CDS7876 (DDD) Erich Wolfgang Korngold (Brno, 1897 – Los Angeles, 1957) VIOLANTA Opera in one act - Libretto by Hans Müller Original version sung in German - Edition: Schott Musik FIRST ITALIAN PERFORMANCE

Violanta Annemarie Kremer Simone Trovai Michael Kupfer-Radecky Alfonso Norman Reinhardt Giovanni Bracca Peter Sonn Bice Soula Parassidis Barbara Anna Maria Chiuri Matteo Joan Folqué First Soldier Cristiano Olivieri Second Soldier Gabriel Alexander Wernick First Maid Eugenia Braynova Second Maid Claudia De Pian

Conductor: Pinchas Steinberg Chorus Master: Andrea Secchi

Orchestra and Chorus Teatro Regio Torino New staging Teatro Regio Torino

Recording, Editing and Post-production: Rino Trasi

Recorded at: Teatro Regio Torino, 21st and 23rd January 2020

SUNG IN GERMAN TRACKLIST

01 Vorspiel (Orchestra) 05:22 02 Unsere Barke blüht schon (Chorus; First Maid; Second Maid; First Soldier; Second Soldier) 02:54 03 He, was machst du? (Matteo; Second Soldier; First Soldier; Bice; First Maid; Barbara; Chorus) 05:20 04 Schweigt still! Wie oft hab ichs gesagt (Simone; Second Soldier; Barbara; Matteo; Bice) 02:46 05 Ich hol dich. Komm! (Giovanni; Simone) 01:50 06 Sie hasst ihn! (Simone; Giovanni) 03:13 07 Wein! Blumen! Lichter! Geigenhauch… (Giovanni; Violanta; Simone) 02:05 08 Violanta? (Simone; Violanta) 03:21 09 Aus den Gräbern... (Violanta; Chorus; Simone) 02:07 10 Dann hör ich durch Nacht und Stille (Violanta; Simone) 01:45 11 Violanta! - Ja, du wirst ihn töten (Simone; Violanta) 02:18 12 Ja, du wirst ihn töten! (Violanta; Simone) 01:25 13 Dicht Aug in Aug (Violanta; Simone) 01:40 14 Barbara! Bring Lichter! (Violanta; Barbara) 03:07 15 Wie ging das Märchen, Barbara (Violanta; Barbara) 02:40 16 Interludio (Orchestra) 02:28 17 Der Sommer will sich neigen... (Alfonso; Violanta) 03:11 18 Wie schön seid Ihr (Alfonso; Violanta) 03:31 19 Noch nicht das Lied! (Violanta; Alfonso) 03:50 20 Sterben wollt ich oft (Alfonso) 05:15 21 Mona Violanta...? (Alfonso; Violanta) 05:08 22 Nie hab ich gelebt im Augenblick (Violanta; Alfonso) 03:42 23 Reine Liebe, die ich suchte (Alfonso; Violanta) 03:09 24 Violanta! (Simone; Violanta; Alfonso) 02:28 25 Du riefst, hier bin ich (Simone; Violanta; Alfonso) 02:09 26 Still... mich tragen Wogen silberrein! (Violanta; Giovanni; Simone) 02:28

TOTAL RUNNING TIME 79:28 Le dirò con due parole… della testimonianza letteraria di Musil e Kraus, a cura di Donatella Meneghini di George e Rilke, di Schnitzler e di Hofmannsthal; dell’architettura di Otto Per il pubblico italiano habitué dei teatri d’o - Wagner; del contrasto tra la grazia dello pera non si può certo affermare che il titolo Jugendstil e L’urlo espressionista di Munch. Violanta sia familiare, così come il suo compo - In ambito musicale, inoltre, la capitale austria - sitore, Erich Wolfgang Korngold. Eppure, la ca era il luogo di approdo di quel linguaggio prima rappresentazione dell’opera, avvenuta che, provenendo dalla grande tradizione clas - allo Hoftheater di Monaco il 28 marzo 1916, fu sica della prima Scuola di Vienna, poi di accolta con grande successo di pubblico e di Brahms, Mahler, Strauss, Zemlinsky, era giun - critica, confermando il diciottenne composito - to attraverso una graduale trasformazione a re austriaco un vero enfant prodige . Il titolo sfaldarsi con Schönberg, epicentro di un radi - peraltro era abbinato a un altro atto unico, – cale rinnovamento; al contempo, nell’ambito Der Ring des Polykrates , terminato da della critica musicale il padre di Korngold, Korngold un paio d’anni prima – non solo a Julius, aveva sostenuto il giovane Mahler in Monaco ma anche nella successiva rappre - tempi non sospetti e costituiva uno dei massi - sentazione viennese del 10 aprile 1916 . A diri - mi esponenti dell’epoca, tanto da essere con - gere la prima fu Bruno Walter, che di quel tea - siderato l’erede del celebre Hanslick. tro era direttore musicale, già assistente e col - Allievo di Zemlinsky ed elogiato da Mahler per le laboratore di Mahler ad Amburgo e a Vienna. sue qualità, Erich si formò in questo crogiuolo di Una città, quest’ultima, che a cavallo tra Otto correnti artistiche, recependo stimoli di diversa e Novecento rappresentava un luogo di con - provenienza; riversati in toto in Violanta , fanno di trasti: vi convivevano nostalgia del passato e quest’opera una sorta di “piccola Vienna”. tendenze innovative, immobilismo ed energia Impreziosita da combinazioni strumentali che creatrice. Incapace di aprire gli occhi su una denotano una precoce raffinatezza nell’orche - crisi che avrebbe portato al suo imminente strazione e da effetti timbrici Jugendstil , compli - disfacimento politico (la Grande Guerra era ce l’utilizzo di arpe, celesta, pianoforte, mandoli - alle porte), la classe aristocratica viennese, no e Glockenspiel, per quanto riguarda il lin - cieca e sorda (volutamente o no) nei confronti guaggio musicale quest’opera è teatro di incon - di un intenso fermento culturale, si nasconde - tri e di contrasti stilistici. Se il tentativo di va dietro una facciata spensierata, cercando Korngold di modernizzarlo perviene a soluzio - nella musica da ballo, nei caffè-concerto e ni armoniche “allargate” – anche attraverso nelle operette occasioni di evasione. Siamo l’utilizzo di cromatismi e scale esatonali – que - nella stessa Vienna della psicanalisi freudia - ste sono comunque sempre funzionali alla na, della Secessione, di Klimt, di Schiele; drammaturgia dell’opera e mai protese verso 5 l’abbandono della tonalità. L’opera è impre - cologico della protagonista senza divagazioni di gnata di romanticismo tedesco intensificato sorta. Mossa da un sanguigno desiderio di ven - da un’ampiezza di respiro tipica di tante frasi detta nei confronti di chi aveva sedotto e spinto wagneriane, mahleriane o dello Strauss sinfo - al suicidio la sorella, Violanta coinvolge il marito nista, anche se vi sentiamo echi del mondo Simone inducendolo all’omicidio. Ma dopo aver dell’operetta e della leggerezza musicale conosciuto e sedotto la propria vittima – degli Strauss padre e figlio. Non solo: l’accor - Alfonso, figlio illegittimo del re di Napoli – l’odio do che apre l’opera, nel Preludio, subito di Violanta si trasforma in passione, capovolgen - seguito da scale e arpeggi dal timbro cristalli - do il suo ruolo. Una passione tale da indurla ad no, raccoglie su di sé sapori debussyani, ma assorbire il colpo inferto dal marito, pur di salva - insieme anche di Schönberg e Bartók, avvol - re Alfonso. gendo lo spettatore in una cupa atmosfera da Con altre opere sue contemporanee, fra le altre Il castello del duca Barbablù ; bastano però Eine florentinische Tragödie di Zemlinsky, poche battute perché il discorso musicale si Violanta condivide la particolare ambientazione espanda in un’ampia frase di intensa cantabi - nell’Italia del XV secolo – nello specifico Venezia lità che oggi riconosciamo come un’anticipa - – nella descrizione per alcuni aspetti approssi - zione di quelle colonne sonore hollywoodiane mativa di Hans Müller (1882-1950), autore del che dagli anni Trenta resero celebre il compo - libretto. La vicenda passionale si svolge in ambi - sitore e gli valsero ben due Oscar. to carnevalesco, nella casa del capitano Simone Pare ovvio dunque che il successo della Trovai, sul canale della Giudecca; il canto corale musica di Korngold stia proprio nell’aver delle maschere – «Fuor da tombe anco i morti / saputo creare un linguaggio “ad ampio spet - danzan oggi a braccetto, / son banditi gli scon - tro”, ossia in grado di colpire il gusto e la sen - forti, / il piacer s’allegra eletto» –, fungendo da sibilità di un pubblico molto vasto – e forse in Leitmotiv nel corso dell’opera, se da un lato questa ecletticità sta anche il limite: quello di alleggerisce la drammaticità della vicenda, dal - non aver saputo caratterizzarsi in un idioma l’altro si pone come un ostinato che sottolinea il dalla forte personalità. crescendo della tensione emotiva. La struttura in un atto unico, al pari di tanta let - A un primissimo approccio Violanta può sem - teratura operistica concepita in quegli anni, in brare un dramma passionale di stampo verista, area germanica ma non solo – da Salome ma in realtà alcuni elementi lo allontanano da (1905) ed Elektra (1909) di Strauss a Erwartung questa connotazione: dal punto di vista musica - (1909) di Schönberg, fino al già citato Castello le abbiamo già accennato alla propensione di del duca Barbablù (1911) –, non impedisce all’a - Korngold verso certe raffinatezze timbriche e zione di svilupparsi appieno e, anzi, permette la verso sonorità cupe tipicamente espressioniste focalizzazione dell’attenzione sul trapasso psi - e decadenti; ricordiamo anche l’ampiezza delle 6 linee melodiche dal carattere lirico e slanciato Trama che si stagliano su un tessuto orchestrale Venezia è in festa per il Carnevale. In casa del denso, anche grazie all’abbondante utilizzo di Capitano Simone Trovai, ancelle e soldati si Leitmotive . Dal punto di vista drammaturgico e accalcano alle finestre per vedere il passag - psicologico, se da un lato l’idea della ricongiun - gio delle fiaccolate dei festanti, scandito dal zione amorosa “nella” e “attraverso” la morte canto «Fuori dalle tombe, persino i morti oggi può sembrare debitrice del Tristan und Isolde danzano stretti in un abbraccio…». I soldati si wagneriano («Nelle braccia tue / desir e morte»), prendono gioco del giovane Matteo, innamo - in realtà sono i concetti di femme fatale (tipica rato della moglie di Simone, Mona Violanta. figura del Decadentismo) e di redenzione a L’allegria generale è bruscamente interrotta essere messi in gioco, nuovamente attraverso il dall’arrivo del padrone di casa. Uomo rigoro - contrasto e la sintesi: nel corso delle sette scene so, Simone impone il silenzio, ricordando ai in cui è divisa l’opera, che sfociano l’una nell’al - presenti che non tollera la canzone di tra, Violanta, spinta dall’odio, avvicina Alfonso Carnevale nella sua casa. Poi chiede se qual - attraverso l’arte della seduzione («E m’insinuai cuno ha visto Violanta, e alla risposta negativa fin al suo cospetto. / Danzando e sospirando / congeda i soldati e manda Bice a casa della tremando e languendo / attirai il seduttor alle suocera, per vedere se fosse lì. mie spalle»); ma quel «tremando e languendo» Rimasto solo, Simone riceve la visita del pitto - rivela una debolezza che confluisce nella consa - re Giovanni Bracca, che lo invita ad andare in pevolezza di essere diventata la sua preda («Ed Piazza San Marco a vedere le maschere. oggi mi ha fatta sua serva…»): ormai ha scoper - Simone ricusa, ma quando sa che c’è anche to di amarlo e sa che soltanto attraverso la morte Alfonso, un noto seduttore che è stato la di Alfonso potrà liberarsi dal desiderio. Tuttavia, causa del suicidio di Nerina, la sorella di non può tollerare la vergogna e, desiderando Violanta, incuriosito, accetta. Da quando sopra ogni altra cosa la propria purezza, attra - Nerina è morta, Violanta è entrata in una sorta verso un trapasso psicologico Violanta com - di depressione ed è distante, anche nei suoi prende che potrà redimersi soltanto attraverso confronti. Simone e Giovanni sono già alla la propria morte. In questo modo, su una lumi - porta, quando entra Violanta, con maschera e nosa armonia di do maggiore, riconquisterà la fiori. Informa Simone di essere stata alla festa propria fedeltà al marito («Grazie, uom severo, a San Marco e gli chiede di rimanere con lei. or tua moglie è di nuovo tua!»), per raggiungere, Uscito Giovanni, Violanta dice senza apparen - subito dopo, la «suprema salvezza. te emozione a Simone che l’uomo che lei odia profondamente sta per arrivare a casa loro. È Per gentile concessione del Teatro Regio Torino andata a cercarlo in Piazza San Marco e l’ha invitato a seguirla, senza che Alfonso sospet - 7 tasse la sua identità. Simone è senza parole. zia. Violanta si avvicina alla finestra, singhioz - Quando chiede alla moglie perché l’abbia zando. Quello che temeva è avvenuto, il suo fatto, si sente rispondere che è perché lui lo odio si è tramutato in amore, un amore prova - uccida. Simone esita, ma Violanta cade ai to fin dal primo istante e che ha inutilmente suoi piedi e implorando gli dice che non potrà cercato di ignorare. Anche lei ha vissuto una né vivere, né sorridere, né baciarlo finché vita priva di vero amore, nella tetra casa di Alfonso rimarrà vivo. Simone ricorda alla Simone Trovai. Alfonso e Violanta cadono moglie che Alfonso è figlio di un re; Violanta nelle braccia l’uno dell’altra. Violanta lo esorta risponde che in piazza si è già sentita schiava ad andarsene, Alfonso invece la invita a vivere di quell’uomo e non si sa mai quando l’odio in questo momento con gioia. Si ode Simone un cuore possa mutarsi in amore. A queste chiamare la moglie. Alfonso chiede a Violanta parole Simone non ha più dubbi: Alfonso di cantare finalmente la canzone del deve morire. Si nasconderà e quando sentirà Carnevale e lei la intona con voce strozzata. Violanta cantare la canzone del Carnevale All’arrivo di Simone, Violanta lo implora di non «Fuori dalle tombe, persino i morti oggi dan - uccidere Alfonso, perché – gli rivela – si è zano stretti in un abbraccio…» sarà il segnale innamorata di lui. Simone è sbigottito. che potrà uscire e colpire la sua vittima. Ripresosi, si lancia su Alfonso per vibrare il Alfonso entra gioioso. Alle sue lusinghe, colpo fatale ma ferisce invece a morte Violanta replica che indubbiamente non è l’u - Violanta, che si è frapposta per salvare l’ama - nica ad essere stata nel suo cuore, ma to e salvare sé stessa dal peccato e dalla ver - Alfonso le risponde che la sua voce melodio - gogna. Simone cade in ginocchio accanto sa non è fatta per biasimare, di cantargli inve - alla moglie, la quale esclama che ora è salva, ce la canzone del Carnevale. Violanta rifiuta e ora è di nuovo sua moglie. Violanta spira temporeggia, e quando lui infine le chiede mentre fuori si ode ancora il coro dei festanti perché non voglia soddisfare il suo desiderio, che cantano l’inno del Carnevale. lei gli risponde che è perché è l’ultima canzo - ne che lui sentirà prima di morire. Alfonso, inorridito, le chiede chi sia. Violanta gli rivela di essere la sorella di Nerina e con amarezza gli ricorda come lui abbia riso nell’apprendere della sua morte e gli rinfaccia la sua esistenza da seduttore. Alfonso ha un moto d’ira: può affrontare la morte ma non intende tollerare i suoi insulti. Poi, più calmo, le racconta della sua vita priva di amore dalla più tenera infan - 8 Norman Reinhardt (Alfonso), Annemarie Kremer (Violanta) and Michael Kupfer-Radecky (Simone Trovai)

9 Annemarie Kremer (Violanta) and Michael Kupfer-Radecky (Simone Trovai)

10 Norman Reinhardt (Alfonso), Annemarie Kremer (Violanta) and Michael Kupfer-Radecky (Simone Trovai)

11 Norman Reinhardt (Alfonso) and Annemarie Kremer (Violanta)

12 Anna Maria Chiuri (Barbara) and Annemarie Kremer (Violanta)

13 “I will tell you, in two words…” the grace of Jugendstil and Munch’s expres - by Donatella Meneghini sionistic Scream . In the music field, moreover, the Austrian capital was the place where, from For Italian opera goers Violanta is undoubted - the great classical tradition of the first Vienna ly not a very familiar title, not is its composer, School, through Brahms, Mahler, Strauss and Erich Wolfgang Korngold. And yet the opera’s Zemlinsky, the language had undergone a première, which took place at Munich’s gradual transformation until it had broken up Hoftheater on 28th March 1916, reaped great with Schönberg, epicentre of a radical renew - success with public and critics, confirming al; in the same period, in the field of musicol - that the eighteen-year-old Austrian composer ogy, Julius Korngold, Erich’s father, had sup - was a true prodigy. The title was paired with ported a young Mahler when he was not yet another single-act opera – Der Ring des known, and was one of the greatest expo - Polykrates , written by Korngold a couple of nents of the day, considered, indeed, the heir years before – not only in Munich but also in of the famous Hanslick. the Vienna performance of 10th April 1916. A pupil of Zemlinsky and praised by Mahler The first performance was conducted by for his talent, Erich grew up in this environ - Bruno Walter, who was the theatre’s musical ment of artistic movements, absorbing inputs director and had been Mahler’s assistant in of different provenance; all present in Violanta , Hamburg and Vienna. The Austrian capital, they make of this opera a sort of “small-scale from the late 1800s to the early 1900s, was a Vienna”. Enriched by instrumental combina - place of contrasts: in it, coexisted nostalgia of tions that denote a precocious sophistication the past and innovative trends, immobilism in orchestral writing and by Jugendstil tone- and creative energy. Unaware of the crisis that colour effects thanks to the use of harps, would determine their imminent political celesta, piano, mandolin and Glockenspiel, defeat (World War One was at the door), the the music language of this opera is a stage Viennese aristocratic class, blind and deaf where different styles meet and clash. If (intentionally or not) to such intense cultural Korngold’s efforts to modernize it result in ferments, hid behind a light-hearted façade, “widened” harmonic solutions – also via the seeking opportunities of escape in dance use of chromaticism and hexatonal scales –, music, café-concerts and operettas. It is the they are always functional to the dramaturgy Vienna of Freud’s psychoanalysis, of of the work and never aimed at the relinquish - Secession, of Klimt, of Schiele; of the literary ment of tonality. The opera is imbued with works of Musil and Kraus, George and Rilke, German romanticism, heightened by the Schnitzler and Hofmannsthal; of the architec - breadth of phrasing typical in so much of ture of Otto Wager; of the contrast between Wagner and Mahler and in Strauss’ symphon - 14 ic writing, but we also hear echoes of the become her accomplice and kill him. But after operetta world, and of the lightness of meeting and enticing her victim – Alfonso, the Strauss, father and son. That is not all: the illegitimate son of the King of Naples – her chord opening the opera, in the Prelude, feelings turn into passion, and her part is immediately followed by the crystal-clear tone overturned. So strong is her love for him now colour of scales and arpeggios, has flavours that in order to save Alfonso’s life she takes of Debussy, but at the same time also of the blow meant for him. With other contempo - Schönberg and Bartók, wrapping the specta - rary operas, among them Zemlinsky’s Eine tor in a gloomy atmosphere, à-la Bluebeard’s florentinische Tragödie , Violanta shares the Castle ; but a few measures later, the musical 15th-century Italian setting – in this case discourse has already expanded into an Venice – though the descriptions of Hans ample, intensely lyrical phrase, which today Müller (1882-1950), the libretto’s author, are we recognize as an anticipation of those for some aspects approximate. This story of Hollywood soundtracks that, from the 1930s, passion unravels during the carnival period. in made the composer’s renown and earned the home of Captain Simone Trovai, on the him as many as two Oscars. Giudecca canal; the masks’ chorus – «Fuor It seems clear, therefore, that the success of da tombe anco i morti / danzan oggi a brac - Korngold’s music lies in his ability to create a cetto, / son banditi gli sconforti, / il piacer s’al - multi-faceted language, which could meet the legra eletto» (« Out of their graves, even the taste and sensitivity of a vast public – although dead / dance arm-in-arm, today, / any dejec - this eclecticism, perhaps, is also its limit, for it tion is banished, / happiness is the elected is not a language with a strong personality. pleasure») –, acting as Leitmotiv of the opera, Violanta ’s single-act structure – like in many on one hand softens the drama of the story, operatic works of the time in German-speak - on the other is an “ostinato” that underlines ing countries and elsewhere, from Strauss’ the crescendo of emotional tension. Salome (1905) and Elektra (1909) to At first sight, Violanta appears as a love drama Schönberg’s Erwartung (1909), and the in the Verismo mould, but some elements, above-mentioned Bluebeard’s Castle (1911) – actually, distance it from this connotation. does not prevent the full development of the From the musical point of view, we already story; indeed, it helps focus on the psycho - mentioned Korngold’s propensity for the logical transition of the protagonist, eliminat - refined use of tone colours and for dark, typi - ing any digression. Driven by a powerful cally expressionistic and decadent sound desire of revenge against the man who had combinations; we must also draw attention to seduced and led to the suicide of her sister, this work’s broad, expressive and soaring Violanta persuades her husband Simone to melodic lines, rising above dense orchestral 15 textures, also thanks to the abundant use of Synopsis Leitmotive . From the dramaturgical and psy - All of Venice is celebrating Carnival. In the chological points of view, if the idea of a cou - house of Captain Simone Trovai, maids and ple being reunited in and through death can soldiers crowd at the windows to watch the seem indebted to Wagner’s Tristan und torchlit processions of masked people Isolde , the most important concepts are those singing the Carnival song «Out of their graves, of femme fatale (a typical Decadent figure) even the dead dance arm-in-arm, today…». and of redemption, once again through both The soldiers mock young Matteo, who is smit - contrast and synthesis: in the course of the ten with Simone’s wife, Lady Violanta. The opera’s seven scenes, which flow one into the general happiness is brusquely interrupted by other, Violanta, driven by hatred, approaches the arrival of Simone. A rigorous man, he Alfonso using her seductive arts («E m’insinu - silences them all, telling them that he won’t ai fin al suo cospetto. / Danzando e sospiran - tolerate people singing the Carnival song in do / tremando e languendo / attirai il seduttor his house. He then asks if anyone has seen alle mie spalle» - And I went right up to him. / his wife and when the answer is no, he dis - Dancing and sighing, / quivering and pining, / misses the soldiers and sends Bice to the I attracted the seducer to follow me); but that house of his mother-in-law, to see if Violanta «trembling and pining» betrays a weakness might be there. that turns into awareness, the awareness of Left alone, Simone receives the visit of the having become his prey («And today he has painter Giovanni Bracca, who invites him to made me his slave…»): she has realized that go with him to Piazza San Marco to watch the she loves him and that only Alfonso’s death Carnival. Simone refuses, but when he learns can release her from desiring him. However, that there will be Alfonso, a famous seducer she cannot tolerate shame and, since purity is who was the cause of the suicide of Nerina, the most important virtue for her, through a Violanta’s sister, driven by curiosity he psychological journey, Violanta realizes that accepts. Since Nerina’s death, Violanta has she can only redeem herself through her own been distant, taciturn. Simone and Giovanni death. And so, over a bright C major harmo - are already at the door when Violanta arrives, ny, she reconquers her marital faithfulness with mask and flowers. She tells Simone that («Grazie, uom severo, or tua moglie è di she has just come from San Marco’s and asks nuovo tua!» - «Thank you, rigorous man, now him to remain with her. your wife is yours again!») and, a moment Once Giovanni has left, Violanta informs later, she attains the ultimate salvation. Simone, without any apparent emotion, that the man she hates so deeply will soon come Courtesy of Teatro Regio Torino to their house. She has gone in search of him 16 at San Marco’s and enticed him to follow her, goes to the window, sobbing. What she without Alfonso suspecting her identity. feared has happened, hatred has turned into Simone is flabbergasted. He asks his wife love, a love she felt ever since seeing Alfonso why she has done such a thing and her reply and which she vainly tried to hide to herself. is that it is so that he can kill him. Simone hes - She too has led a loveless life, in the rigorous itates, but Violanta falls at his feet and house of Simone Trovai. Alfonso and Violanta implores him, saying she will not live, or smile fall into each other’s arms. Violanta exhorts or kiss any more until Alfonso is dead. Simone him to leave; Alfonso instead invites her to live reminds her that the man is the son of a king; this moment with happiness. Suddenly they Violanta retorts that already, in the square, hear Simone call his wife. Alfonso once again she felt enslaved by him and one never knows asks Violanta to sing the Carnival song, and when hatred in one’s heart can turn into love. she finally does, in a choked voice. At these words, Simone has no more doubts: When Simone bursts in, Violanta implores him Alfredo must die. He will hide and when he not to kill Alfonso because – she reveals – she hears Violanta sing the Carnival song, it will has fallen in love with him. After a moment of be the signal that he can come out and strike surprise, Simone hurls himself against the his victim. man, dagger in hand, but his blow instead Alfonso arrives, full of joy. He compliments wounds to death Violanta, who has come in- Violanta for her beauty, but she replies that between them to save her beloved and at the she is undoubtedly not the only one he has same time save herself from sin and shame. courted. Alfonso does not give up: her beau - Simone falls on his knees beside his wife, tiful voice is not made for blaming, she ought whose last words to him are that she is once rather to use it to sing him the Carnival song. again his wife. Violanta then dies, while in the Violanta refuses, she stalls, and when he asks streets and canals below merry masks sing her why she won’t sing it, she tells him that it the Carnival song. is because it is the last song he will hear before dying. Horrified, Alfonso asks her who she is. Violanta reveals that she is Nerina’s sister; she bitterly reminds him that he laughed when he heard of her death and accuses him of leading a sinful life. Alfonso angrily tells her that he’ll face death but does not intend to be insulted by her. Then, more calmly, he reveals that he has never known true love, ever since he was an infant. Violanta 17 18 19 LIBRETTO with parallel English translation

20 VIOLANTA VIOLANTA Oper in einem Akt Opera in a single act

Text von Libretto by Hans Müller Hans Müller

Musik von Music by Erich Wolfgang Korngold Erich Wolfgang Korngold

Simone Trovai , Hauptmann der Republik Simone Trovai , a Captain of the Venice Venedig - Bass-Bariton Republic - bass-baritone Violanta , seine Gattin Sopran Violanta , his wife - soprano Alfonso , natürlicher Sohn des Königs von Alfonso , illegitimate son of the King of Neapel - Tenor Naples - tenor Giovanni Bracca , ein Maler - Tenor Giovanni Bracca , a painter - tenor Bice - Sopran Bice - soprano Barbara , Violantas Amme - Alt Barbara , Violanta’s nurse - alto Matteo - Tenor Matteo - tenor Erster Soldat - Tenor First Soldier - tenor Zweiter Soldat - Bariton Second Soldier - baritone Erste Magd - Sopran First Maid - soprano Zweite Magd - Mezzo-Sopran Second Maid - mezzo

Soldaten, Schiffer, Mägde, Masken. Soldiers, boatmen, maids, masks.

Venedig, 15. Jahrhundert. Venice, 15th century.

01 Vorspiel 01 Prelude

I. Szene First Scene Das Haus des Hauptmanns Simone Trovai am The house of Captain Simone Trovai on the Kanal der Giudecca. Schöner Raum, streng Giudecca canal. it is a fine place, rigorous in und ernst in den Linien, doch geschmückt mit its layout but embellished with several works 21 vielerlei Zeugnissen der Kunst. Hinten weite, of art. At the back, open windows and a stone offene Fenster und ein Steinbalkon auf die balcony overlooking the lagoon. On the left, Lagune hinab. Auftrittstüre links, rechts zwei the entrance door, on the right two other Türen. Abend. Wenn der Vorhang sich öffnet, doors. It is evening. When the curtain opens, erglüht die Bühne einen Augenblick lang in the scene is suffused with a reddish and mag - einem tiefroten, magischen Schimmer, des - ical light, which tinges the lagoon in a vibrant sen Feuerwerk die ganze Lagune purpurn auf - purple hue. Then darkness falls; at the win - zittern macht. Dann Dunkel; in den Fenstern, dows, only visible as motionless shadows, sol - unbewegt und nur wie Schatten sichtbar, leh - diers and maids appear. Beneath, torches and nen die Soldaten und Mägde. Drunten lanterns slide by, songs and shouts resound, huschen Fackeln und Lampions vorüber, oar strokes can be heard. For a moment on Gesang und Rufe klingen, der Schlag der the scene all is perfectly still. Ruder tönt. Eine Weile bleibt es auf der Bühne selbst völlig still.

02 Schiffer - (von unten) 02 Boatmen - (from beneath) „Unsere Barke blüht schon wie ein Weinberg, «Our boat is like a rich vineyard, und unser Mund quillt über wie drei Brunnen...“ and from our lips three fountains gush out…». Va Via! Va Via! Away! Away! Zu den Fenstern fliegen Blumen herauf, farbi - (Colourful paper streamers and flowers fly up, ge Papierbänder. as high as the windows ) Zweite Magd - Schau! Ein Herr im Second Maid - Look! A nobleman with a Dogenmantel! doge’s cloak! Erste Magd - Ein Stutzer, angetan als First Maid - A dandy in an executioner cos - Henker, tume, die Hände rot wie Blut. Haha! his hands tinged as red as blood. Ha, ha! Erster Soldat - (wirft Flitter hinab) First Soldier - (throwing glitters) Tänzerinnen vom Teatro Felice! Ballet dancers of the Felice Theatre! Da habt ihr Perlen um euern Leib! Here are pearls for your bodies! Gesang von unten - (Chor hinter der Szene) Chorus offstage - „Aus den Gräbern selbst die Toten « Out of their graves, even the dead tanzen heute Brust an Brust… dance arm-in-arm, today, Alles Trübe ist verboten, any dejection is banished, heiß zum Himmel jauchzt die Lust.“ happiness is the elected pleasure». Chor der Schiffer - „Unsere Barke blüht Chorus of Boatmen - «Our boat is like a rich 22 schon wie ein Weinberg, vineyard, und unser Mund quillt über wie drei Brunnen...“ and from our lips three fountains gush out…». Va Via! Va Via! Away! Away! Zweiter Soldat - ( stößt Matteo an, einen Second Soldier - (to Matteo, a young lad ganz jungen Burschen, der allein abseits an who is leaning der Wand lehnt ) against a wall) 03 He, was machst du? 03 Hey you, what are you doing? Matteo - Lass mich. Nichts. Matteo - Leave me alone. Nothing. Zweiter Soldat - Denkst du wieder an die Second Soldier - Are you still thinking of gnädige Frau, your fair lady, Du grüner Esel? you tenderfoot? Matteo - Lass mich. Schweig. Matteo - Leave me alone. Shut up. Zweiter Soldat - (legt die Hände als Trichter Second Soldier - (putting his hands to his an den Mund) mouth funnel-shaped) Matteo ist verliebt in Mona Violanta. Matteo is in love with Lady Violanta. (Gelächter) (laughter) Matteo - (zitternd) Matteo - (quivering) Ich schlag dich mit den Fäusten. Schweige. I’ll punch you. Shut up. Erster Soldat - (parodistisch gefühlvoll) First Soldier - (mockingly sentimental) Er träumt von ihren weißen Gliedern, He dreams of her white body, worauf der Mond die Laute spielt… in honour of which the moon plays the lute... Erste Magd - (übermütig lachend) First Maid - (laughing coarsely) Allein sie scheut sich, zu erwidern Only the lady does not want to reciprocate was sie nicht selbst im Busen fühlt. sentiments that her heart does not feel. Matteo - (stürzt im Dunkeln auf sie los) Matteo - (rushing against them in the darkness) Ihr Hunde! Dogs! Von allen Seiten fliegen ihm Konfetti, Papierstreifen, (Confetti and streamers fly against him. Bice, Erbsen entgegen. Bice, die Kammerzofe, stürzt the maid, bursts in out of breath and laughing, lachend und atemlos herein, im Kostüm einer in a Colombina costume; behind her are Colombine hinter ihr Stutzer und Masken. dandies and masks.) Bice - ( durch die offene Türe fällt seitlich hel - Bice - (lit by some light filtering from an open les Licht auf sie ) side door) Haha! Sogar bis hierher folgen sie. Ha ha! They have followed me all the way here. Erste Magd - Wer? First Maid - Who? Bice - Ei, die kecken Kavaliere. Bice - Oh, the cheeky gentlemen. 23 Und kniff ich sie nicht in den Arm, If I had not pinched their arms, sie küssten mich noch in der Türe. they would have kissed me even on the threshold. Von rechts ist die alte Barbara eingetreten, (Old Barbara has entered from the right, with mit Lichtern. lamps.) Barbara - Wo ist die gnädige Frau? Barbara - Where is our dear lady? Der Trubel verstummt ein wenig. (The noise abates a little.) Hat einer sie gesehen? Has anyone seen her? Ich such sie überall. Bice, I’ve been looking for her everywhere. Bice, sahst du sie? have you seen her? Bice - Nein, ich nicht. Bice - No, I haven’t. Zweiter Soldat - (führt Barbara zu Matteo) Second Soldier - (leading Barbara to Matteo) Frag den da! Möglich weiß ers. Ask him! He might know. Barbara - Du? Du sahst sie? Barbara - You? Have you seen her? Matteo - (abgewendet) Matteo - (aloof) Nein. Ich sah sie nicht... No. I have not... Vielleicht ist sie vor San Marco auf dem Fest, She might be at Saint Mark’s, at the party, mit ihren Augen to outshine the lights die Lichter zu überglänzen. with the brightness of her gaze. Barbara - (schüttelt den Kopf) Barbara - (shaking her head) Vor San Marco? Weißt du nicht, At Saint Mark’s? Don’t you know dass sie nicht mehr gelacht, seit that she hasn’t laughed since das Leid geschah mit ihrer Schwester? her sister’s misfortune...? Matteo - (gesteigert) Matteo - (with feeling) Vielleicht... vielleicht liegt sie dort in einem Perhaps... perhaps she lies in someone’s Arm, arms, wie eine weiße Taube zärtlich im Käfig like a white dove in a sweet cage, und lernt das Lachen wieder. learning to smile again. Barbara - Du Narr! Weißt du nicht, Barbara - Fool! Don’t you know dass sie keusch ist wie Schnee, that she’s as pure as snow und dass wir Angst haben vor ihrem and that we are concerned about her Schweigen, silence, vor ihrer geheimnisvollen Schwermut? about her dark melancholy? Matteo - (leidenschaftlich gesteigert) Matteo - (with passion) Vielleicht… vielleicht… Perhaps... perhaps... Barbara - Du Lügner! Barbara - Liar! 24 Zweiter Soldat - Nimm dich in acht vor dem Second Soldier - Beware of the Hauptmann! Captain! Der macht gern Jagd auf Tauber wie du. He gladly hunts lovebirds like you. Bice - Und kümmerst dich, was sie auch tut? Bice - What do you care what she does? Ich bin wohl nicht genügend gnädig? Am I not courteous enough? Zu mir! Und jetzt getanzt mit Wut… All here! We’ll go dancing, Heut ist der Tanztag von Venedig! all of Venice dances today! Alle - (überschäumend) All - (with enthusiasm) Heut gibt es leichtes Herz und keckes Blut! Light hearts and hot blood, today! Heut sind wir aller Sorgen ledig! No concerns will trouble us, today! Heut ist der Tanztag von Venedig! All of Venice dances today! Tanzen, ja Tanzen! To dancing, yes, to dancing! Chor der Soldaten und Mägde - ( auf der Bühne ) Chorus of Soldiers and Maids - (on stage) Evoè! Evoè! Evohe! Evohe! Heut ist der Tanztag von Venedig! All of Venice dances today! Chor der Masken - (auf der Bühne) Chorus of Masks (on stage) und Gesang von unten - and Chorus off stage - (leidenschaftlich jauchzend ) (joyfully) „Aus den Gräbern selbst die Toten, Out of their graves, even the dead tanzen heute Brust an Brust… dance arm-in-arm, today, Alles Trübe ist verboten, any dejection is banished, heiß zum Himmel jauchzt die Lust.“ happiness is the elected pleasure. Simon Trovai ist von rechts eingetreten. (Simone Trovai enters from the right.)

II. Szene Scene II

04 Simone - Schweigt still! Wie oft hab ichs 04 Simone - Be silent! How many times gesagt, have I told you dass ich das Lied nicht duld in meinem Haus? that I won’t tolerate singing in my home? Zweiter Soldat - Herr, heut ist Fest. Second Soldier - But Sir, today is a holiday. Simone - Nichts ist! Hinunter Simone - No matter! zur Nachtwach vor San Giorgio! Go to San Giorgio for the night patrol! Ihr lungert nicht! Feiert nicht! Ihr seid Soldaten! You’re not to idle, to party – you’re soldiers. Die Soldaten ordnen sich. (The soldiers line up.) (zu Barbara) Sahst du Violanta? (to Barbara) Have you seen Violanta? 25 Barbara - Ich such sie, gnädiger Herr. Barbara - I’m looking for her, Sir. Simone - (die Soldaten und Mägde treibend) Simone - (driving the soldiers and maids out) Weg, sag ich, weg mit Euch! Go, I say, off with you! An die Galeerenbank! In die Kasernen! To the bench of a galley! To your barracks! Hier ist das Haus des Hauptmanns Trovai! This is the house of Captain Trovai, Das sperrt sich der verbuhlten Zeit. it is not open to frivolousness. Matteo - (schwer atmend, tritt vor ihn hin) Matteo - (rushing in out of breath) Herr... Herr... Sir... Sir... Simone - Was? Simone - What’s the matter? Matteo - (leidenschaftlich) Matteo - (fervently) Schick mich von Venedig fort! Send me away from Venice! Simone - Wenn du nicht lernst zu schwei - Simone - If you don’t shut up, gen, hängst Du you’ll hang am nächsten Schiffsmast. from the mast of the first ship. Fort! Auf eure Posten! Go! To your posts! Die Soldaten und Mägde zur Türe; (The soldiers and maids head for the door dann ab. and leave.) (hält Bice zurück) Auch du sahst meine Frau (withholding Bice) You neither have seen my nicht? wife? Bice - Nein, Herr. Bice - No, Sir. Simone - (die Hände ballend) Simone - (with fists clasped) Nein! Nein! Nur immer nein! No! No! Always and only no! Was sinnt sie, dass sie sich verbirgt? What is in her soul, to hide like this? Lauf schnell hinab zum Hause Chigi, Quick, rush to the Chigi’s, Vielleicht ist sie bei ihrer Mutter. she may be at her mother’s. Bice, Barbara rechts ab. (Bice and Barbara leave by the right.)

III. Szene Scene III Giovanni Bracca, der Maler, tritt lebhaft von (Giovanni Bracca, the painter, steps in lively: links ein. In prächtigem Kostüm, heiter, stut - wearing a magnificent costume and is in a zerhaft, ein wenig beschränkt, „Lebemann“ good mood, he is a dandy, a bit narrow- seiner Zeit. minded, “a man of the world”.)

05 Giovanni - Ich hol dich. Komm! Du 05 Giovanni - I’ll take you. Come! You must

26 musst es sehn… see. Auf nach San Marco! Ganz Venedig Come on, to Saint Mark’s! All of Venice trägt Maske, tanzt und lässt sich gehen… is masked, dances and revels, Selbst Ehemänner sind heute ledig. today husbands play bachelors in bauta costume. Simone zuckt verächtlich die Achseln. (Simone shrugs in disdain.) Wein! Blumen! Lichter! Geigenhauch… Wine! Flowers! Lights! Violin music... Die Freuden dieser Welt im Chore! All the world’s pleasures united in love! Was Lippen hat, das küsst sich auch… Those who have lips kiss eagerly… (nimmt seinen Arm) (he takes him by the arm) Vorwärts zum Fest des Redentore! Off we go, to the Redeemer’s feast! Simone - (wendet sich ab) Simone - (holding back) Lass! Eure Lustigkeit ist mir zum Ekel… Leave me alone! Your happiness disgusts me, Und diese ganze freche Zeit, as does this time of shamelessness die Laster schminkt mit Kunst und Liedern. that beautifies vices with arts and songs. Giovanni - (heiter) Giovanni - (happily) Und willst du nicht Alfonso sehn, Don’t you want to see Alfonso, den Frauengott der Apenninen? the god of the Apennines’ women? Simone - Simone - (dreht sich mit einer lebhaften Bewegung um) (turning abruptly) Der? Der ist dort? Him?! Is he there?! Giovanni - (nickt) Kam von Neapel, Giovanni - (nodding) He came from Naples, auf einem Schiff, gezogen von on a ship pulled by four vier jungen Liebespriesterinnen. young priestesses of love. Simone - (heftig) Alfonso in Venedig! Simone - (vehemently) Alfonso in Venice! Wenn das Violanta wüsste…! If Violanta knows it...! Giovanni - (philosophisch) Giovanni - (philosophically) Ei, vielleicht weiß sies. An der Küste She might. That woman frequents des Abenteuers weiß die Frau Bescheid. the shores of adventures. 06 Simone - Sie hasst ihn! Hasst ihn wie 06 Simone - She hates him! She hates him die Niedrigkeit! for his cowardice! Hasst ihn wie die Schmach! Weißt dus nicht? She hates him for the offence! Don’t you know? Er hat verführt, der Elende, That scoundrel seduced Nerina, ihre Schwester, Nerina, her sister, die im Deserto als Novizin lebte… who was a novice in the Deserto convent... Und preisgegeben seiner Schande, sprang Crushed by shame, 27 das arme Kind ins blaue Meer. the poor girl threw herself into the blue sea. Seit diesem Tod ist Violanta stumm. Since her death, Violanta has not spoken. Ein Ungeheures presst den Hals ihr zu… A sense of horror constricts her throat Und im Geheimnis ihres Hasses and in the depth of her hatred weist sie von sich, was Mann sich nennt. she rejects whatever has to do with men. Giovanni - Auch dich? Giovanni - You too? Simone - (leidenschaftlich ausbrechend) Simone - (vehemently passionate) Um dieses Fremden willen, Because of that stranger den sie so hasst, ist sie mir ferner, she hates so much, she keeps at a distance als einst, da ich um sie warb... more than on the day I asked for her hand... (mit jähem Impuls) Und der ist dort, sagst (with an abrupt outburst) And he’s here, you du? say? Giovanni - Komm mit: Giovanni - Come with me, so sollst du an sein Dasein glauben! and you’ll believe me! Die Frauen um ihn wie Turteltauben Around him you’ll see women like doves, Ein lachend Herz, wohin er tritt! wherever he is, hearts leap. Simone - (schlägt den Mantel um) Simone - (wrapping himself in his cloak) Gut! Komm! Das ist der Mann, dem ich Very well! Come! There is a man schon lang ins Antlitz schauen wollte! I have longed to look in the eye...! 07 Giovanni - (den Hut schwingend, voran) 07 Giovanni - (preceding him and twirling his hat) Wein! Blumen! Lichter! Geigenhauch… Wine! Flowers! Lights! Violin music... Die Freuden dieser Welt im Chore! All the world’s pleasures united in love!... Wie sie an der Türe sind, tritt Violanta ein. (When they reach the door, Violanta enters. Groß und dunkel, herrliches Haar. Den Tall and mysterious, she has confetti in her Domino umgeworfen, Konfetti in Haar und hair and in the folds of her cloak, and holds a Mantelfalten, Maske und Blumen in der Hand. mask and some flowers.) Violanta - (ohne sich zu regen, steht in der Türe) Violanta - (motionless at the door) Guten Abend. Good evening. Simone - Violanta, du…? Simone - Violanta, you...? Giovanni - Ihr seht uns auf dem Weg zum Giovanni - You’ve come just as we’re leav - Feste… ing to go to the feast... Violanta - (ruhig) Ich komm von dort. Violanta - (calmly) I’m coming from there. Simone - Du, Violanta? Simone - You, Violanta?! Violanta - Ja, ich. Von dort. Violanta - Yes, I. From there. (sieht ihn ernst und groß an) (She looks at him gravely and surprised) 28 Und darum bitt ich: bleibe. Then I beg you: stay. Giovanni - Per dio! Einmal hat man ihn Giovanni - By God! Just when I was about so weit, dass er was lernen möchte! to learn something... Simone - (ohne den Blick von Violanta zu Simone - (without averting his gaze from wenden) Violanta) Geh! Siehst du nicht…? You go! Don’t you see...? Giovanni - (seufzt tragisch) Giovanni - (with a tragic sigh) Zum Falter muss man wohl One ought to be a moth, geboren sein, sonst ist es nicht das Rechte! or it simply won’t do! Simone immer Aug in Aug mit Violanta, macht (Simone, always engaging Violanta’s gaze, eine Bewegung. makes a movement.) Giovanni - Ja, ja. Schon gut. Ich geh. Giovanni - That’s right. Well then. I’m going. Ich werde eben als Einzelschmetterling für I’ll fly like a solitary moth for both of us. beide schweben. (He makes a gesture as if to kiss despon - Wirft Simone eine elegische Kusshand zu, dently Simone’s hand, falls on one knee neigt vor Violanta ein Knie; dann zur Türe. Im before Violanta, and goes to the door, Abgehen trällernd. singing under his breath.) „Was Lippen hat, das küsst sich auch «Those who have lips kiss eagerly... Vorwärts! Zum Fest des Redentore!“ Off we go! To the Redeemer’s feast!» (ab) (he leaves)

IV. Szene Scene IV

08 Simone - (Wie der Maler fort ist, einen 08 Simone - (as soon as the painter has left, Schritt auf Violanta zu, mit dem Ausdruck he approaches Violanta, his face betraying gesammeltester Spannung) more tension.) Violanta? Violanta? Violanta - (ohne die Stimme zu erheben) Violanta - (without raising her voice) Er kommt. In zehn Minuten ist er da. He’s coming. In ten minutes, he’ll be here. Simone - Wer kommt? Simone - Who? Violanta - Du weißt es gut, Simone. Violanta - You know who, Simone. Simone - Wer? Wer? Simone - Who? Who? Den du so hasst? Der kommt? The man you hate? He? Violanta - (ruhig beginnend) Violanta - (quietly) Ich ging, ihn aufzuspüren wie den Luchs. I’ve hunted him down like a lynx. 29 Umbrannt sah von tausend Lichtern ich ihn, I saw him amidst a thousand blazes, umlacht von Frauen, surrounded by women’s laughter, hinschreitend über den Kirchplatz, advancing, beaming, on the square hell wie über Rosen… as if walking on roses… Im Aug das namenlose Lächeln, das His eyes smiled in that unspeakable way unser Blut in den Adern fiebern macht. that makes your blood boil in your veins. Simone - Alfonso!... Simone - Alfonso! Violanta - Die Mädchen, die ihn umsch - Violanta - I drove away the girls who sur - wärmten rounded him, wie Bienen ihren Honigkorb, swarming like bees drängt’ ich zur Seite, around a honeycomb, schlich mich hin vor ihn. and I went right up to him. Tänzelnd und seufzend, Dancing and sighing, schauernd und schmachtend, quivering and pining, so lockt den Verführer ich hinter mich. I attracted the seducer to follow me. Ich sang das Lied, das heut die Jugend singt: I sang the song young people sing today: 09 „Aus den Gräbern... 09 «Out of their graves... Chor Hinter der Szene - (Masken mit Fackeln Off-stage Chorus - (Masks pass behind the und Lampions hinter der Szene vorübergleitend) scene with torches and lanterns.) ...selbst die Toten ... even the dead tanzen Brust an Brust... “ dance arm-in-arm...». (verklingend) (it fades away) Simone - Das verruchte Lied? Simone - That infamous song? Du weißt, ich leid es nicht. You know I don’t tolerate it. Violanta - Das sang ich! Violanta - Yet I sang it! (schneller) Er hinter mir... (more hastily) He was close to me... Im Gässchen hinter Orologgio [ sic ] waren In the alley behind the Clock we wir allein. were alone. Simone - Violanta! Simone - Violanta! Violanta - Im Dunkeln neigt’ er sich über mich. Violanta - In the darkness he bent over me, Seine Augen brannten, his eyes were ablaze, seine Lippen zuckten, his lips quivered, und da, da… and then, then... Simone - (atemlos) Da?... Simone - (breathlessly) Then...? Violanta - (nach einem Schweigen, Violanta - (after a moment of silence, 30 in anderem Ton) in a different tone) Da wusst ich, dass meine Schwester Nerina Then I knew that my sister Nerina heut lachen wird in ihrer Gruft. today will laugh in her grave. Simone - (blickt sie an) Heut lachen?... Simone - (observing her) She will laugh? Today...? Violanta - (nickt) Ja. In zehn Minuten ist er Violanta - (nodding) Yes. He’ll be here in ten da. minutes. Er ahnt nicht, wer ich bin, He doesn’t suspect who I am, hält mich für eine Künstlerin vom Teatro Felice. he believes me an artist of the Felice theatre. Nur um mich zu schmücken I preceded him to adorn myself für den Königssohn, eilt ich voraus. for him, the king’s son. Dann legt seine Barke hier an. Soon he’ll dock his boat here. 10 (wie versunken) Dann hör ich durch 10 (absorbed in thought) Then in the silence Nacht und Stille of the night mir nahn des Sünders Verlangen... I’ll hear the lusty sinner draw up to me... Simone - Und du… du willst ihn empfangen? Simone - And you... will you welcome him? Violanta - (breitet die Arme aus, dunkel, Violanta - (opening her arms, in a mysterious doch leidenschaftlich) but passionate gesture) Ja! Ich warte auf ihn! Yes! I’ll wait for him! Hunderttausend reine Fraun warten mit mir. Thousands of women await him with me. Simone - (immer an ihren Augen hängend, Simone - (still looking her in the eyes, whis - flüsternd) pering) Warum sagst du mir das? Why are you telling me this? Violanta - Weil du… Violanta - Because you... (hält ein) (she stops in mid-sentence) Simone - Weil ich… was? Sprich. Simone - Because I... what? Speak. Violanta - Weil du... du wirst... Violanta - Because you... you must... (schweigt ) (she falls silent) Simone - Was, Violanta? Was werd ich? Simone - What, Violanta? What must I do? Violanta - Simone, du... Du wirst... Violanta - Simone, you... You must... (tritt nahe zu ihm hin, blickt ihn aus ihren (she approaches him and looks at him with großen Augen an; leiser) wide open eyes; more softly) Simone, du wirst ihn töten. Simone, you must kill him. 11 Simone - Violanta! 11 Simone - Violanta! Violanta - (mit jäh hervorbrechender Violanta - (in a sudden burst of passion,

31 Leidenschaft, stürzt vor ihn nieder) throwing herself at his feet) Ja, du wirst ihn töten. Yes, you’ll kill him. Simone, du wirst. Du wirst. Simone, you must. You’ll do it. Wenn du mich liebest, lebt er nicht länger! If you love me, he must die! Simone - (hebt sie auf, bebend) Simone - (he lifts her up, trembling) Wie ich dich liebe, weißt du… You know how much I love you... Violanta - Solang diese Augen leuchten, Violanta - As long as those eyes vor denen die Scham verglüht, that know no shame gleam, solang diese Lippen sich feuchten, as long as those lips für die jede Sünde blüht, on which all sins blossom are moist, atme ich nicht, lache ich nicht, küss ich dich I will not breathe, I will not laugh, I will not nicht! kiss you! Simone - (gepackt) Simone - (shocked) So, Violanta, hassest du ihn? Do you hate him so deeply, Violanta? Violanta - So unaussprechlich… Violanta - More than I can tell... (die Augen öffnend, nach einem Atemschöpfen, (opening her eyes after heaving a sigh, in a in anderem Tone, mit harter Kraft) different tone, with resolution) So, ja, so hass ich ihn. Yes, I do hate him so. Simone - (die Hände hebend) Simone - (lifting his hands) Bedenk, eines Königs Blut… Think, it’s the blood of a king... Violanta - (schnell) Und lechzt doch nach Violanta - (quickly) That thirsts for lusty plea - niedrem Mund… sures... Simone - Einst kann er mein Herr sein! Simone - One day he could be my sovereign... Violanta - Und schuf mich schon heute zur Violanta - And today he has made me his Magd… slave... Simone - Ahnungslos kommt er hierher. Simone - He comes here unaware... Violanta - Um zu verführen heut Nacht dein Weib. Violanta - To seduce your wife. Simone - (ballt die Fäuste) Simone - (he clasps his fists) Violanta! Spiel nicht mit mir! Violanta! No one will mess with me! Violanta - (indem sie leidenschaftlich seine Violanta - (fervently grabbing beiden Hände ergreift) his hands) Und wie, wenns ihm gelänge? What if he succeeds?! Hass und Liebe sind Brüder im Herzen. Hatred and love are brothers in one’s heart. Wie, wenn ich selbst einst begehrte, What if I myself have coveted Was jetzt mich mit Schauern erfüllt? what now fills me with dread...? 32 Simone - (schnell, besinnungslos) Simone - (hastily, without more ado) Was du verlangst, das tu ich. I’ll do what you ask. Violanta - Simone! Violanta - Simone! Simone - (die Zähne aufeinander gebissen) Simone - (grinding his teeth) Nicht lebend kehrt er zurück über die Schwelle. He won’t cross that threshold alive again. 12 Violanta - (leidenschaftlich aufjauchzend) 12 Violanta - (eager and joyful) Ja, du wirst ihn töten! Yes, you will kill him! Töt ihn, dass ich dein Weib wieder bin! Kill him, and I’ll return to be your wife! Simone - Hier, hier steh ich und warte auf ihn. Simone - I’ll stay, and I’ll wait for him. Violanta - (schüttelt den Kopf) Nein, nicht so. Violanta - (shaking her head) No, it won’t do. Sein Antlitz erst lass mich erbleichen First let me see his debauched face pale, sehn, das lustverstörte, wüste… altered by lust... Dann... dann nahe dich du! Then... then you can come! Simone - (mit auffunkelnder Erinnerung) Simone - (struck by a thought) Was wars, Violanta, um das er dich küsste? How was, Violanta, the spark of his kiss? Das Lied… das Lied, das du sangst, The song... the song you sang, das Lied sei unser Zeichen! that song be our signal! Wenn ich es höre, tret ich herzu. When I hear it, I’ll come out. Violanta - So sei es! Violanta - Agreed! 13 Dicht Aug in Aug werd ich, 13 With my eyes locked in his, gegenüber ihm stehn… I’ll stand before him ihm um das lachende Antlitz and lash out at his jolly face Nerinas Seufzer peitschen. with Nerina’s sighs. Dann, dann, wenn der stolze Verführer Then, when the cruel seducer ein stummes Nichts geworden ist, is reduced to a silent nothing, dann ruf ich dich durch das Lied, dass du then I’ll call you with my song, and you, ruth - ihn mitleidlos… lessly, wie einen Dieb niederschlägst. will slay him like a thief. Simone - In der Nische des Hauses steh ich, Simone - I’ll hide in the niche, Violanta, Violanta, angelehnt an die Mauer. leaning against the wall. Violanta - Und bis das Lied du hörst, Violanta - And when you hear the song das ich heimlich vor ihm sang: I shrewdly sang to him, „Aus den Gräbern selbst die Toten «Out of their graves even the dead tanzen heute Brust an Brust…“ today dance arm-in-arm...»

33 Simone - „Brust an Brust…“ Simone - «Arm-in-arm...» Violanta - Dann weißt du, dass er waffenlos Violanta - ... then you’ll know that he, reif ist deiner rächenden Faust. disarmed, is ready for your avenging hand. Simone - …Dann weiß ich, dass er waffenlos Simone - ... then I’ll know that he, reif ist meiner rächenden Faust. disarmed, is ready for my avenging hand. (blickt sie an, bleich und fest) (he looks at her, pale and resolute) So wart ich drunten auf dein Lied. I’ll wait for your song. Sings bald und sei getrost, Violanta! Sing it soon and... have faith, Violanta! (schnell ab) (he quickly leaves)

V. Szene Scene V

Allein geblieben, sieht ihm einen Augenblick (Left alone, for a moment she follows him nach. Eine Erschütterung scheint sie zu fas - with her gaze. A tremor seizes her, which she sen, die sie mit gekreuzten Armen in die tries to repress by crossing her arms on her hochatmende Brust zurückzudrängen sucht. heaving bosom. She remains still for a Sie steht eine Sekunde reglos da, geschlos - moment, with her eyes closed as if she were senen Auges wie horchend. Dann wendet sie listening. Then she turns right, opens the sich nach rechts, öffnet die Türe und ruft. door and calls.) 14 Violanta - Barbara! Bring Lichter! 14 Violanta - Barbara! Bring some light! Nimmt ihren Domino ab, sodass nun ein wei - (She takes off her domino cloak, remaining in ches, helles Kleid sie umfließt, das ihre a soft, white dress that enhances her beauty. Schönheit noch tiefer hervortreten lässt. She shakes off the flowers and confetti from Schüttelt Blumen und Konfetti aus dem Haar. her hair.) Barbara - (ist mit zwei vielkerzigen Leuchtern Barbara - (entering with two candelabra, eingetreten, die den Raum taghell erleuchten) which light up the room) Riefst du, gnädige Frau? Have you called, madam? Violanta - (vor dem Spiegel sitzend) Violanta - (sitting in front of the mirror) Ja. Komm. Lös mir auf mein Haar. Yes, come. Let my hair down. Barbara - (hinter sie tretend) Barbara - (placing herself behind her) Gehst du noch nicht zur Ruh, gnädige Frau? Aren’t you retiring yet, madam? Violanta - (schüttelt den Kopf, ganz leise) Violanta - (shaking her head, in a sweet voice) Noch nicht. Noch nicht. Doch balde… Not yet. Not yet. But soon... Barbara - (sie kämmend) Barbara - (combing her hair) Dein Hals, dein Busen, Your neck and bosom 34 wie Schnee so rein… are as white as snow... Violanta - (aufatmend, die Hände leicht faltend) Violanta - (with a sigh, lightly clasping her hands) Wills Gott, solls niemals anders sein… God willing, they will always be so... Barbara - (horchend) Barbara - (listening) Legt da drunten nicht Is that a boat docking, ein Boot ans Tor? down at the entrance door? Violanta - (zitternd) Violanta - (trembling) Nein, nein. Ich hör nichts. Das kommt dir nur No, no, I don’t hear anything. It seems to vor… you... 15 Wie ging das Märchen, Barbara, 15 How did that story go, Barbara, das oft du erzähltest, the one you often told me als ein Kind ich war? as a child? Barbara - Und der Engel sprach Barbara - And the robed angel zu dem Mädchenschwarm: thus counsels girls: „Nur wens gelüstet, der ist arm. «Poor is only he who covets things, Doch wer mit dem Seinen still und zufrieden, for he who lives in peace with himself der hat den Himmel schon hienieden“. already has paradise on earth». Violanta - (fährt auf) Hörst du nichts? Violanta - (starting) Can you hear anything? Barbara - Der laue Wind in der Lagune. Barbara - The mild breeze of the lagoon. Violanta - (bebend) Nein. Geh. Gut’ Nacht. Violanta - (jerking) No. Go. Good-night. Nun brauch ich dich nicht mehr. I don’t need you anymore. Barbara - (leicht erstaunt, will einen Leuchter Barbara - (slightly surprised, she makes as if nehmen) to get a candelabrum) Soll ich… I shall... Violanta - Nein, geh! Lass alle Lichter brennen! Violanta - No, go. Leave all the lights! Barbara - So wünsch ich dir: schlaf wohl, Barbara - Then let me wish you a good rest, gnädige Frau, und träume sanft wie eh. madam, and sweet dreams. (ab) (she leaves)

16 Interludio 16 Interlude Violanta erschauert in einem jähen Gefühl, das (Violanta shudders at the sudden notion that die erwartete Totenstunde nahen sieht. Sie holt the long-awaited moment of death is at hand. tief und leidenschaftlich Atem. She heaves deep breaths and frets. Ihre Lippen öffnen sich , wie zu einem unwillkür - Her lips open as in an instinctive desire to con -

35 lichen gesteigerten Laut des Entschlusses. Sie firm her decision. She puts a hand over her legt die Hand über die Augen. Dann, mit ein paar eyes. Then, soft-footed, she steps onto the lautlosen Schritten, tritt sie auf den Steinbalkon stone balcony and leans out, listening in the und beugt sich horchend in die Nacht hinaus... darkness... Violanta has lit more candelabra. Im Verlauf dieser Spielszene hat Violanta immer The moon is full, the air is sweet and bathed in mehr Lichter angezündet. Draußen ist ein voller a silver light; the water of the lagoon reflects Mond aufgegangen, der die Luft weich und sil - its brightness. In the silence, the strokes of brig macht; sein Widerschein schimmert vom oars can be heard, a boat is approaching. The Wasser der Lagune zurück. Durch die Stille klingt rowing rhythm is accompanied by the dripping der Schlag von Rudern, die ein Boot näher brin - of water. Violanta listens motionless for a gen. Jedesmal tropft das Wasser im Takt von den moment. Hölzern... Eine Minute lauscht Violanta reglos. Seized by sudden terror, she returns into the Wie in einem unwillkürlichen Schauer wendet sie room and closes with both hands the curtain sich ins Zimmer zurück und zieht mit beiden between her and the windows. Hidden behind Händen den Vorhang zwischen sich und die its folds and leaning against the wall, she Fenster. In seine Falten geschmiegt, ganz an die stands with her arms at her sides, her eyes Mauer gepresst, steht sie jetzt mit hinabhängen - closed, stock still. den Armen da, die Augen geschlossen, ohne Beneath, a male voice begins to sing, accom - Bewegung. Drunten beginnt eine Männerstimme panied by a lute:) zur Laute zu singen.

17 Alfonso - „Der Sommer will sich neigen, 17 Alfonso - «Summer takes a bow, am Himmel strahlt sein Licht. its splendour shines in the sky. Und pflückst du Süße aus den Zweigen, You pick delicious fruits from branches, pflück ich mir lachend dein Gesicht. I pick your face, without blushing. Der goldnen Jugend ist das Königreich: It is the kingdom of golden youth: Mund oder Becher, Fraue, das gilt ihr gleich. lips or glass – women, for you everything is worthy. Mund oder Becher, Kelch oder Zecher… Lips or glass, goblet or pint… Jugend träumt von Liebe süß und weich...“ The youth’s dream is full of tender love...». Violanta - (oben) Locke nur, locke, Violanta - (above) Enthral, enthral, buhlerischer Traum! gentle dream! Ob deinem Haupte rauscht des Todes Baum. Over your head looms the tree of death. In Staub zerfällt deine Sündenwelt. Your sinful world is about to crumble. Alfonso - „Ich dien der Einen, Feinen, Alfonso - «I am the servant of the only ele - die mir so hold erfüllet das Gemüt. gant woman 36 O Frau, was kann noch scheinen, who sweetly appeases my senses. wenn deine Lippe glüht? Oh woman, what can be brighter Kein Mann wird traurig sein und weinen, than the red glow of your lips? so lang der Liebe Garten blüht. No man will be sad and grumbling Und muss ich einst zur Erd hinab, as long as love’s garden repays him with flowers. Dann sollen Frauen, tausend Frauen And though one day I must go underground, mir noch Küsse werfen übers Grab...“ a thousand adoring women Die Stimme verstummt. Man hört, wie das will still strew my grave with kisses...» Boot mit starken Ruderschlägen bis ans Haus (The voice falls silent. The boat is heard getrieben wird und hier laut knirschend being led towards the house with vigorous anlegt. oar strokes, where it noisily docks.)

VI. Szene Scene VI

Dann, den Vorhang zurückschlagend, tritt (Alfonso enters, moving the curtain aside. He Alfonso ein. Er ist jung und lebhaft, von einer is young and full of life, princely graceful, prinzlichen Grazie der Bewegungen, schön und handsome and unscrupulous, his hair is dark unbefangen, das Haupt dunkelgelockt. Ohne and curly. For a moment he remains still by the sich zu regen, wie in den Anblick der ihm entge - curtain, as if captivated by the gaze of Violanta, gentretenden Violanta gebannt, bleibt er einen who comes towards him.) Augenblick im Vorhang stehen.

18 Alfonso - Wie schön seid ihr, 18 Alfonso - How beautiful you are, wie herrlich schön! gorgeously beautiful! Wie traumhaft, wie zaubrisch, dies Antlitz zu What a dream, what a delight to contemplate sehen... your face... Mir war, ich ging zu einer Königin, To me, it was like going to a queen. Den Himmel hofft ich nicht zu finden. I didn’t hope to find heaven here. Violanta - (dunkel) Violanta - (mysteriously) Ihr trugt wohl manche schon im Sinn! You’ve already carried many in your heart...! Alfonso - (schmeichelnd) Alfonso - (flatteringly) O Königin, scheltet nicht. Do not blame me, my queen. Die Frauen alle zanken mich aus. All women blame me. Ihr aber, ihr, in Anmut sorgenlos, But you, in your light-hearted grace, ihr dürft nicht so. you cannot. 37 (neigt ins Knie) (he kneels) Eure Stimme, süß wie Nachtigallschwingen, Your voice, as sweet as a nightingale song, ist nicht gemacht zu Groll und Trotz! is not made for despise or rancour, Ist nur gemacht, zu schmeicheln, but only for caressing, zu klingen und singen. playing and singing. Violanta - Steht auf! Steht auf, sag ich. Violanta - Stand up. – Stand up, I say. Alfonso - (innig) Alfonso - (with feeling) Singt mir erst euer Lied! First sing me your song! Das Lied, durch das ich zu euch fand, The song of when I found you, das Lied von Sehnsucht und von Leidenschaft, the song of yearning and passion, von zweier Seelen heimlichem Band. of two souls secretly bonded. 19 Violanta - (sieht ihn an, ihre Augen 19 Violanta - (looking at him, her eyes mist. verschleiern sich. Leicht bebend) She trembles slightly) Noch nicht das Lied! Legt erst den Mantel ab. Not yet! First take off your cloak. Alfonso tut so. (Alfonso does so.) Den Degen auch. Das silberne Gehänge. Your sword too. The silver pendant. Alfonso - (schnallt die Waffen ab, tritt zu ihr, Alfonso - (putting down his weapons and übermütig) approaching her boldly) Und bleibt ihr stumm, sing ich es selbst, If you won’t, then I’ll sing it, wenn ich gleich wie ein Rabe sänge: even though I have the voice of a crow: (breitet die Arme aus, beginnt das Lied) (he opens his arms and begins to sing) „Aus den Gräbern selbst die...“ «Out of their graves, even the...» Violanta - (presst mit unwillkürlicher Bewegung Violanta - (instinctively, she places a hand jäh ihre Hand vor seinen Mund; keuchend) over his mouth, breathing heavily) Schweigt! Be quiet! Pause (Pause) Alfonso - Wie seid ihr sonderbar! Alfonso - How odd you are...! Warum soll nicht dies Lied gesungen sein? Why can’t we sing that song? Violanta - (blickt ihn an) Warum? Violanta - (looking at him) Why? Alfonso - (lächelnd) Das frag ich euch, Alfonso - (smiling) It is I who am asking, Herzliebste. Sagt. my dearest. Tell me. Violanta - (sieht ihn immer an, ihre Augen Violanta - (she keeps staring at him; her eyes sind ganz dunkel, aus ihren Lippen weicht are dark and her lips bloodless; after a das Blut. Nach einem Schweigen) moment of silence.) Weil es das letzte Lied ist, das ihr Because it is the last song 38 auf dieser Welt noch hören werdet. you will hear on this earth. Alfonso - Wie? Alfonso - What? Violanta - Blickt um! Der Tod steht hinter Violanta - Watch your back! Death is behind euch. you. Alfonso - (tritt unwillkürlich einen Schritt Alfonso - (taking an instinctive step back) zurück) Wer seid ihr? Who are you? Violanta - Nicht die, die ihr denkt. Violanta - Not the woman you think. Alfonso - Wer? Wer... ihr seid? Alfonso - Who? Who... are you? Violanta - Die Frau des Hauptmanns Trovai. Violanta - Captain Trovai’s wife, Und bei dem ersten Takt des Lieds, das ihr and at the first notes of the song begehrt, you want, schlägt euch mein Mann zur Erde nieder. my husband will kill you. Alfonso - (starrt sie an) Ihr seid… Alfonso - (staring at her) You are... Violanta - Nerinas Schwester Violanta. Wisst Violanta - Nerina’s sister, Violanta. Do you ihr noch? remember her? Sie sprang ins stille Wasser und She threw herself into the calm water, and ihr lachtet! you laughed! Alfonso - (stammelnd) Nein, nein!... Alfonso - (stuttering) No, no... Wendet sich unwillkürlich nach der Türe (he instinctively turns towards the door) Violanta - (schnell, heftig) Violanta - (quickly and vehemently) Nicht lebend kommt ihr aus dem Haus! You won’t leave this house alive! Verstellt sind alle Ausgangstüren. All the doors are locked. Alfonso - Ihr scherzt, was wollt ihr mir… Alfonso - You’re joking... what will you do to me?... Violanta - (auf ihn zu, zuckend) Violanta - (pointing at him, with a flinch) Nun ruft zu Hilfe eure kleinen Frauen! Now call your good-time girls to rescue you! Die Herzen, die gebrochen sind für Euch, Their hearts, which you broke, haltet als Schild use them as shield vor eure Lügenbrust. for your devious breast. Umsonst! Ihr seid dem Tod noch zu verworfen. In vain! Even death considers you a villain. Alfonso - (leidenschaftlich auffahrend) Alfonso - (in a fiery outburst) Schweigt still! Ermorden könnt ihr mich, Be quiet! You can murder me, doch nicht erniedern! but not humiliate me! Atmet auf, nach einer Pause, ruhiger (he catches his breath and continues more calmly) 20 Sterben wollt ich oft, 20 I often wanted to die, wenn mir mein Leben leer wie Tand erschien… when my life seemed to me trivial and vain. 39 Mir ist der Tod ein alter Spielgenoss. Death is an old mate of mine. Doch dort verachtet werden, wo ich liebe, But to be despised by her whom I love wär Gift statt eines guten Schlummerweins. would be poison, not good wine, for my slumber. Wendet sich ihr zu. Schlicht (he turns to her. Bluntly) Ich lag an eurer Schwester Lippen... I kissed your sister’s lips... Wahr ists. Und manche hab ich sonst verkannt. Yes. I abandoned others. Doch was ich tat und wie ich fehlte But what I did and how I sinned mir wards vom Schicksal selber aufgebrannt. was the consequence of my adverse fate. Die Mutter kannt ich nicht, I never knew my mother, sie starb an mir, she died giving birth to me, kein Heim, kein Schwestergruß, I had no hearth, brotherly word kein treues Wesen. or faithful friend. Im Schwarme eines Königs wuchs ich auf, I grew up in the court of a king der Vater hieß und es mir nie gewesen. who called himself a father but never acted as one. So sprang mich die Jugend wie Feuer an, And so, youth ignited like a fire, mich trieb in die Ferne ein irres Verlangen a foolish desire led me astray, und hielt ich bebend ein stille s Herz umfangen, and even as I clasped a throbbing heart, schon jagt’ es mich zu neuem Bann. I anxiously sought other adventures. Nie war ich glücklich, nie hab ich geruht I was never happy, never at peace am freundlichen Herd, den ich nicht kenne. by the fireplaces where I camped out. Ich Dürstender, der ich nach Liebe brenne, I, who am ablaze and thirsting for love, hab nie gefühlt, wie reine Liebe tut... have never experienced the bliss of pure love... (Schweigen) (silence) Gutheißen könnt ihrs nicht, You cannot approve of und Milde erwart ich nicht. or be clement with me. Doch dass ihr mich kennet, But now you know me nicht niedrig nennet, and if you don’t call me a vile man schon das macht diese Stunde mir licht... that is enough to make me serene... Wendet sich ab. Aufatmend, einfach, ohne (he turns. Relieved, without Gebärde moving) Nun singt Euer Lied! Now sing your song! Ich wehr mich nicht. Nein... I won’t resist. No... Violanta sieht ihn an, wendet sich mit raschen (Violanta looks at him, taking a few steps Schritten nach hinten. Beugt sich vor, um zu back. She leans forward to call. A single rufen. Nur ein Laut kommt aus ihrem Mund. sound comes out of her mouth. Speechless, 40 Verstummt jäh, lässt den Kopf hinabsinken. Pause. she lets her head fall forward. Pause.) 21 Alfonso - (näher an ihr, wie eine leise Frage) 21 Alfonso - (closer to her, in a low voice) Mona Violanta… Lady Violanta...? Violanta rührt sich nicht. (Violanta does not move.) Tu ich Euch leid? Do I make you suffer...? Violanta schüttelt den Kopf. (Violanta shakes her head.) Nicht leid? Und dennoch singt ihr nicht? No? Won’t you sing, then...? Violanta wendet sich um, hält die Hände vors (Violanta turns, hides her face in her hands, Gesicht; bricht in ein stoßweises, leises and erupts into broken sobs.) Schluchzen aus. Auf sie zu, schnell. (Alfonso rushes to her.) Violanta! Violanta! Violanta - (erstickt) Violanta - (in a stifled voice) Geht! Geht! Und redet nicht zu mir! Go! Leave! And do not speak to me! Alfonso - (ganz, ganz leise, fast keusch) Alfonso - (very gently, almost chastely) Ihr liebt mich, Mona Violanta? Do you love me, Lady Violanta...? Violanta schluchzt leidenschaftlich und fas - (Violanta begins to sob in a desperate and sungslos auf. uncontrolled way.) Nicht um der Schwester willen, nein… It is not for your sister’s sake, no, für euch, Violanta, für euch selbst it’s for your own, Violanta, for yourself ist mir der Tod bereitet. Ja? that you want to kill me. Isn’t it? Violanta antwortet nicht. (Violanta does not reply.) Antwortet, sagt, ich fleh euch an… Answer me, tell me, I beg you... (an ihren Augen hängend) (hanging from her gaze) Sprecht! Ihr habt mich nie gehasst? Speak! Have you ever hated me...?! Violanta - (hebt die Hände empor, wild und Violanta - (raising her hands, furious and zerrissen) torn) Wollt ihr ein Weib in Scham vernichten? Would you crush a woman in shame?! Alfonso - (laut aufjauchzend) Alfonso - (with great jubilation) Violanta! Violanta! Violanta - (mit leidenschaftlichen Bekenntnis) Violanta - (in a tone of deep-felt confession) Geht! Geht von mir! Blickt nicht auf mich, Leave! Go away from me! Don’t look at me, dass mir die Röte nicht verbrenne…! don’t let my shame scorch me! Alfonso - Ihr bangtet nur für eure Reinheit? Alfonso - Do you only fear for your chasteness...?! Und darum sollt ich sterben! Darum! That is why I must die!! Yes!! Violanta - (an die Wand gewendet, indem sie Violanta - (turning to the wall, covering her 41 ihr Gesicht bedeckt) face) Seit ich zum erstenmal euch sah, Since the first time I set eyes on you weiß nicht, wie meinem Blut geschah: I don’t know what got into my blood, es musst nach Euch begehren. I have coveted you. Hass aus Liebe und Lieb aus Hass, Hatred born out of love and love out of hatred, Mutter Maria, ersinnst du das Holy Mother! Is that your plan die Menschen zu zerstören? for the destruction of man...?! Alfonso - Violanta! Schmäht heilige Jugend Alfonso - Violanta! Do not blame divine nicht. youth. Violanta - Ich schlug die Brust, ich lag auf Violanta - I beat my breast, I fell to my den Knien, knees, ich rief meinen Gott, nur ihn, nur ihn… I invoked my God, only my God, Er hörte nicht mein Schreien... he did not hear my outcry... (ausbrechend) (in an outburst) So lang ihr lebet, sterbe ich, If you live, I must die, in eurem Tode kann ich mich only your death von meiner Lust befreien. can release me from my craving. Alfonso - (trunken) Alfonso - (elated) Sprecht! So hat noch keine Frau mich Speak! No woman has loved me thus up to geliebt! now! Violanta - (angstvoll) Violanta - (frightfully) Rein muss ich vor mir selber sein, I want to be chaste, for my own sake, und bin ich Frau und doch nicht rein. and I am a woman who’s no longer pure. Was soll mir dann begegnen? What, then, will become of me...? Alfonso - (auf sie zu, leidenschaftlich) Alfonso - (to her with passion) Du Kind, im lichten Tag verirrt! My child, lost in the bright day! O denk nicht nur, was war und wird, Do not think only of what was or what will be, den Augenblick lass segnen! bless the moment, without fear! 22 Violanta - (wie gepackt, vor sich) 22 Violanta - (as if captivated, to herself) Nie hab ich gelebt im Augenblick… I have never seized the moment... Nie kannt ich ein heißes, reuloses Glück. never known ardent, remorseless happiness. Des Hauses Mauern, dumpf und schwer, The house’s walls, dark and gloomy, schatteten über die Seele zu sehr. cast heavy shadows on my soul. Und hob ich empor zur Sonne mein Angesicht, And if I lifted my face to the sun, das Aug sah stets nur kalte Pflicht. I only perceived my cold duty. 42 Sündseliger Schauer hat nie mich durchbebt, I’ve never felt the sinful, blissful shiver, nie habe ich Arme mir selbst gelebt. wretched me, life for me has never gone by! Alfonso - Nun hab den Mut! Nun sei nur du! Alfonso - Courage! Be yourself now! Das dunkle Haus schließ hinter dir zu! Leave this dark, wicked house behind you! (fasst ihre Hände, innig) (he takes her hands, in an intimate gesture) Hab keine Angst. Verzehr dich nicht: Have no fear. Get rid of your torment, wo Herzen brennen, da ist Himmels Licht. where two hearts burn, the firmament sparkles. Violanta - (mehr und mehr erliegend) Violanta - (gradually yielding) Erbarm dich meiner... ich vergeh... Have pity on me... My strength fails me… Mein Gott und Schirm, sei in der Näh, Oh God, my shield, stand by me, woll mich nicht sinken lassen. don’t let me stumble. Alfonso - (mit heißester Leidenschaft) Alfonso - (with fiery passion) Nichts schmeckt so süß wie letzter Trunk! Nothing is as sweet as the last sip! Drum hab ich auch gelebt genug, That’s why I will have fully lived wenn ich dich konnt umfassen. only when I can finally embrace you, Dich, meines Weges tiefsten Traum! ultimate dream of my life! Anfassen! Dich! Deines Kleides Saum... To seize you...! You...! The corner of your dress... Er zieht sie an seine Brust. Sie stehen umsch - (He clasps her to his chest. They remain lungen. embraced.) Violanta, Segnende, bist du mir gut? Violanta, my beauty, do you love me? Violanta - Weiß nichts... Um mich Violanta - I know nothing... wogt purpurgoldne Flut... Waves of purple and gold flow around me... Beide zugleich A due 23 Alfonso - Reine Lieb, 23 Alfonso - Pure love, die ich suchte ein Leben lang, which I pursued all my life, nun fühl ich, dass mich ihr Heil durchdrang. I feel now that your salvation has pervaded me. Die Fraun, die ich kränkte vergessene Not! The women I collided with are a past concern! In deinen Armen ist Leben und Tod. In your arms life and death. Violanta - Heiße Lust, Violanta - Ardent bliss der ich fluchte ein Leben lang, I have fled from all my life, nun fühl ich, dass mich ihr Hauch bezwang. I feel now that your waft has entrapped me. Der Mann, den ich hasste vergessene Not! The man I hated is a past concern! In deinen Armen ist Wonne und Tod. In your arms yearning and death. Sie drängen die Köpfe aneinander zu einem (They frantically seek each other’s lips and hingegebenen, besinnungslosen Kuss. Ohne kiss hungrily. They remain embraced and 43 sich zu regen, lehnen sie lange aneinander, motionless for a long time, as if nothing exist - indes die Wirklichkeit rings um sie zu versin - ed beyond themselves. While they are thus ken scheint. In diese Versunkenheit klingt von deeply absorbed, Simone’s call sounds from unten her der Ruf des Simone. beneath.) 24 Simone - Violanta! 24 Simone - Violanta! Violanta - (aufschauernd) Violanta - (in fright) Hörst du? Das Verderben! Have you heard...? It’s our doom! Alfonso - Bleib! Bleib! Alfonso - Stay! Stay! Ich hör nichts... Bist du mir gut? I hear nothing... Do you love me? Simone - Violanta! Simone - Violanta! Violanta - Hörst du? Um uns wogt Violanta - Have you heard...? das Meer wie blutrote Flut. Waves swell around us like a blood red tide. Simone - Violanta! Simone - Violanta! Violanta - Hörst du, wie es aufrauscht Violanta - Can’t you hear des Todes Meer? the sea of death roaring? Alfonso - Nun sags ihm! Bekenn es. Nun Alfonso - Tell him! Bare yourself. Call him rufe ihn her! here! Reißt mit einer leidenschaftlichen Bewegung (he abruptly draws den Vorhang zurück. the curtain open.) Nun sing das Lied, Sing the song das dir nicht von den Lippen wollte! that refused to come out of your lips...! Violanta - (in Alfonsos Armen, ekstatisch, Violanta - (in Alfonso’s arms, hingerissen) ecstatically) „Aus den Gräbern selbst die Toten «Out of their graves, even the dead come out tanzen heute Brust an Brust… and dance arm-in- arm today, Alles Trübe ist verboten, any dejection is banished, heiß zum Himmel jauchzt die Lust...“ happiness is the elected pleasure...». Im Übermaß ihrer Erregung versagt ihr die (In her rapt excitement her voice fails. A few Stimme. Ein paar Sekunden atemloser Erwartung. moments of anxious waiting.)

VII. Szene Scene VII

25 Simone - (rasch eintretend) 25 Simone - (rushing in) Du riefst, hier bin ich. You called, I’m here.

44 Violanta - (wendet sich leidenschaftlich um) Violanta - (turning with passion) Töt ihn nicht, Simone! Ich lieb ihn! Don’t kill him, Simone! I love him! Simone - (regungslos) Violanta! Simone - (motionless) Violanta!... Violanta - Ich hab ihn geliebt, seit ich ihn Violanta - I have loved him from the moment sah. I saw him. Simone - (nach einer Weile völliger Starrheit, Simone - (after a moment of bewilderment, aufschreiend) screaming) Violanta? Bin ich zu eurem Hohne da? Violanta! Am I here to be mocked? Soll alles Lüge um mich gewesen sein? Have you deceived me? Alfonso - Du kränkst sie nicht mehr! Nie war Alfonso - You’ll never offend her again! She sie dein! was never yours! In jedem Traum war sie mir nah! In her every dream she was with me! Simone - (sich gegen Alfonso wendend, in Simone - (rushing at Alfonso in rasendem Zorn) wrathful fury) Du Dieb! Brichst du in meine Hütte ein? Thief... you trespass into my haven?! Außer sich, stürzt er mit erhobenen Fäusten (Beside himself, he hurls himself at Alfonso gegen ihn los und führt mit seinem Dolch einen with raised fist and deals a vicious blow with wilden Stoß gegen Alfonso. Violanta hat sich his dagger. Violanta, who has flown between dazwischen geworfen und fängt mit ausgebrei - them with open arms, receives it in her teten Armen den Stoß in ihre Brust auf. chest.) Alfonso - (aufschreiend) Zu Hilfe! Er hat sie Alfonso - (screaming) Help! He has wound - getroffen! ed her! Violanta - (zu Tode getroffen, schließt die Violanta - (wounded to death, she closes her Augen, wankt; entrückt lächelnd) eyes and totters; she smiles dreamily) Still... Don’t be troubled... Sie gleitet aufs Ruhebett nieder, von Simone (She falls onto a settee, supported by gestützt. Simone.) Hab Dank, du Strenger: Thank you, rigorous man, nun ist dein Weib wieder dein! now your wife is yours again! Simone - (aufschluchzend) Violanta! Simone - (sobbing) Violanta! 26 Violanta - Still... Mich tragen Wogen sil - 26 Violanta - Don’t be troubled... Silver berrein. waves rock me. Süß der Wind, der über mich zieht... A gentle breeze blows... (in einem visionären Aufhorchen) (listening in a visionary way) Hört ihr, wies klingt, das selige Lied? Can you hear the pleasant song...? 45 Unten zucken die Stimmen und Lichter des (Beneath, the songs and lights of Carnival Karnevals wieder auf. Buketts und farbige rekindle. Flowers and coloured ribbons fall Bänder fallen durch den Balkon und die offe - inside through the balcony and the open win - nen Fenster. Ein paar Masken, Fackeln und dows. A few masks, with torches and Lampions tragend, an ihrer Spitze der Maler lanterns, rush into the hall: they are led by the Giovanni Bracca, stürzen in den Saal. painter Giovanni Bracca.)

Epilog Epilogue

Giovanni - Zum Fest! Zum Fest! Giovanni - To party! To party! Komm mit mir! Fort! Come along! Let’s go! Simone - (der bei Violanta kniet, zerrissen von Weh) Simone - (kneeling by Violanta, distraught) Lästert ihr noch am Gnadenort? Do you curse even in a place of grace...? Die Fremden gewahren die Sterbende. Ihr (The newcomers become aware of the dying Lachen verstummt. Die vordersten zuerst, dann, woman. Their laughter fades away. Those alle übrigen, senken die Fackeln. An der Wand who are in front, then all the others, lower fallen ein paar auf die Knie nieder. Immer mehr their torches. Some of them, near the wall, Maskierte strömen einstweilen herein. Sie bewe - fall to their knees. More masks come in, no gen sich nicht, sie verharren lautlos. Stark, lust - one moves, they all fall silent. Outside, the voll und hymnisch rauscht es auf. song sounds loudly, delightedly, like a hymn.) „Aus den Gräbern selbst die Toten, «Out of their graves, even the dead come out tanzen heute Brust an Brust. “ and dance arm-in- arm today...» Violanta - (mit einer letzten Anstrengung, Violanta - (lifting her head with a last effort, in erhebt den Kopf, visionär, groß und überwin - a visionary and solemn voice, transcending dend) Höchstes Heil ist mir entboten… herself) I am granted supreme salvation... Frei bin ich von Schuld... und Lust...! I’m free from sin... and voluptuousness...! Sie sinkt, selig lächelnd, befreit zurück. (She falls back with a blissful smile, liberated. Simone, wortlos erschüttert, kniet bei ihr. Simone, shocked to the point speechless - Alfonso hat schluchzend sein Antlitz abge - ness, kneels by her. Alfonso, sobbing, has wendet. In den von einem magischen Licht averted his gaze. More and more flowers fall rot auffunkelnden Saal fallen Blumen über into the room, which is suffused with a magi - Blumen. cal red light.)

46 47 48 49 Annemarie Kremer (Violanta) and Norman Reinhardt (Alfonso)

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