“If I Were Your Mirror” A Reflection on Austrian History Through das Musical

by Carolyn Nicole Richardson

A THESIS

submitted to

Oregon State University

Honors College

in partial fulfillment of the requirements for the degree of

Honors Baccalaureate of Arts in German (Honors Scholar)

Honors Baccalaureate of Science in Mechanical Engineering (Honors Scholar)

Presented May 25, 2021 Commencement June 2022

AN ABSTRACT OF THE THESIS OF

Carolyn Nicole Richardson for the degree of Honors Baccalaureate of Arts in German and Honors Baccalaureate of Science in Mechanical Engineering presented on May 25, 2021. Title: “If I Were Your Mirror” – A Reflection on Austrian History Through Elisabeth das Musical.

Abstract approved:______Benita Blessing

This project examines the portrayal of the life and times of Kaiserin Elisabeth von Österreich (Empress Elisabeth of ) in the popular Austrian musical Elisabeth das Musical (Elisabeth the Musical), written by and . Elisabeth was first performed in in 1992 and has since become the successful German-language musical of all time. The musical is used as a case study to investigate contemporary Austria’s relationship with – and denial of – its own history by examining the musical’s portrayal of historical figures and events. Elisabeth is further analyzed for its depiction of the titular character in her roles as a wife, mother, and Empress. The effects these roles have on her mental health is also explored. Despite Elisabeth’s popularity, the musical’s social commentary has seldom been examined in an academic context. This project seeks to address these lacunae in Austrian History and Women and Gender Studies through the translation and analysis of critical lyrics from the musical.

Key Words: Austria, History, German-Language, Translation, Musical Theater, World War II, Sisi, Mental Health

Corresponding e-mail address: [email protected]

©Copyright by Carolyn Nicole Richardson May 25, 2021

“If I Were Your Mirror” – A Reflection on Austrian History Through Elisabeth das Musical by Carolyn Nicole Richardson

A THESIS

submitted to

Oregon State University

Honors College

in partial fulfillment of the requirements for the degree of

Honors Baccalaureate of Arts in German (Honors Scholar)

Honors Baccalaureate of Science in Mechanical Engineering (Honors Scholar)

Presented May 25, 2021 Commencement June 2022

Honors Baccalaureate of: Arts in German and Honors Baccalaureate of: Science in Mechanical Engineering project of Carolyn Nicole Richardson presented on May 25, 2021.

APPROVED:

______Benita Blessing, Mentor, representing World Languages and Cultures

______Bradley Boovy, Committee Member, representing World Languages and Cultures

______Elizabeth Helman, Committee Member, representing Theatre

______Toni Doolen, Dean, Oregon State University Honors College

I understand that my project will become part of the permanent collection of Oregon State University, Honors College. My signature below authorizes release of my project to any reader upon request.

______Carolyn Nicole Richardson, Author

Table of Contents INTRODUCTION ...... 8 TRANSLATIONAL METHODOLOGY ...... 10 INTRODUCTION TO ELISABETH DAS MUSICAL ...... 12 SIGNIFICANCE OF ANALYZING ELISABETH DAS MUSICAL ...... 14 AUSTRIAN HISTORY AND IN ELISABETH ...... 16 AUSTRIAN HISTORICAL CONTEXT...... 16 AUSTRIAN HISTORY AND NATIONAL IDENTITY IN ELISABETH ...... 20 SISI IN ELISABETH ...... 27 SISI AS A HISTORICAL FIGURE ...... 27 PORTRAYAL OF SISI IN ELISABETH ...... 32 Sisi as a Wife, Mother, and Empress ...... 33 Mental Health in Elisabeth ...... 50 Sisi’s Legacy in Elisabeth ...... 63 CONCLUSION ...... 66 BIBLIOGRAPHY ...... 71 APPENDIX...... 74 BOOTE IN DER NACHT / SHIPS IN THE NIGHT...... 74 EINE KAISERIN MUSS GLÄNZEN / AN EMPRESS MUST SHINE ...... 75 DER LETZTE TANZ / THE LAST DANCE ...... 80 ICH GEHÖR’ NUR MIR / I BELONG ONLY TO ME ...... 81 HASS / HATE ...... 82 KITSCH / KITSCH ...... 85 NICHTS IST SCHWER / NOTHING IS DIFFICULT ...... 87 NICHTS, NICHTS, GAR NICHTS / NOTHING, NOTHING, ABSOLUTELY NOTHING ...... 88 SO WIE MAN PLANT UND DENKT / AS ONE PLANS AND THINKS / BEST LAID PLANS ...... 89 WENN ICH DEIN SPIEGEL WÄR / IF I WERE YOUR MIRROR ...... 93 WIE DU / LIKE YOU ...... 94 WIE DU REPRISE / LIKE YOU REPRISE ...... 97

Introduction

Kaiserin Elisabeth von Österreich (Empress Elisabeth of Austria) lived a fairytale life. The young Duchess Elisabeth of was born Elisabeth Amalie Eugenie von Wittelsbach in

1837. Sisi, as her friends affectionately called her, was raised in the country and enjoyed horseback riding and poetry. As the fourth-born child and a daughter besides, Sisi's indulgent father allowed her many freedoms not afforded to her older sister, Helene, who was expected to marry the Franz Joseph. However, in a chance meeting, Sisi caught the Emperor’s eye instead. Franz had never been keen on his arranged marriage, or marriage at all for that matter.

But when Franz met Sisi at a party, he was immediately taken by her. The young Emperor was captivated by Sisi’s free spirit and beauty, and Sisi found Franz similarly charming. The two fell instantly in love. Despite his mother’s strong objections to the match, Franz and Sisi married later that year, turning Sisi into a real-life fairytale princess. Or at least this is how the story of

Sisi is usually portrayed. The reality, however, was much less enchanting. Sisi had strained relationships with her husband and children. She had a lifelong battle with depression and eating disorders. Nonetheless, depictions of Sisi have traditionally minimized the immense difficulties and sorrows of her life.

In 1992, Elisabeth das Musical (Elisabeth the Musical) broke free of the popular mold of

Sisi stories. Elisabeth portrays the titular character’s life story in a more critical light, embedding the story in a socio-historical context usually absent from popular depictions of Sisi. The

German-language musical Elisabeth, produced in Austria, was written by Michael Kunze and scored by Sylvester Levay. Since its premier in Vienna, Elisabeth has sold nearly 12 million tickets worldwide and been staged in 13 countries, making it the most successful German-

8 language musical of all time.1 Much like Ernst Marischka’s classic 1950s film trilogy Sissi starring , Elisabeth das Musical re-established the Austro-Hungarian empress

Elisabeth as Austria’s favorite fairytale princess. What sets Elisabeth apart from other depictions is the musical’s nuanced portrayal of Sisi as a person. Kunze’s Sisi is not a storybook princess who lives happily ever after. Contrary to other portrayals, particularly Marischka’s, Kunze portrays Sisi as a complicated, flawed individual whose life was not a fairy tale, but rather a tragedy. He further uses this beloved national figure as a vehicle to discuss Austrian history and .

Despite Elisabeth’s popularity and its rich social commentary, the musical has seldom been analyzed in an academic context. In this work, I will address this gap by analyzing Kunze’s portrayal of the life and times of Empress Elisabeth of Austria in Elisabeth das Musical. I begin by examining contemporary Austria’s relationship with its history. Throughout the musical,

Kunze interweaves subtextual discussion of Austrian nationalism and the country’s denial of – and reckoning with – its involvement in World War II. I then analyze how Kunze portrays Sisi as a wife, mother, and Empress. The musical casts doubt on the notion that Sisi was a happily married wife or a well-meaning mother. I will further explore how Sisi’s mental health is portrayed in the musical. Elisabeth prominently features Sisi’s experiences with depression, eating disorders, and suicidal ideation – themes which are omitted from most earlier depictions of Sisi. Her mental health is manifested and underscored by the presence of der Tod (), who is one of the show’s lead characters. Finally, I will discuss the musical’s intentionality in disrupting the sugar-coated narratives of Sisi. By completing the analysis of the above themes, I will address a lacuna in Women and Gender Studies, and explore Austria’s relationship with its

1 “Elisabeth – VBW International.”

9 history. I will also make available my English-language translations of many of the songs in

Elisabeth, which are provided in the appendix to this piece as a means of making this story more accessible to speakers of English.

Translational Methodology

Elisabeth has been staged in eight languages, none of them English. As a result, this project began as an effort to create a version of the musical that could be performed in English. The project began as translational in nature but developed into a critical analysis of the musical itself.

Although the objective of this effort has evolved, the final product still relies heavily on translation. As a result, my English-language translations of relevant lyrics will be provided as evidence throughout this thesis. It is therefore appropriate to begin with a brief discussion of the translational approach used in this work.

There are numerous kinds of translation – ranging from loose to literal, from precise to symbolic – each serving a different purpose. Twentieth-century theater critic Oliver Sayler scrutinized the misuse of translational styles in the theater in particular. In his 1922 article

“Translation and the Theatre,” Sayler criticizes the translational quality of the plays adapted into

English at the time. He felt that many of these English-language adaptations had not used an appropriate translational style.2 “Except in class room work, where the premium rests on the exact and literal rendering of the word, phrase and line, the task of the translator is to make clear the content and significance of the original.”3 Saylor felt that literal translation was hardly suitable outside of the classroom and that anything translated for purposes beyond the scholastic needed to uphold the intent of the original source more than the words themselves.

2 Sayler, Translation and the Theatre, 109. 3 Ibid.

10 Sayler was hardly the first individual to believe in this philosophy of translation.

Translators as far back as the Roman scholar Cicero believed in a more culturally aware style of translation. Referring to his own translational approach, Cicero stated, “I did not translate [texts] as an interpreter, but as an orator, keeping the same ideas and forms, or as one might say, the

‘figures’ of thought, but in language which conforms to our usage.”4 Cicero believed that translators should act more like orators of a speech or poem. As he saw it, the work of a translator should be more than to create a mere literal interpretation of the source material, rather they should bring the text to life in a manner that feels natural to native speakers of the target language. Through this performative style of translation, something important is gained: an adaptation of content from one tongue and culture that is reimagined into a language – both linguistic and cultural – so that a new audience can readily understand it.

This style of translation is at the center of this project. The intent of the in-text translations provided in this work is to offer Kunze’s words in a form that is accessible to

English speakers. This means that at times phrases are reordered or taken less literally in order to be more comprehensible to the reader, but still represent Kunze’s original meaning and tone.

This method will be referred to as direct translation. Some translations in the appendix will also feature what will be referred to as lyrical translations: translations of a song that preserve the syllables and rhyme scheme of the source material. This style of translation is done with the intent that the English version could be performed to Levay’s original music. These adaptations seek to preserve the broader meaning or “color” of the source material while not necessarily preserving the original words.

4 Robinson, Becoming a Translator, 84.

11 All English-language translations provided in this work are my own and use the above methodology. In the appendix, and in a few in-text instances, I will present my translations of relevant sections from Elisabeth in the form of a table. The German lyrics will appear on the left and a direct translation from German into English will be on the right. In the appendix, any lyrical translation will appear to the right of the direct translation. A short example of this format is provided below.

So wie man plant und denkt5 / As One Plans and Thinks / Best Laid Plans

German: Direct: Lyrical:

Was nützt ein Plan, What use is a plan – Even the best ist er auch noch so schlau, Even a clever one – laid plans of mice and men er bleibt doch immer Theorie. It remains always a theory. Can only be a theory Und nur das eine weiß man And the only thing one can Well if you think you know ganz genau: ever know for sure: then think again So wie man plant und denkt, It will never be like what 'Cause what you hope and plan so kommt es nie! one plans and thinks! Will never be!

Given the time and scope constraints of an undergraduate thesis, not all songs discussed in this project were formally translated in their entirety. However, twelve direct translations of songs examined in this work are provided in the appendix, along with selected lyrical translations.

Introduction to Elisabeth das Musical

Before discussing the analysis of Elisabeth, it is prudent to first introduce the show’s major themes and characters, as well as provide a brief plot synopsis. Elisabeth das Musical is a fictional retelling of the life of Empress Elisabeth of Austria (1837-1898). Elisabeth is the story of Sisi’s battle for independence and belonging as she struggles against others’ expectations of

5 Kunze, Michael and Sylvester Levay, So wie man plant und denkt.

12 how she should behave. In the process of trying to win her fight, Sisi ends up pushing away everyone who cares for her. Despite ultimately winning her freedom, Sisi never finds happiness.

The show serves as both an individual and a cultural warning. On an individual level, the show demonstrates that freedom for its own sake does not bring fulfilment or happiness. On a broader societal level, the show acts as a cautionary tale against nationalism, isolationism, and hatred.

Elisabeth takes place against the backdrop of an Austria that is headed towards .

Although the show is nominally about Sisi’s life, Kunze makes a very deliberate choice to include clear elements of the rising social unrest, nationalism, and anti-Semitism in 19th-century

Austria. Additionally, the musical provides a more nuanced understanding of Sisi as an individual compared with other popular depictions. Elisabeth offers a more complex perspective on Sisi’s relationship with her family and her role as Empress, as well as the effect depression and eating disorders had on her life.

Elisabeth chronicles Sisi’s life from about age 16 until her death at age 60. Her life story is narrated by – named for the Italian anarchist who fatally stabbed the real

Empress Elisabeth in 1898. Throughout the story, Lucheni seeks to convince the audience that

Sisi was more flawed than they believe her to be. He opens the show by inviting Sisi’s contemporaries to expound upon her story. Lucheni starts Sisi’s journey when she is about 16 years old, and is a high-spirited, lively young woman. Early in the show she falls in love with

Emperor Franz Joseph and he with her. The couple get married and start a family soon after.

Early in the show, the audience realizes that the fairytale beginning to the relationship will not last, and that Sisi is immediately unhappy in her marriage. Scene after scene demonstrates that

Franz spends little time with her in favor of his imperial duties. Additionally, the motif of Sisi’s

13 lack of agency appears in the form of her mother-in-law Archduchess Sophie, a controlling figure who repeatedly deprives Sisi of what she wants.

Roughly ten years elapse for Kunze’s Sisi and little changes except that Sisi has become more desperate to escape the cage of the Viennese Court. Her prolonged unhappiness results in a personification of death, der Tod, appearing to her frequently. Death courts Sisi throughout the show. He tries to persuade Sisi that she will never be happy in the palace, but that she could be if she escapes with him. Sisi initially refuses, determined to find her freedom a different way. She realizes that she can use Franz’s love for her as leverage, and she weaponizes it to gain her independence from Franz and Vienna. Once she wins this freedom, she spends much of her time travelling . Her absence takes an emotional toll on her children – particularly her son

Rudolf. In ’s loneliness, Death comes to Rudolf claiming to be a friend. Death whispers to

Rudolf for years and eventually convinces Rudolf to kill himself. Wracked with grief after her son’s death, Sisi spends the rest of the show in mourning dress, openly longing for death. Nine years later, Sisi gets her wish when the anarchist Lucheni fatally stabs her. Sisi greets Death, and they embrace. With a literal kiss of Death, the musical ends.

Significance of Analyzing Elisabeth das Musical

How we portray the past is deeply dependent on how we view the present. Media – especially fictional media – is always influenced by the time and place in which it was created. Although the films, books, and other media about Sisi are based on her life in the 19th century, each retelling of her story is reflective of what was happening in the world at the time the content was created. One particularly illustrative form of depicting both the past and present is through period pieces: works of fiction that are set during a particular historical time. Some period pieces are not only set in a historical time and place, but also detail the lives of prominent historical figures.

14 Biographical-style period pieces have gained traction in musical theater since the success of

Andrew Llyod Webber’s Evita6 in the 1970s. Such period pieces are worth investigating because they reflect, and often analyze, both the individual they portray as well as how this person is remembered in the time in which the work was developed. An example that may be more familiar to the reader is the Broadway musical Hamilton by Lin-Manuel Miranda. Hamilton is set during the American Revolutionary War, but it is nonetheless a story of 21st-century America.

The musical deals with contemporary issues of race, class, and politics in modern America, exploring these tropes through the lens of U.S. history. Just as analyzing Hamilton provides insight into the feelings of Americans in the 2010s, analyzing Elisabeth allows us to better understand how felt in the 1990s.

Elisabeth is a particularly interesting piece of media to investigate because it is the most successful German-language musical of all time. The musical has sold nearly twelve million tickets worldwide since its premier in 1992.7 Elisabeth is not merely a phenomenon in the

German-speaking world. The musical has been performed in thirteen countries and eight different languages, including Korean, Japanese, and Hungarian. Elisabeth’s international success is a testament to the story’s ability to transcend its cultural context. The story remains compelling even without knowledge of Sisi because it is a charismatic tale of an individual trapped in a life she does not want. Kunze takes a fairytale premise and paints richer, more complicated portraits of the individuals rather than merely rehashing their archetypes. Elisabeth is a captivating tale because the protagonist is not perfect, nor are those who antagonize her evil.

This story’s princess, prince, and stepmother all have redeeming qualities as well as

6 Incidentally, Andrew Llyod-Webber asked Kunze to adapt into German during the 1980s. Prior to writing the libretto for Elisabeth, Kunze brought numerous other musicals to German-speaking audiences, including The Phantom of the , , , and Wicked. “Michael Kunze – Writer, Lyricist, Librettist.” 7 “Elisabeth – VBW International.”

15 flaws. These complexities allow audiences to better relate to the characters, which in turn, makes the show more popular and more worthy of further investigation.

Austrian History and National Identity in Elisabeth

Austrian Historical Context

Kunze adroitly weaves social commentary about Austrian history, politics, and nationalism into

Elisabeth. To better understand the musical’s subtext, some historical context is first needed.

Elisabeth was commissioned by the prominent Austrian theatre organization Vereinigte Bühnen

Wien (United Stages of Vienna).8 The show was an immediate success. Premiering in 1992,

Elisabeth ran in Vienna for six consecutive years with only a brief pause.9 After the original run closed in 1998, it was soon revived again in Vienna 2003 and has since seen two additional

Viennese revivals.10 Elisabeth created a much-needed space for Austrians to reflect on their ’s past and present. It is no coincidence that the musical emerged as such a success in

Austria when it did. Elisabeth provided a means of processing and reflecting on the national political scandals and international pressure in the 1980s and ‘90s that severely disrupted the

Austrian public’s understanding of their nation’s role in World War II.

Austria has long grappled with questions about its identity and place in Europe. After the

Napoleonic order in Europe ended, there was a push to create a unified German state.11 German speakers throughout the regions of modern and Austria had significant linguistic and cultural commonalities, making the idea of a unified country appealing to many. However, there was no consensus about how to organize the new state.12 There was particular disagreement

8 “Elisabeth – VBW International.” 9 Ibid. 10 Ibid. 11 Vermeiren, “Germany, Austria, and the Idea of the German Nation, 1871-1914.” 201 12 Ibid.

16 regarding Austria’s place in it, especially among Austrians. At the time, many Austrians were not in favor of joining such a collective because it would have required a “division or constitutional transformation of the empire.” Austrian nationalists feared that joining this larger

German entity would lessen Austria’s power. Although Austria and Germany did not ultimately merge, the question of whether to have a Groß oder Kleindeutschland (Greater or Lesser

Germany) lasted well into the 20th century.

Although Germany and Austria – then Austria- – did not formally merge, in

1879 they agreed to the Doppelte Allianze (Dual Alliance). This pact would ultimately lead the two to fight together as the Central Powers in World War I.13 After their defeat, the

Austro-Hungarian Empire was officially dissolved by the Treaty of Saint-Germain-en-Laye in

1919. The new Austrian Republic was further forced to cede substantial amounts of territory.

Furthermore, Germany and Austria were expressly forbidden from consolidating power.

However, the treaty did not keep many Austrians from yearning for such a merger. When Adolf

Hitler moved to overtake Austria in 1938, many there applauded the new Führer. Austrians – roughly 200,000 of them – cheered on the (Heroes’ Square) as they welcomed Hitler and the so-called (Annexation).14

Despite the warm reception and active assistance to the Nazi regime during World War

II, evidence of Austria’s support for the Nazis was largely erased from national memory after the war. This concerted effort to reshape Austria’s past is commonly called the Opferthese or

Victimization Theory. This theory describes Austria as a victim of the Third Reich rather than a perpetrator of Nazi principles.15 Victimization Theory asserts that the independent country of

13 Joll and Martel Gordon, The Origins of the First World War, 21. 14 Markova, “Balancing Victimhood and Complicity in Austrian History Textbooks.” 15 Ibid.

17 Austria ceased to exist after the Anschluss and thereby the nation had no moral, political, or financial liability for the atrocities committed by the Nazi regime.16 This claim was put forth even before the war ended. The 1943 Moscow Declaration – signed by the Soviet Union, the

United Kingdom, and the – stated that Austria was, “the first free country to fall a victim to Hitlerite aggression.”17 That is, Austria was granted so-called First Victim Status rather than being cast as a co-perpetrator of the war’s brutalities. Giving Austria this standing was hardly a selfless act on the part of the Allied signatories. Austria’s geopolitical future was caught in the escalating Cold War tensions between the Soviet Union and the and

United States.

Given how easily Austria fell to the Third Reich, the Allies did not trust Austria to govern itself. A policy statement written by the US State Department in 1948 details the United

States’ reasons for involving itself in Austria: namely, to prevent communism from taking hold there.18 The dossier states, “To the western states in general, and the US in particular, the ultimate fate of Austria is important not only from the point of view of its strategic location in

Europe but more immediately to prevent the inclusion of Austria in the Soviet orbit.”19 This document repeatedly claims that the US’s efforts in Austria seek to fulfill the 1943 Moscow

Declaration. Austria’s government similarly invoked the Moscow Declaration as validation for its actions. Building on the 1943 declaration, Austria’s Ministry of Foreign Affairs published the

“Rot-Weiß-Rot-Buch” (“-White-Red-Book”) in 1946, which reinterpreted Austria’s relationship with the as one of victimization rather than collaboration.20

16 Markova. 17 “The Moscow Conference, October 1943.” 18 “Foreign Relations of the United States, 1948, Germany and Austria, Volume II - Office of the Historian.” 19 Ibid. 20 Vasant, “Challenging Austria’s Victim Status: National Socialism and Austrian Personal Narratives,” 39–40.

18 This myth of victimhood allowed Austria to portray its past in a way that was free of the dark narrative with which Germany had to grapple. Prior to the late 1970s, Austria had spent most of the post-war era denying any involvement with the Third Reich. History textbooks and public discourse painted Austria as a victim of the war rather than a perpetrator of , and thus an entire generation of Austrians grew up believing that their country had no fault in the war’s proceedings.21 Unlike in Germany, where the student protests of the 1960s and ‘70s spurred young people’s interrogations about their parents’ involvement in the war, Austria’s younger generation had no reason to believe their parents were complicit. Nevertheless, this reckoning was coming: it just would not occur for another decade.

Austria’s collective awakening to its World War II involvement in the last quarter of the

20th century came about in large part due to international pressure. The beginning of this awakening is attributed to the American television series Holocaust, which premiered in 1979 and portrayed the events of the Holocaust in more vivid detail.22 As people both in Austria and abroad began to question Austria’s complicity in the Holocaust, a political scandal erupted that cast even more doubt on Austria’s victimhood narrative. This event is known as the Waldheim

Affair. In 1986, evidence came to light that the then presidential candidate Kurt Waldheim had been a member of the Nazi Wehrmacht. Austrian politicians and the pseudo-independent domestic media sought to misinform the public about Austria’s past in order to get Waldheim elected.23 Waldheim ultimately won the election with 53.9 percent of votes – the largest margin

21 Markova. 22 Kovacs, “Innocent Culprits - Silent Communities. On the Europeanisation of the Memory of the Shoah in Austria,” 228. 23 Markova.

19 in Austrian history – but the backlash from his victory resulted in a new national culture of

Holocaust awareness that would survive his presidency.24

In the years following the Waldheim Affair, Austrian scholars launched numerous historical and sociological studies, and the media began to cover the history of Austrian critically. In 1991, political rhetoric had changed as a result of this new public discourse, culminating in Austria’s Federal Franz Vranitzky publicly admitting Austria’s culpability for the Holocaust.25 This moment of reimagining Austria’s history is when Elisabeth arrives on the Viennese stage. Fifty-four years after Austria welcomed Hitler and the Nazis,

Kunze’s Elisabeth premiered. Less than a mile away from Heroes’ Square, the musical openly called into question Austria’s understanding of its identity and its past.

Austrian History and National Identity in Elisabeth

In Elisabeth, Kunze reflects on Austrian history with a critical eye. The musical takes place against the backdrop of late 19th-century Austro-Hungarian politics, yet the show’s subtext is a discussion of more contemporary Austrian politics and history. In Elisabeth, Kunze expresses clear concern for how Austrians remember – and learn from – their nation’s past. He skillfully makes these lessons palatable by enticing audiences to consider these questions through his rendition of a beloved national figure in the complexity of her historical context. Empress

Elisabeth reigned during the height of the and oversaw the creation of the

Austro-Hungarian Empire as a . Under her and her husband’s rule, the nation was massive, wealthy, and powerful. As a result, it is easy for this period to be remembered nostalgically as the glory days of Austria. In Elisabeth, Kunze picks apart the contemporary

24 Markova. 25 Markova.

20 notion that 19th-century Austria was as glorious as it is romanticized to be. Moreover, he seeks to highlight the underlying nationalistic and antisemitic sentiments that led Austria to willingly participate in two World Wars.

Kunze introduces themes of problematic nationalism early in the show. The first time the audience meets Emperor Franz Joseph, his advisors – specifically his mother – decide to abandon their Russian allies. During the song “Jedem gibt er das Seine” (“To Each He Gives His

Own”), Franz’s advisor, Foreign Minister Schwarzenberg, informs the Court that the Crimean

War is worsening. Schwarzenberg recommends that Austria come to Russia’s aid because Russia previously saved them during the 1848 Revolutions. Another advisor, Count Grünne, conversely cautions against getting involved. “If we stand with Russia, England will resent us. If we go with

England, Russia will be angry with us. In either case, an alliance would be fatal.”26 To an

Austrian audience, this line has clear parallels to the country’s political situation after the end of

World War II. Kunze shows Franz’s Austria as caught between Russia and England; mid-20th- century Austria was caught between the Soviet Union and the United Kingdom and the United

States. In both circumstances, Austria chose neutrality.

Austria’s isolationist tendencies are further illustrated during the conclusion of the meeting. Sophie adjourns the meeting so that she and Franz can go meet Helene and her family in . Dismayed that the Russian matter has not been resolved, Schwarzenberg asks what he should tell the Russian ambassador. Sophie replies indifferently, “Wars should be conducted by others. Happy Austria is getting married.”27 28 Sophie feels that since Austria itself has no

26 Kunze, Michael and Sylvester Levay, Jedem gibt er das Seine. 27 In addition to Sophie declining to help an ally, the words she uses when doing so are a reference in and of themselves. Sophie’s German-language response alludes to the phrase “Bella gerant alii, tu felix Austria, nube” (Let others fight – You, happy Austria, marry), which was a motto for the Habsburg dating back to the . [Cruz and Stampino, Early Modern Habsburg Women.] 28 Kunze, Michael and Sylvester Levay, Jedem gibt er das Seine.

21 vested interest in the war, they should not opt to insert themselves into it. With these words,

Kunze clearly illustrates an Austrian preference towards isolationism. Sophie and Grünne both prefer to have Austria keep to itself rather than get involved in international affairs: even if it means leaving an ally to fend for itself in a war it will ultimately lose. As the show progresses,

Kunze’s view that isolationism is problematic will become apparent.

Figure 1 Franz (center) and his advisors review matters of state. Sophie characteristically stands over Franz’s shoulder and guides him to make the decision she wants him to (Vienna 2012).29 As they are at the center of the show’s political subtext, the rest of this section will focus primarily on Lucheni and the ensemble cast. Kunze uses Lucheni as a narrative device to warn of the dangers of isolationism, nationalism, and hatred. As his namesake is the murderer of the show’s protagonist, Lucheni is free to say objectionable things because the audience is not intended to like him. Therefore, he can freely express viewpoints – both about Sisi as a person and about Austria as a whole – that would otherwise be difficult to include in the musical.

Despite his problematic beliefs, Lucheni is a charming, charismatic figure: illustrating the allure of a demagogue. Lucheni uses his guile to manipulate the ensemble and has no qualms about playing on their fears. He repeatedly provokes the ensemble, stoking the flames until their anger

29 Mögenburg, Franz Sits with His Advisors.

22 boils up to a point where they are ready to take action. Once the hate and fear have reached a peak, Lucheni seizes his moment to act, playing his namesake’s role as Sisi’s assassin.

The political tension in the show builds slowly. In a relatively early song called “Die fröhliche Apokalypse” (“The Cheerful Apocalypse”), people sit in a Viennese café house, discussing politics and gossiping about the new imperial couple. Lucheni opens the song by declaring “the world is going under, undoubtedly.”30 This is the first of several allusions to

Austria as a sinking ship. This song is also the audience’s first glimpse of how the citizenry feel about the state of the world around them. “We sit around in the coffeehouse and wait, yawning, for the apocalypse.”31 The civilians express ambivalence to what they themselves believe will be the end of the world. Throughout the show, the ensemble is largely apathetic to the world’s evils unless they themselves are directly affected by them.

Another example of the ensemble’s indifference happens earlier in the show during Sisi and Franz’s wedding. During the ceremony, the ensemble sings “Alle Fragen sind gestellt” (“All

Questions Have Been Asked”). In this song, the ensemble expresses apathy for both the good and bad in the world. “Ugliness doesn’t disturb us. Beauty seems to us to be trivial. The good deed does not teach us. The evil deed doesn’t concern us.”32 This last phrase in particular depicts an indifference to how others behave, even if that behavior causes harm. As the ensemble continue, they claim to be, “the last members of a world which has no escape […and…] which contemplates its own suicide.”33 Here, the ensemble foreshadows that the state of politics is not sustainable; on its current nationalistic course, Austria has doomed itself. While the Austrian

30 Kunze, Michael and Sylvester Levay, Die fröhliche Apokalypse. 31 Ibid. 32 Kunze, Michael and Sylvester Levay, Alle Fragen sind gestellt. 33 Ibid.

23 Empire is ostensibly near its height, the chorus simultaneously foretells of the Empire’s impending demise.

Kunze uses similar foreshadowing when he depicts Austria’s unification with Hungary.

Sisi and Franz are crowned Queen and King of Hungary in the song “Éljen,” Hungarian for

“long live.” In this song, Lucheni and the Hungarian crowd have different reactions to the coronation, but their contrast has a similar effect to the imagery at the imperial wedding. The

Hungarians rejoice that the new monarchy, and Sisi in particular, will save Hungary and make it strong. “Hungary’s hardship is over. […] She will heal the wounds of Hungary.”34 Lucheni however, forebodes the darker events on the horizon. He tells the audience, “Nationalism belongs to the new times. It will result in the collapse of the Empire. […] The end of the old world!”35 Here Lucheni directly, and excitedly, links nationalism to the downfall of the Empire.

Franz tries to subdue this unrest in order to preserve his Empire, but his son Rudolf sees that his attempts are not working. Rudolf faults him for his manner of solving the problem. After a heated fight with his father over politics, Rudolf concludes by shouting, “You want to preserve

[the Empire], but what you harvest is hate!”36 Rudolf’s assertion transitions directly into a powerful and uncomfortable song called “Hass” (“Hate”). During this song, the ensemble moves about the stage with military precision. As illustrated in Figure 2, their costumes in many productions are unsubtle homages to Nazi uniforms, and the swastika is strongly alluded to in their armbands and banners. “Hate” is chanted to a drum beat rather than sung. In this song,

Kunze openly confronts the idea that Austrians did not support what the Nazis believed in. The

34 Kunze, Michael and Sylvester Levay, Éljen. 35 Ibid. 36 Kunze, Michael and Sylvester Levay, Streit Vater und Sohn.

24 song was so controversial that several stanzas of the song were altered in later productions, and the song was cut entirely from the Takarazuka production.

Figure 2 (Left) Ensemble members wear uniforms reminiscent of those of Nazis. They also wear masks that obscure their faces (Vienna, 1992).37 (Right) The same ensemble is seen in outfits that directly invoke imagery of Nazi -shirted SA troops. They are seen at the end of the song shouting “Heil,” freezing with their right arms extended in a Hitler salute as the lights go dark. (Vienna, 1992).38 In this song, the ensemble calls for “hate and violence to all those who are not like us.”39

The crowd decries the presence of Jewish people, immigrants, and the weak leaders who let such individuals spread through the country. When a passerby asks what is happening, Lucheni answers eagerly, “Progress […] The 20th century is advancing, unmistakably!”40 Here, Lucheni gives voice to the very real sentiment that the extermination of marginalized groups, such as the

Jewish, Roma, and Sinti peoples, would be beneficial to humanity as a whole. In the original

1992 production, the ensemble shouts, “Deutschland den Deutschen!” (Germany for

Germans!).41 This particular phrase is among the lines that were changed in future productions due to its controversiality. Since the 1970s, the call for “Germany for ” has been used by German right-wing extremists to incite violence against immigrant and Jewish communities.42

37 Vienna, Vereinigte Bühnen Wien, Ensemble Carries Banners Reminiscent of Nazi Symbols. 38 Vienna, Vereinigte Bühnen Wien, Ensemble Salutes. 39 Kunze, Michael and Sylvester Levay, Hass. 40 Ibid. 41 Ibid. 42 Pfeiffer, “Wir Lieben Das Fremde – in Der Fremde,” 35.

25 Kunze’s use of this line reminds the audience that and hatred have not been relegated to Austria’s past; they are still contemporary problems.

Additionally, given that the characters saying this line are Austrian civilians, the call for

“Germany for Germans” indicates that the ensemble has already embraced the idea of Austria becoming a part of Germany. They consider themselves German. Although this particular line was cut from subsequent productions, another clear reference to Austria’s desire to join Germany remains. The crowd criticizes Franz’s leadership and throws their support behind Germany’s

Emperor. They declare, “Wilhelm should be our Emperor. Wilhelm II is our man!” This cry is an open reminder that many in Austria had long believed that Austria and Germany should merge.

Just as with the use of “Germany for Germans,” the symbolism of the ensemble’s yearning for

Emperor Wilhelm’s rule conveys two points. First, it reminds the audience of the extreme nationalism and antisemitism that was present in 19th-century Austria. Second, the staging and costuming are a clear portrayal of Austria’s welcoming of Hitler and the Nazis.

At the end of the show, the audience is offered a glimpse into the result of all this hatred.

The final throes of the Empire are seen in the second to last song in the musical, “Am Deck der sinkenden Welt” (“On the Deck of the Sinking World”). Lucheni declares, “The world is a ship, and the ship is going under. Shall I demonstrate?”43 He then proceeds to count off a series of in Sisi’s extended family – all of whom were nobility and many of whom were assassinated when their subjects rose up against them. Franz appears a moment later and asks

Lucheni, “What is this, a madhouse?” to which Lucheni replies, “[it is] your sinking ship,

Majesty.”44 Here in the final moments of the show, Kunze again uses the image of Austria as a sinking ship. In this scene, Lucheni unequivocally links hatred and nationalism to the descent of

43 Kunze, Michael and Sylvester Levay, Am Deck der sinkenden Welt. 44 Ibid.

26 the Empire and asks the audience to learn from Austria’s past so that nationalism is not allowed to run rampant in the future.

Sisi in Elisabeth

Sisi As A Historical Figure

Despite the lasting fanfare around Sisi as a fairytale princess, her actual life was neither enchanted nor romantic. At the age of 16 Sisi married her 23-year-old cousin Franz Joseph.

Unlike most portrayals of Sisi, including Elisabeth, their relationship was hardly love at first sight. Sisi was not interested in Franz, and although evidence seems to suggest that Sisi warmed up to him, it is clear that throughout their relationship Franz was far more in love with her than

Sisi was with him. Sisi’s poems, which she guarded carefully during her lifetime, provide a glimpse into her inner life. Just fourteen days after she married Franz Joseph, she wrote the following poem,45 titled “Freiheit” (“Freedom”).46

Freiheit / Freedom Oh, daß ich nie den Pfad verlassen, Oh, that I had never left the path Der mich zur Freiheit hätt’ geführt, That would have led me to freedom, Oh, daß ich auf der breiten Straßen Oh, that the broad streets of vanity Der Eitelkeit mich nie verirrt! Had never led me astray!

Ich bin erwacht in einem Kerker, I awoke in a dungeon Und Fesseln sind an meiner Hand. And shackles are on my hands. Und meine Sehnsucht immer starker – And my longing grows always stronger – Und Freiheit! Du, mir abgewandt! And Freedom! You turned away from me!

Ich bin erwacht aus einem Rausche, I awoke from an inebriation Der meinen Geist gefangen hielt, That held my spirit captive, Und fluche fruchtlos diesem Tausche, And I curse this exchange in vain Bei dem ich Freiheit! Dich – verspielt! Through which I gambled away freedom!

45 It is likely that Kunze drew inspiration from many of Sisi’s own poems and letters when writing Elisabeth. Throughout the show, Kunze’s Sisi describes herself as being chained and tortured. She also refers to her spirit as being held captive. Similar imagery is seen in many of the real Sisi’s poems, including the one featured here. 46 Rödhammer, Elisabeth, Kaiserin von Österreich Und Königin von Ungarn, 1837-1898, 96.

27

Sisi wrote other poems indicating her unhappiness as a new bride, including “Sehnsucht”

(“Longing”) and “Heimat” (“Homeland”).47 Sisi’s discontentment came from a variety of sources. Despite seemingly being in love with Sisi, Franz spent little time with her. His mother, meanwhile, spent numerous hours trying to instruct Sisi on how to conduct herself as Empress.

This training was near torture for Sisi because she did not get along with Sophie, and further because Sisi disliked the constraints of palace life in general.48

As a wife and Empress in the 1800’s, one of Sisi’s primary duties was to produce a male heir for her husband and her country. It would take five years before the couple had a son, but by

Sisi’s 20th birthday, she was already the mother of two daughters. Sisi’s mother-in-law believed

Sisi was too young and inexperienced to raise the girls, and therefore intervened to raise them herself.49 Sisi’s firstborn was taken away from her and christened Sophie Friederike without

Sisi’s knowledge.50 A few years later, Sisi’s second daughter Gisela was whisked away as well.

Sisi was only allowed visiting rights to either of the girls on her mother-in-law’s terms.51 Sisi pleaded with Franz to convince his mother to allow her to see the children, which Franz mostly ignored.52 Sisi eventually managed to convince Franz to let her bring the girls with them on a trip to Hungary, but she would regret this decision for the rest of her life.

During to , both Sophie Friederike and Gisela fell ill. Gisela recovered, but her sister did not. Barely more than two years old, Sophie Friederike died in her mother’s arms, likely due to typhus.53 The loss of her firstborn affected Sisi severely. She avoided getting

47 Rödhammer, 96. 48 Ibid. 49 Hotbauer, Empress Elisabeth of Austria: The Fate of a Woman under the Yoke of the Imperial Court, 30–33. 50 Haslip, The Lonely Empress, 86. 51 Hotbauer, 30. 52 Rödhammer, 112. 53 Hotbauer, 30–33.

28 close to Gisela or her son Rudolf, who was born a few years later.54 Sophie Friederike’s death also sent Sisi into a deep depression. When she was not locked in her room, she was out horseback riding until she reached a state of exhaustion.55 She refused to eat for days, which would soon become a common behavior for her.

Sometime after her daughter’s death, Sisi realized that her attractiveness to others could increase her cultural capital and thereby her political power, and thus spent the rest of her life obsessed with her appearance. She spent hours every day on her beauty routine, and her hair care alone took two to three hours.56 She followed a rigorous exercise regimen, which included riding and gymnastics.57 Her stringent physical routine mirrored her attempt to control her appearance through intensive dietary restriction to keep her body severely slim. Despite being 5’8” tall and having four children, Sisi rarely weighed more than 110 pounds.58 She further had a waistband of

19.5 inches to as little as 16 inches.59 She even refused to have her portrait taken after the age of

32 in order to preserve the image of her youthful beauty.60 She succeeded on this front, as her beauty was well known throughout Europe throughout her life, but maintaining her image came with a steep cost. Years of fasting and exhaustive exercise took a severe toll on Sisi’s physical health. The years of strenuous exercise left her suffering from sciatica and arthritis.61 By 1894,

Sisi was near emaciation as she weighed a meager 97.5 pounds.62

Paired with her declining physical health, Sisi’s mental health also got worse over the years. She struggled with severe bouts of depression throughout her life. Her mental health

54 Hotbauer, 30–33. 55 Ibid. 56 Hamann, The Reluctant Empress, 126–42. 57 Ibid. 58 Hamann, Kaiserin wider Willen, 182. 59 Haslip, 334. 60 Hamann, 126–42. 61 Ibid. 62 Ibid.

29 became particularly poor in the last decade of her life as Sisi grieved the loss of numerous close relationships in short succession. Her cousin Ludwig II of Bavaria drowned in 1886; his death was rumored to be a suicide. Just two years later, Sisi’s beloved father Max died in 1888, followed by her mother Ludovika four years later. In 1890, one of Sisi’s few close friends,

Hungarian statesman Gyula Andrássy, succumbed to cancer. A fire took the life of Sisi’s sister

Sophie Charlotte in 1897. Likely the worst of the Empress’ sorrows came in January 1889, just months after her father’s death, when Sisi’s 30-year-old son Rudolf killed himself and his mistress.63 Rudolf’s death greatly affected his mother for the rest of her life.

In the following years, Sisi openly expressed suicidal thoughts of her own more than once.64 After her son’s death, Sisi spent years traveling listlessly around Europe with minimum company and under a false name. On one of these trips, Sisi, then aged 60, visited ,

Switzerland. On September 10th, 1898, Sisi and one of her ladies-in-waiting were walking on the shore of when Luigi Lucheni, a 25-year-old Italian anarchist, approached the two women and stabbed Sisi with a sharpened file.65 An hour later, the Empress was pronounced dead.66

More than 120 years later, the lasting impact of Sisi’s legacy in Austria is easy to spot.

Imagery of the 19th-century Empress is everywhere in modern Vienna. Keychains, postcards, T- shirts, and more are adorned with her portrait and sold at tourist attractions throughout the city.

63 This event would become known as the Affair, named for the hunting lodge where the pair died. Although the letters of Rudolf and his lover, Mary Vetsera, indicate that they had formed a murder-suicide pact, the imperial court tried to obfuscate the cause Rudolf’s death since suicide would have prevented him from a church burial. Rudolf had no son, only a young daughter by his wife, Princess Stéphanie of Belgium. This made Franz’s brother Archduke Karl Ludwig the would-be successor to the Austro-Hungarian . Franz outlived his brother, which made Franz’s nephew the new heir presumptive. Franz’s nephew was a man by the name of Archduke Franz Ferdinand, whose in 1914 is often cited as an inciting incident for World War I. 64 Haslip, The Lonely Empress, 396, 408. 65 Newton, Famous in World History, 132. 66 Ibid.

30 There is also an entire museum dedicated to her. Many of these souvenirs and locales feature

Sisi’s portrait as famously rendered by in 1865. Even Elisabeth das

Musical features an homage to this portrait with a scene wherein Sisi wears a replica of the white gown embroidered with golden stars, complete with edelweiss stars woven into her hip-length brown wig.

Figure 3 (Left) Winterhalter’s famous oil painting of Sisi.67 (Right) Actress Roberta Valentini as Sisi in the 2015 production of Elisabeth (Munich 2015).68 In addition to tourist attractions and mementos, Sisi has inspired numerous movies, television, theater, literature, children’s books, fashion, and more. As mentioned earlier, one of the most classic depictions is the 1950’s film trilogy Sissi directed by Ernst Marischka starring

Romy Schneider as Sisi. There are more contemporary portrayals of her as well, including a

2009 film Sisi directed by Xaver Schwarzenberger. Kunze’s Elisabeth makes nods to many of these existing depictions of Sisi.

67 Winterhalter, English. 68 Munich, Elisabeth Das Musical’s Sisi in Outfit Alluding to Winterhalter’s Classic Sisi Portrait.

31

Portrayal of Sisi in Elisabeth

Just as Kunze analytically depicts Austrian history in Elisabeth, his musical similarly reflects critically on the life and legacy of Sisi. Elisabeth takes a beloved historical figure, one whose story is traditionally told like a fairytale, and depicts her instead as a deeply unhappy woman: someone whose life was anything but enchanted. Kunze’s story of Sisi starts the way we expect fairytales to end: A man of much higher social status falls in love with Sisi and she with him.

They believe that all they need to be happy is the company of the other. Unlike a fairytale however, wherein the princess escapes her wicked stepmother by marrying the prince, Sisi must fight against her version of a wicked stepmother because she married the emperor. Rather than providing an escape from the sorrows and entrapment of her previous life, Sisi’s marriage is what traps her. Instead of portraying Sisi as a vibrant young woman who overcomes her adversities, Kunze’s Sisi becomes jaded, depressed, and isolated.

Kunze’s Elisabeth is no fairytale; the princess dies at the end. Not only is the princess murdered at the end of the story, she has a life-long courtship with the character Death. As she struggles with depression, eating disorders, and the loss of loved ones, Sisi becomes increasingly compelled by the lure of Death’s calls. Sisi’s eventual assassination is depicted as though her death finally reunited her with her real true love: Death. Kunze thus provides Sisi with a happy ending of sorts, though not one typically associated with a fairytale princess. The following sections will discuss the Kunze’s portrayal of Sisi, her mental health, and her legacy.

32 Sisi as a Wife, Mother, and Empress

Like any person, real or fictitious, Kunze’s Sisi is expected to play a variety of roles throughout the course of her life. In addition to the duties expected of Sisi as a wealthy 19th- century woman, she later takes on the roles of Empress, wife, and mother. She spends most of the musical fighting against the expectations that others have of how she should behave in her various roles. In Act I, young Sisi is free-spirited, strong-willed, and independent, and she takes a stand against each character who tries to inhibit her ability to decide her own fate. This constant struggle takes a toll, however, and by the last quarter of the show Sisi’s free-spirited nature has transformed into listlessness. Her pursuit – and eventual achievement – of her independence leaves Sisi lonely and deeply isolated. Sisi’s struggle for independence becomes more about the need to prove herself than about the objectives she started out fighting for.

From her first appearance in the musical, Sisi is portrayed as being unhappy with the roles she must play. The audience first meets young Sisi as her father, Max, is about to leave for a trip. This occurs during the song “Wie du” (“Like You”). Sisi pleads with her father to take her with him, because she does not want to obey the rules of her governess or be trained to be a proper young lady. Her father lovingly but firmly refuses to bring her along. Sisi continues to list off the things she cannot do but would love to do if she were like her father: write poems, go horseback riding, wrestle with her brothers. Sisi’s governess enters at the end of the song and tells Sisi she must come get dressed, to which Sisi responds, “I hate getting dressed. I hate being a princess. If I weren’t a princess, I would go to the circus…As a circus rider, or an artist! I can already dance on a tightrope!”69 Sisi then eagerly offers to show the governess her tightrope skills, but the governess dismisses her.

69 Kunze, Michael and Sylvester Levay, Wie du.

33 Sisi’s life takes an eventful turn when her mother brings her along on a trip to Bad Ischl.

There, Sisi’s sister Helene is expected to become engaged to Emperor Franz Joseph. In the song

“So wie man plant und denkt” (“As One Plans and Thinks”), Ludovika, Helene, and Sisi arrive in Bad Ischl. They are soon seated beside Sophie and Franz. The mothers make small talk and try to encourage Franz Joseph and Helene to talk to each other. The mothers think things are going well, unaware that Franz Joseph keeps stealing glances at Sisi. Sophie encourages her son to invite Helene to the ball. Franz begins to oblige, but just before he reaches Helene, he turns around and offers his hand to Sisi instead. Everyone is taken aback by Franz’s decision to choose

Sisi. Sophie is not only surprised but unhappy about the development, for she does not believe

Sisi to be suitable to become Empress. Although Franz Joseph usually listens to his mother, on this point he stands firm. He wants to marry Sisi.

Sisi is shocked at first, but quickly recovers from her surprise. She falls in love with

Franz almost immediately thereafter. The song where they meet transitions immediately into a fairytale-style love song called “Nichts ist schwer” (“Nothing is Difficult”). In this duet, Franz begins by warning Sisi that being an Emperor’s wife will not be easy for her. Sisi dismisses his caution, saying that she will be content as long as they have each other. The song progresses, and

Franz and Sisi both go on to say to the other that in time, the other will come to see things the way they see it.

During “Nothing is Difficult,” Franz gives Sisi a necklace that has substantial metaphorical significance to Sisi’s character arc. She eagerly takes the necklace and puts it on.

The symbolism comes from the word choice used to describe this necklace. The German word for necklace is Halskette. Halskette is often shortened to just Kette, which is the word used in this song, however, this shortened form also means “chain” or “shackle.” The symbolic

34 resonance of this chain/necklace is highlighted by Sisi’s reaction to the necklace after she takes it. Upon Franz gifting her the necklace, Sisi exclaims, “how precious!”70 As soon as it is around her neck however, she remarks, “how heavy the chain/necklace is.”71 These two simple lines foreshadow what is to come for her character. Much like her life as Empress or even just being

Franz’s wife, the idea seems beautiful and wonderful at first, but it turns out to come with a steep cost that she is unwilling, but ultimately forced, to pay. The necklace symbolizes Sisi’s pursuit of independence; what first appears to be a key to her freedom turns out to be a chain that ultimately ties her down instead.

Still enamored with Franz for the moment, Sisi gets married in the next song. After the wedding, there is disagreement amongst the guests about whether this marriage is good for the couple or the Empire. Max and Sophie are both unhappy that their daughter and son, respectively, married someone they believe to be an unfit match. In “Sie passt nicht” (“She

Doesn’t Belong”), Max is displeased by the arrangement because he knows that Sisi won’t be happy in Vienna. After Sophie reluctantly congratulates Max as the father of the bride, Max replies, “Don’t congratulate me. Love makes one dumb. [For Franz] Sisi gives up that which embellishes life. Vienna will kill her. She should flee before she gets used to it.”72 Unlike Max,

Sophie is not concerned about Sisi, but rather because of her. Sophie makes her opinion of the young Empress clear: “The little one is missing almost everything that an Empress needs. I see her and think to myself [Franz] does not belong with her.”73 Sophie rejects Max’s claim that it was the place, and not the person, who is at fault.

70 Kunze, Michael and Sylvester Levay, Nichts ist schwer. 71 Ibid. 72 Kunze, Michael and Sylvester Levay, Sie passt nicht. 73 Ibid.

35 The crowd has mixed reactions to Sisi as well. Half the ensemble believe that the new couple’s story is romantic. “It’s almost like a fairytale; a child becomes Empress. […] She fits in well here!”74 Meanwhile, the other half doesn’t believe that Sisi can become a suitable Empress, although they do believe that she will be easy to manipulate. “Eyes red from crying! Clumsy and prissy. So delightfully helpless, like a sheep. She carries no weight here.”75 The one thing both parts of the crowd have in common is that they all see Sisi as a child. They also see her as a means to an end. They either see her as see her as a naïve girl they can manipulate for their benefit, or they see her as a fairytale princess instead of a real person. The former impression was one Sisi had to combat during her life, while the latter is emblematic of the way Austrian memory reshaped the image of Sisi into a real-life fairytale princess.

Among the people who want to impose their will upon Sisi is her new mother-in-law. The morning after the wedding, Sisi is abruptly awoken by Sophie. In “Eine Kaiserin muss glänzen”

(“An Empress Must Shine”), the Archduchess storms into Sisi’s bedroom and commands her to get up for she will not tolerate idleness. Sisi is startled.

Sisi: What’s wrong? Sophie: […] The day begins punctually at the 5 o’clock bell every morning! Sisi: But Franz Joseph told me I should rest today. Sophie: Rest? From what? I asked him; I know that you spared yourself last night. Sisi: That cannot be. Sophie (to herself): I said that too.76

This exchange alludes to Sophie’s firm conviction that one of Sisi’s primary duties as Empress is to have children – and that Sisi should waste no time doing so. Before Sisi can recover from this accusation or Franz’s betrayal, Sophie proceeds to criticize Sisi’s appearance. Sophie demands to inspect Sisi’s teeth, after which she remarks that they are too yellow. Sisi asks indignantly, “Am

74 Kunze, Michael and Sylvester Levay, Sie passt nicht. 75 Ibid. 76 Kunze, Michael and Sylvester Levay, Eine Kaiserin muss glänzen.

36 I a horse?” to which Sophie replies, “Oh no, but rather a role model!”77 Sophie asserts, “Believe me child, I mean well. […] I don’t want any kind of dispute. […] Comply with the ceremonial and I will soon be pleased with you.”78 Although in this moment Sisi is too flustered to put up much resistance, Sisi pushes against Sophie’s rules regularly later on. As a result, their relationship remains strained for the rest of their lives.

This song also features Sisi’s first attempt to plead with Franz to interfere in Sophie’s treatment of her. When Franz enters, Sisi rushes to him, begging for his assistance. She cries,

“Help me, Franz Joseph! See how your mother tortures me. […] She imprisons me. Help me, don’t leave me alone!”79 Sophie explains calmly, “Leave her to me, my son. I will educate her.”80 Sisi sees Sophie’s treatment of her as abusive, even at this early stage in their relationship. Meanwhile Sophie merely believes she is doing what is necessary to turn Sisi into an Empress. As the two women await Franz’s verdict, he takes Sisi’s hands. Instead of helping her, he replies in a measured tone81 that he would love to help, but “it would be better for us both if you follow my mother’s advice.”82 He then exits, leaving Sisi alone with her mother-in-law.

Franz’s response can imply one of three things. One, that he does not want to fight with his mother and would rather Sisi simply learn to submit to her as well; two, that Franz agrees with his mother that Sisi is not yet an adequate Empress and that it would be more politically useful to him if she were better trained; or three, he intends both of the former meanings. Regardless, his lack of support for Sisi in this moment is the first in a series of similar failings that result in Sisi pulling away from him and the Viennese Court. As Franz leaves, Sisi accuses him of abandoning

77 Kunze, Michael and Sylvester Levay, Eine Kaiserin muss glänzen. 78 Ibid. 79 Ibid. 80 Ibid. 81 The melody that underscores Franz’s response is used by Sisi when she later refuses to help her son in his hour of need. This will be discussed more later in this section. 82 Kunze, Michael and Sylvester Levay, Eine Kaiserin muss glänzen.

37 her.83 Sophie’s maltreatment and Franz’s unwillingness to interfere compels Sisi to begin to fight against the roles she finds herself in.

The first sign of Sisi’s rebellion against the expectations put upon her, especially those of her mother-in-law, spawn from a phrase that Sophie uses when criticizing Sisi in this song.

During their fight, Sophie tells her that she wants Sisi to become Empress, but that she is not yet

“gezähmt und gezogen” (tamed and trained).84 The young Empress turns around and uses these words in her defiant next song “Ich gehör’ nur mir” (“I Belong Only to Myself”). The first lyric in Sisi’s song utilizes Sophie’s words specifically. “Ich will nicht gehorsam, gezähmt und gezogen sein” (“I don’t want to be obedient, tamed, and trained).85 Here, Sisi pushes back on

Sophie’s expectations. Other lyrics in “I Belong Only to Myself” are also direct references to

Sophie’s treatment of her. “I don’t want to be modest, beloved, and betrayed. I am not your property. I belong to me.”86 Sisi asserts that she is her own person. The song is a defiant statement against Sophie, against Franz, and all the rules and expectations imposed on her. The melody also becomes a theme for her character in her struggle for independence.

Despite her determined mantra, Sisi continues to be strong-armed by others. The song

“Die ersten vier Jahre” (“The First Four Years”) summarizes the difficult early years of Sisi’s marriage. Lucheni introduces the arrival of Sisi’s first daughter, Sophie Friederike. “In the second year of marriage, she has her first little daughter, and she is promptly freed of her motherly duties by her mother-in-law.”87 Indignant and upset, Sisi approaches Sophie and

83 Specifically, she says, “also, du läßt mich im Stich,” which is a German idiom similar to the English expression “leaving someone out to dry.” Sisi’s feelings of desertion by her husband are mirrored when her son later uses the same phrase when Sisi refuses to interfere in his father’s treatment of him. This will be discussed in more detail near the end of this section. 84 Kunze, Michael and Sylvester Levay, Eine Kaiserin muss glänzen. 85 Kunze, Michael and Sylvester Levay, Ich gehör’ nur mir. 86 Ibid. 87 Kunze, Michael and Sylvester Levay, Die ersten vier Jahre.

38 demands her daughter back. Sophie informs Sisi that she will raise the child herself. Again, Sisi runs to Franz and begs him to interfere, invoking another use of gequält (tortured) to describe her state.

Sisi (to Franz): Your mother tortures me on and on. Now she’s stolen my child, you must speak with her! Sophie (to Franz): She herself is hardly more than a child. She cannot raise a child. Franz (to Sisi): […] There is nothing I can do.88

Again, Franz sides with his mother instead of with Sisi. Sisi is pushed too far when this process is repeated yet again after Sisi’s second daughter Gisela is born. Lucheni explains to the audience that “Slowly, it becomes clear to [Sisi] that she can only get something accomplished if someone wants something from her and she dictates the price.”89 Sisi knows that Franz does love her, despite his repeated failures to help her. She uses this knowledge as leverage when Franz asks her to accompany him on a trip to Hungary. She explains to him that she will only go with him if the children come with her. Franz tries to tell her that the children are too young for such a journey, but Sisi stands firm. Annoyed, Franz agrees. Unfortunately, both children fall ill and little Sophie dies. The effect of Sophie Friederike’s death on Sisi will be discussed in detail in the mental health section later, but for now it is sufficient to say that little Sophie’s death deeply affected Sisi.

In addition to the emotional hardship of losing her child, Sisi faces continued adversity from Sophie in the aftermath. When Sisi’s son Rudolf was born a few years later, Sophie is even more intent on keeping Sisi away from the new than she had been with Sisi’s other children. Sisi tries to subvert Sophie by sending one of her ladies-in-waiting to retrieve Rudolf in

“Kind oder nicht” (“Child or Not”). Unfortunately, Sophie intercepts the pair, and instructs the

88 Kunze, Michael and Sylvester Levay, Die ersten vier Jahre. 89 Ibid.

39 lady-in-waiting to ignore the Empress’ request. “The Crown Prince stays here; these visits [with his mother] are not good for him. He lacks discipline.”90 The lady-in-waiting protests, “But he is still a child!” Sophie replies firmly, “Child or not, for he who will rule, only duty counts. […] He will be no Mama’s boy.”91 Sophie further tells the woman, “The wishes of the Empress are irrelevant.”92 This song, and this last line in particular, demonstrates Sisi’s lack of agency in her role as a mother, and the consistent disregard for her wishes. From the birth of her firstborn through the end of Act I, Sisi fights desperately to win back control of her children from her mother-in-law.

Sophie’s continual denial of Sisi’s access to her own children pushes Sisi to her limit. She locks herself away in her bedroom and drafts a letter to her husband. In “Mach auf, mein Engel”

(“Open Up, My Angel”), Franz comes to Sisi after a hard day. From outside her door, he recounts the burdens of the empire and asks Sisi to let him in, for with her, he is “a ship in a safe harbor.”93 In this moment, he effectively asks Sisi to fulfill her wifely duties and comfort him after a hard day at work. Unfortunately for him, Sisi is not interested in coddling Franz. Instead of playing the role of a reassuring wife, Sisi flatly refuses to even open the door. She shouts through the door, “Why don’t you go to your mother instead? You have always preferred her.”94

Franz is taken aback by his wife’s behavior, but Sisi doesn’t stop there.

The scene continues with Sisi accusing her mother-in-law of mistreating Rudolf. Here, she describes Rudolf as being gequält (tortured) by Sophie. Using gequält in this manner underlines how Sisi’s fight for Rudolf has become an extension of her fight for herself. It also

90 Kunze, Michael and Sylvester Levay, Kind oder nicht. 91 Ibid. 92 Ibid. 93 Kunze, Michael and Sylvester Levay, Mach auf, mein Engel. 94 Ibid.

40 suggests that Sisi has conflated the mistreatment of her son with her own. Sisi declares that she will not watch her son be treated in this manner any longer, and therefore she has written a formal ultimatum. “If you don’t want to lose me, fulfill it,” she warns Franz.95 In her ultimatum,

Sisi demands the right to oversee the education of her children, as well as the right to decide for herself when and where she goes. By linking her children’s fate to her own, Kunze again shows how Sisi’s fight for her children has morphed into a fight for her own needs. Sisi tells Franz,

“Read my letter and decide for yourself: your mother or me. Now leave me alone.”96 Here, Sisi takes a stand to win her independence outright instead of employing her previous tactic of asking for smaller things as she did in “The First Four Years.” In “Open Up, My Angel.” Sisi recognizes

Franz’s love for her and weaponizes it to get what she wants: a ploy which ultimately works.

In the final song of Act I, “Ich will dir nur sagen” (“I Just Want to Tell You”), Franz comes to Sisi to concede. Franz stands outside her room and tells Sisi that he agrees to her demands, for he cannot bear to lose her love. Franz makes his commitment in a symbolic reprise of Sisi’s earlier song of defiance, “Ich gehör’ nur mir” (“I Belong Only to Me”). Franz alters the titular lyric of Sisi’s song to “Ich gehör’ nur dir” (“I belong only to you”).97 While Franz capitulates to Sisi’s demands with his words, he further submits to her symbolically through his use of Sisi’s musical theme. By reprising her melody, Franz fully acknowledges Sisi’s independence. Once she is convinced that Franz intends to let her go where she wants and stay no longer than she desires – Sisi repeats her defiant mantra “I belong only to me.” Sisi is now convinced that she has won her freedom.

95 Kunze, Michael and Sylvester Levay, Mach auf, mein Engel. 96 Ibid. 97 Kunze, Michael and Sylvester Levay, Ich will dir nur sagen.

41 After Franz accepts her terms, Sisi is free during Act II to do as she pleases.

Unfortunately, her perceived victory does not ultimately make her happy. Sisi is so determined to maintain her independence that she avoids becoming close to anyone for fear of saddling herself with burdens like those she fought so hard to escape. Despite Franz granting Sisi the right to oversee her children’s upbringings, once she wins her own freedom, Sisi takes little interest in involving herself in the lives of her children. This unwillingness to assume her hard-won role as a mother demonstrates how Sisi lost sight of what she was originally fighting for. She became so determined to get her back children from Sophie that her need to win superseded any actual desire to raise her children. Once she won her children back, she found childrearing to be nothing but a new burden, and thus she subsequently freed herself of it. Although well-meaning at first,

Sisi’s persistence in fighting for her children was fueled by her need to prove her autonomy.

Throughout the show, Sisi is especially determined to prove her strength to her controlling mother-in-law. Sisi repeatedly makes decisions knowing full-well that they will anger

Sophie – a fact that the ensemble and Lucheni are keenly aware of. A civilian observes early in

Sisi’s marriage that Sisi “loves everything that her mother-in-law hates.”98 Another civilian later shares news that “[Sisi] was recently a guest at the Renz Circus. The Emperor’s mother did not like that at all.”99 As the narrator, Lucheni calls out her behavior more directly. He tells the audience, “She fought for her son only to prove to Sophie that she is the stronger one. But then she pushed him away. For her, it came down to freeing herself.”100 Through these characters,

Kunze casts doubt on the popular portrayal of Sisi as someone who tried to be a good and attentive mother despite Sophie’s domineering nature.

98 Kunze, Michael and Sylvester Levay, Debrenzin. 99 Kunze, Michael and Sylvester Levay, Die fröhliche Apokalypse. 100 Kunze, Michael and Sylvester Levay, Kitsch.

42 Kunze further suggests that Sisi’s inattentiveness as a mother contributed to the loneliness, and later depression, that led Rudolf to take his own life. Rudolf, both as a child and an adult, yearns for his mother’s presence. Young Rudolf sings a song to himself called “Mama, wo bist du?” (“Mama, Where Are You?”) wherein he wonders why his mother always leaves him alone. Despite Rudolf’s repeated efforts to get his mother’s attention, Sisi ignores him. This does not stop Rudolf from seeking his mother’s support. As an adult, he feels stifled by his marriage and life at Court: just like his mother. He also struggles with his father, with whom he deeply disagrees on political matters. Rudolf feels increasingly trapped and hopeless in his roles.

After a particularly severe fight with his father, Rudolf comes to Sisi in desperate search of an ally. In the song “Wenn ich dein Spiegel wär” (“If I Were Your Mirror”), he contemplates the similarities between himself and his mother. Depending on the production, Rudolf and Sisi are either separated by physical distance on stage or else by a material barrier between them. Both forms of staging poignantly illustrate the walls that Sisi has erected between herself and her family.

In the 1992 and 2005 Viennese productions, the emotional barrier Sisi has put between herself and her son are reinforced by the imagery of a two-way mirror. Rudolf stands outside her room, trying to summon the courage to ask his mother for help. On the other side of the partition, his mother is in the midst of her beauty routine, unaware of her son’s presence. Thinking about his mother, Rudolf says, “If I were your mirror, then you would see yourself in me. Then you wouldn’t find it so difficult to understand the things I don’t say.”101 In this song, Kunze suggests that Rudolf has previously left signals in hopes his mother would pick up on his distress. Rudolf understands that he and his mother are plagued by the same problems. He hopes that his mother

101 Kunze, Michael and Sylvester Levay, Wenn ich dein Spiegel wär.

43 will also recognize these similarities so that they can help each other through them, or at least commiserate in solidarity. Unfortunately, Sisi is too self-absorbed to see her hardships reflected in her son.

Figure 4 (Left) Rudolf stands outside Sisi’s room. His mother is seen behind him, in the midst of her beauty routine (Vienna, 2005).102 (Right) Rudolf stands outside his mother’s room, but now his reflection can be seen in the mirror. The reflected version of Rudolf appears to be facing his mother, as if they were near to each other and talking face to face (Vienna, 2005).103 Sisi hears a disturbance outside her room and asks with annoyance – to the tune of “I

Belong Only to Me” – “Why the disturbance? What is it? What do you want here?”104 Even as she receives her visibly distraught son, Sisi insists on reiterating her independence. She wants to know why she is being interrupted rather than why her son is distressed. At a breaking point,

Rudolf appeals to his mother. The music pauses. Rudolf cries out with the intonation of a desperate child, “Mama, I need you.”105 On the verge of tears, he continues, “I come to you in greatest distress. I feel imprisoned and surrounded. […] I see no way out. I can trust this only to you.”106 For the first time, he openly reveals to his mother the severity of his situation. Rudolf explains, “Court and marriage are a torture to me. I sicken, my life empty. […] If you beg the

Emperor for me, then it isn’t too late yet.” Rudolf believes that the only one who can save him

102 Vienna, Vereinigte Bühnen Wien, Rudolf Stands Outside His Mother’s Room. 103 Vienna, Vereinigte Bühnen Wien, Rudolf’s Reflection Is Seen next to Sisi. 104 Kunze, Michael and Sylvester Levay, Wenn ich dein Spiegel wär. 105 Ibid. 106 Ibid.

44 from his misery is his mother. He confides in her and plainly asks for her help. Sisi, however, does not oblige. She replies in a measured tone, “I have long since slipped away from the

Emperor; I have cut all ties. I never beg. I won’t do it for you either.”107 She utters this response to the same melody her husband used when he refused to intervene in Sophie’s treatment of her, thereby demonstrating that Sisi has adopted the same emotionally distant manner that Sophie drilled into Franz. Here, Sisi literally and figuratively shuts Rudolf out; she does not allow him into her physical space and refuses to help her son in his darkest hour.

In the 2002 Viennese staging, there is no material barrier between mother and son, yet the distance between them is still just as apparent. Whenever Rudolf tries to get close to her, Sisi pulls away. Near the end of the song, Rudolf falls to his knees and grabs his mother, clinging to her desperately. Sisi is startled and does not know how to respond at first. She clearly considers, even yearns, to reciprocate and put her arms around him, but she does not. Sisi visibly battles with her desire to comfort her son and her belief that any form of attachment will weigh her down. Ultimately, she pulls her hands up short and never quite touches him. Regardless of the staging, the effect is the same; Sisi fails to support her son in his hour of need. Left feeling trapped and unable to see a way out, Rudolf makes up his mind to end his life.

107 Kunze, Michael and Sylvester Levay, Wenn ich dein Spiegel wär.

45

Figure 5 Rudolf kneels and throws his arms around his mother, desperate for his mother’s help (Vienna 2002).108 After the death of yet another child, Sisi must come to terms with her shortcomings as a mother. Sisi grieves the loss of her son in a song called “Rudolf, wo bist du?” (“Rudolf, Where

Are You?”). The song is a regretful reflection on her failings as a mother. In this song, Sisi reprises the melody of the song Rudolf sang when he was young, “Mama, Where Are You?”

This musical choice highlights Sisi’s new awareness of the similarities she shared with her son.

In her lament, Sisi calls out to Rudolf. “You needed me. I turned my back on you in order to free myself. I have failed…I bear the blame.”109 With these words, Sisi finally realizes the truth of what Lucheni and others had suggested all along: that she only fought for her children in order to win her own freedom. In this song, Sisi realizes too late the steep cost of severing her family ties.

Sisi believed her independence from familial responsibilities would free her of encumbrances, but instead it only left her with the heavy burdens of grief and guilt.

In the aftermath of their son’s death, Sisi and Franz’s relationship becomes further strained and they spend even less time together. Franz buries himself in his work while Sisi continues traveling in hopes of escaping her grief. In “Boote in der Nacht” (“Ships in the

108 Vienna, Vereinigte Bühnen Wien, Rudolf Kneels before His Mother. 109 Kunze, Michael and Sylvester Levay, Rudolf, wo bist du?

46 Night”), Franz catches up to Sisi and implores her to come home. He tells Sisi, “We belong together. I still believe it. I love you. And love, they say, can heal all wounds.”110 Franz still thinks that their relationship is salvageable, and he yearns to have Sisi at his side. Unfortunately for him, Sisi is no longer interested in repairing their relationship. Sisi responds to Franz, “Love can do a lot, but sometimes love is not enough. It is time that we admit that we are like two ships in the night: each with their own goal and load.”111 Sisi believes it is time for them both to move on.

To further symbolize the conclusion of their relationship arc, “Ships in the Night” reprises the melody of the couple’s initial love song “Nothing is Difficult.” Symbolically, the musical choice underscores that Sisi did not – as she claimed in their earlier duet – only need

Franz to be happy. This theme is the beginning and the end of their relationship. One particularly poignant example of the degradation of their marriage is reflected in the imagery of the two musical phrases below. Both sets of lyrics are sung by Sisi and Franz in harmony.

Nothing is Difficult112: Ships in the Night113: You will soon see life through my eyes, If you could just once see through my eyes, And every day understand me a little better. Then you would misunderstand me no longer.

These lines highlight how their relationship develops through the course of the show. In the earlier song, Sisi believes that they will always be happy as long as they are together, and further that Franz will eventually come around to her point of view. Franz meanwhile knows that life at court will be hard for Sisi, but he wants to believe they can make their relationship work. In the reprise, Sisi admits to herself and her husband that they can no longer repair their relationship.

“Ships in the Night” is the symbolic dissolution of their marriage.

110 Kunze, Michael and Sylvester Levay, Boote in der Nacht. 111 Ibid. 112 Kunze, Michael and Sylvester Levay, Nichts ist schwer. 113 Kunze, Michael and Sylvester Levay, Boote in der Nacht.

47

Figure 6 (Left) Sisi and Franz are shown during “Nothing is Difficult.” At the beginning of their relationship, the pair gaze into each other’s eyes while standing hand in hand (Vienna, 2012).114 (Right) Sisi and Franz are shown during “Ships in the Night.” The couple at the end of their relationship look past each other and do not come into physical contact (Vienna, 2012).115 Perhaps the most poignant depiction of Sisi’s character arc overall lies in the contrast between the two duets she shares with her father. In contrast to the first version of “Like You,” wherein Sisi eagerly tells her father about all the things she wants to do while he plays a minor role, Max leads the reprise. Father and daughter swap roles in the music as well, with Sisi only occasionally interjecting into Max’s rebuke of her. Sisi’s mannerisms and appearance further symbolize her transformation. In the earlier song, Sisi bounces around the stage with her hair down, rambunctiously playing her father. In the reprise, her movements are deliberate, her hair is tied back, and her demeanor is weary.

In the reprise of “Like You,” the ghost of Sisi’s father appears to her. Max chastises Sisi for fighting so hard for her freedom only to lock herself away. He further accuses her of being

114 Mögenburg, Franz Sits with His Advisors. 115 Mögenburg, Older Sisi and Franz Stand Apart.

48 cynical and bitter. Sisi blames her change in demeanor on others, responding irritably, “They have trained me to be Empress!”116 Here, she attributes her unhappiness and cynicism to being forced into Sophie’s narrow definition of an Empress, even though Sisi has long possessed the freedom to change her fate. Max tells his daughter, “One must try to be happy,” to which Sisi retorts, “Why should one lie to oneself?”117 At this late stage the show, Sisi has become so jaded that she thinks happiness is merely a delusion. Sisi has resigned herself to this fate and no longer has any expectation of finding enjoyment in her life.

Max reminds Sisi that she never used to give up. She replies bitterly, “Perhaps because I did not yet know anything of people!”118 Here, Sisi claims that her determination was misguided and naïve, for she did not know how cruel and callous people could be. She tells him, “I once wanted to be like you. […] Now it is too late; I am made of stone. I will never be like you.”119

The closing lyrics of this duet indicate Sisi’s outlook on her life. She believes it is too late for her to change who she is; her demeanor and fate are set in stone. In the 1992 staging, Sisi opens her fan and holds in in front of her as she delivers this final line, symbolically closing herself off from her childhood aspirations and the rest of the world.

116 Kunze, Michael and Sylvester Levay, Wie du, Reprise. 117 Ibid. 118 Ibid. 119 Ibid.

49

Figure 7 (Left) Young Sisi excitedly tells her father about the things she wants to do (Vienna, 1992).120 (Right) A mature Sisi holds her fan in front of her, disinterested and closed off from the world (Vienna, 1992).121

Mental Health in Elisabeth

Sisi flirts with and battles against Death throughout the musical, literally and figuratively. She is captivated by Death’s charisma, but simultaneously wants to rid herself of him. She sees Death as yet another form of entrapment. Through this incarnation of death, Kunze turns Sisi’s story into a , a dance of death. A danse macabre is a centuries-old allegorical technique wherein a personification of death demonstrates the universality of death; it is experienced by everyone regardless of one’s status in life. Although at times Sisi tries to fight off Death, he eventually comes for her all the same. In addition to being a physical embodiment of mortality, the character Death is a stand-in for the broader external obstacles Sisi faces. He puppeteers Sisi, physically manhandling her during multiple songs, in addition to manipulating her with his words. He tries repeatedly to convince Sisi to run away with him, claiming that she will find happiness only with him. Meanwhile, he pulls strings in order to make Sisi’s life miserable in order to force her back to him. He steals away Sisi’s firstborn and later orchestrates Rudolf’s

120 Vienna, Vereinigte Bühnen Wien, Young Sisi and Her Father. 121 Vienna, Vereinigte Bühnen Wien, Sisi Opens Her Fan.

50 death as well. Kunze further uses Death as a means to discuss Sisi’s mental health as she deals with a constant, overwhelming sense of entrapment. Death is a relentless presence in Sisi’s life from her first appearance in the show until her last.

The audience first meets Death after young Sisi falls from a great height while showing off her tightrope skills to her governess. In “Schwarzer Prinz” (“ Prince”) – only the third song in the musical – Death catches her, intending to whisk her away like he does with other souls. However, he finds himself captivated by her and instead sets her down safely on her bed.

Young Sisi sits up and tells him, “I recognize you, Black Prince, and I am not afraid of you. You are not like they describe you.”122 Sisi knows that she is looking directly at Death and she is intrigued rather than frightened. Here, Kunze plants the idea of Sisi’s casual relationship with

Death. This acquaintance will develop into a courtship as the years go by. When Death starts to leave, Sisi doesn’t want him too. As if a long-time friend were about to leave her, Sisi calls out,

“Where are you going? […] It felt so good in your arms, and I felt a longing to free myself from everything.”123 Even before Sisi meets Franz, she has a desire to let go of her responsibilities and even her life.

The symbolism in one specific phrase in the scene following “Black Prince” is particularly telling of her relationship with Death and what he represents. Sisi confides to Death the following:

Ich denk an dich, was immer ich auch tu: I think of you whatever I do: Träume und Gedichte schreiben, oder Reiten mit dreaming and writing poems, or riding dem Wind124 with the wind

122 Kunze, Michael and Sylvester Levay, Schwarzer Prinz. 123 Ibid. 124 Ibid.

51 There are two reasons why this reference to poetry writing and horseback riding is particularly noteworthy. First, poetry and riding were two of the main activities the real Sisi pursued in an attempt to escape her sorrows. She spent much of her time reading poetry and often wrote poems of her own. Sisi also spent many hours on horseback, often deliberately riding herself to a state of exhaustion in order to avoid thinking about her troubles.125 Second, “Black Prince” is neither the first nor the last time part of the phrase quoted above is used in Elisabeth. Sisi used these words in the previous song, “Like You,” when she tells her father the things she wants to do instead of go to her family gathering. The phrase reappears in her remorseful reprise of “Like

You” in Act II. Sisi’s use of the phrase in “Black Prince” indicates that she still feels Death’s pull even while doing things she claims to love. Moreover, the activities Sisi enjoys become inextricably blended with her need to escape her problems.

Figure 8 Death introduces himself to a young Sisi (Takarazuka, 2018).126

125 Hotbauer, Empress Elisabeth of Austria: The Fate of a Woman under the Yoke of the Imperial Court, 30. 126 Takarazuka, Young Sisi Meets Death.

52 Death next appears as a guest at Sisi’s wedding during a song called “Der letzte Tanz”

(“The Final Dance”). This song provides Sisi’s first physical dance with Death. As Sisi and her new husband dance, Death arrives. Everyone on stage freezes except for Death and Sisi. Death chides her for letting him in. “You want to be true [to Franz], yet you invite me. Still in his arms, you smile at me. And where that will lead even you know.”127 By not shutting Death out, Sisi allows him to strengthen his hold on her. Death claims that they both know that on some level,

Sisi wants to be with him. She clings desperately to Franz, the man she is supposed to love, trying to prove to her devotion and commitment to her new life. Death is not fooled by this action. Death grabs Sisi, pulling her from her new husband’s arms. He pushes her around, forcing her to dance with him. He sings, “The final dance […] belongs only to me. The final dance […] I’ll dance with you alone!”128 Death illustrates with this song that he will not be denied; Sisi’s danse macabre will run its course. Someday, sooner or later, he will have the last word and Sisi will have to dance with him.

Sisi has yet another dance with Death during “Wenn ich tanzen will” (“When I Want To

Dance”). This song occurs in Act II after Sisi believes she has freed herself. She claims that

“They held me on strings like a puppet that they make dance. But I will not be a marionette!”129

Sisi believes she has cast off her chains. Unfortunately for her, this freedom is merely an illusion.

Even as she tells Death that she has separated herself from him, Death is physically controlling her. Death stands behind her holding fast to her wrists, forcing her to move and dance as he pleases. She claims to be free of her puppet masters, yet Death is still pulling her strings. Death tells her, “You are only free through me,” which Sisi rejects, defiantly claiming, “If I want to

127 Kunze, Michael and Sylvester Levay, Der letzte Tanz. 128 Ibid. 129 Kunze, Michael and Sylvester Levay, Wenn ich tanzen will.

53 dance then I will dance the way I please. I alone decide the hour, I alone choose the music.”130

Sisi’s resistance to Death here is in her words only, not her actions. Despite her statement of independence, she is not aware of Death’s control over her. Therefore, she does not fight his physical hold on her. The fact that Death is visibly orchestrating Sisi’s movements while she simultaneously claims to have autonomy is a powerful symbol of Sisi’s struggle for agency.

Sisi’s need to claim and prove her independence is so intense that this pursuit itself becomes a form of dependence: one she herself is not aware of.

The use of dance is particularly potent given that the show was written for Austrian audiences. It is hard to overstate the importance of dance in Austrian – especially Viennese – culture. There is substantial fanfare around balls in modern Austria, and dancing would have played a significant role in the real Sisi’s life as well. Ballroom dances – including the traditional

Viennese Waltz – follow a routine, and the formal setting of a ball provides little freedom to stray from the prescribed steps. Especially as Empress, the real Sisi would have been expected to follow these strict rules as well. This enriches the metaphor of Sisi’s repeated dances with Death.

Even as she claims to have the freedom to dance how she pleases, she cannot. Unbeknownst to

Kunze’s Sisi, her movements are restricted; she is bound by social rules and expectations that she has no control over nor the ability to escape.

130 Kunze, Michael and Sylvester Levay, Wenn ich tanzen will.

54

Figure 9 (Left) Sisi dances with Death before a set reminiscent of the Viennese Palace where annual balls are still held (Vienna, 2012).131 (Right) Death holds Sisi by the wrists and makes her dance (Vienna, 2012).132 Sisi is determined to prove Death wrong. Just as Sisi seeks liberation from her husband and her mother-in-law, Sisi tries to wrest her independence from Death himself. After Sisi banishes her husband to contemplate her formal ultimatum in “Open Up, My Angel,” Death appears to her. He calls to her imploringly, telling Sisi he can offer her peace. “Rest in my arms.

I want to comfort you. […] I will lead you away from space and time and into a better reality.”133

He tries to lure her with the promise of an escape from her problems. Sisi hesitates, believing for a moment that perhaps she could find the relief she seeks with Death. Just before leaning into

Death, however, she pulls away. She indignantly declares that she does not need him to be free.

“I want to live. I am too young to give up! I know I can free myself.”134 Sisi rebuffs Death himself in order to prove her independence from everyone and everything. Having banished

Death, she announces how she will maintain her independence. “Now I enlist my beauty!”135 Sisi believes that her attractiveness is a tool she can continue to use as leverage to get what she

131 Mögenburg, Sisi Dances with Death. 132 Vienna, Vereinigte Bühnen Wien, Death Holds Sisi by the Wrists. 133 Kunze, Michael and Sylvester Levay, Mach auf, mein Engel. 134 Ibid. 135 Ibid.

55 wants. Her determination to assert her independence and avoid her danse macabre leads to an obsession with her physical appearance.

Sisi is desperate to have agency over her life, especially during the first half of the show.

Her wishes are ignored time and time again, which creates an extreme sense of powerlessness.

Sophie subverts or outright denies Sisi the things she wants, and Franz repeatedly ignores Sisi’s cries for help. Sisi’s lack of control leads to her exert power on the only thing she had full autonomy over: herself. She develops intense self-discipline, which gives her the feeling of having control in at least one aspect of her life. She begins to practice stringent diet and exercise routines. Exerting agency over her appearance helps Sisi escape her feelings of entrapment and powerlessness. Sisi believes her beauty has the power to finally set her free, but just as with her pursuit of independence, her constant effort to maintain her looks becomes a new kind of dependence.

The story of Sisi’s eating and exercising disorders is illustrated by her ladies-in-waiting.

One such instance occurs during a song called “Uns’re Kaiserin soll sich wiegen” (“Our Empress

Should Weigh Herself”) – alternately titled “Schönheitsfplege” (“Beauty Care”). These women flit about outside of Sisi’s toilette making sure everything is in place for the Empress’ elaborate hair and skin care routine. The most notable detail of this song is the music. “Beauty Care” is sung to the tune of Sophie’s earlier “An Empress Must Shine,” thereby demonstrating yet another way in which Sisi’s attempt to defy her roles reinforced them in actuality. Sisi’s new concern for how others perceive her is something Sophie wanted to instill in Sisi all along. The choice of music underscores how Sisi has unknowingly morphed into her role as Empress. This transformation is further highlighted by the maids praising Sisi’s new appearance.

56 Ladies-in-waiting (group 1): Ladies-in-waiting (group 2), simultaneously: Our Empress should weigh herself, She should stride beautifully, displaying her Comb, care for, and rest herself, jewels. Instead of involving herself in state Beautiful before the people, beautiful for her intrigue. husband.136

In these lines, Sisi’s ladies-in-waiting indicate their approval of Sisi’s new behavior.

They believe it is befitting of an Empress, and they are not alone in this conviction. The above excerpt is followed by one of the women remarking, “The Archduchess finds this very reasonable too,” implying that even Sophie approves of Sisi’s new conduct.137 This validation of

Sisi’s transformation, especially from Sophie, indicates one of the serious obstacles to Sisi’s well-being: external reinforcement. There is little incentive for the real Sisi or Kunze’s Sisi to interrupt this harmful pattern of dieting and exercise because others value her for her appearance.

Her worth and political capital are tied to her attractiveness, which becomes increasingly problematic as the years wear on.

The song “Die rastlosen Jahre” (“The Restless Years”), speaks to the effect her pursuit has in the long run. Here too, her ladies-in-waiting tell this part of Sisi’s narrative. They reference Sisi’s regular eight-hour hikes and endless traveling. They say, “She never comes to rest; she rushes us from place to place. She wants to go to , Pest, and England, just never back home.”138 The audience learns through the ladies-in-waiting that Sisi would rather be anywhere but home. Lucheni steps in to point out the motivation for Sisi’s tireless excursions.

He explains, “Eighteen years she runs in a panic from the fear of nothingness.”139 Sisi spends years chasing a geographical cure to escape her intense loneliness and isolation. Unfortunately

136 Kunze, Michael and Sylvester Levay, Uns’re Kaiserin soll sich wiegen. 137 Ibid. 138 Kunze, Michael and Sylvester Levay, Die rastlosen Jahre. 139 Ibid.

57 for her, this technique does not bring her solace. She spends the rest of the musical running from her husband, her family, and Vienna. It is therefore fitting that the audience sees little of Sisi after this point in the show. The title character appears in barely a third of the remaining songs in the musical, of which there are more than a dozen. The musical transitions away from Sisi and focuses instead on Austrian politics while the Empress fades out of view. Ultimately, however, reclusion does not solve her problems in the end.

Sisi begins to recognize that she still is not happy, despite years of self-discipline and fighting for her independence. In the song “Sie ist verrückt” (“She Is Insane”), Sisi visits the patients of an Irrenhaus (madhouse)140 as part of her imperial duties. The specifics of this scene vary between productions, but the gist of the scene is the same. In the asylum, Sisi meets a woman called Miss Windisch, who believes herself to be the Empress Elisabeth.141 Miss

Windisch lunges at Sisi, calling her “impertinent” and “crazy.”142 The staff grab Miss Windisch and put her in a straitjacket. Sisi is fascinated by this woman who claims to be her. At first Sisi tries to reason with Miss Windisch. Miss Windisch starts screaming, calling Sisi a liar and a fraud. The staff restrain Miss Windisch. Everything gets quiet as Sisi contemplates what she has seen.

140 Kunze, Michael and Sylvester Levay, Sie ist verrückt. 141 Productions use various techniques to underscore the similarity between the Sisi and Miss Windisch. The 2005 Viennese production, for example, amplifies their similitude through the two women’s appearances; Sisi and Miss Windisch wear similar dresses, hats and hairstyles. The 2002 production draws the comparison through words. Before Sisi meets Miss Windisch, she comments to one of the doctors, “I prefer your patients to normal people,” indicating that she strongly identifies with these individuals who have been locked away and finds them more agreeable than the supposedly sane people she spends most of her time with. 142 Kunze, Michael and Sylvester Levay, Sie ist verrückt.

58

Figure 10 Sisi (right) confronts Miss Windisch (left). The two women wear their hair in similar styles and are adorned with similar hats (Vienna, 2005).143 Sisi reflects on Miss Windisch during the song “Nichts, nichts, gar nichts” (“Nothing,

Nothing, Absolutely Nothing”). This song is one of the most illustrative moments for Sisi’s profound unhappiness and further provides an intimate look at Sisi’s feelings of entrapment and isolation. Sisi stares at Miss Windisch and tells her, “I wish I really were you: in the straitjacket instead of the corset. They constrict only your body; my soul is shackled.”144 Here, Kunze provides yet another powerful instance of chain imagery: one that is very similar to the imagery the real Sisi herself used in her poem “Freedom,” described in the previous section. Kunze’s Sisi feels as though she would have more freedom if she were physically bound than she has in her current life, even though she currently can go where she pleases. Sisi laments the life she has led, and for the first time openly acknowledges that her so-called victories have made her neither happy nor free. “I have fought and obtained things only out of sheer stubbornness. And what have I achieved? Nothing, nothing, absolutely nothing.”145 Sisi recognizes that her endless fighting has not gotten her what she wanted.

143 Vienna, Vereinigte Bühnen Wien, Sisi and Miss Windisch. 144 Kunze, Michael and Sylvester Levay, Nichts, nichts, gar nichts. 145 Ibid.

59 In the same song, Sisi wishes she had the resolve to change her present circumstance. “It probably takes madness to become completely free, but I lack the courage to fall into complete madness.”146 Sisi admires the ability to do as one wants without fear of judgment. She regards the patients at the asylum as individuals with such freedom. “If I were not damned to be

Elisabeth then I would be Titania! And I would smile when they say, ‘she is crazy!’”147 Sisi yearns to be as independent as ’s spirited Fairy Queen, and to have the strength of character to be unconcerned with the opinions others have of her.

Unfortunately, as a 19th-century woman and Empress, Sisi does not have that liberty.

Lacking such freedom, Sisi resigns herself to the roles she has been cast in. Sisi concludes the song in abject defeat, knowing that she must continue to play the part she is trapped in. “So I play the strong one and do what I do as if this life were more than just an illusion, fallacy, . As if nothing, nothing, absolutely nothing was enough.”148 In this song, Kunze lets the audience peer behind Sisi’s mask to see how truly unhappy she is. He emphasizes again that any resemblance Sisi has to a fairytale princess is a result of selective omissions of key parts of her story. Here, Kunze lays out Sisi’s sorrows plainly. Kunze allows his Sisi to go so far as to openly wish for her life to end: a desire seldom expressed by a princess in any fairy tale. Sisi concludes,

“The only solution would be madness. The only salvation would be the drop. The abyss entices me. I want to let myself fall; why do I shudder before the leap?”149 This line is a particularly powerful illustration of her danse macabre. Although Death is not in this scene, she is still flirting with what he represents: Sisi’s declining mental health and her suicidality.

146 Kunze, Michael and Sylvester Levay, Nichts, nichts, gar nichts. 147 Ibid. 148 Ibid. 149 Ibid.

60 The other occasion where Kunze’s Sisi expresses suicidal ideation is after the death of her son. As she grapples with her regret and her grief, she cries out for Death at the end of the song “Rudolf, Where Are You?” She yearns for Death to come end her pain. “Don’t let me wait!

Have I not been tortured enough already? Take pity on me. Come, sweet Death…accursed

Death! Release me!”150 Here, Sisi openly begs for an end to her life. She was already deeply unhappy prior to her son’s death, but the addition of the anguish and guilt she feels over Rudolf’s suicide causes her to contemplate her own. Death, who has been lurking near Rudolf’s coffin, angrily tells her, “I don’t want you – not like this. I don’t need you! Go!”151 Although Death has spent the entire show trying to lure Sisi to him, in this moment, he spurns her. By refusing to take

Sisi “like this” – in her state of anguish and desperation – Death yet again deprives Sisi of agency. He refuses to take pity on her because he wants Sisi to come to him voluntarily, not out of despondence. Death leaves her alone for years until he comes to her for the last time in the show’s finale.

Figure 11 Sisi falls to the floor in her grief as Death lurks behind her on her son’s coffin (Takarazuka, 2018).152

150 Kunze, Michael and Sylvester Levay, Rudolf, wo bist du? 151 Ibid. 152 Takarazuka, Sisi Mourns While Death Lurks behind Her.

61 In the absence of Death’s assistance, Sisi must learn to cope with her grief. She does so by completely sealing herself off from the world. When she separates from her husband in

“Ships in the Night,” she severs herself from her only remaining mortal relationship. Now in complete isolation, she loses any lingering interest she had in life. Sisi’s acquiescence compels

Death to return to her again. He concludes his dance with Sisi by orchestrating her death. He gives Lucheni a metal file with which to kill her. After Lucheni stabs Sisi, she welcomes Death’s return. She literally and metaphorically embraces Death, thus completing Sisi’s danse macabre and the story of her life.

In most productions, Sisi wears mourning dress when Lucheni attacks her. As she dies, she exchanges her black outfit for a white nightgown, stripping down to a symbolically purer version of herself. The concluding words of the musical are sung to the tune of Sisi’s “I Belong

Only to Me.” Death holds Sisi as they sing, “The world will search in vain for the meaning of my/your life, for I/you belong only to me!”153 With the final phrase of the show, Kunze reminds the audience that the real Sisi is lost to history. With Elisabeth, he seeks to shed light on the often-overlooked trials of the real Sisi’s life, all the while he openly admits that even his interpretation of Sisi does not fully capture her. He asks the audience to recognize that their understanding of Sisi is biased by what they project onto her. The question of what Sisi’s life meant is open to interpretation. Kunze does not stipulate what the real Sisi’s life story should mean, he merely asks the audience to analyze her story critically, mindful of the hardships she faced.

153 Kunze, Michael and Sylvester Levay, Der Schleier fällt.

62

Figure 12 Death catches Sisi after she Lucheni stabs her. Sisi – and in this production, Death – is symbolically dressed in white (Vienna 2012).154

Sisi’s Legacy in Elisabeth

In addition to interrupting the sugar-coated narrative of Sisi’s life, Kunze also asks the audience to contemplate why they enjoy stories about Sisi to begin with. Kunze dedicates two songs in the musical entirely to the exploration of Sisi’s contemporary image. Through Lucheni’s narration,

Kunze breaks the fourth wall to engage with Sisi’s enduring legacy. In these songs, he reflects on the irony of the musical benefitting from the pre-existing popularity of Sisi and her story. He also asks the audience to consider why stories about Sisi – especially highly romanticized ones – are so popular.

154 Mögenburg, Death Catches Sisi.

63 Lucheni opens Act II with a song called “Kitsch” (“Kitsch”). The song occurs just before

Sisi and Franz are crowned Queen and King of Hungary. Dressed as a street vender, Lucheni invites the audience to buy souvenirs from him to mark the occasion of the imperial couple’s coronation. “Come here, ladies and gentlemen! You have here the once in a lifetime opportunity to acquire a valuable memento! Everything is very cheap! Please, step closer!”155 He lists off a series of items for purchase. Lucheni offers the audience photographs, decorative plates, and glassware, all of which bear a classic picture of Sisi and her family. Even as he sells these trinkets, Lucheni asks the audience to consider why they care about Sisi’s story.

Figure 13 Lucheni excitedly shows off his various souvenirs featuring images of Sisi and her family (Vienna, 2003).156 In the same song, Lucheni directly confronts Sisi’s legacy in popular culture. He calls her character into question, describing her as both egocentric and shallow. This is also the song wherein he suggests that Sisi only fought for Rudolf in order to prove that she was stronger than her mother-in-law, thereby further casting doubt on Sisi’s maternal nature. Lucheni tells the

155 Kunze, Michael and Sylvester Levay, Kitsch. 156 Vienna, Vereinigte Bühnen Wien, Lucheni Shows off His Kitsch.

64 audience, “Don’t pretend that you’re interested in the truth. The truth is given, but no one wants to have it because it’s only depressing. […] One hears only what one wants to hear.”157 Through these phrases, Kunze seeks to underscore yet again that Sisi’s life was not as rosy as other depictions make it out to be. He suggests that audiences want to see Sisi as a real-life fairytale princess and therefore they do, thereby blinding themselves to the severity of her suffering. He warns that there is more to her story than fictional depictions can offer. Lucheni presses this point further when he tells the audience, “You won’t learn what she was really like from any book or any film.”158 Here, he specifically alludes to the fairytale-like depiction of Sisi in the popular film trilogy Sissi directed by Ernst Marischka in the 1950s.

In a reprise of “Kitsch,” Lucheni appears as a salesman again. He boasts that his souvenirs are selling very well, especially a picture of Sisi grieving at her son’s coffin, which

“stirs every heart.”159 Lucheni claiming that his pictures of Sisi in mourning sell the best demonstrates to the audience that it is convenient – and profitable – to tell stories of Sisi that fit the narrative of Sisi as a good mother. He continues, “One shudders and thinks, full of sympathy, that even the greats get their share.”160 This line is a self-acknowledgement by Kunze of one of the reasons this musical is appealing: the schadenfreude of watching someone whose struggles are worse than one’s own. Audiences watch Elisabeth and are grateful that they have more agency in their lives than Sisi. Expanding on this sentiment, Lucheni declares, “Thank God we aren’t rich and powerful and exalted like them!”161 In Lucheni’s words, such stories are

“comforting and moral: just as you like it.”162 One audience member can watch the musical and

157 Kunze, Michael and Sylvester Levay, Kitsch. 158 Ibid. 159 Kunze Michael and Sylvester Levay, Kitsch, Reprise. 160 Ibid. 161 Ibid. 162 Ibid.

65 “hear what they want to hear” – a love story, a fairytale. Meanwhile a critical viewer will be similarly satisfied by the richer complexity of Sisi’s character. Both types of viewers will find a moral in her story.

Conclusion

Figure 14 Actress – the original Sisi in Kunze’s Elisabeth – stands dressed in Sisi’s classic white gown and edelweiss stars. Behind her is an enlarged replica of Winterhalter’s famous portrait of Sisi (Vienna, 2015).163 The way we tell stories about our past matters. It matters because the way we understand our past affects how we behave in the present, which in turn affects the future. If we fail to adequately understand the past, we cannot learn from it. Historiography – the study of how historical narratives are portrayed – is often based on traditional academic sources. However, period pieces like Elisabeth have their own historiographical value. If we treat historical fiction purely as entertainment, we fail to recognize its instructional value and its capacity to change

163 Janssen, Actress Pia Douwes Dressed as Sisi in Front of Winterhalter’s Classic Sisi Portrait.

66 public discourse. Historiography through theater has the power to disrupt well-trodden historical storylines and bring new awareness to the audience: something Kunze does skillfully in

Elisabeth. The musical serves as an interruption in the narratives of Sisi’s life and Austria’s past.

Through Elisabeth, Kunze seeks to help Austrians understand and grapple with their nation’s culpability in World War II. Historians have a word for this kind of reckoning with the past: Vergangenheitsbewältigung. This term is typically translated as “coming to terms with the past” or “mastering the past,” and it is usually used to describe Germany’s effort to process its

Nazi history. Although historians and Germanists normally associate this concept with a German context, the term aptly applies to Austria as well. Much like Germans, Austrians must wrestle with the reality that many of their citizens openly supported and aided the Third Reich. This truth is especially difficult for the those who possess the so-called Gnade der spät-geborenen, the grace of being born too late to be held responsible for their country’s Nazi past. These individuals are not themselves responsible for the war’s atrocities, but they are, “tied by love and respect to the people who were, and by upbringing, blood, and nationality to a history they cannot escape.”164 Kunze’s Elisabeth offered Austrians, especially younger Austrians, a means to engage in this reconciliation with their past. The musical continues to offer Austrians, as well as international audiences, a space in which they can reflect on the nationalism and hatred that led

Austria into two World Wars, and more importantly, a space to consider the continued presence of these themes in modern society.

Through Elisabeth, Kunze not only seeks to help Austrians master their past and the myth of Austrian victimhood, but he also stages an intervention in Sisi’s narrative. Kunze rewrites her fairy tale, taking the idyllic portrayal of Sisi and adding a tragic twist. The musical is the first

164 Lawrence, “Vergangenheitsbewältigung,” 100.

67 popular portrayal of Sisi to depict her as truly unhappy. Kunze criticizes the audience’s understanding of Sisi, but he does so in a way that does not offend their sensibilities or their love for Sisi. Kunze’s use of historical fact plus creative license give audiences a unique insight, and a new spin on Sisi’s story that allows them to better understand the hardships she faced.

The way we portray Sisi is emblematic of other, more contemporary figures, and thus the musical has lessons for us here as well. Popular media casts women like Princess Diana, Kate

Middleton, and Meghan Markle in similar roles: as real-life fairytale princesses. Fanfare around their lives, especially their weddings, often loses sight of the personhood of such women. These representations are harmful to both the women themselves and the people who believe in these narratives. They set unrealistic expectations for the onlookers and objectify the subjects. By sugarcoating their stories, and neglecting the challenges they face, we fail to understand these women as real people. But since everyone loves a love story – especially a fairy tale – rosy portrayals of real-life royalty continue to be produced.

Sisi’s story has been taken note of by the popular streaming service Netflix, which plans to release a six-part biopic of Sisi in spring 2022.165 The series will be directed by German director Katrin Gebbe and currently has the working title The Empress. Although Netflix has a history of telling similar stories – such as their portrayal of Queen Elizabeth II in The Crown – with greater complexity than many other depictions, early signs indicate that Gebbe’s series will still paint Sisi as a happily married princess. Netflix’s promotional material for the show states that, “It is the great love story between Elisabeth and Franz that is the focus of the narrative.”166

By failing to convey how deeply unhappy Sisi was in her marriage, the show will perpetuate this

165 “About Netflix - New Imperial Couple ‘Sisi and Franz’ Found - Netflix Original ‘The Empress’ (WT) about to Start Production.” 166 Ibid.

68 false narrative of a critical component of Sisi’s life. Furthermore, given Netflix’s global reach, the show will introduce international viewers who have never heard of Sisi to the facile idea that she was both happy and happily married. It appears that the Netflix show will only portray the first six months after Sisi’s marriage, which means the show is unlikely to address any of her difficulties with motherhood, depression, or eating disorders, since those all began a year or more into her married life. By centering this new biopic on the idealized love story of a younger

Sisi, The Empress will reinforce Sisi’s fairytale narrative rather than question or alter it.

The real Sisi knew she was unhappy; she felt trapped, shackled. She knew this from the onset of her marriage and these feelings only intensified over the course of her life. If we hope to understand Sisi as a person instead of a storybook princess, we must recognize her sorrow too.

Now that the musical has been examined and relevant background material has been discussed, it is worth revisiting the following poem – introduced earlier in this work – that Sisi wrote at age sixteen, just two weeks after marrying Franz.

Freiheit167 / Freedom Oh, daß ich nie den Pfad verlassen, Oh, that I had never left the path Der mich zur Freiheit hätt’ geführt, That would have led me to freedom, Oh, daß ich auf der breiten Straßen Oh, that the broad streets of vanity Der Eitelkeit mich nie verirrt! Had never led me astray!

Ich bin erwacht in einem Kerker, I awoke in a dungeon Und Fesseln sind an meiner Hand. And shackles are on my hands. Und meine Sehnsucht immer starker – And my longing grows always stronger – Und Freiheit! Du, mir abgewandt! And Freedom! You turned away from me!

Ich bin erwacht aus einem Rausche, I awoke from an inebriation Der meinen Geist gefangen hielt, That held my spirit captive, Und fluche fruchtlos diesem Tausche, And I curse this exchange in vain Bei dem ich Freiheit! Dich – verspielt! Through which I gambled away freedom!

167 Rödhammer, 96.

69 The evidence from Sisi’s poems and letters is clear; Sisi was deeply unhappy for most of her life.

Kunze brings these feelings to life on the stage, animating the sentiments Sisi herself wrote.

Kunze is critical of Sisi, but he understands the tragedy of her life and seeks to help the audience recognize it too. The success of Elisabeth proves that audiences are receptive to more nuanced depictions of Sisi. However, there remains much to be done in Sisi’s narrative interruption in both artistic and scholarly works. With this thesis, I hope to have suggested new paths towards a more nuanced and accurate discussion of Sisi and her role in Austria’s understanding of its past.

70 Bibliography About Netflix. “About Netflix - New Imperial Couple ‘Sisi and Franz’ Found - Netflix Original ‘The Empress’ (WT) about to Start Production.” Accessed April 30, 2021. https://about.netflix.com/, https://about.netflix.com/en/news/new-imperial-couple-sisi- and-franz-found-netflix-original-the-empress-wt. Cruz, Anne J., and Maria Galli Stampino. Early Modern Habsburg Women: Transnational Contexts, Cultural Conflicts, Dynastic Continuities. Routledge, 2016. Vereinigte Bühnen Wien. “Elisabeth – VBW International.” Accessed April 30, 2021. https://www.vbw-international.at/home/elisabeth. Elisabeth Das Musical’s Sisi in Outfit Alluding to Winterhalter’s Classic Sisi Portrait. 2015. https://mygermanseason.wordpress.com/2015/04/10/kitsch-elisabeth-in-munich/. “Foreign Relations of the United States, 1948, Germany and Austria, Volume II - Office of the Historian.” Accessed May 16, 2021. https://history.state.gov/historicaldocuments/frus1948v02/d723. Hamann, Brigitte. Kaiserin wider Willen. 12th ed., 2010. ———. The Reluctant Empress. 6th ed. New York, 1986. Haslip, Joan. The Lonely Empress. Cleveland and New York: The World Publishing Company, 1965. Hotbauer, Renate. Empress Elisabeth of Austria: The Fate of a Woman under the Yoke of the Imperial Court. Vienna, 1998. Janssen, Edwin. Actress Pia Douwes Dressed as Sisi in Front of Winterhalter’s Classic Sisi Portrait. 2015. 14. https://mygermanseason.wordpress.com/2015/04/10/kitsch-elisabeth- in-munich/. Joll, James, and Martel Gordon. The Origins of the First World War. 3rd ed. Harlow, England, 2006. Kovacs, Eva. “Innocent Culprits - Silent Communities. On the Europeanisation of the Memory of the Shoah in Austria.” Totalitarian Movements & Political Religions 9, no. 2–3 (September 2008): 225–36. https://doi.org/10.1080/14690760802106166. Kunze Michael and Sylvester Levay. Alle Fragen sind gestellt. Vol. Act I. Song 9. Vienna: Vereinigte Bühnen Wien, 1992. ———. Am Deck der sinkenden Welt. Vol. Act II. Song 46. Vienna: Vereinigte Bühnen Wien, 1992. ———. Boote in der Nacht. Vol. Act II. Song 45. Vienna: Vereinigte Bühnen Wien, 1992. ———. Debrenzin. Vol. Act I. Song 15. Vienna: Vereinigte Bühnen Wien, 1992. ———. Der letzte Tanz. Vol. Act I. Song 11. Vienna: Vereinigte Bühnen Wien, 1992. ———. Der Schleier fällt. Vol. Act II. Song 47. Vienna: Vereinigte Bühnen Wien, 1992. ———. Die ersten vier Jahre. Vol. Act I. Song 14. Vienna: Vereinigte Bühnen Wien, 1992. ———. Die fröhliche Apokalypse. Vol. Act I. Song 16. Vienna: Vereinigte Bühnen Wien, 1992. ———. Die rastlosen Jahre. Vol. Act II. Song 35. Vienna: Vereinigte Bühnen Wien, 1992. ———. Eine Kaiserin muss glänzen. Vol. Act I. Song 11. Vienna: Vereinigte Bühnen Wien, 1992. ———. Éljen. Vol. Act II. Song 23. Vienna: Vereinigte Bühnen Wien, 1992. ———. Hass. Vol. Act II. Song 38. Vienna: Vereinigte Bühnen Wien, 1992. ———. Ich gehör’ nur mir. Vol. Act I. Song 13. Vienna: Vereinigte Bühnen Wien, 1992. ———. Ich will dir nur sagen. Vol. Act I. Song 21. Vienna: Vereinigte Bühnen Wien, 1992. ———. Jedem gibt er das Seine. Vol. Act I. Song 6. Vienna: Vereinigte Bühnen Wien, 1992.

71 ———. Kind oder nicht. Vol. Act I. Song 17. Vienna: Vereinigte Bühnen Wien, 1992. ———. Kitsch. Vol. Act II. Song 22. Vienna: Vereinigte Bühnen Wien, 1992. ———. Kitsch, Reprise. Vol. Act II. Song 44. Vienna: Vereinigte Bühnen Wien, 1992. ———. Mach auf, mein Engel. Vol. Act I. Song 18. Vienna: Vereinigte Bühnen Wien, 1992. ———. Nichts ist schwer. Vol. Act I. Song 8. Vienna: Vereinigte Bühnen Wien, 1992. ———. Nichts, nichts, gar nichts. Vol. Act II. Song 28. Vienna: Vereinigte Bühnen Wien, 1992. ———. Rudolf, wo bist du? Vol. Act II. Song 43. Vienna: Vereinigte Bühnen Wien, 1992. ———. Schwarzer Prinz. Vol. Act I. Song 5. Vienna: Vereinigte Bühnen Wien, 1992. ———. Sie ist verrückt. Vol. Act II. Song 27. Vienna: Vereinigte Bühnen Wien, 1992. ———. Sie passt nicht. Vol. Act I. Song 10. Vienna: Vereinigte Bühnen Wien, 1992. ———. So wie man plant und denkt. Vol. Act I. Song 7. Vienna: Vereinigte Bühnen Wien, 1992. ———. Streit Vater und Sohn. Vol. Act II. Song 37. Vienna: Vereinigte Bühnen Wien, 1992. ———. Uns’re Kaiserin soll sich wiegen. Vol. Act I. Song 20. Vienna: Vereinigte Bühnen Wien, 1992. ———. Wenn ich dein Spiegel wär. Vol. Act II. Song 41. Vienna: Vereinigte Bühnen Wien, 1992. ———. Wenn ich tanzen will. Vol. Act II. Song 24. Vienna: Vereinigte Bühnen Wien, 1992. ———. Wie du. Vol. Act I. Song 2. Vienna: Vereinigte Bühnen Wien, 1992. ———. Wie du, Reprise. Vol. Act II. Song 40. Vienna: Vereinigte Bühnen Wien, 1992. Lawrence, Vicki. “Vergangenheitsbewältigung: Coming to Terms with the Nazi Past.” Agni, no. 48 (1998): 100–114. Markova, Ina. “Balancing Victimhood and Complicity in Austrian History Textbooks: Visual and Verbal Strategies of Representing the Past in Post-Waldheim Austria.” Journal of Educational Media, Memory, and Society 3, no. 2 (2011): 58-. “Michael Kunze – Writer, Lyricist, Librettist.” Accessed May 11, 2021. https://michaelkunze.info/. Mögenburg, Brinkhoff. Death Catches Sisi. 2012. 11. https://www.musicalvienna.at/en/schedule- and-tickets/schedule/production/14/Elisabeth-2012. ———. Franz Sits with His Advisors. 2012. 4. https://www.musicalvienna.at/en/schedule-and- tickets/schedule/production/14/Elisabeth-2012. ———. Older Sisi and Franz Stand Apart. 2012. 45. https://www.musicalvienna.at/en/schedule- and-tickets/schedule/production/14/Elisabeth-2012. ———. Sisi Dances with Death. 2012. 11. https://www.musicalvienna.at/en/schedule-and- tickets/schedule/production/14/Elisabeth-2012. Newton, Michael. Famous Assassinations in World History: An Encyclopedia. 2 vols. ABC- CLIO, 2014. Pfeiffer, Thomas. “»Wir Lieben Das Fremde – in Der Fremde«: Ethnopluralismus Als Diskursmuster Und -Strategie Im Rechtsextremismus.” In Großerzählungen Des Extremen, edited by Jennifer Schellhöh, Jo Reichertz, Volker M. Heins, and Armin Flender, 35–56. Neue Rechte, Populismus, Islamismus, War on Terror. Transcript Verlag, 2018. http://www.jstor.org/stable/j.ctv1fxd7f.6. Robinson, Douglas. Becoming a Translator: An Introduction to the Theory and Practice of Translation. , UNITED KINGDOM: Taylor & Francis Group, 2012. http://ebookcentral.proquest.com/lib/osu/detail.action?docID=1046807.

72 Rödhammer, Hans. Elisabeth, Kaiserin von Österreich Und Königin von Ungarn, 1837-1898. : Kulturverein Schloss Ebelsberg, 1983. Sayler, Oliver M. Translation and the Theatre. The North American Review, 1922. http://archive.org/details/jstor-25120940. Sisi Mourns While Death Lurks behind Her. 2018. 18. https://kageki.hankyu.co.jp/english/revue/2018/elisabeth/gallery.html. Takarazuka. Young Sisi Meets Death. 2018. 5. https://kageki.hankyu.co.jp/english/revue/2018/elisabeth/gallery.html. “The Moscow Conference, October 1943.” Text. Accessed May 8, 2021. https://avalon.law.yale.edu/wwii/moscow.asp. Vasant, Jacqueline. “Challenging Austria’s Victim Status: National Socialism and Austrian Personal Narratives.” The German Quarterly 67, no. 1 (1994): 38–57. Vermeiren, Jan. “Germany, Austria, and the Idea of the German Nation, 1871-1914.” History Compass 9, no. 3 (March 2011): 200–214. https://doi.org/10.1111/j.1478- 0542.2010.00758.x. Vienna, Vereinigte Bühnen Wien. Death Holds Sisi by the Wrists. 2012. http://www.dermuenchenblog.de/wp-content/uploads/2011/12/Elisabeth-Das- Musical.jpg. ———. Ensemble Carries Banners Reminiscent of Nazi Symbols. 1992. https://www.youtube.com/watch?v=uZUagvg3Ijg. ———. Ensemble Salutes. 1992. https://www.youtube.com/watch?v=uZUagvg3Ijg. ———. Lucheni Shows off His Kitsch. 2005. https://www.youtube.com/watch?v=AnpC0lTB- ZU. ———. Rudolf Kneels before His Mother. 2002. https://www.youtube.com/watch?v=KAnbjyCBLHg. ———. Rudolf Stands Outside His Mother’s Room. 2005. https://www.youtube.com/watch?v=tHj5eseAOnM. ———. Rudolf’s Reflection Is Seen next to Sisi. 2005. https://www.youtube.com/watch?v=tHj5eseAOnM. ———. Sisi and Miss Windisch. 2005. https://www.youtube.com/watch?v=jHjhJz6eV3Q&t=61s. ———. Sisi Opens Her Fan. 1992. https://www.youtube.com/watch?v=9yOGLL_p6n0. ———. Young Sisi and Her Father. 1992. https://www.youtube.com/watch?v=M-yWehhg9k4. Winterhalter, Franz Xaver. English: Elisabeth of Austria. 1865. https://www.paleishetloo.nl/blog/sisi-sprookje-en-werkelijkheid/. https://commons.wikimedia.org/wiki/File:Elisabeth_of_Austria,_by_Franz_Xaver_Winte rhalter.jpg.

73 Appendix

Boote in der Nacht / Ships in the Night

German: Direct:

[Franz Joseph:] [Franz Joseph:] Du weißt, warum ich gekommen bin. You know why I have come

[Elisabeth:] [Elisabeth:] Nein. Aber ich ahne es. No, but I can guess

[Franz Joseph:] [Franz Joseph:] Komm heim, Sisi. Come home, Sisi. Wir gehören zusammen. We belong together. Ich glaube immer noch daran. I still believe it. Ich liebe dich. I love you. Und Liebe, sagt man, kann alle Wunden heilen. And love, they say, can heal all wounds

[Elisabeth:] [Elisabeth:] Liebe kann vieles, Love can do much, doch manchmal ist Liebe nicht genug. But sometimes love is not enough. Glaube ist stark, Belief is strong, doch manchmal ist Glaube Selbstbetrug. But sometimes belief is a self-deception Wir wollten Wunder, We wanted miracles doch sie sind nicht gescheh'n. But they have not happened Es wird Zeit, daß wir uns endlich eingesteh'n: It’s time that we admit to ourselves at last: Wir sind wie zwei Boote in der Nacht. We are like two ships in the night. Jedes hat sein eignes Ziel Each with its own goal und seine eigen Fracht. And its own load. Wir begegnen uns auf dem Meer, We met on the sea, und dann fällt der Abschied uns schwer. And the parting is difficult for us, Doch was uns treibt, liegt nicht in unsrer Macht. But what drives us is not in our power

[Franz Joseph:] [Franz Joseph:] Du möchtest alles, You wanted everything doch manchmal ist wenig schon sehr viel. But sometimes a little is a lot.

[Elisabeth:] [Elisabeth:] Dein Traum ist mir zu klein! Your dream is too small for me!

[Franz Joseph:] [Franz Joseph:] Sich nah zu sein im Dunkeln, To be near in the darkness genügt das nicht als Ziel? Isn’t enough as a goal?

[Elisabeth:] [Elisabeth:] Ich will nicht dein Schatten sein! I don’t want to be your shadow!

[Elisabeth & Franz Joseph:] [Elisabeth & Franz Joseph:] Könntest du einmal nur durch meine Augen sehn, If you could just once see through my eyes

74 dann würdest du mich nicht länger mißverstehn... Then you wouldn’t misunderstand me any Wir sind wie zwei Boote in der Nacht. longer… Jedes hat sein eignes Ziel We are like two ships in the night. und seine eigne Fracht. Each with its own goal Wir begegnen uns auf dem Meer, And its own load. und oft fällt der Abschied uns schwer. We met on the sea, Warum wird uns das Glück so schwer gemacht? And the parting is difficult for us, But what drives us is not in our power Why is happiness so hard for us?

[Elisabeth:] [Elisabeth:] Du und ich, wir sind zwei Boote in der Nacht. You and are, we are like two ships in the night.

[Franz Joseph (gleichzeitig):] [Franz Joseph (simultaneously):] Versteh' mich... Ich brauch' dich... Understand me…I need you… Ich lieb dich... Kannst du nicht bei mir sein? I love you…Can you not be by my side?

[Elisabeth:] [Elisabeth:] Jedes hat sein eignes Ziel und seine eigene Fracht. Each with its own goals and its own load.

[Franz Joseph (gleichzeitig):] [Franz Joseph (simultaneously):] Versteh mich... Ich brauch' dich... Understand me…I need you… Ich lieb dich... Warum sind wir allein? I love you…Why are we alone?

[Elisabeth & Franz Joseph:] [Elisabeth & Franz Joseph:] Wir begegnen uns auf dem Meer We met on the sea und sind mehr allein als vorher... And are more alone than before… Warum wird uns das Glück so schwer gemacht? Why is happiness so hard for us?

[Franz Joseph:] [Franz Joseph:] Ich lieb' dich! I love you!

[Elisabeth:] [Elisabeth:] Begreif' doch: Was nicht sein kann, kann nicht sein. But understand: what cannot be cannot be.

Eine Kaiserin muss glänzen / An Empress Must Shine

German: Direct:

[Sophie:] [Sophie:] Wo ist die Kaiserin? Where is the Empress?

[Hofdame:] [Lady-in-waiting:] Sie schläft noch, Hoheit! She is still asleep, Highness!

[Sophie:] [Sophie:] Dann wird es höchste Zeit sie aufzuwecken! Then it is high time to wake her!

Die Kaiserin ist noch sehr jung The Empress is still very young

75 Sie braucht noch manche Förderung She still needs much improvement Zeit das sie lernt was sich gehört, Zeit, Time that she learns what is proper, time dass sie jemand lehrt, sich zu fügen That someone teachers her to obey Sie ist verbauert, ganz und gar She is much too countrified

[Hofdamen:] [Lady-in-waiting:] Ganz recht Completely right

[Sophie:] [Sophie:] Nimmt ihre Pflichten hier nicht wahr She doesn’t take her duties seriously

[Hofdamen:] [Lady-in-waiting:] Sehr schlecht Very bad

[Sophie:] [Sophie:] Hat das gehorchen nicht geübt, ist in sich selbst Has no practice with obedience, is in love with verliebt und nicht streng mit sich herself and is not strict with herself. Eine Kaiserin muss glänzen im Bewusstsein ihrer An Empress must shine in the awareness of her Pflichten duties muss die Dynastie ergänzen und verzichten She must complete the dynasty and relinquish it.

[Hofdame:] [Lady-in-waiting:] In der Tat! Indeed!

[Elisabeth:] [Elisabeth:] Was ist denn los? What’s wrong?

[Sophie:] [Sophie:] Mein Kind, man schläft hier nicht so lang. My child, one doesn’t sleep in so late here.

[Elisabeth:] [Elisabeth:] Warum? Why?

[Sophie:] [Sophie:] Ich dulde keinen Müßiggang! I won’t tolerate idleness!

[Elisabeth:] [Elisabeth:] Ich war so müde... I was so tired...

[Sophie:] [Sophie:] Um fünf Uhr früh beginnt der Tag, At five o’clock every day the day begins promptly pünktlich beim Glockenschlag jeden Morgen. at the chime.

[Elisabeth:] [Elisabeth:] Aber Franz Joseph hat mir gesagt, But Franz Joseph told me ich sollte mich heut mal ausruh'n I should rest some today

[Sophie:] [Sophie:] Ausruh'n, wovon? Rest, from what? Ich hab ihn gefragt, I asked him. ich weiß das du dich heut Nacht geschont hast I know that you didn’t do anything last night.

76

[Elisabeth:] [Elisabeth:] Das kann nicht sein! That cannot be!

[Sophie:] [Sophie:] Das sagte ich auch! I said that too!

[Elisabeth:] [Elisabeth:] Er würde mich nicht an sie verraten He would not betray me to you

[Sophie:] [Sophie:] Vor mir hält mein Sohn gar nichts geheim My son has no secrets from me

[Elisabeth:] [Elisabeth:] Das ist nicht wahr That isn’t true

[Sophie:] [Sophie:] Dann frag ihn doch selber Then ask him yourself

[Elisabeth:] [Elisabeth:] Das werd ich... I’ll do that...

[Sophie:] [Sophie:] Er kam mit mir her! He came with me here! Glaub mir mein Kind ich mein es gut Believe me, my child, I mean well.

[Elisabeth:] [Elisabeth:] Natürlich! Of course!

[Sophie:] [Sophie:] Ich wünsche keinerlei Disput I don’t want any dispute

[Elisabeth:] [Elisabeth:] Ich auch nicht Me neither

[Sophie:] [Sophie:] Richte dich nach dem Zeremoniell, Conform to the ceremonial dann bin ich schnell mit dir zufrieden Then I will soon be pleased with you

[Elisabeth:] [Elisabeth:] Ich will heut' reiten – I want to ride today

[Sophie:] [Sophie:] Wie ordinär! How vulgar!

[Hofdame:] [Lady-in-waiting:] Und zu riskant! And too risky!

[Sophie:] [Sophie:] Man trabt als Kais’rin nicht umher. One does not trot around here.

77 [Hofdame:] [Lady-in-waiting:] Wie degoutant! How distasteful!

[Elisabeth:] [Elisabeth:] Warum denn nicht? But why not?

[Sophie:] [Sophie:] Weil man nicht soll, Because one should not do was nach dem Protokoll streng verboten ist. What is strictly forbidden by protocol

[Sophie & Hofdamen:] [Sophie & Ladies-in-waiting:] Eine Kaiserin muß glänzen An Empress must shine in the awareness of her im Bewußtsein ihrer Pflichten. duties Muß die Dynastie ergänzen She must complete the dynasty and relinquish it. und verzichten.

[Sophie:] [Sophie:] Zeig mir mal deine Zähne her! Show me your teeth!

[Hofdame:] [Ladies-in-waiting:] Aus gutem Grund. For good reason.

[Elisabeth:] [Elisabeth:] Die Zähne? My teeth?

[Sophie:] [Sophie:] Ja! Ist das so schwer? Yes, is that so hard?

[Hofdame:] [Ladies-in-waiting:] Öffnen Sie den Mund! Open your mouth!

[Sophie:] [Sophie:] Die sind zu gelb, das darf nicht sein. Your teeth are too yellow, they should not be.

[Elisabeth:] [Elisabeth:] Bin ich ein Pferd? Am I a horse?

[Sophie:] [Sophie:] O nein! Jedoch ein Vorbild – Oh no! But rather a role model –

[Elisabeth:] [Elisabeth:] Sie kritisier’n an mir nur herum, You only criticize me, was ich auch will ist verboten Whatever I want is forbidden

[Sophie:] [Sophie:] Ich will, daß du zur Kaiserin wirst. I want you to become Empress. Du bist noch nicht gezähmt und gezogen! You are not yet tamed and trained!

[Elisabeth:] [Elisabeth:] Ich glaub, Sie sind nur neidisch auf mich... I think you are just jealous of me...

78 [Sophie:] [Sophie:] Neidisch auf dich? Jealous of you? Das ist wirklich komisch! That is quite funny!

[Elisabeth:] [Elisabeth:] Ich will... I want...

[Sophie:] [Sophie:] Lern erst mal bescheiden zu sein. First learn to be modest.

[Elisabeth:] [Elisabeth:] Ich möchte... I would like...

[Sophie:] [Sophie:] Nein! No!

[Elisabeth:] [Elisabeth:] Hilf mir, Franz Joseph... Help me, Franz Joseph... sieh wie deine Mutter mich quält! See how your mother tortures me!

[Hofdamen:] [Ladies-in-waiting:] Eine Kaiserin muß glänzen An Empress must shine in the awareness of her im Bewußtsein ihrer Pflichten. duties Muß die Dynastie ergänzen She must complete the dynasty and relinquish it. und verzichten.

[Sophie:] [Sophie:] Überlaß sie mir, mein Sohn. Leave her to me, my son. Ich erzieh, ich erzieh sie schon. I am teaching her, I teach her already. Überlaß sie mir, mein Sohn. Leave her to me, my son. Ich erzieh sie schon. I am teaching her, I teach her already.

[Elisabeth:] [Elisabeth:] Sie quält mich, sie sperrt mich ein. She tortures me, she imprisons me. Hilf mir, laß mich nicht allein! Help me, don’t leave me alone!

[Franz Joseph:] [Franz Joseph:] Ich stünde gern an deiner Seite I would gladly stand by your side Doch wär es besser für uns beide But it would be better for us both wenn du dem Rat von meiner Mutter folgst If you followed the advice of my mother

[Sophie:] [Sophie:] Sei streng! Be strict! Sei stark! Be strong!

[Elisabeth:] [Elisabeth:] Also, läßt du mich im Stich... So you abandon me then...

79 Der letzte Tanz / The Last Dance

German: Direct: Lyrical:

[der Tod:] [Death:] [Death:] Es ist ein altes Thema It is an old subject It is an ancient story Doch neu für mich But new for me But new to me Zwei, die dieselbe lieben - Two who love the same person Two people so like minded Nämlich dich. – namely you Make that three Du hast dich entschieden You have made you mind up so you have decided Ich hab' dich verpasst. I have missed out on you That much I'd guessed Bin auf deiner Hochzeit nur der I am only a guest at your So at your wedding I'm just a Gast. wedding guest

Du hast dich abgewendet You have turned away We speak behind closed doors Doch nur zum Schein But only in appearance now, Du willst ihm treu sein, doch You want to be true to him, yet Our tête-à-tête du lädst mich ein. You invite me in. Through rich or poor you vow; Noch in seinen Armen Still in his arms I do, and yet: Lächelst du mir zu You smile at me Standing in his arms here Und wohin das führ'n wird And to where that will lead It's at me you grin Weißt auch du - You know too Don’t be mad at me, dear You let me in….

Der letzte Tanz The final dance The final dance Der letzte Tanz The final dance The final dance Gehört allein nur mir Belongs to me alone Wherever you may roam Den letzten Tanz The final dance The final dance Den letzten Tanz The final dance The final dance Tanz ich allein mit dir I will dance alone with you Belongs to me alone

Die Zeit wird alt und müde The time grows old and tired The time to choose is coming Der Wein wird schal The wine becomes stale The night grows stale Die Luft ist schwül und stickig The air is humid and sticky Today you chose your husband Im Spiegelsaal In the hall of mirrors Your fairytale Unsichtbare Augen Invisible eyes But the eyes of time are Seh'n uns beiden zu Watch both of us watching Alle warten auf All waiting on Watching me and you Das Rendezvous Our rendezvous Everyone awaits Our Rendezvous

Der letzte Tanz The final dance The final dance Der letzte Tanz The final dance The final dance Gehört allein nur mir Belongs to me alone Wherever you may roam Den letzten Tanz The final dance The final dance Den letzten Tanz The final dance The final dance Tanz ich nur mit dir I will dance alone with you Belongs to me alone

Und so wart ich im Dunkeln And so I wait in darkness So I wait in the shadows Und schau zu dir hin And watch you as I look at you

80 Als der große Verlierer As the great loser See me as the loser Doch ich weiß But I know But I know Ich gewinn. I win That I win

Der letzte Tanz The final dance The final dance Der letzte Tanz The final dance The final dance Gehört allein nur mir Belongs to me alone Belongs to me alone Den letzten Tanz The final dance The final dance Den letzten Tanz The final dance The final dance Tanz ich nur mit dir I will dance alone with you I'll dance with you alone Der letzte Tanz The final dance The final dance Der letzte Tanz The final dance The final dance Gehört allein nur mir Belongs to me alone Wherever you may roam Den letzten Tanz The final dance The final dance Den letzten Tanz The final dance The final dance Tanz ich nur mit dir I will dance alone with you Belongs to me alone Der letzte Tanz The final dance The final dance Der letzte Tanz The final dance The final dance Gehört allein nur mir Belongs to me alone Belongs to me alone Den letzten Tanz The final dance The final dance Den letzten Tanz The final dance The final dance Tanz ich nur mit dir I will dance alone with you I'll dance with you alone

Ich gehör’ nur mir / I Belong Only to Me

German: Direct:

Ich will nicht I don’t want gehorsam, gezähmt und gezogen sein, To be obedient, tamed, and trained ich will nicht I don’t want bescheiden, geliebt und betrogen sein, To be modest, beloved, and betrayed ich bin nicht das Eigentum von dir, I am not your property. denn ich gehör nur mir Because I belong only to myself.

Ich möchte I would like vom Drahtseil herabsehn auf diese Welt, To look down on this world from a tightrope ich möchte I would like auf's Eis gehn und selbst sehn, wie lang's mich hält, To go ice skate and see for myself how long it will Was geht es dich an, was ich riskier'? hold me Ich gehör nur mir. What does it matter to you what I risk? I belong only to myself.

Willst du mich belehren, You want to teach me dann zwingst du mich bloß, Then you just force me zu fliehn von der lästigen Pflicht. To flee from the burdensome obligations Willst du mich bekehren, dann reiß' ich mich los You want to convert me then I’ll tear myself away und flieg' wie ein Vogel ins Licht! And fly like a bird into the light!

Und will ich die Sterne, And if I want the stars

81 dann finde ich selbst dorthin. Then I’ll find myself there. Ich wachse und lerne I’m growing and learning und bleibe doch wie ich bin. And staying just as I am. Ich wehr' mich, bevor ich mich verlier', I’ll defend myself before I lose myself, denn ich gehör' nur mir. Because I belong only to me.

Ich will nicht mit Fragen und Wünschen belastet I don’t want to be encumbered with questions and sein, wishes, vom Saum bis zum Kragen To feel from head to toe von Blicken betastet sein. The looks of others Ich flieh', wenn ich fremde Augen spür', I flee when I feel strange eyes on me. denn ich gehör nur mir. Because I belong only to me.

Und willst du mich finden, And if you want to find me dann halt mich nicht fest. Then don’t hold me tight. Ich geb' meine Freiheit nicht her. I won’t give up my freedom here.

Und willst du mich binden, And if you want to bind me verlass' ich dein Nest I’ll leave your nest und tauch' wie ein Vogel ins Meer. And dive like a bird in the sea. Ich warte auf Freunde I await friendship und suche Geborgenheit, And search for a feeling of security, ich teile die Freude, ich teile die Traurigkeit I share in the joy and I share in the sadness doch verlang nicht , However don’t ask for my life, das kann ich dir nicht geben, I cannot give that, denn ich gehör nur mir, Because I belong only to me, Nur mir! Just me!

Hass / Hate

German: Direct:

[Demonstranten:] [Demonstrators:] Haß dem Rest der Welt! Hate to the rest of the world! Der Starke siegt, der Schwache fällt! The strong rise, the weak fall! Heil der deutschen Wacht! Salvation to the German Watch! Ein starker Mann muß an die Macht! A strong man must come to power!

[Baron:] [Baron:] Was ist los? Warum geht's nicht weiter? What’s wrong? Why can’t we go further?

[Lucheni:] [Lucheni:] Eine Demonstration, signore. A demonstration, signore. Nationalisten, Antisemiten! Nationalist, antisemitists! Anhänger von Schönerer. Supporters of Schönerer [antisemitic politician] Non c'è niente da fare. Non c'è niente da fare.

[Demonstranten:] [Demonstrators:]

82 Haß und Gewalt denen, die nicht sind wie wir! Hate and violence to those who are not like us! Und die sich breitmachen hier, jagt sie davon! And those who are spreading here, chase them away!

Mit Sozialisten und Pazifisten fackeln wir nicht We won’t mess about with socialists and pacifists mehr lang! much longer! Die Judenschreiber, die Judenweiber The Jewish writers, the Jewish wives sind unser Untergang! Are our downfall. Schluß! Enough!

[ein Professor:] [Professor:] Sie kerkern unsern Führer ein! The imprison our leader!

[Demonstranten:] [Demonstrators:] Pfui! Boo!

[Kleinbürger:] [Citizen:] Der Richter muß ein Jude sein! The judge must be a Jew!

[Demonstranten:] [Demonstrators:] Ein Schwein! A bastard!

[Journalist:] [Journalist:] Die Juden schützt ein hoher Herr! The Jew is protected by a high-up man!

[Demonstranten:] [Demonstrators:] Wer? Who?

[Journalist:] [Journalist:] Prinz Rudolf! Prince Rudolf!

[Demonstranten:] [Demonstrators:] Pfui! Boo!

[Korpsstudent, Professor, Kleinbürger & Journalist:] [Student, Professor, Citizen, & Journalist:] Judenknecht! Jewish slave!

[ein Kaisertreuer Passant:] [Supporter of the crown:] Empörend! Was ist das? Outrageous! What is this?

[Lucheni:] [Lucheni:] Der Fortschritt, cazzone! Progress, cazzone! Das 20. Jahrhundert. The 20th century Es schreitet aus! Unverkennbar. Advances! Unmistakably.

[Demonstranten:] [Demonstrators:] Haß und Gewalt denen, die nicht sind wie wir! Hate and violence to those who are not like us! Und die sich breitmachen hier, jagt sie davon! And those who are spreading here, chase them away!

Nieder mit Habsburg! Down with Habsburg!

83 Deutschland den Deutschen! Germany for Germans! Stolz steh die Wacht am Rhein. The Watch stands proud on the Rhein.

[Korpsstudent:] [Student:] Der Kronprinz treibt es mit den Judenweibern! The Crown Prince chases after Jewish women!

[Professor:] [Professor:] Die Kaiserin verhöhnt den deutschen Geist! The Empress derides the German spirit!

[Demonstranten:] [Demonstrators:] Weg mit dem Kronprinz! Away with the Crown Prince! Anschluß an Preußen! Annex !

[Kleinbürger:] [Citizen:] Nieder mit Ungarn! Down with Hungary!

[Demonstranten:] [Demonstrators:] Wilhelm soll Kaiser sein! Wilhelm should be our Emperor!

[Journalist:] [Journalist:] Wilhelm der Zweite ist unser Mann! Wilhelm II is our man!

[Demonstranten:] [Demonstrators:] Ja! Yes!

[Lucheni:] [Lucheni:] Wißt ihr das Neuste von der Kaiserin? Do you all know the news about the Empress?

[Demonstranten:] [Demonstrators:] Was? What?

[Lucheni:] [Lucheni:] Sie sammelt Geld in ihrem Eigensinn! She is gathering money for her own purpose!

[Demonstranten:] [Demonstrators:] Für wen? For what?

[Lucheni:] [Lucheni:] Für will sie hier in Wien... She wants to build in Vienna...

[Demonstranten:] [Demonstrators:] Was? What?

[Lucheni:] [Lucheni:] ...ein Denkmal bau'n! ...A memorial for Heinrich Heine [German poet]!

[Demonstranten:] [Demonstrators:] Pfui! Boo!

[Kleinbürger:] [Citizen:]

84 Frechheit! Insolence!

[Demonstranten:] [Demonstrators:] Reinheit und Stärke! Purity and strength! Christliche Werte! Christian values! Schluß mit dem Volksverrat! Enough with the betrayal of the people!

[Lucheni:] [Lucheni:] Sie hat eine Vorliebe für Irrenhäuser! She has a love of those in the madhouse!

[Demonstranten:] [Demonstrators:] Freiheit dem Führer! Freedom for the leader! Tod den Baronen! Death to the Barons! Fort mit dem Slawenstaat! Away with the Slavic state!

[Lucheni:] [Lucheni:] Gesund ist sie jedenfalls nicht! She certainly is not healthy!

[Korpsstudent:] [Student:] Herrenmenschen brauchen keine Herren! The master race needs no masters!

[erste Gruppe der Demonstranten:] [First group of demonstrators:] Rasse! Masse! Pracht! Race, mass, glory Einheit! Reinheit! Macht! Unity, purity, power Rasse! Masse! Pracht! Race, mass, glory

[zweite Gruppe der Demonstranten (gleichzeitig):] [second group of demonstrators (simultaneously):] Heil und Sieg und Sieg und Heil und Heil und Sieg Salvation and victory and victory and salvation und und Heil, salvation and victory Siegheil, Siegheil, Siegheil! Heil victory, heil victory, heil victory

[Alle Demonstranten:] [All:] Siegheil! Heil victory

Kitsch / Kitsch

German: Direct:

[Lucheni:] [Lucheni:] Kommen Sie her meine Damen und Herren! Come here, ladies and gentlemen! Während da drin in der Kathedrale an diesem Inside the cathedral on this memorable 8th of June denkwürdigen 8. Juni 1867 der Kaiser von 1867 the and the unearthly Österreich und die überirdisch schöne Elisabeth... beautiful Elisabeth become King and Queen of König und Königin von Ungarn werden, haben Sie Hungary. Meanwhile, you have here the one-time hier die einmalige Gelegenheit, ein wertvolles opportunity to acquire a valuable memento. Erinnerungsstück zu erwerben. Everything is very cheap! Alles sehr billig! Please, step closer. Bitte, treten Sie näher.

85 Wie wär’s mit diesem Bild: How about this picture: Elisabeth als Mutter mit Rudolf ihrem Sohn – Elisabeth as a mother with her son Rudolf oder hier: ist das nicht nett? Or here, isn’t this neat? Die Kaisers feiern Weihnacht im festlichen Salon The Emperor’s Christmas visit in the festive salon Auf diesem Glas sehen wir On this glass we see das hohe Paar in Liebe zugeneigt The Imperial Couple affectionately in love Einen Teller hab‘ ich auch, I also have a plate der Elisabeth beim Beten in der Hofkapelle zeigt Which shows Elisabeth praying in the Court chapel

Nehmt ein hübsches Souvenir mit Take a handsome souvenir from the imperial world aus der kaiserlichen Welt! with you Alles innig, lieb und sinnig, so wie es euch gefällt Everything heartfelt, dear and sensible, just as you Kitsch! Kitsch! Kitsch! like it Kitsch! Kitsch! Kitsch!

Verzeiht nicht das Gesicht – The face does not forgive tut bloß nicht so als wärt ihr an der Wahrheit Don’t pretend as though you were interested in the interessiert truth Die Wahrheit gibt’s geschenkt, The truth is given aber keiner will sie haben, weil sie doch nur But no one wants to have it because it is only deprimiert depressing Elisabeth ist „in“ Elisabeth is “in” Man spricht von ihr seit über hundert Jahr’n They’ve been talking about her for over a hundred Doch wie sie wirklich war, years das werdet ihr aus keinem Buch But how she really was, und keinem Film erfahr’n You won’t learn from any book or any film

Was ließ ihr die Vergötzung? What’s left of her idolatry? Was ließ ihr noch der Neid? What’s still left of her jealousy? Was blieb von ihrem Leben als Bodensatz der Zeit? What remains of her life on the floor of time? Kitsch! Kitsch! Kitsch! Kitsch! Kitsch! Kitsch!

I want to share something with you: Ich will euch was verraten: Your Sisi was in reality a lousy egotist. Eure Sisi war in Wirklichkeit ein mieser Egoist. She fought for her son only to prove to Sophie that Sie kämpfte um den Sohn, she was the stronger one. um Sophie zu beweisen dass sie die Stärk’re ist. Then she shoved him away Doch dann schob sie ihn ab For her it came down to freeing herself. ihr kam’s ja darauf an, sich zu befrei’n. She lived from the monarchy Sie lebte von der Monarchie And established a bank account in . und richtete sich in der Schweiz ein Nummernkonto ein.

Man hört nur, was man hör’n will. One hears only what one wants to hear. drum bleibt nach etwas Zeit Therefore, after time all that remains von Schönheit und von Scheiße, From beauty and from shit von Traum und Wirklichkeit nur Kitsch! From dream and reality is just kitsch! Kitsch! Kitsch! Kitsch! Kitsch! Kitsch! Kitsch!

86 Nichts ist schwer / Nothing is Difficult

German: Direct:

[Franz Joseph:] [Franz Joseph:] Eins mußt du wissen, First you must know ein Kaiser ist nie für sich allein. That an Emperor is never his alone Mit mir zu leben, wird oft nicht einfach für dich Living with me will often not be easy for you. sein.

[Elisabeth:] [Elisabeth:] Was andre wichtig finden, What others find important zählt nicht für mich. Doesn’t count to me.

[Franz Joseph:] [Franz Joseph:] Vieles wird sich ändern... Much will change...

[Elisabeth:] [Elisabeth:] Doch ich hab' ja dich! But I have you!

[Elisabeth & Franz Joseph:] [Elisabeth & Franz Joseph:] Nichts ist schwer, Nothing is difficult, solang du bei mir bist. So long as you are by my side. Wenn ich dich hab', gibt es nichts, If I have you there is nothing, was unerträglich ist. That is unbearable. Wenn ich meinen Mut mal verlier, If I ever lose my courage finde ich ihn wieder bei dir. I will find it again by you. Es fehlt mir nichts, I am not missing anything wenn du nur bei mir bist. If you are near me.

[Franz Joseph:] [Franz Joseph:] Im Joch der vielen Pflichten In the yoke of many duties geht mancher Traum verlor'n... Many dreams are lost...

[Elisabeth:] [Elisabeth:] Doch unser Traum bleibt nah! But our dreams will stay near!

[Franz Joseph:] [Franz Joseph:] Wir sind nicht wie die andern We aren’t like the others zum Glücklichsein gebor'n. Born to be happy.

[Elisabeth:] [Elisabeth:] Doch füreinander da! But there for one another!

[Elisabeth & Franz Joseph:] [Elisabeth & Franz Joseph:] Du wirst das Leben bald You will soon see life durch meine Augen sehn. Through my eyes. Und jeden Tag mich ein wenig And everyday understand me mehr verstehn... a little more...

87 [Franz Joseph:] [Franz Joseph:] Hier nimm diese Kette... als Zeichen, Here, take this necklace…as a sign, daß du nun bei mir bist. That you are now by me.

[Elisabeth:] [Elisabeth:] Wie kostbar! How precious!

[Franz Joseph:] [Franz Joseph:] Ich lieb dich... Ich brauch dich! I love you… I need you!

[Elisabeth:] [Elisabeth:] Wie schwer die Kette ist... How heavy the necklace is...

[Elisabeth & Franz Joseph:] [Elisabeth & Franz Joseph:] Wenn ich meinen Mut mal verlier, If I ever lose my courage, finde ich ihn wieder bei dir. I will find it again by you. Es fehlt mir nichts, I am not missing anything wenn du nur bei mir bist. If you are near me.

Ich lieb dich. I love you, Ich brauch dich... I need you… Laß mich nie allein! Don’t leave me alone!

Nichts, nichts, gar nichts / Nothing, Nothing, Absolutely Nothing

German: Direct:

[Elisabeth:] [Elisabeth:] Ich wollt ich wäre wirklich du I wish I really were you in der Zwangsjacke statt im Korsett. In the straitjacket instead of the corset. Dir schnürn sie nur den Körper ein They only constrict your body mir fesselt man die Seele. My soul is shackled. Ich habe gekämpft I have fought und mir alles ertrotzt. And obtained everything only out of stubbornness. und was hab ich erreicht? And what have I achieved? Nichts, nichts, gar nichts. Nothing, nothing, absolutely nothing.

Denn die einzige Lösung wär der Wahnsinn For the only solution would be madness und die einzige Rettung wär der Sturz. And the only salvation would be the drop. Es lockt mich der Abgrund. The abyss lures me. Ich möchte mich I want to fallen lassen - Let myself fall - warum schaudert mir vor dem Sprung? Why do I shudder before the leap?

Wär ich nicht verdammt dazu If I were not damned Elisabeth zu sein To be Elisabeth dann wäre ich Titania Then I would be Titania und würde lächeln, wenn man sagt And I would laugh when they say

88 ‘sie ist verrückt.’ ‘she is crazy.’

Ich steh auf dem Seil I stand on the tightrope und die Angst macht mich krank And the fear makes me sick denn schau ich nach unten, seh ich Because below I see Nichts, nichts, gar nichts. Nothing, nothing, absolutely nothing.

Ich taste mich weiter I feel my way forwards mit suchendem Schritt With searching steps und fürchte mich immer vor dem And am always afraid of Nichts, nichts, gar nichts. Nothing, nothing, absolutely nothing.

Wirklich frei macht To be truly free probably wahrscheinlich nur der Wahnsinn, Takes madness doch zum Wahnsinn But I lack the courage fehlt mir der Mut. To fall into complete madness.

So spiel ich die Starke So I play the strong one und tu was ich tu And do what I do als wär dieses Leben mehr als As if this life were more than Täuschung, Irrtum, Betrug An illusion, fallacy, deception. als wär As if Nichts, Nichts, gar nichts Nothing, nothing, absolutely nothing genug Were enough.

So wie man plant und denkt / As One Plans and Thinks / Best Laid Plans

German: Direct: Lyrical:

[Lucheni:] [Lucheni:] [Lucheni:] August 1853 vor der Villa Elz in August 1853 before the Villa August 1853 before the Villa Elz Bad Ischl, der Kaiser von Elz in Bad Ischl, the emperor of in Bad Ischl, the emperor of Österreich trifft eine principessa Austria meets a principessa Austria meets a principessa contadina aus dem Bauernadel. contadina from the peasant contadina from the peasant Warum? Die Mütter wollen es nobility. nobility. so, sie haben ein Rendezvous Why? Because the mothers Why? Because the mothers want geplant, weitab vom Wien am want it. They've planned a it. They've planned a Fuße der Alpen. Perché non? rendezvous, far from Vienna at rendezvous, far from Vienna at the foot of the Alps. Perché the foot of the Alps. Perché non? non?

Ein Sommer in Bad Ischl A summer in Bad Ischl A summer in Bad Ischl is always ist eine Reise wert, Is worth a trip, worth the trip und das Herz so hoffnungsvoll. And the heart is so hopeful. The country in July is grand. Sophie hat ihrer Schwester die Sophie has explained to her Sophie informs her sister: the Sache gut erklärt, Sister the plan very well, schedule it is strict, doch sie läuft nicht, wie sie soll. But things don’t run as they But things do not go as planned. should.

89 [Sophie:] [Sophie:] [Sophie:] Warum kommt ihr erst jetzt? Why are you arriving now? Why do you arrive now?

[Ludovika:] [Ludovika:] [Ludovika:] Ein Wetter hielt uns auf! A storm held us up! The weather held us up! Wir brauchen jetzt ein wenig We need a short rest… We need to take a moment's rest Ruhe... now…

[Sophie:] [Sophie:] [Sophie:] Wo denkst du hin? Der Kaiser What are you thinking? The What are you thinking? The erwartet euch um vier - Emperor expects you at four - emperor expects you at four -

[Ludovika:] [Ludovika:] [Ludovika:] Was? What? What?

[Helene:] [Helene:] [Helene:] Schon? Already? Already?

[Sophie:] [Sophie:] [Sophie:] Wie sieht Helene aus? How does Helene look? How does Helene look?

[Ludovika:] [Ludovika:] [Ludovika:] Max läßt sich entschuldigen... Max apologizes… Max sends his apologies Doch ich hab Sisi mitgebracht. But I brought Sisi along. But Sisi had to come along.

[Sophie:] [Sophie:] [Sophie:] Das Kleid ist ganz unmöglich! The dress is impossible! This dress it is atrocious, Scheußlich die Frisur! The hair horrible! And the hair too plain!

[Helene:] [Helene:] [Helene:] Ich zieh mich um! I’ll change! I can go change!

[Sophie:] [Sophie:] [Sophie:] Das geht nicht mehr! That won’t work! There is no time! Einen Kaiser läßt man nicht One does not keep an Emperor One does not leave an emperor warten! waiting! waiting!

[Lucheni:] [Lucheni:] [Lucheni:] Was nützt ein Plan - What is the use of a plan – Even the best ist er auch noch so schlau. Even a clever one – laid plans of mice and men Er bleibt doch immer Theorie. It will always remain a theory. Can only be a theory. Und nur das eine weiß man ganz And the only thing one can ever Well if you think you know then genau: know for sure: think again So wie man plant und denkt, It will never be how one plans 'Cause what you hope and plan so kommt es nie! and thinks! Will never be!

Che bel progetto, eh? Che bel progetto, eh? Che bel progetto, eh? Sarebbe bello così ma Sarebbe bello così ma Sarebbe bello così ma Attenzione, signore e signori: Attenzione, signore e signori: Attenzione, signore e signori: So wie man plant und denkt, It will never be how one plans Well what you hope and plan so kommt es nie! and thinks! Will never be!

90 A-ah! Stronzo! Ma che cazzo A-ah! Stronzo! Ma che cazzo A-ah! Stronzo! Ma che cazzo fai? fai? fai?

The mothers are chatty, Die Mütter sind gesprächig, The young Emperor is silent. The mothers they are talking, der junge Kaiser schweigt. The marriage candidate is The Emperor stays mute. Die Heiratskandidatin schwitzt. sweating. The bride-to-be, well she is Die Sache wird genierlich, Things will become sweating. weil jetzt der Kaiser zeigt, embarrassing Now things will take a turn here. daß er Eigensinn besitzt. Because the Emperor will prove The plan it will be moot, That he possesses stubbornness. And oh about that wedding…

[Sophie:] [Sophie:] Now, Franz, out with it. [Sophie:] Nun, Franz, sag rundheraus, How do you like her? Well won't you tell us now, wie sie Dir gefällt? Franz? Won't you tell the room? [Franz Joseph:] [Franz Joseph:] Who? [Franz Joseph:] Wer? What? [Sophie:] [Sophie:] Your travelling cousin. [Sophie:] Deine reizenden Kusine. Why, I mean your lovely cousin. [Franz Joseph:] [Franz Joseph:] Like a fresh almond flower [Franz Joseph:] Wie eine frische Mandel Just about to blossom. Like a sweet new rose bud just die grad zerspringt. begun to bloom. [Ludovika:] [Ludovika:] That is almost poetry! [Ludovika:] Das ist ja beinah Poesie! Why that is almost poetry! [Franz Joseph:] [Franz Joseph:] She has such lovely soft eyes… [Franz Joseph:] Sie hat so liebe, sanfte Augen... And lips red like strawberries. She has such lovely gentle eyes und Lippen rot wie Erdbeeren. and lips so berry-red. [Sophie:] [Sophie:] And a proper pelvis! [Sophie:] Und ein ordentliches Becken! And she has a decent pelvis! [Ludovika:] [Ludovika:] So? [Ludovika:] So? So? [Franz Joseph:] [Franz Joseph:] ...At the ball tonight I will [Franz Joseph:] ...auf dem Ball heut Abend tanz dance At the ball tonight I'll dance ich... with… [Sophie:] [Sophie:] Yes? [Sophie:] Ja? Yes? [Franz Joseph:] [Franz Joseph:] ...Only with her! [Franz Joseph:] ...nur mit ihr! Her alone [Ludovika:]

91 [Ludovika:] He likes her! [Ludovika:] Er mag sie! He likes her! [Sophie:] [Sophie:] Then invite her… [Sophie:] Nun, dann lad sie ein... Stand up, Well, then, invite her… Steh auf Yes, go to her! Stand up Ja, geh zu ihr! Take her arm! Go to her! Nimm sie in den Arm! Take her in your arms! [Ludovika:] [Ludovika:] How? [Ludovika:] Wie? What? [Sophie:] [Sophie:] Her? [Sophie:] Die? Her? [Lucheni:] [Lucheni:] What is the use of a plan – [Lucheni:] Was nützt ein Plan, Even a clever one – Even the best ist er auch noch so schlau, It will always remain a theory. laid plans of mice and men er bleibt doch immer Theorie. And the only thing one can ever Can only be a theory. Und nur das eine weiß man ganz know for sure: Well if you think you know then genau: It will never be how one plans think again So wie man plant und denkt, and thinks! 'Cause what you hope and plan so kommt es nie! Will never be! [Helene:] [Helene:] Three years I trained, [Helene:] Drei Jahre probiert, Practiced French, Three years I have trained, Französisch parliert, Studied manners… And studied in vain, Manieren einstudiert... Only to remain. [Helene, Sophie und Ludovika:] [Helene, Sophie und Ludovika:] Three years of admonishment, [Helene, Sophie, Ludovika:] Drei Jahre Ermahnung, Educations and planning… Three years of demanding Erziehung und Planung... For nothing! Of preening and planning… Umsonst! For not!

[Helene, Sophie, Ludovika und [Helene, Sophie, Ludovika und [Helene, Sophie, Ludovika und Lucheni:] Lucheni:] Lucheni:] All for nothing! All that for not! Alles umsonst! [All:] [Alle:] What is the use of a plan – [All:] Was nützt ein Plan - Even a clever one – Even the best Ist er auch noch so schlau, It will always remain a theory. laid plans of mice and men Er bleibt doch immer Theorie, And the only thing one can ever Can only be a theory. Und nur das eine weiß man ganz know for sure: Because the only thing you'll genau: It will never be how one plans ever know. So wie man plant und denkt, and thinks! Is what you hope and plan so kommt es nie! Will never be! [Lucheni:] [Lucheni:] And the only thing one can ever [Lucheni:] Und nur das eine weiß man ganz know for sure: genau:

92 So wie man plant und denkt, It will never be how one plans Even the best laid plans of mice so kommt es nie! and thinks! and men… Well, what you hoped and planned Will never be!

Wenn ich dein Spiegel wär / If I Were Your Mirror

German: Direct:

[Rudolf:] [Rudolf:] Wie oft hab ich How often have I waited gewartet, dass du mit mir sprichst? For you to speak with me? Wie hoffte ich, How I hoped, dass du endlich das Schweigen brichst. That you would at last break the silence. Doch dich erschreckt, But you get frightened, wie ähnlich wir beide uns sind: How similar we are: So überflüssig, So unnecessary, so überdrüssig So weary der Welt, die zu sterben beginnt. Of the world that is beginning to die.

Wenn ich dein Spiegel wär, If I were your mirror dann würdest du dich in mir sehn. Then you would see yourself in me. Dann fiel's dir nicht so schwer, Then you wouldn’t find it so difficult was ich nicht sage, zu verstehn. To understand that which I do not say. Bis du dich umdrehst, Until you turn around weil du dich zu gut in mir erkennst. Because you recognize yourself in me too well.

Du ziehst mich an You lure me to you und lässt mich doch niemals zu dir. Yet never let me near you. Seh ich dich an, I look at you weicht dein Blick immer aus vor mir. And your gaze always avoids me. Wir sind uns fremd We are strangers und sind uns zutiefst verwandt. Yet are too deeply related. Ich geb dir Zeichen, I give you signs, will dich erreichen, I try to reach you, doch zwischen uns steht eine Wand. Yet between us stands a wall.

Wenn ich dein Spiegel wär, If I were your mirror dann würdest du dich in mir sehn. Then you would see yourself in me. Dann fiel's dir nicht so schwer, Then you wouldn’t find it so difficult was ich nicht sage, zu verstehn. To understand that which I do not say.

[Elisabeth:] [Elisabeth:] Was soll die Störung? Why the disturbance? Was gibt's? What is it? Was willst du hier? What do you want here?

[Rudolf:] [Rudolf:]

93 Mama, ich brauch dich... Mama, I need you... Ich komm in höchster Not, I come in greatest distress, fühl' mich gefangen und umstellt. I feel imprisoned and surrounded. Von der Gefahr bedroht, Threatened by the danger entehrt zu sein vor aller Welt. Of being dishonored before all the world. Nur dir alleine I can trust kann ich anvertrau'n, Only you alone worum es geht. With this matter. Ich seh keinen Ausweg mehr... I cannot see an escape anymore…

[Elisabeth (gleichzeitig):] [Elisabeth (simultaneously):] Ich will's nicht erfahren... I don’t want to know...

[Rudolf:] [Rudolf:] ...Hof und Ehe sind mir eine Qual. ...Court and marriage are a torture to me. Ich krank, mein Leben leer... I sicken, my life empty...

[Elisabeth (gleichzeitig):] [Elisabeth (simultaneously):] ...kann's dir nicht ersparen. ...I cannot save you.

[Rudolf:] [Rudolf:] Und nun dieser elende Skandal! And now this scandal! Nur, wenn du für mich Only if you beim Kaiser bittest, Ask the Emperor for me ist es noch nicht zu spät. Is it not yet too late.

[Elisabeth:] [Elisabeth:] Dem Kaiser bin ich längst entglitten, I have long since slipped away from the Emperor, hab alle Fesseln durchgeschnitten. I have cut all ties. Ich bitte nie. I never beg. Ich tu's auch nicht für dich. I won’t do it for you either.

[Rudolf:] [Rudolf:] Also lässt du mich im Stich... Then you abandon me…

Wie du / Like You

German: Direct: Lyrical:

[Elisabeth:] [Elisabeth:] [Elisabeth:] Mama hat heut Abend Gäste, Mama is having guests tonight, Mama's having guests tonight das wird grauenhaft! It will be horrible! It'll be so boring! All die Onkel und die Tanten All the uncles and the aunts are All the uncles and the aunts are kommen her - coming here - coming here. Und ich wollt', ich könnt' mich And I wish I could get out of Oh how I hate their gossip, drücken The gossip and the fuss! Grown-ups talking is a bore! vor dem Klatsch und dem Getu! But the Governess won’t allow But the governess, keeps me Doch die Gouvernante läßt es it. indoors. nicht zu.

94 Vater, warum kann ich denn nicht Father, why can’t I just come Father why won’t you just let mit dir gehen? with you then? me come with you?

[Max:] Weil es nicht geht! [Max:] [Max:] Because it cannot be! It cannot be! [Elisabeth:] Alles, was dir Spaß macht, mag [Elisabeth:] [Elisabeth:] ich fast noch mehr! Everything that you enjoy, I All the things you love, I love almost like more! them more! [Max:] In diesem Fall... Es geht nicht! [Max:] [Max:] In this case…it doesn’t work! In this case…it can’t be! [Elisabeth:] Träumen und Gedichte schreiben [Elisabeth:] [Elisabeth:] oder reiten mit dem Wind. Dreaming and writing poems Oh we could write a poem Ich möchte mal so sein wie du. Or riding with the wind. Or go riding with the wind. I want to be like you some day. I want to be free like you.

[Max:] [Max:] [Max:] Das Leben ist zu kurz, Life is too short Life is too short daß man sich auch nur eine To allow oneself to be bored for For one to allow himself to be Stunde langweilen darf. even an hour. bored for even one hour. Und Familientreffen hasse ich And I hate family gatherings And family gatherings, I hate wie die Pest. like the plague. them like the plague.

[Elisabeth:] [Elisabeth:] [Elisabeth:] Ich auch... Me too… Me too… Warum darf ich heut nicht wieder Why am I not allowed to climb Father why can I not go and auf den Kirschbaum rauf? the cherry trees again? climb the cherry trees?

[Max:] Sei froh, daß dir's nicht so geht [Max:] [Max:] wie deiner Schwester... Be happy that you’re not like Be glad that you’re not stuck your sister… like your sister.... [Elisabeth:] Oder üben, auf dem Seil zu [Elisabeth:] [Elisabeth:] balancier'n. Or practice on a tightrope in the Or practice on a tightrope in the sky. sky. [Max:] ...Helene wird zur Kaiserin [Max:] [Max:] dressiert ...Helene is being trained to be ...Helene is being groomed to Empress be Empress.

[Elisabeth:] [Elisabeth:] [Elisabeth:] Oder mit den Brüdern toben Or wrestle with my brothers in Or go wrestle with my brothers auf der Wiese hinterm Haus. the meadow behind the house. in the meadow by the house.

[Max:] [Max:] [Max:] Ich misch mich da nicht ein! I don’t interfere there! I do not interfere!

95 [Elisabeth:] [Elisabeth:] [Elisabeth:] Nein, die Gouvernante läßt mich No, the Governess doesn’t let No the Governess, won't let me nicht raus! me out! go out!

[Max:] [Max:] [Max:] Ich kann dir da nicht helfen. I cannot help you there. I cannot help with that one.

[Elisabeth:] [Elisabeth:] [Elisabeth:] Vater, warum kann ich denn nicht Father, why can’t I just come Father please just let me run mit dir gehen? with you? away with you…

[Max:] Vielleicht komm ich morgen [Max:] [Max:] Nachmittag schon wieder... Perhaps I’ll be back again by I might be back tomorrow morning… afternoon…

[Elisabeth:] Nach Ägypten, Spanien oder [Elisabeth:] [Elisabeth:] Katmandu! To Egypt, , or Katmandu! To Egypt, Spain, or maybe, Katmandu!

[Max:] [Max:] [Max:] ...Höchste Zeit! ...Have a good time! ...Have fun!

[Elisabeth:] [Elisabeth:] [Elisabeth:] Leben, frei wie ein Zigeuner Life, free as a Gypsy* Living free like a Gypsy* mit der Zither unterm Arm. With a zither under my arm. Just a tambourine in toe. Nur tun was ich will... Just do what I want… Just to do what I want…

[Max:] [Max:] [Max:] Adieu, Sisi Adieu, Sisi Adieu, Sisi

[Elisabeth:] [Elisabeth:] [Elisabeth:] ...und woll'n, was ich tu. ...And do what I want. ...And to love what I do.

[Max:] [Max:] [Max:] Sei brav Be good. Be good.

[Elisabeth:] [Elisabeth:] [Elisabeth:] I want to be like you some day! Someday I’ll be as free as you! Ich möchte mal so sein wie du!

*Gypsy is an offensive term for the Roma and Sinti peoples to which Sisi is referring, but the equivalent German term Zigeuner is used in the original lyrics and was translated as such.

96 Wie du Reprise / Like You Reprise

German: Direct:

[Elisabeth:] [Elisabeth:] Oh, ich fühle deine Nähe. Oh, I feel your presence Komm und zeig dich! Come and show yourself! Ich ahn, verwandte Seele, wer du bist. I feel, kindred spirit, who you are. Ich erwart dich, Heinrich Heine, bleib bei mir, I await you, Heinrich Heine [German poet], stay by enttäusch mich nicht! Komm und diktier mir me, noch ein Gedicht! Don’t disappoint me! Come and dictate to me Ich hab Feder und Papier stets bereitgelegt. Another poem! I have a feather and paper always laid out, ready.

[Max:] [Max:] Mir fällt nichts ein. I can’t think of any.

[Elisabeth:] [Elisabeth:] Vater! du wüsstest ich erkenn dich. Father! I knew I would recognize you.

[Elisabeth & Max:] [Elisabeth & Max:] Träumen und Gedichte schreiben oder reiten mit Dreaming and writing poems or riding with the dem Wind. wind.

[Elisabeth:] [Elisabeth:] Ich wollte mal so sein wie du. I once wanted to be like you.

[Max:] [Max:] Warum sprichst du mit den Toten, das gefällt mir Why do you speak with the dead: I don’t like that. nicht.

[Elisabeth:] [Elisabeth:] Was soll ich denn mit den Lebenden noch reden? Why should I speak with the living?

[Max:] [Max:] Du bist zynisch, du bist bitter und allein. You are cynical, you are bitter and alone.

[Elisabeth:] [Elisabeth:] Sie haben mich zur Kaiserin dressiert! The have trained me to be Empress!

[Max:] [Max:] Um dich selber einzuschließen, musstest du dich You didn’t need to free yourself in order to lock nicht befreien. yourself in.

[Elisabeth:] Mich ekelt alles an! [Elisabeth:] Everything sickens me! [Max:] Man muss sich bemühen, glücklich zu sein! [Max:] One must try to be happy!

97 [Elisabeth:] Wozu sich selbst belügen? [Elisabeth:] Why should one lie to oneself?

[Max:] [Max:] Du hast niemals aufgegeben! Niemals! You never gave up! Never!

[Elisabeth:] [Elisabeth:] Vielleicht, weil ich noch nichts wusste von den Perhaps because I didn’t yet know anything of Menschen. people.

[Max:] [Max:] Wolltest leben ohne Zügel und tabu! You wanted to live without reigns or taboo!

[Elisabeth:] [Elisabeth:] Das ist wahr! That is true!

[Elisabeth & Max:] [Elisabeth & Max:] Leben frei wie ein Zigeuner* mit der Zither unterm Living free like a Gypsy with a zither under my Arm. arm.

[Elisabeth:] [Elisabeth:] Nun ist es zu spät. Now it is too late.

[Max:] [Max:] Adieu, Sisi. Adieu, Sisi.

[Elisabeth:] [Elisabeth:] Jetzt bin ich aus Stein. Now I am made of stone. Nie werde ich so sein wie du! I will never be like you!

*Gypsy is an offensive term for the Roma and Sinti peoples to which Sisi is referring, but the equivalent German term Zigeuner is used in the original lyrics and was translated as such.

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