray us! Pas un cri! pas un mot!... Je marchais dans Not a cry! Not a word!... As I walked in the la nuit darkness Quand près de moi, sans bruit, All of a sudden, without a sound, Tout à coup une ombre se glisse!... a shadow slid alongside me!... Un brave à qui le ciel propice A brave man who, with the favour of heaven, Fit franchir sa prison sous le feu des Escaped from his prison under the soldiers’ soldats!... fire!...

71 HÉLÈNE HÉLÈNE Eh bien? And? DANIEL DANIEL Il tombe dans mes bras! He fell into my arms! Je ne pouvais croire ma vue... I couldn’t believe my eyes... HÉLÈNE HÉLÈNE Daniel ne me trompe pas! Daniel, do not lie to me! Cet homme… That man… DANIEL DANIEL Est près de vous! Is close to you! HÉLÈNE HÉLÈNE Quel est-il? Who is he? DANIEL DANIEL Le voici! Here he is! (Henri paraît enveloppé d’un manteau.) (Henri appears, wrapped in a cloak.) HÉLÈNE HÉLÈNE Ciel! Heavens! HENRI HENRI Hélène! Hélène! HÉLÈNE HÉLÈNE O mon père, merci! O father, thank you! Tu m’as donc entendue! You have listened to me! [8] DANIEL DANIEL Plus bas! plus bas! Not so loud! Not so loud! Dans l’ombre entendez-vous ces pas? In the darkness do you hear steps? HÉLÈNE, HENRI, DANIEL HÉLÈNE, HENRI, DANIEL Des Albanais la ronde passe! It’s the Albanians’ patrol! Peut-être a-t-on suivi ma/sa trace! Perhaps they tracked me/you here! Silence! Ils viennent! Les voici! Hush! They’re coming! There they are! (On voit la ronde Albanais qui passe.) (A patrol of Albanians goes by.) 72 Non! Dans l’ombre le bruit s’efface, The sound fades away in the darkness, Dieu tout puissant! Grâce. Almighty God! Have mercy. DANIEL, HENRI (Daniel regardant par DANIEL, HENRI (Daniel looking out of la fenêtre) the window) Ils sont déjà bien loin d’ici. They are already far away. HÉLÈNE HÉLÈNE O mon père! Merci! O father! Thank you! ENSEMBLE ENSEMBLE Mon Dieu, grâce, grâce! God, have mercy! [9] HÉLÈNE (à Henri) HÉLÈNE (to Henri) Vous exposer encore! To expose yourself to such danger! HENRI HENRI Les croirez-vous jamais? Would you believe it? Me donner pour prison les murs de son They made a prison for me in his palace! palais! A la faveur de la nuit sombre Under cover of darkness Je viens de les franchir! I have evaded them! HÉLÈNE HÉLÈNE O ciel! Heavens! HENRI HENRI Un des soldats One of the soldiers Qui veillait au dehors... Au seul bruit de Who stood guard outside... at the sound of mes pas my steps Au hasard a fait feu dans l’ombre... fired randomly in the darkness… Mais Dieu me protégeait!... Il fait plus... But God protected me!... He has done more... au palais at the palace and Et chez mes ennemis... J’ai surpris des surrounded by my enemies... I have discovered secrets some secrets Dont on peut profiter! that will help us!

73 (à Daniel) (to Daniel) Hâtons-nous!... C’est prudence, We must waste no time!... Be careful, Va! Cours chez nos amis!... Ici rassemble-les. Go! Run to our friends!... Gather them here. (Daniel sort) (Daniel leaves)

SCÈNE 5 SCENE 5 Hélène, Henri Hélène, Henri

[10] HÉLÈNE HÉLÈNE Comment dans ma reconnaissance How can I repay you for Payer un tel dévouement? such gratitude? HENRI HENRI A vous ma seule providence, My life and my blood are for you, Et ma vie et mon sang! my only hope! HÉLÈNE HÉLÈNE Deux fois du tyran sanguinaire Twice have you braved the wrath Vous avez bravé le courroux! of the bloodthirsty tyrant! HENRI HENRI Sans trembler j’ai vu sa colère, I stood my ground before his anger, Hélas! et tremble devant vous! alas! and I tremble before you! HÉLÈNE HÉLÈNE Qu’entends-je? What do you mean? HENRI HENRI Un secret, un blasphème, A secret, a blasphemy, Que j’avais dans mon cœur juré d’ensevelir! which I swore to bury deep in my heart! Mais au palais, ce soir, cette nuit même, But at the palace, this evening, this very night, En frappant le tyran le sort peut nous trahir, as we strike the tyrant, fate might be against us Et l’on dit qu’au moment suprême and they say that in the final moments On pardonne à qui va mourir! there is pardon for those who are about to die!

74 Michael Spyres (Henri) [11] Ah! Oui, longtemps en silence Ah! Yes, for a long time, in silence, J’ai caché dans mon cœur I have kept hidden in my heart L’amour qui vous offense the love that offends you Et qui fait mon malheur. and that marks my doom. Amour, amour extrême, Love, such deep love Qu’ici j’osai trahir that I dare confess it here Et dont le ciel lui-même and for which heaven itself Va bientôt me punir. will soon punish me. HÉLÈNE HÉLÈNE Oui longtemps en silence Yes, for a long time, in silence, J’ai caché, Dieu vengeur, I have kept hidden, God of vengeance, Une reconnaissance a feeling of gratitude Dont s’effrayait mon cœur. that frightened my heart. Mais à l’heure suprême But in the final hour Qui va nous réunir, ah, that unites us, ah, Dieu qui m’entend… Dieu même God, who hears me... God Himself Ne saurait nous punir. will not want to punish us. HENRI HENRI Vous détournez les yeux et mon audace You look away and my daring is great, est grande, Qu’un rayon de pitié de vos regards but have pity and glance at me. descende. Hélène, je vous aime et n’implore à genoux Hélène, I love you and I beg, on my knees, Que le droit de combattre et de mourir the right to fight and die for you!etc . pour vous! etc. [12] HÉLÈNE HÉLÈNE Malheureuse et proscrite, on tremblait Wretched and exiled, I inspired pity à ma vue,

76 Et l’on osait me plaindre sans effroi! and people murmured against me! Vous seul, Henri, vous m’avez défendue! You alone, Henri, you have defended me! Vous seul vous m’avez dit: ‘appuyez-vous You alone have said, ‘lean on me’, sur moi’; Et proche de la tombe où nous allons And now that death is about to descend descendre on us A tant de dévouement je ne répondrai pas? I would not return such devotion? Non!… Et du haut des cieux où tu dois No! And from the heavens where you can nous entendre hear us O mon père!... O D’Egmont!... tu me O father!... O Egmont!... You will forgive me! pardonneras! HENRI HENRI L’ai-je bien entendu? Moi! Ma noble Have I understood you well? Noble lady, maîtresse, Moi qui n’ai ni rang ni richesse... I, without station or wealth... Moi qui simple soldat vous ai voué ma foi A simple soldier who has pledged loyalty Et mon obscure misère!... And my wretched poverty!... HÉLÈNE HÉLÈNE Henri! vengez mon père! Henri! Avenge my father! Et vous serez pour moi And for me you shall be Plus noble que le roi! nobler than the king! HENRI HENRI Mais je suis seul sur la terre, But I am alone on earth, Sans famille, sans soutien!... I have no family, no means!... HÉLÈNE HÉLÈNE Henri! Venge mon père Henri! Avenge my father! Mon père alors devient le tien!... And my father will become yours!... [13] HENRI HENRI Noble martyr de la patrie Noble martyr of our country, Entends ma voix, ombre chérie! dear shadow, hear my voice! 77 Angela Meade (Hélène) Du haut des cieux sois mon soutien! Help me from heaven! Tout doit céder à ma vaillance, All shall yield before my valour, Je vais combattre en sa présence I will fight before her Pour venger son père et le mien! to avenge her father and mine! HÉLÈNE HÉLÈNE Noble martyr de la patrie Noble martyr of our country, Entends ma voix, ombre chérie! dear shadow, hear my voice! Du haut des cieux sois son soutien! Help him from heaven! Tout doit céder à sa vaillance, All shall yield before his valour, Il va combattre en ma présence He will fight before me Pour venger mon père et le sien! To avenge my father and his!

SCÈNE 6 SCENE 6 Hélène, Henri, Daniel, chœur d’ouvriers, Hélène, Henri, Daniel, Chorus of workers, de bourgeois au fond. Daniel et les conjurés and bourgeois at the back. Daniel and the paraissent au fond. Les conjurés s’avancent conspirators appear from the back. The lentement. conspirators slowly come forward.

[14] CHŒUR, HENRI, DANIEL ET CHORUS, HENRI, DANIEL AND HÉLÈNE (à demi-voix) HÉLÈNE (in a hushed voice) Les derniers feux meurent dans l’ombre As the last rays fade into darkness Et l’on n’entend dans la nuit sombre all one hears in the gloomy night Que sanglots et que pleurs! is sobbing and weeping! Quand la liberté nous rassemble In this hour when freedom summons us, Honte à qui gémit et qui tremble shame on those who moan and tremble Devant nos oppresseurs! in the face of our oppressors! Qu’un serment solennel nous lie Let us take a solemn oath, Jurons pour sauver la patrie let us swear to save our country, Jurons, amis, de vaincre ou de mourir! let us swear, friends, to win or die! C’est trop souffrir. No more suffering. 79 HENRI HENRI Plus bas! Plus bas! Not so loud! Not so loud! (Des ouvriers ont disposé des sièges en demi- (Some workers have placed a number of chairs cercle. Tout le monde s’assied. Henri et Hélène in a semicircle. Everyone sits down. Henri and à gauche, sur l’avant-scène. Daniel à droite.) Hélène on the left, front. Daniel on the right.) [15] HENRI (assis) HENRI (seated) Amis! L’heure d’agir si longtemps attendue, Friends! The long-awaited hour to take action, L’heure de la vengeance est à la fin venue! The hour of vengeance is finally here! Cette nuit (je le sais… je l’ai vu de mes Tonight (I know it... I have seen it with my yeux!), eyes!) Le Duc en son palais doit donner une fête The Duke will give a party at the palace, where, Où tranquille, au milieu des plaisirs et In the middle of the gaiety and des jeux merrymaking, A nos poignards vengeurs il va livrer He will deliver his life to our avenging sa tête!… daggers! J’ai vu par les jardins un passage secret I have seen a secret passage, in the gardens, Qui jusqu’au sein du bal, sans danger, peut which will safely lead us directly to the conduire. ballroom. Marchons!... et sous nos coups qu’à l’instant Let’s go!... And may he die instantly under il expire! our blows! TOUS ALL Qui le frappera? Who will strike him? HENRI HENRI Moi! j’ai porté son arrêt, I will! I suffered his prison, Et rien ne peut à présent l’y soustraire. And nothing can save him from me. (bas à Hélène) (aside, to Hélène) Car tu l’as dit: venge mon père For you have said it: avenge my father Et tu seras pour moi and you will be for me Plus noble que le roi! (haut) nobler than the king! (aloud)

80 [16] Marchons et que le jour du tyran nous Let’s go, and may the dawn set us free from délivre. the tyrant. TOUS ALL Marchons, marchons, marchons. Let’s go, let’s go, let’s go. Nous sommes tous prêts à te suivre. We are ready to follow you. Mais des armes, des armes! But give us weapons! weapons! Marchons! Let’s go! DANIEL (leur montrant plusieurs tonneaux DANIEL (pointing to some barrels on à droite) the right) Vous en aurez! Help yourselves! TOUS (prenant des armes dans le tonneau) ALL (taking weapons from the barrel) Des armes! Des armes! Weapons! Weapons! HENRI HENRI Que vous offre le ciel pour venger et punir! Which heaven gives you to avenge and punish! Vous en aurez! Help yourselves! HÉLÈNE HÉLÈNE Aux armes, aux armes! Marchons! To arms, to arms! Let’s go! TOUS (prenant des armes dans le tonneau) ALL (taking weapons from the barrel) Des armes!... Des armes! Weapons!... Weapons! Ah! pour nous plus d’alarmes. Ah! No more worries. Nous sommes tous prêts à te suivre. We are ready to follow you. Aux armes… Vaincre ou mourir! To arms… To victory or to death! Nous le jurons! We swear it! (tous à genoux) (They all kneel.) [17] Liberté!... Liberté chérie! Freedom! Beloved freedom! Entends notre voix qui te prie! Listen to our pleading voices! Protège-nous, Protect us, Guide nos coups! Guide our blows! 81 Au combat nous marchons sans crainte We march into battle without fear Et s’il le faut, sans une plainte nous mourrons and if we must, we shall all die without a tous! moan! Liberté, liberté chérie! Freedom! Beloved freedom! Entends notre voix qui te prie! Listen to our pleading voices! Protège-nous, guide nos coups! Protect us, guide our blows! (on frappe à la porte) (a knock at the door) [18] HENRI HENRI Ciel! Heavens! DANIEL (à voix basse) DANIEL (in a hushed voice) Silence! Silence! (On frappe encore. À haute voix) (There is another knock. Aloud) Qui frappe ainsi la nuit chez moi? Who knocks on my door at this hour? CHŒUR DE SOLDATS (en dehors) CHORUS OF SOLDIERS (without) De par le Duc d’Albe et le roi! The Duke of Alba and the king! TOUS (à demi-voix) ALL (in a hushed voice) Grand Dieu! Almighty God! DANIEL (haut) DANIEL (aloud) Mais je suis seul. I am alone. SANDOVAL (en dehors) SANDOVAL (without) Qu’importe! It doesn’t matter Ouvre! Ou sinon ta porte Open up! Or we’ll break your door Vole en éclats, de par le roi! into pieces, on the king’s order! CHŒUR DE SOLDATS (en dehors) CHORUS OF SOLDIERS (without) Ouvrez! ouvrez! de part le roi! Open up! On the king’s order! DANIEL (à voix basse aux conjurés) DANIEL (in a low voice to the conspirators) Rien n’est désespéré! Ne perdez pas courage, Nothing is without hope! Do not lose heart, Rallumez les flambeaux! Light the torches! A l’ouvrage! A l’ouvrage! To work! To work!

82 Sir Mark Elder (conductor) and Gianluca Buratto (Daniel Brauer) Et répétons en chœur And let’s sing all together Le refrain du brasseur! The brewer’s refrain! (On cache les armes dans les tonneaux. On (They hide the weapons back in the barrels rallume les flambeaux. Les conjurés prennent and relight the torches. The conspirators get les brouettes, les outilles. Daniel va ouvrir.) busy with wheelbarrows and tools. Daniel goes to open the door.)

SCÈNE 7 SCENE 7 Les mêmes, Sandoval, soldats. The above, Sandoval, soldiers.

[19] CHŒUR DE CONJURES CHORUS OF CONSPIRATORS Liqueur traîtresse, etc. Treacherous liquor, etc. (Pendant le chœur Sandoval et ses soldats (During the chorus Sandoval and his soldiers sont entrés. Des soldats gardent l’entrée de la enter. Some soldiers guard the entrance of brasserie au dehors. Sandoval observe tout.) the brewery, outside the door. Sandoval looks everywhere.) [20] SANDOVAL (avec ironie) SANDOVAL (sarcastically) Maître Daniel est seul en sa demeure? Alone in your house, Master Daniel? DANIEL DANIEL Avec mes ouvriers… With my workers… SANDOVAL (de même) SANDOVAL (likewise) Qu’y font-ils à cette heure? Why are they here at this hour? DANIEL DANIEL Il faut bien travailler pour payer les impôts. We must work hard to pay our taxes. SANDOVAL SANDOVAL Travailler!... ou tramer quelques nouveaux Work!... or are you plotting some other complots! conspiracy? (voyant Hélène) (seeing Hélène) Ah! Ta pupille ici… Tant pis! Mauvaise Ah! Your ward is here… So much the worse! affaire! Nasty affair! 84 (apercevant Henri avec des bourgeois à droite (spotting Henri with some bourgeois pushing qui conduisent une brouette) wheelbarrows) Mais que vois-je! on dirait, par Jésus et But what do I see! Good heavens! sa mère, Des quarteniers ou bien des échevins! Quartermasters or even deputy mayors? Pour de pareils travaux Dieu n’a pas fait God did not give them hands for such menial ces mains! jobs! Tu n’y dois pas gagner et je voudrais You can’t gain from it, and I would like to connaître know (montrant un bourgeois) (pointing to a bourgeois) Quel nectar peut brasser cet apprenti what kind of nectar can that new apprentice nouveau... brew... (prenant un gobelet qui est sur la table) (grabbing a glass from a table) A boire! Pour me a drink! (Daniel prend un pot d’étain et se dirige à (Daniel gets a pewter jug and moves towards gauche) the left) Non! No! (indiquant le tonneau où sont les armes et qui (pointing to the barrel where the weapons are est marqué d’une croix rouge) hidden, which is marked by a red cross) Dans ce tonneau! From that barrel! (mouvement de terreur parmi les conjurés) (a shiver of fear runs through the conspirators) DANIEL (hésitant) DANIEL (wavering) Pourquoi? Why? SANDOVAL (avec ironie) SANDOVAL (sarcastically) C’est du meilleur peut-être. Perhaps it’s one of the best. (montrant la croix rouge) (indicating the red cross) Il est marqué. It is marked. (aux soldats) Brisez-les! (to the soldiers) Break it! (Les soldats brisent le tonneau. Les armes se (The soldiers break the barrel and weapons répandent à terre.) scatter on the floor.) 85 David Stout (Sandoval) SANDOVAL, SOLDATS SANDOVAL, SOLDIERS Emparez-vous/emparons-nous de tous ces Seize/Let’s seize these traitors who conspire traîtres qui conspiraient contre leurs maîtres. against their masters. [21] HÉLÈNE, HENRI, DANIEL, CHŒUR HÉLÈNE, HENRI, DANIEL, CHORUS Nous n’avons qu’un roi, qu’un seul maître: We only have one king, one master: Dieu! qui nous jugera peut-être!... God! One day he will judge us!... Et qui pardonne en sa bonté And in his mercy he forgives A qui meurt pour la liberté! those who die for the cause of freedom! [22] HENRI (à Hélène) HENRI (to Hélène) Oui, bravons le tyran qui nous opprime. Yes, let us fight the tyrant who oppresses us. SANDOVAL (à ses soldats) SANDOVAL (to his soldiers) Entraîne-les! Take them away! HENRI HENRI Marchons… Tous ensemble à la mort! Let’s go… We’ll face death together! SANDOVAL (à Henri) SANDOVAL (to Henri) Toi demeure! Not you! HENRI HENRI Et pourquoi!… And why? J’ai partagé leur crime I am as guilty as they are Et je dois partager leur sort! and I deserve to share their fate! SANDOVAL SANDOVAL Le chef ne le veut pas! Our leader does not want that! HENRI HENRI Ah! Dans sa tyrannie Ah! What new torments À quels nouveaux tourments m’a-t-il donc has that tyrant in store for me? réservé? SANDOVAL SANDOVAL Sois libre! Le tyran veut que tu sois sauvé! You are free! The tyrant spares your life! TOUS ALL Sauvé? He spares his life? 87 [23] HÉLÈNE, DANIEL, CHŒUR HÉLÈNE, DANIEL, CHORUS O ciel, O surprise, O heaven, o surprise, Est-ce une méprise Is it a mistake Qui le favorise! O sort fortuné! that he is favoured! O lucky chance! Lui notre complice He, our accomplice, Echappe au supplice, Escapes death, Quel destin propice and by a happy fate L’a donc épargné! his life is spared! HENRI HENRI Qu’entends-je! O surprise What do I hear! O surprise Dont mon cœur se brise, that shatters my heart! Mon sang qu’il méprise My blood, which he despises, N’est point condamné! is not to be spilt? O nouveau supplice! O new torture! Je suis leur complice! I am their accomplice! Et par son caprice And to indulge his whim Je suis épargné! I am spared! SANDOVAL ET SES SOLDATS SANDOVAL AND HIS SOLDIERS Contre nous se brise We must carry out Pareille entreprise! such an order! Son sang qu’on méprise His life, which we despise, N’est pas condamné! is to be spared! HENRI (à Sandoval avec colère) HENRI (to Sandoval, in anger) Je ne veux pas d’une telle clémence. I do not want such mercy. SANDOVAL (froidement) SANDOVAL (coldly) Le maître l’ordonne ainsi! The master still orders it! HENRI HENRI Eh bien, si je suis libre… Well, then, if I am free… (à Sandoval) (to Sandoval)

88 À toi je viens ici et demande raison You! Account for this pardon d’un pardon qui m’offense! that so offends me! (Sandoval fait signe de la main qu’il ne peut.) (Sandoval makes a dismissive gesture.) Noble Espagnol!... T’ordonne-t-il aussi Noble Spaniard!... Do they order you to be D’être un lâche!... a coward as well?... SANDOVAL SANDOVAL A cet outrage My sword (Daniel se met au milieu entre Sandoval et (Daniel places himself in between Sandoval Henri.) and Henri.) Ce fer aurait déjà répondu! would already have answered your insult! Mais tu peux, noble Belge, insulter sans But you, noble Belgian, need no courage to courage … offend me… Toi! Car t’immoler m’est défendu! You! Because I am forbidden to kill you! HENRI HENRI Moi? O honte! O surprise Me? O shame! O surprise Dont mon cœur se brise. that shatters my heart! Mon sang qu’il méprise My blood, which he despises, N’est point condamné! is not to be spilt! La mort, ou la liberté. Death or freedom. HÉLÈNE, DANIEL, CHŒUR HÉLÈNE, DANIEL Mon âme indécise My wavering soul Tremble de surprise, trembles with disbelief, Est-ce une méprise it must be a mistake! O sort fortuné! O lucky chance! Quel destin propice By what happy fate l’a donc épargné? is my life spared? La mort ou la liberté. Death or freedom.

89 Michael Spyres (Henri), Laurent Naouri (Le Duc) and Roger Parker (Opera Rara repertoire consultant) SANDOVAL, CHOEUR SANDOVAL, CHORUS Contre nous se brise We must carry out Pareille entreprise. such an order. Son sang qu’on méprise His life, which we despise, N’est pas condamné! is to be spared! ENSEMBLE TOGETHER Marchons, marchons! Let us go, let us go! Qu’un même sort nous rassemble Let us share the same fate Et que Dieu dans sa bonté and may God in his mercy Fasse trouver ensemble grant all of us La mort ou la liberté! either death or freedom! SANDOVAL, SOLDATS SANDOVAL, SOLDIERS Allez! Et que les rassemble Go! May they share Un châtiment mérité! a well-deserved punishment! Et devant nous que tremble And may all rebels Tout esclave révolté. Tremble before us.

FIN DU DEUXIÈME ACTE END OF ACT TWO

91 The cast, Opera Rara Chorus and the Hallé recording in St Peter’s, Ancoats, Manchester