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TIMINGS Side 1 — 21:05 2 — 21:55 3 — 25:20 4 — 28:00 5 — 30:00 6 — 16:20 7 — 26:05 8 — 18:15 GEORG SOLTI (Cont.) After the war, however, Solti lost no time in returning to conducting, and in 1946 was appointed Musical Director of the in Munich. This was the beginning of a continuous 25-year period as musical director of an opera house; from Munich in 1952 he was appointed Artistic and Musical Director of the Frankfurt Opera, and in 1961, he became Musical Director of House, Covent Garden. During these twenty-five years, Georg Solti has established himself as one of the world’s outstanding conductors both in symphonic repertoire and in opera. During his years at Munich, he appeared as guest conductor in Vienna, Berlin, Paris, Rome, and Buenos Aires and in 1952 made his U.S. debut in San Francisco. He took the Frankfurt Opera to Paris, and to the Maggio Musicale in Florence. In 1959, he made his first appearance at Covent Garden, to conduct a series of performances of which were so successful that he was invited to become Musical Director of the Royal Opera. Since taking up this post, Solti has brought the London Opera House to a pinnacle of artistic achievement, directing a large number of highly successful new productions including Wagner’s Ring cycle, and Die Meistersinger, Mozart’s Cosi fan Tutte, , Le Nozze di Figaro and Die Zauberflöte, and by , and Schoenberg’s Moses and Aaron. In 1970, he took the Royal Opera Company to Berlin and Munich on their first major European tour. During his period as Musical Director at Covent Garden, Solti has also been much in demand as an orchestral conductor. He has conducted with great success most of the world’s finest orchestras, including the Vienna Philharmonic, the London Symphony, the New York Philharmonic, and the London Philharmonic. Now, after 25 years, DAVIDSON Photo: he wishes to change the balance of his musical life from the Opera House to the concert hall; and although he will spend one month each year directing a new production at Covent Garden his three most recent appointments are with three of the world’s great symphony orchestras. RENE KOLLO In 1969, he became the Musical Director of the Chicago Symphony Orchestra; in 1971, he commenced his appointment as Principal Guest Rene Kollo was born in 1937, into a family with a considerable musical Conductor of the London Philharmonic; and at the beginning of 1972, tradition — his grandfather had been a prolific writer of operettas. he takes over the Musical Directorship of l’Orchestre de Paris. In future, The dominant family interest in lighter music influenced the young therefore, Solti’s activities will be concentrated on three great musical Rene Kollo to try his luck in the world of show business, after a period centres — although by no means confined to those centres; for example, of experimentation during schooldays, forming a band and playing in 1971, he conducted the Chicago Symphony Orchestra on an jazz in pubs. extensive Eurpean tour, during which the orchestra played at the However, with the help of the money he earned on the stage, he started Edinburgh and Antwerp Festivals, in Scandinavia, Germany, Vienna, studying classical voice technique in Berlin in 1959, continuing up to Milan, Paris and London. 1965 — one of his teachers was Elsa Varena, who helped to awaken his Solti’s recordings are a testament to his wide knowledge and passionate interest in Wagner. For a time he toyed with the idea of musicianship and it is in this sphere that further distinction has been becoming a conductor, but on completion of his studies he was signed added to his outstanding career. He has been making records for up to the Braunschweig Opera, and a further engagement took him to London for over twenty years and will shortly be celebrating his silver Düsseldorf, where he still appears in between commitments abroad. jubilee with the company; and we are immensely proud of this long and The critics were quick to single out his exceptional talent and his happy association. He is the only conductor to have been honoured artistic integrity, and in 1969 he sang the part of the Steuermann in eight times with the French Academie du Disque Award of the Grand The Flying Dutchman at Bayreuth, winning immediate international Pirx du Disque Mondiale: for his recordings of (1959), acclaim. He followed this up the following year with performances of Tristan und Isolde (1961), Salome (1963), (1964), Erik in the same opera, and in Vienna in 1971. Götterdämmerung (1965), Die Walküre (1966), (1967), and Der Rosenkavalier (1969). Invitations from all over Europe have followed: from the Munich State Over the ten years of his tenure of the Musical Directorship at Opera to sing Eisenstein in , from for the part Covent Garden, Solti’s outstanding services to music in Britain have of Matteo () from Bologna for Narraboth (Salome), and from with a number of public honours. He has been Venice for Parsifal. has asked him to sing in a Photo: ALTAFFER been acknowledged made a Doctor of Music of Leeds University, and was recently awarded farewell performance of Verdi’s with the Orchestre de Paris, a C.B.E. This great honour was followed up in the Queen’s Birthday and also in a production of in Berlin. GEORG SOLTI made an honorary Knight of the Honours List for 1971, when Solti was The evolution of Mr. Kollo’s career from operetta to opera — and to just at the time that the maestro was British Empire-the award coming such intensely emotional and philosophical opera as Wagner’s — is very his final triumphant new production at the Royal Opera Georg Solti was born in Budapest, and studied piano, composition working with Toscanini was an inspiration to the young conductor. conducting unusual and the experience he has gained from such a transition has and conducting under Ernst von Dohnänyi, Bartök, Kodäly and Weiner. House of Tristan und Isolde. given him a very broad outlook. He has a great respect for the classic Ironically, Solti’s meeting with Toscanini also led to a temporary Solti’s recording of Siegfried was described by one of Britain’s Shortly after completing his studies he made his first concert change of course: just before the outbreak of war, Solti went to American musicals like Oklahoma, which he considers just as demanding principal critics as “the finest record... of opera that we have had so appearances as a soloist; at the time, it seemed that he might make a Switzerland to see Toscanini conduct at the Lucerne Festival, and a in their way as grand opera, and he is fully aware of the dangers to the this ace was trumped by the Maestro himself with his Der highly successful career as a pianist. But Solti was determined to be a planned two-week visit turned into a six-year stay. As a war refugee, far”; and voice inherent in trying to master both techniques. His own career is a Rosenkavalier, of which the Times said: “I could truthfully report that conductor, and he was given an appointment with the Budapest Opera. Solti was unable to obtain a work permit as a conductor, and therefore striking proof that these dangers can be overcome. it is the most marvellous operatic recording I have ever heard.” With A turning point in Solti’s early career came in 1937, when he was resumed his career as a pianist, winning first prize in the Geneva such achievement already to Solti’s credit, we can do no better than given the enviable, but difficult, task of assisting Toscanini to prepare International Piano Competition in 1942. Die Zauberflöte and at the . The experience of echo the words of the “Gramophone” critic: “But then, is there @ greater conductor alive today than Solti?” X Photo: Photo: X Photo: X Photo: FAYER

VICTOR BRAUN HANS SOTIN HELGA DERNESCH CHRISTA LUDWIG Victor Braun was born in Windsor, Canada, in 1935 as the first son of Hans Sotin was born on September 10th, 1939 in Dortmund where, Helga Dernesch was born in Vienna, and after leaving school joined the Born in Berlin, Christa Ludwig comes of a highly musical family, and Germano-Russian Mennonite parents. While studying geology at the after leaving school, he first studied chemistry. However his interest in Conservatoire of her native city. Her first engagement on completion of showed promise from the earliest age: at eight, her showpiece was the University of Western Ontario, he won a prize from the Canadian music led him to study singing privately with Friedrich Wilhelm her studies took her to Berne, where she played such roles as Marina Queen of the Night’s aria from . Her professional career Broadcasting Corporation, which encouraged him to take up singing Hezel, and then after joining the Dortmund Conservatory, he started (), Antonia (The Tales of Hoffmann), The Countess (The began at eighteen with an engagement at the Frankfurt City Theatre, and professionally. He started studying with a private teacher in London, working with Dieter Jacob, who has remained his teacher ever since. Marriage of Figaro jand R. Strauss’s ), Fiordiligi, and Elizabeth in 1955 Professor Böhm signed her for the , where in Tannhäuser. Canada, and graduated at the Royal Conservatory of Music at the she first appeared as Cherubino in . She has since University of Toronto. His first engagements from 1962-1964 were in Eutin and Essen, where been heard there in such widely contrasted roles as Dorabella, Marie At that stage she was essentially building up her repertoire, but already he made his operatic debut as the Polizeikommissar in Der Rosenkavalier, (), Ortrud, Amneris, Kundry, the Marschallin, Eboli, and In Toronto Mr. Braun soon became a member of the Canadian Opera a particularly intense interest in the work of Richard Wagner was and he then joined the , where he has built up a Waltraute. In May 1969 she sang under Leonard Bernstein in Beethoven’s Company starting as a -, and he toured throughout Canada developing, and this led to a second engagement at Wiesbaden, lasting great reputation in such leading bass roles as Baron Ochs, Sarastro, King from 1963-1966. Here she sang Elsa in Lohengrin, and Eva in Die Missa Solemnis, as part of the 100th Anniversary celebrations of the with the Company. Since then he has also been singing leading baritone Henry in Lohengrin, Der Landgraf in Tannhäuser, and Procida in Verdi’s Vienna State Opera. Her first performance of the part of the Marschallin roles with the Vancouver Opera Company and the Montreal Symphony. Meistersinger, at the same time extending her repertoire to include I Vespri Siciliani. His portrayal of Ochs there, in 1970, struck audiences in April 1968 — up till then she had always sung Oktavian — met with and critics by its playing down of the coarser, more blustering side of Elvira, Elisabeth in Don Carlo, and Agathe in Der Freischütz. In 1963 Mr. Braun went to Vienna on a Canada Council Grant where he huge success and led to an invitation to sing the same part at the the character in favour of the self-important cavalier, while not losing participated in the International Mozart Competition and won the first The big breakthrough for Miss Dernesch came in 1966. A tape of her Salzburg Festival the following year. The Times said of her performance: any of the comic overtones. Again, as the angry revolutionary Procida, prize, whereupon he was asked by to audition for him. interpretation of Sieglinde was played to Wieland Wagner as he layina “No other Marschallin has got so close to the heart of this marvellous he impressed by the evenness of his voice in all registers: his singing This led to a contract with the Städtischen Buhnen, Frankfurt-am- hospital. He engaged her immediately for the Japanese tour of the role.” of the Palermo aria earned him minutes of applause. Bayreuth company, and she sang in Die Walküre at the Osaka Festival — Main, where he started his European career, and to guest contracts and a performance that the grandson of Richard Wagner was never to hear. Miss Ludwig’s popularity in America is no less than that in Europe: she appearances at the Düsseldorf, Cologne and Hamburg Opera houses. On German television Mr. Sotin has appeared in the following opera is much in demand both in opera and in concert halls. She firmly films: Fidelio, Freischütz, Elektra, Arabella and Zar und Zimmermann. Mr. Braun is equally at home in opera and oratorio. Under Professor The tape audition also led to her debut at Bayreuth in 1967 as established her reputation in New York with a sensational performance He has toured extensively with the Hamburg Opera, visiting Montreal, Elizabeth, which she followed with interpretations of the roles of Freia as the Dyer’s Wife in Die Frau ohne Schatten, in 1966, at the Metro- Sawallisch he has played Wolfram at La Scala besides taking part in a New York, Rome, Stockholm, Glyndebourne — where he made his performance of the Brahms Requem in Brussels. His interpretation of and Gutrunein 1968, and Evchen in 1969. Herbert von Karajan engaged politan Opera; another important occasion for her at the Met was her debut in 1970 as Sarastro — and the Edinburgh Festival: Of his Christus in the St. Matthew Passion has been heard in Madrid under her for the Salzburg Easter Festival as Brünhilde in Siegfried, and she appearance as Fricka in Herbert von Karajan’s Salzburg Festival Orestes in the ’68 Festival production of Elektra, played opposite Frühbeck de Burgos, and also with the Los Angeles Philharmonic took that part again in 1970 in Götterdämmerung. In the meantime production of Die Walküre, in 1969. After a series of Mahler song Regina Resnik’s Cliytemnestra, William Mann wrote in the Times conducted by Zubin Mehta. In 1970 he deputized at short notice as the Miss Dernesch had joined the Cologne Opera Company, to which she is recitals in New York’s Philharmonic Hall, Leonard Bernstein invited her Saturday Review: “Mr. Sotin, who...has a magnificent bass-baritone Count in the Salzburg Festival production of the Marriage of Figaro, still under a guest contract (as also to the Deutsche Opera in Berlin). to take part in a nation-wide color television program broadcast at voice like flexible granite, is a discovery in a million.” and he appeared in 1971 as at Covent Garden, where he She made her debut at Covent Garden under Georg Solti in 1970, in the Christmas, 1967. Miss Ludwig has made many tours of the major festi- had made his debut two years before in the title role of Humphrey part of Sieglinde. vals, both in the States and in Europe, and is a frequent guest at La Searle’s “Hamlet”. Of his Onegin, Musical Events wrote of him: “Victor As one of the select band of international dramatic , Miss Scala, the Deutsche Oper Berlin, Covent Garden, the Teatro Colon, and the Lyric Opera, Chicago. Braun gave an assured and polished performance, in which there was Dernesch is heavily booked up for months ahead; but she insists on much to admire vocally. As an actor too he was remarkably singing no more than 50 to 60 performances each year. Her many- compelling... .” sided artistry combines great theatrical talent with an evenness in all parts of her voice and deep intensity of expression. TANNHÄUSER: A HISTORICAL NOTE much of it (all of Das Rheingold and Die Walküre, part of After more than 160 rehearsals, the first performance of Anton Seidl (Elisabeth), Anna Slach (Venus), Adolf Tannhäuser because the score was spotted with Tristan-like In Act I, Scene 4, when “Heinrich” (that is, Tann- by Herbert Weinstock Siegfried and all of Tristan und Isolde) Wagner went to of the French Tannhäuser took placeatthe Operaon March13, Robinson (Wolfram), and Josef Kögel (Landgraf). The musical modernisms. The Parisians never had heard Tristan häuser) encounters his former friend Wolfram and reacts in Paris in the hope of recouping the losses that he had been 1861. Because house rules prevented the composer from Paıis version was heard at the Metropolitan for. the first itself beyond its prelude (and of course knew nothing of wonder to Wolfram’s mention of the name “Elisabeth,” In 1842, the twenty-nine-year-old Richard Wagner, suffering as a political exile from Saxony and most other conducting his own opera, the conductor was Pierre-Louis- time on January 30, 1889, when Seidl conducted and the ). On January 25, 1860, Wagner had a curious instance of the alteration in Wagner’s musical already the composer of Die Feen, Das Liebesverbot, Rienzi, German states after being involved in revolutionary activity Philippe Dietsch, whose opera Le Vaisseau-Fantöme (a cast included Lilli Lehmann’s husband, Paul Kalisch, sub- conducted at the Salle Ventadour a program consisting of idiom results. Wolfram recounts how, in bygone days, the and Der fliegende Holländer, spent part of a late-Spring in Dresden in 1849. What he most intensely hoped for wasa failure after its production at the Opera on November 8, stituting au pied leve for Max Alvary (Tannhäuser), Katti the overture to Der fliegende Holländer, the overture and power of Tannhäuser’s singing had earned him the con- holiday at Teplitz in northern Bohemia with his friend production of Tristan at the Paris Opera, then still regarded 1842), had been a setting of a libretto based upon Wagner’s Bettaque (Elisabeth), Lilli Lehmann (Venus), Alois Grienauer choral march from Tannhäuser, the prelude and wedding tested-for prize, the love of Elisabeth. Wolfram’s narrative Theodor Apel. While there, having mentally emulsified an as the dizzying summit of the operatic world. That hope first sketch of one for Der fliegende Holländer, which he (Wolfram), and Emil Fischer (Landgraf). On April 15, 1966, celebration from Lohengrin, and the Tristan prelude. He is couched in recitative followed by a sort of aria, the amazingly wide variety of literary sources,* Wagner put was snuffed out quickly. Then, in March 1860, Napoleon had been forced by need to sell for five hundred francs Tannhäuser was sung at the Metropolitan for the 263rd wrote to Mathilde Wesendonk that the Tristan music was latter beginning “War’s Zauber, war es reine Macht, durch together the first draft of a libretto intertwining a genuine III, acting primarily from political motives, instructed the in 1841. Dietsch seems to have been a mediocre conductor. (and, as of 1971, last) time, when Joseph Rosenstock “so incomprehensibly new to the musicians that I had to die solch Wunder du Vollbracht”’ (Did some magic or divine thirteenth-century Minnesinger and a perhaps historic song Opera to stage Tannhäuser, still unheard in Paris fifteen The leading roles in that first Tannhäuser were sung by conducted and the cast was headed by Pekka Nuotio lead them from note to note as though prospecting for power make possible that wonder for you?). As Ernest contest held at the Wartburg, near Eisenach, A. D. 1208. years after its Dresden premiere. Albert Niemann (Tannhäuser), Marie Sasse, Sass, Saxe, or (Tannhäuser), Leonie Rysanek (Elisabeth), Anita Välkki precious stones in a mine.” And when, in March of that Newman wrotett: “The song is a moving one, in spite of Before leaving Teplitz to return to Dresden (where his opera The opera, as a matter of course, would have to be Sax (Elisabeth), Fortunata Tedesco (Venus), Morelli (Wol- (Venus), Thomas Stewart (Wolfram), and Ernst Wiemann year, Rossini asked Wagner how the translation of the several little evidences in it that as yet Wagner had not Cola Rienzi, der Letzte der Tribunen, received its premiere sung in French-and the Opera management automatically fram), and Cazaux (Landgraf Hermann); the choreography (Landgraf). Throughout the world, in addition to perfor- Tannhäuser libretto into French was progressing, Wagner shaken himself quite free of the conventional melodic lines on October 20), Wagner wrote out some preliminary musical asked Wagner to add asecond-act ballet, an audience-beloved was by Marius Petipa. mances in German, French, Italian, and English, stagings of repliedt: “This is a question-for perfect understanding of of his early days.” Nowhere else, perhaps is the disparity sketches for the Tannhäuser opera, which at first he feature of nearly every opera sung in its house (first-act Matters went smoothly enough on that first night. Tannhäuser have been chronicled in Lettish, Estonian, the musical expression-of identifying, to put it this way, between 1845 and 1860 so noticeable in a brief span: the referred to as Der Venusberg (an imaginary mountain that ballet would occur too early for fashionably: late-arriving But at the second and third performances (respectively Czech, Flemish, Finnish, Dutch, Hungarian, Slovenian, each French word with the corresponding sense of the melodic line, indeed, might be described as striped, alternat- he rather arbitrarily identified with the Hörselberg, near ballerina enthusiasts). Wagner, perhaps foolishly, refused March 18 and March 24), a violent demonstration against Russian, Danish, Swedish, Polish, Romanian, Lithuanian, German word and under the same notation. It is hard ing asit does the rather square, flatfooted melodic procedure Eisenach), but reluctantly agreed to entitle Tannhäuser und (dancing just before the second-act song contest would not Wagner, Tannhäuser, the Austrian clique around the Emper- anc Bulgarian. work and very difficult to accomplish.” of Rienzi and the subtler, more sinuous melopeia of Tristan. or, the Empress Eug£nie, and a ballet in the first act rather der Sängerkrieg auf Wartburg after his publisher had pointed be disaffectingly incongruous). But he soon set about Although the original, Dresden, Tannhäuser is stylisti- In Act II, Scene 3, when the frenetic Tannhäuser than the second was spearheaded by the fashionable Jockey cally and structurally more unified than the patched-up Rossini reasonably asked why, instead, Wagner did out that reference tojan opera as The Mountain of Venus having his German libretto translated into French and turns upon Wolfram and contrasts the delights of sexual Club with such success that the opera several times had to Pais version, the music that Wagner added for the Opera not do what, for example, Gluck had done to transmute the almost certainly would arouse obscene comment. making therefore essential changes in the score. Many of Italian Orfeo ed Euridice into the French Orphee et love with the cold spiritual love just hymned by Wolfram, In December 1844, Wagner composed an occasional the changes were minor. The largest of them were extension be interrupted. In disgust, and against the better judgment is of such persuasive expressiveness that its omission now Eurydice: adapt the existing music to a new French libretto. Wagner again spatchcocks snippets of his most recent piece for male chorus which was sung at Dresden during the of the first-act Venusberg bacchanal, in effect thus supplying of the management, Wagner withdrew Tannhäuser, which seems willful. For that reason, most performances of the Wagner’s reply to Rossini tells us why he was willing to melodic-harmonic idiom into the unreceptive texture of the reburial ceremony—which also included an oration by him— the asked-for ballet in the wrong place; the addition of new was not heard at the Opera again until May 13, 1895, when opera now make use of the Paris version, the chief in- concoct so stylistically mixed a score as that of the Paris original score, particularly quoting, in the manner of a honoring the return of the body of Carl Maria von Weber, text and music to the crucial Act I dialogue between the earlier director’s conviction that it wöuld catch on if novations in which are of interest, not only in themselves, Tannhäuser: “In my case, Maestro, I don’t think that that Leitmotiv, the most heated strains of the new Venusberg who had died in London in June 1826 and had been buried Tannhäuser and Venus; abbreviation of the contest of song played only a few times more was vindicated: it ran up but also as denoting the musical miles and direction that music. A perhaps even more instantly audible example one hundred performances at the Opera by November 26, Wagner had traveled between 1845 and 1860. could be done. After Tannhäuser, I wrote Lohengrin, then there temporarily. On the following December 29, Wagner in Act II; and expansion of his earlier retouchings of the Tristan und Isolde. These three , from both the literary of this infusion of the new into the old occurs in the completed Tannhäuser except for the orchestration, which final scene. He either did not notice or did not care that 1900, two hundred by July 26, 1909, 342 by May 4, 1959. A widespread assumption long has been that Wagner and the musical points of view, represent a logical develop- accompaniment to Elisabeth’s prayer in Act III, Scene 1: he accomplished by April 15, 1845, the creation of the new his highly involved musical language of 1860 mixed badly, Among the renowned singers of leading roles in created for Paris the continuous section of orchestral music ment in my conception of the definitive and absolute form “Allmächt’ge Jungfrau” (All-powerful Virgin). Here, into opera thus having occupied him for about three years. He or not at all, with the simpler manner of the 1845 Tannhäuser at the Op&ra have been: Tannhäuser-Albert which now opens most performances of Tannhäuser (the of the lyric drama. My style has undergone the inevitable an altered version of the original orchestral support, he has himself conducted its first performance, at the Dresden Tannhäuser. Saleza, James Joyce’s friend and protege John (O’)Sullivan, section usually listed on symphony-orchestra programs as effects of that gradation. And if it is true that now I sense insinuated a highly expressive_meandering melody for bass Royal Opera (Komödienhaus), on October 19, 1845, when The opera had been in rehearsal at the Salle Ventadour Georges Thill, Lauritz Melchior, and Fernand Ansseau; “Overture and Venusberg Music, Paris Version”). In fact, the possibility of writing other works in the style of clarinet which would have been beyond his potentiality in the principal roles were sung by Joseph Aloys Tichatschek (which then housed the Opera) since September 1860 Elisabeth-Geraldine Farrar, Mariette Mazarin, Germaine however, he did not. At the 1861 Opera performances, the Tristan, I swear that I am incapable of taking up my 1845. And at many other junctures in the Paris Tannhäuser, (Tannhäuser), the composer’s niece Johanna Wagner (Elisa- Lubin, Elisabeth Rethberg, Lotte Lehmann, Maria Muller, original overture was played whole and came to its original when, in late January 1861, Wagner completed the new Tannhauser manner again. Well, then, if I were in the the attentive listener will become aware that music different beth), Wilhelmine Schröder-Devrient (Venus), Anton Mitter- Venusberg music, its text being a French translation of and Regine Crespin; Venus-Felia Litvinne, Gertrud Rünger, full stop. Only then-almost certainly after applause — was position of having to compose an opera for Paris on a French in profile, harmonic motion, instrumentation, and dramatic wurzer (Wolfram)\ and Wilhelm Dettmer (Landgraf Her- lines that he had written out in German, the new music and Rita Gorr; Wolfram-Dinh Gilly, Hector Dufranne, the new Venusberg music played. Further, that was the text, I could not and should not follow any other road intent has been placed where—-though undoubtedly effective mann) ** Its first two performances were received with dis- being composed directly to the French words. Ernest Clarence Whitehill, Herbert Janssen, Martial Singher, John staie of the introductory music when Hans von Bülow than the one that has led me to the composition of Tristan.” in itself—it is not at home among its surroundings. heartening reserve, but from the triumphant third night on, Newman pointed out? that when Wagner came to prepare a Brownlee, and Ernest Blanc. The role of the Landgraf conducted Tannhäuser for King Ludwig of Bavaria at In the final scene of the Paris Tannhäuser, Venus the popular success of Tannhäuser appeared certain. definitive German edition of the “Paris” Tannhäuser, the Hermann has been sung at the Opera by, among many Mwnich in 1867. No one knows precisely when Wagner In Act I, Scene 2, of the Paris Tannhäuser, the materializes onstage lying on her couch-and makes a last, Tannhäuser was sung at Dresden in both 1846 and French texttt caused him difficulties. Newman gives an others, Vanni-Marcoux and Marcel Journet. evelved the continuous texture woven of a shortened emotional struggle between Venus and the defecting almost successful attempt to lure Tannhäuser back with 1847 with some more-than-minor revisions by Wagner in its interesting sample: where Wagner had written rhyming The early history of Tannhäuser in London was very vezion of the overture and the newer Venusberg music. Tannhäuser has been lengthened and made much more her to the Venusberg. Here, too, the repentant Tannhäuser final scene (Venus now materialized in the sky and Elisa- three-accent lines— peculiar. It was staged there first, at Covent Garden on He himself conducted it first, however—at a Vienna concert violent. In the Dresden version, Venus is a comparatively dies upon Elisabeth’s catafalque. Neither of these very beth’s body was carried onstage). By December 12, 1872, Da liegt er vor der Schwelle, May 6, 1876, in Italian (Fernando Carpi as Tannhäuser, on May 12, 1872, given to raise funds for Bayreuth. He passive goddess; here she has become an impassioned specific stage events had occurred in the Dresden Tann- it had been heard there one hundred times (five hundred wo einst ihm Freude floss: Emma Albani as Elisabeth, Anna d’Angeri as Venus, Victor also conducted its first integral performance in the opera, woman. Sensing the failure of her determined effort to häuser, in which the enduring allure of the Venusberg is by November 16, 1913). Franz Liszt conducted it at Weimar um Mitleid, nicht um Liebe, Maurel as Wolfram, and Capponi as the Landgraf Hermann). again at Vienna, on November 22, 1875. Several Viennese hold Tannhäuser with her in the Venusberg, she now indicated only by a distant red glow-and Venus is present in 1849, and from 1852 on it was staged very widely fleht bettelnd der Genoss Then it was heard in English translation at Her Majesty’s critics violently disliked the new Venusberg music as too threatens him with a deserter’s doom; he reacts with a new only in the imagination of the fevered, exalted Tannhäuser, throughout the German states (five hundred performances he had to fit German words to the existing melodic lines Theatre on February 14, 1882. Finally, on May 23, 1882, it sensuously explicit. Ernest Newman quoted* Ludwig Speidel mixture of genuine repentance for his sexual sins and while the death of Elisabeth is announced to the audience in Berlin between January 7, 1856, and August 26, 1907) based upon the prosody of the French translation. Finding was sung at Drury Lane Theatre in German-and at Covent as having written that it consisted of “howls and shrieks, wounded male pride, so that when Venus invites him to only by the tolling of mourning bells from the Wartburg. and Austria, as well asin Switzerland, Belgium, Finland, and it impössible to produce for that purpose rhyming, regularly Garden on May 28, 1896, the Paris version was presented in in an endless succession of piercing dissonances. We hear the return to her if he finds no salvation in the outside world, In Wagner’s view, the first form of this terminal scene had North America. At the Stadt Theater, New York, on April metrical lines in German, he had no choice but to dispense French, with Albert Alvarez (Tannhäuser), Emma Eames Spanish flies [cantharides] buzzing, and the draught served his answer is: “Mein Heil! Mein Heil ruht in Maria!” proved too subtle to be understood by audiences, and he 14, 1859, it became the first Wagner opera to be staged with both rhyme and regular meter. The somewhat awkward (Elisabeth), Ada Adiny (Venus), Mario Ancona (Wolfram), up by the satyrs is simply gin laced with cayenne pepper. (My salvation! My salvation rests with the Virgin!). And may have begun tinkering with it even in 1846, in the in America. result was that Venus now had to sing and Pol Plangon (Landgraf). Even in Wagner it would be difficult to find so horrible, so all of this alternately pleading and defiant exchange is direction of making ‘such important details visually more All of the pre-1861 performances of Tannhäuser, Auf der Schwelle, sieh’ da! The fırst staging of Tannhäuser (Dresden version) at foul a musical dish.”’ * + made in music so far from the comparatively naive idiom explicit. In fact, the scene was staged as early as February 7, which mounted into the hundreds, were of the original, ausgestreckt liegt er nun, the House, New York, opened that Twentieth-century listeners cannot share the amaze- of the Dresden Tannhäuser that it would not ripple the 1847, in much the form it assumed definitively in the “Dresden” version as slightly altered by Wagner. In Septem- dort wo Freude einst ihm geflossen! house’s second (first all-German) season on November 17, ment and discomfort felt by the first Paris audiences for stylistic unity of Tristan und Isolde. production at the Paris Opera. ber 1859, however, when he already had completed the Um Mitleid fleht er bettelnd, 1884. Leopold Damrosch conducted a cast headed by four poems of Der Ring des Nibelungen and had composed nicht um Liebe. Anton Schott (Tannhäuser), Auguste Seidl-Kraus, the wife

*Dealing mostly with two previousiy unrelated stories—that of a medieval *%*A second operatic Tannhäuser, composed by Karl Ludwig Armand Mangold contest of song held during the thirteenth century at the Wartburg, a hill castle (1813-1889) to a libretto by Eduard Duller, received its premiere at Darmstadt *The Wagner Operas, page 102. near Eisenach, and that of the involvement of a Minnesinger named Heinrich on May 17, 1846, seven months after that of Wagner’s opera. It had a happy von Ofterdingen with Venus—these sources included: a story inE.T. A. ending: the hero .married his Elisabeth (here called Innigis) as the Venusberg ** Tristan und Isolde was not staged in Vienna until October 4, 1883, though Hoffmann’s Der Serapionsbrüder concerning the singers’ tourney (itself sank into ruinous oblivion. In 1892, three years after Mangold’s death, his score rehearsals of it—77 of them-had been held there in 1862-1863. derived from a medieval chronicle); two stories collected in the Deutsche was revived as Der getreue Eckart, to a libretto altered by Ernst Pasque. Mangold Sagen of the Brothers Grimm, one about Tannhäuser and Frau Venus, one was a persistent Wagnerian in his choice of operatic subjects: in 1851, he brought t Edmond Michotte: Richard Wagner’s Visit to Rossini (Paris 1860), etc., about the Wartburg contest; similar accounts in a collection of Thuringian out at Darmstadt an opera entitled Gudrun. translated from the French by Herbert Weinstock, Chicago and London, legends published in 1835 by Ludwig Bechstein; Baron Friedrich La Motte- t The Wagner Operas (known in England as Wagner Nights), New York, 1949, 1968. Fouque'’s dramalike recounting of the song festival; Ludwig Tieck’s curious 1799 page 104. melange of verse and prose entitled The Faithful Eckart and the Tannenhauser; tt The Wagner Operas, page 80. and the writings of Professor C. J. L. Lucas of Königsberg suggesting that popular tt The French libretto of Tannhäuser was the collaborative work of Edmond imagination had fused the historical Tannhäuser, the legendary Tannhäuser, and Roche, Richard Lindau, and “Charles Nuitter’” (pseudonym of Charles-Louis- Heinrich von Ofterdingen. Etienne Truinet), with copious suggestions from Wagner, who worked closely with Roche.

©1971 London Records, Inc. 539 West 25th Street New York, N.Y. 10001 LIBRETTO SYNOPSIS committally and leads them to understand that he is not resting on his lands on the eve of departure for Italy. staying among them, whereupon all begin fervently to Tannhäuser (Mit ihnen sollst du wallen) must join the SIDE 1 SIDE 1 persuade him to remain, which he only consents to do after band, but if he cannot wrest a pardon from the Pope for his The composition of Wagner’s opera Tannhäuser, for ACTI ACTI which the composer, as was his custom, wrote both music Wolfram (Als du in kühnem Sange), with the Landgrave’s grievous sin — the society of that time not being exactly permission, has told him of the love he has aroused with permissive — he must never return, on pain of death. After 1. Szene Scene 1 and libretto, was begun in 1843 and finished in 1845 — first Im Innern des Venusbergs The interior of the Venusberg production, Dresden, October 19th, 1845. The premiere of his lays in the breast of the Lady Elizabeth, the Landgrave’s a further chewing over of the points at issue, the song of lovely niece (Ha, jetzt erkenne ich). Allexpress their delight the departing pilgrims is heard. To enthusiastic cries of To (in der gesamten Welt Hörselberg genannt) (the Hörselberg to the world at large) the so-called ‘Paris’ version, recorded here, took place at Wie die deutsche Romantik des 19. Jahrhunderts berichtet, According to German Romanticism of the 19th century, ‚the Paris Opera on March 13th, 1861. (Ein wunder hat ihn gebracht) at his decision to stay. The Rome! To Rome! Tannhäuser rushes headlong away to join hatte Venus, die Göttin der Liebe, sich bei dem Verfall der Venus, goddess of Love, had taken refuge here upon the The curtain rises on Act 1, Scene 1 to reveal the valley fills with huntsmen, hallooing and horncalls, as the their ranks, as the curtain falls on Act 2. rest of the hunting party comes up. They all depart clamor- alten Götter hierhin geflüchtet. eclipse of the ancient gods. interior of the Venusberg (the Hörselberg, near Eisenach) The curtain rises again on Act 3 to reveal the valley ously for the Landgrave’s Court at the Wartburg and the Umgeben von rosigen Nebeln und betäubenden Düften Amid rosy mists and intoxicating perfumes, Nymphs, Youths, where, according to the feverish imaginings of 19th-century before the Wartburg as in Scene 2 of Act 1, but now it is ergötzen sich Nymphen, Jünglinge, Bacchanten, Satyre und Bacchantes, Satyrs and other denizens of her realm are Romanticism, Venus, goddess of love, had taken refuge on curtain falls on Act 1. sad and autumnal. andere Bewohner ihres Gebietes und gehen ihren sinnlichen disporting themselves in the pursuit of sensual pleasure in a the eclipse of the gods of classical mythology. A scene of Vergnügungen in sich immer steigender Raserei nach. Im manner increasingly furious. Prominent in the scene is the bacchanalian revelry, complete with classical tableaux, Elizabeth is discovered praying at the shrine of the Act 2 takes place in the Minstrels’ Hall at the Wart- Vordergrund des Szene steht die Grotte der Liebe. Grotto of Love. intoxicating perfumes, frenzied and abandoned dancing and Virgin. Finding her there, as so often before, Wolfram prays Najaden und Sirenen tollen ausgelassen in einem See im rosy mists, is in progress. Sirens and naiads (Naht euch dem burg. Through the rear windows a glimpse of the castle (Wohl wüsst’ ich hier) that her hopes for Tannhäuser’s Naiads and Sirens are frolicking in a lake seen in the Hintergrund oder ruhen an seinen Ufern. Venus hat sich auf background, or reclining on its shores. Venus reclines on a Strande) are calling enticingly. The goddess herself is courtyard and the green valley beyond can be caught. The return, pardoned, may be realized. Now the song (Beglücht einem Ruhebett niedergelassen, das Haupt Tannhäusers, ihres luxurious couch, her lover Tannhäuser’s head couched in revealed reclining in a rosy bower, the head of her captive Landgrave’s niece Elizabeth enters and joyously apostro- darf nun dich) of the returning pilgrims is heard. In great Geliebten, ruht in ihrem Schoss. Die Drei Grazien haben sich her lap. The Three Graces are grouped round the amorous knight, the minstrel Tannhäuser, couched in her lap. When phizes the hall where Tannhäuser has scored his former trepidation, both Elizabeth and Wolfram count them as they triumphs and to which he is now returning. pass. Tannhäuser is not among them. Elizabeth (Allmächt’ge um das Liebespaar gruppiert. Schläfrige Kupiden liegen, wie couple. Drowsy Cupids, like weary children, lie in a tangled the latter, waking, gazes around him as if dazed, Venus ermüdete Kinder, in einem wirren Haufen durcheinander. questions him as to the cause of his evident distraction. Wolfram brings Tannhäuser to the hall and encourages Jungfrau) returns to prayer and begs the Virgin to take heap nearby. Youths, goblets in hand, recline on the projecting He (Im Traum war mir’s) has been dreaming of his native him to accost Elizabeth, which he does. Flustered, the young her life away, that she may. ascend to heaven, there to beg Jünglinge, Kelche in den Händen, schmachten auf den cliffs; as the curtain rises, nymphs, youth-oriented, are hervorspringenden Klippen; wie der Vorhang sich hebt, tanzen already dancing seductively before them. The Youths countryside and is homesick. She reminds him of all she girl at first attempts to discourage his presence, but the two for grace for Tannhäuser. When she rises from prayer, the soon drift (So stehet auf...Fern von hier) into an im- faithfuland devoted Wolfram asks if he may not accompany die Nymphen schon nach den Jünglingen trachtend presently pair off with, and partner, the Nymphs. “has done for him and of his pleasureable life with her and verführerisch vor ihnen. Bald gesellen sich die Jünglinge zu A band of Bacchantes, dancing in wild abandon, causes the bids him take up his lyre and, as he has been wont to do, passioned declaration of mutual love (Der Sänger klugen her to the castle, but she declines his offer and moves slowly den Nymphen. Eine Schar von Bacchanten, die sich wild dem revellers to indulge in ever more extravagantly orgiastic celebrate sensual love in song. This he does (Dir töneLob!) Weisen...Den Gott der Liebe) while poor Wolfram, who has on her way alone. The disconsolate Wolfram takes up his Tanz ergeben, veranlasst die Schwelger sich immer demonstrations. Satyrs and Fauns join Te frenzied dancers. but afterward continues, saying that eternal comfort and long worshipped Elizabeth from afar, realizes that all his lyre and sings (Wie Todesahnung...O du mein holder zügelloserer Ausschweiferei zu ergeben; Satyre und Faune Unsuccessfully, the Graces attempt to cool their ardour, then bliss are not for him — he desires strife, suffering, even hopes are shattered. Finally, the two young men withdraw. Abendstern) of Elizabeth’s longing for death, begging the The Landgrave (Dich treff ich hier) now appears. He gesellen sich dem rasenden Tanz zu. Die Grazien versuchen, turn to the sleeping Cupids, wake them and chase them in death if need be — and begs her to release him. They dis- friendly evening star to greet the soul in flight from one ohne Erfolg, ihre Glut zu dämpfen, wenden sich dann den among the milling crowd. From a safe height, these loose an pute for a while — she woos him (Geliebter, komm!) with is delighted to encounter his niece once again in the hall who has always loved and never betrayed her. schlafenden Kupiden zu, wecken sie auf und jagen sie in die unending shower of arrows among the dancers. Those struck, every means in her power — he promises always to praise whose precincts she has shunned ever since Tannhauser’s Now a ragged, limping figure (Ich hörte Harfenschlag) departure. The young girl cannot find words to express the wogenden Mengen. Aus sicherer Höhe senden diese einen seized with an imperative desire Tr love, break away from her perfections. But when she finally realizes that pleas and heaves into view. It is Tannhäuser. At first Wolfram does endlosen Schauer von Pfeilen unter die Tänzer. Die the dance and seek a spot where they may indulge in loving reminders are of no avail, and for the third time he demands happiness at which her uncle guesses. The latter gently tells her (Noch bleibe denn unausgesprochen) to keep her secret not recognize him. But he recognizes Wolfram. When his Getroffenen, von einem unwiderstehlichen Drang nach Liebe dalliance. All those pierced—Bacchantes, Fauns, Satyrs, etc. freedom, she turns upon him furiously and tells him not to friend inquires how he has fared in Rome, Tannhäuser at until she feels strong enough to reveal it to him. There is erfasst, sondern sich ab von Tanz und suchen einen Ort, wo —finally disappear likewise. A rosy mist thickens and turn to her again when the world rejects him, to which he first turns bitterly away, but finally agrees to tell his tale. to be a contest of song that very day in the Great Hall, to sie sich der Liebeständelei ergeben können. Alle die vom Pfeil descends, isolating Venus and Tannhäuser. It parts to reveal replies, if he leaves her now, his pride will prevent him ever He relates (Inbrunst im Herzen) with what scourges, purges which all the nobility of the land has been invited and over getroffenen-Bacchanten, Faune, Satyre, usw.—-verschwinden a tableau of the Rape of Europa by Jove transformed as a bull. returning to her. Changing her ground once more, the and fervent haste he made his way to Rome and how the schliesslich ebenso. Ein rosiger Nobel oendichtet und senkt goddess begs him not to deprive her of the pleasure of taking which she is to preside. The guests now arrive (Freudig begrüssen wir) with Pope pardoned thousands there, but, when he heard of the sich auf Venus und Tannhäuser herab und lässt sie allein him back, should he ever desire it, concluding: Come again unhappy man’s sojurn in the unhallowed precincts of the zurück. Der Nebel teilt sich und enthüllt eine Darstellung des to me when you are seeking salvation! To which he replies: joyfulgreetings. When all are seated, the Landgrave proposes (Gar viel und schön) a subject for the contestants. He who Venusberg, he had said that it was as impossible for such a Raubs von Europa durch den in einen Stier verwandelten My salvation lies in Mary! Upon this, the whole parapher- one as Tannhäuser to be pardoned as for the papal staff to Jupiter. nalia of the Venusberg crumbles and disappears in an instant best propounds the true nature of love shall be the winner, bud and put forth green leaves. Sickened by the paeans of and (Scene 2) Tannhäuser finds himself in the green valley to whom Elizabeth will present the prize, whatever it may other men’s rejoicing, the wretched man (Zu dir, Frau SIRENEN Naht euch dem ıStrande! SIRENS Draw near the strand! which stretches between the Hörselberg and the old castle be that the fortunate man shall choose. Venus) is hastening back to take refuge in the Venusberg. It falls to Wolfram to compete first. He sings (Blick Naht euch dem Lande, Approach the land, of the Wartburg, residence of Count Hermann, the Land- The horrified Wolfram (Halt ein! Halt ein!) does all he can wo in den Armen where, in the arms, ich umher) of a holy love, lofty and pure, and is universally grave of Thuringia. to dissuade his friend, but the sky begins to glow and, in glühender Liebe of glowing love, It is spring. A shepherd lad is playing his pipe and applauded. But Tannhäuser, who, all this time, has sat by answer to Tannhäuser’s repeated cries, Venus, appearing in selig Erwarmen let blissful warmth singing, (Frau Holda kam aus dem Berg hervor) as he with an abstracted air, suddenly springs to his feet. He will a rosy vision, calls to him in welcome. Tannhäuser is stilleure Triebe! content your desires! have none of this unexciting stuff and, spurred on by watches his flock. A band of pilgrims, singing, (Zu dir wall determined — nothing Wolfram can urge of salvation and (Eine zweite Darstellung enthüllt sich-Leda wird von Zeus in (A second tableau is revealed-of Leda being wooed by ich) traverses the scene. Tannhauser falls to his knees before memories of Venus, sings in praise of sensual passion, finally revealing (Dir, Göttin der Liebe) his sojurn in the redemption has any influence over him, until his friend der Gestalt eines Schwans umbuhlt) Zeus in the guise of a swan.) a wayside shrine. While he remains kneeling, sunk in breathes the name of Elizabeth. At this his intention is Naht euch dem Strande! Draw near the strand! prayer, the pilgrims disappear, followed by the shepherd Venusberg. All are deeply shocked (Ha, der Verruchte) at deflected. The rosy light begins to wane and the sky Approach the land! the discovery, and very augry. The ladies, allbut Elizabeth, Naht euch dem Lande! lad, driving his flock. darkens. Venus, balked of her prey a second time, vanishes. (Diese zweite Darstellung schwindet. Der Nebel hebt sich. (This second tableau fades. The mist lifts. The Graces bow The Landgrave, Count Hermann, now arrives in the withdraw. The lords and knights draw their swords and threaten Tannhäuser. Elizabeth (Zurück von ihn) inter- The gleam of approaching torches is seen. Knights and Die Grazien verbeugen sich vor Venus und ziehen sich in die before Venus and retire into the Grotto of Love.) valley with several of his minstrel knights (Minnesingers), Grotte der Liebe zurück.) members of his hunting party. They are astounded (Du poses herself between them and the threatened man, saying nobles appear in cortege, bearing the body of the lifeless bist es wirklich?) when the stranger knight they see kneel- that they have no right to deprive him of his chance of Elizabeth. Wolfram leads Tannhäuser to the bier, where SIDE 2 SIDE 2 ing in fervent prayer proves to be Heinrich Tannhauser, redemption in this world through repentance and atonement. the unfortunate penitent slowly sinks to his knees and formerly one of their circle, who had left them some time Everyone is astounded that she should identify herself falls dead over Elizabeth’s body. Meantime, singing (Heil! VENUS Geliebter, sag, wo weilt dein Sinn? VENUS Tell me, beloved, of what are you thinking? previously, in a fit of pique, after some disagreement. When with such a man. Tannhäuser, deeply touched by her inter- Der Gnade Wunder Heil!) is heard and a band of pilgrims they ask if has returned as friend or foe, Wolfram von cession on his behalf, sinks to his knees contritely. After enters, triumphantly bearing the Pope’s staff, which is seen TANNHAÄUSER Zu viel! Zu viel! TANNHÄUSER Too much! Too much! Eschenbach, formerly Tannhauser’s close friend, reproves much repetition of the agruments on both sides, the Land- to have put forth green leaves. The final curtain descends on Oh, dass ich nun erwachte! Oh, that Inow might wake! them, saying: Is that humble and chastened air the look of grave (Ein furchtbares Verbrechen) proposes a solution. A a scene of restrained jubilation and praise to the Lord. an enemy? Tannhäuser parries their eager questioning non- band of pilgrims, bound for Rome, is at this moment PEGGIE COCHRANE VENUS Sag mir, was dich mühet? VENUS Tell me what ails you.

TANNHÄUSER Im Traum war mir’s, als hörte ich— TANNHÄUSER In dreams, it was as if I heard— was meinem Ohr so lange fremd— a sound long stranger to my ears— als hörte ich der Glocken frohes Geläute! as if I heard the joyful peal of bells! Oh, sag, wie lange hört’ ich’s doch nicht mehr? Oh, tell me! How long is it since I heard them?

VENUS Was fasst dich an? VENUS What is it holds you in thrall? Wohin verlierst du dich? Where are you straying?

TANNHÄUSER Die Zeit, die hier ich verweil, TANNHÄUSER The time I have sojourned here ich kann sie nicht ermessen. I cannot measure. Tage, Monde--gibt’s für mich nicht mehr, Days, moons—mean nothing to me any more, ©1971, The Decca Record Company Limited, London Exclusive U.S. Agents London Records Inc. 539 West 25th Street, New York, N.Y. 10001 SIDE 2 SIDE 2 2.2, BTOSSEL, 2: 0 Feteatel,e.ı, denn nicht mehr sehe ich die Sonne, for I no longer see the sun, VENUS Ich lass dich nicht! VENUS I will not let you go! nicht mehr des Himmels freundliche Gestirne; nor the friendly stars of heaven; den Halm seh ich nicht mehr, der frisch ergrünend I see no more the blades of grass, which, turning freshly green, TANNHÄUSER ... niemals wahrer, ... TANNHÄUSER es SNEVERILTUEL, 4... den neuen Sommer bringt; die Nachtigall bring the new summer in; the nightingale hör ich nicht mehr, die mir den Lenz verkünde. that foretells me the spring, I hear no more. VENUS Du darfst nicht von mir ziehn. VENUS You may not go from me! Hör ich sie nie, seh ich sie niemals mehr? Shall I never hear it, never behold it more? TANNHÄUSER ...alsjetzt,... TANNHÄUSER ...than.now,... VENUS Ha! Was vernehm ich? Welch tör’ge Klage? VENUS Ha! What do I hear? What foolish complaining? Bist du so bald der holden Wunder müde, Are you so soon wearied of the sweet wonder VENUS Ich lass dich ... VENUS I will not let... die meine Liebe dir bereitet? Oder wie? my love devises for you? Or what? Könnt ein Gott zu sein so sehr dich reun? Can you so greatly regret being a god? ... nicht! nein! nein! ach!— ... you go! No, no! Oh!— Hast du so bald vergessen, wie du einst Have you so soon forgot how once you gelitten, während jetzt hier du dich erfreust? suffered, whilst now you delight in pleasure here? TANNHÄAUSER]| .... da ich für ewig dich muss fliehn! TANNHÄUSER| ..... when I must fly from you for ever! Mein Sänger, auf! Auf, und ergreife die Harfe! Come, my minstrel, up and grasp your Iyre! Die Liebe feire, die so herrlich du besingest, Celebrate love, which you extol so marvellously in song, (Auf ein Zeichen von Venus wird eine Grotte enthüllt.) (At a sign from Venus a magic grotto is revealed.) dass du der Liebe Göttin selber dir gewannst! that you won the goddess of love herself for yours! Die Liebe feire, da ihr höchster Preis dir ward! Celebrate love, for its highest prize has become yours! VENUS Geliebter, komm! Sieh dort die Grotte, VENUS Come, beloved, see yonder grotto, (Tannhäuser ergreift seine Leier.) (Tannhäuser takes up his lyre.) von ros’gen Düften mild durchwallt! filled with rosy fragrance gently wafting! Entzücken böt’ selbst einem Gotte That abode of sweetest delight would offer der süss’sten Freuden Aufenthalt. enchantment even to a god. TANNHÄUSER Dir töne Lob! Die Wunder sei’n gepriesen, TANNHÄUSER Let your praisesring out! Let the marvel your might Besänftigt auf dem weichsten Pfühle Lulled on the downiest of cushions die deine Macht mir Glücklichem erschuf! created for me, fortunate as I am, be extolled! flieh’ deine Glieder jeder Schmerz, let every hurt fly from your limbs, Die Wonnen süss, die deiner Huld entspriessen, May the sweet delight, sprung from your favour, dein brennend Haupt umwehe Kühle, let coolness fan your burning brow, erheb’ mein Lied in lautem Jubelruf! raise my song upin a loud cry of jubilation! wonnige Glut durchschwelle dein Herz. blissful ardour swell your heart. Nach Freude ach! nach herrlichem Geniessen My heart yearned, oh, my senses thirsted Komm, susser Freund, komm, folge mir! Come, sweet love, come, follow me! verlangt’ mein Herz, es dürstete mein Sinn: after pleasure, after delicious gratification: Komm! Come! da, was nur Göttern einstens du erwiesen, that which once you rendered to gods alone gab deine Gunst mir Sterblichem dahin. you graciousiy bestowed upon me, a mortal. SIRENEN Naht euch dem Strande! SIRENS Draw near the strand! Doch sterblich ach! bin ich geblieben, But mortal, oh, I have remained und übergross ist mir dein Lieben. and your loving is too huge for me. VENUS Aus holder Ferne mahnen süsse Klänge, VENUS From the pleasant distance, sweet sounds urge Wenn stets ein Gott geniessen kann, Though a god may incessantly savour enjoyment, dass dich mein Arm in trauter Näh‘ umschlänge; my arm to enfold you in closest embrace: bin ich dem Wechsel untertan; I am subject to change: von meinen Lippen, aus meinen Blicken, from my lips, my gaze, nicht Lust allein liegt mir am Herzen, not pleasure alone lies close to my heart— schlürfst du den Göttertrank, strahlt dir der Liebesdank: you sip nectar divine, aus Freuden sehn ich mich nach Schmerzen. in the midst of joy I crave after pain. ein Freudenfest soll unsrem Bund entstehen, the reward of love sparkles for you: Aus deinem Reiche muss ich fliehn— From your kingdom I must fly— der Liebe Feier lass uns froh begehen! a feast of delight shall arise from our union. O Könjgin, Göttin, lass mich ziehn! Oh queen, goddess, let me go! Nicht sollst du ihr ein scheues Opfer weihn, Let us joyfully celebrate the festival of love! mit der Liebe Göttin, schwelge im Verein! You must not dedicate a timid offering to it— VENUS Was muss ich hören? Welch ein Sang! VENUS What’s this I must harken to? What kind of singing is that? Sag, holder Freund, sag, mein Geliebter: revel in union with the goddess of love! Welch trübem Ton verfällt dein Lied? Into what doleful strain has your song lapsed? willst du fliehn? Say, sweet friend, tell me, my beloved— Wohin floh die Begeistrung dir, Whither has that inspiration flown, would you fly? die Wonnesang dir nur gebot? which once prompted songs of delight alone from you? Was ist’s? Worin war meine Liebe lässig? What is it? Wherein has my love proved wanting? TANNHÄUSER Stets soll nur dir. nur dir mein Lied ertönen! TANNHÄUSER For you alone my song shall ever ring out! Geliebter, wessen klagest du mich an? Beloved, with what do you reproach me? Gesungen laut sei nur dein Preis von mir! Your praise alone be loudly sung by me! Dein süsser Reiz ist Quelle alles Schönen, Your lovely fascination is the fount of all beauty, TANNHÄUSER Dank deiner Huld! Gepriesen sei dein Lieben! TANNHÄUSER Thanks be to your favour! May your loving be extolled! und jedes holde Wunder stammt von dir. and every sweet wonder stems from you. Beglückt für immer, wer bei dir geweilt! Fortunate forever the man who has tarried with you! Die Glut, die du mir in das Herz gegossen, The glow you shed in my heart Ewig beneidet, wer mit warmen Trieben Forever envied he who, with ardent passion, als Flamme lodre hell sie dir allein! blazes bright as flame for you alone! in deinen Armen Götterglut geteilt! has shared the godlike glow in your embrace! Ja, gegen alle Welt will unverdrossen Yes, against the whole world, then, untiring, Entzückend sind die Wunder deines Reiches, Entrancing are the marvels of your kingdom, fortan ich nun dein kühner Streiter sein! for henceforth your bold champion I will be! die Zauber aller Wonnen atm’ ich hier; I breathe the magic of all pleasure here; Doch hin muss ich zur Welt der Erden, Yet, I must go from hence to the world of earth; kein Land der weiten Erde bietet gleiches no country on the broad earth offers the like, bei dir kann ich nur Sklave werden; if Iremain with you, I can only be a slave. was sie besitzt, scheint leicht entbehrlich dir. what they possess you can easily spare. nach Freiheit doch verlangt es mich, For freedom, then, I long, Doch ich aus diesen ros’gen Düften But amid these rosy perfumes nach Freiheit, Freiheit, durste ich; for freedom, freedom, do I thirst; verlange nach des Waldes Lüften, I long for the woodland breezes, zu Kampf und Streite will ich stehn. for struggle and strife I will stand, nach unsres Himmels klarem Blau, for the clear blue of our skies; sei’s auch auf Tod und Untergehn: though it be, too, for destruction and death: nach unsrem frischen Grün der Au, for the fresh green of our meadows, drum muss aus deinem Reich ich fliehn— from your kingdom, therefore, I must fly— nach unsrer Vöglein liebem Sange, for the sweet song of our little birds, O Königin, Göttin, lass mich ziehn! Oh queen, goddess, let me go! nach unsrer Glocken trautem Klange. for the dear sound of our bells. Aus deinem Reiche muss ich fliehn— From your kingdom I must fly— VENUS Zieh hin, Wahnbetörter, zieh hin! Geh! VENUS Begone, madman, begone! Go! O Königin, Göttin, lass mich ziehn! Oh queen, goddess, let me go! Verräter, sieh, nicht halt ich dich! Traitor, see I am not stopping you! Flieh! Ich geb dich frei—Zieh hin! Fly! I set you free! Begone hence! VENUS Treuloser! Weh! Was lässest du mich hören? VENUS Faithless man! Alas! What is that you say? Betörter! Was du verlangst, das sei dein Los! Deluded mortal, let that which you long for be your lot! Du wagest meine Liebe zu verhöhnen? You dare scorn my love? Zieh hin! Zieh hin! Begone! Begone! Du preisest sie und willst sie dennoch fliehn? You praise it, yet would fly from it? Hin zu den kalten Menschen flieh, Fly hence to frigid men, Zum Überdruss ist dir mein Reiz gediehn? Are you surfeited with my charms? vor deren blödem, trüben Wahn before whose timid, cheerless fancy der Freude Götter wir entflohn we gods of delight have escaped TANNHÄUSER Ach schöne Göttin, wolle mir nicht zurnen! TANNHÄUSER Oh lovely goddess, do not be angry with me! tief in der Erde wärmenden Schoss. deep into the warm womb of earth. Zieh hin, Betörter! Suche dein Heil, Begone, deluded mortal, seek your salvation, VENUS Zum Überdruss ist dir mein Reiz gediehn? VENUS Are you surfeited with my charms? suche dein Heil—und find es nie! seek your salvation—and find it never! Sie, die du siegend einst verlachtest, Beg those for pardon now, whom once, TANNHÄUSER Dein übergrosser Reiz ist’s, den ich fliehe! TANNHÄUSER Your overwhelming charm it is I flee from. die jauchzenden Mutes du verhöhnst, when victorious, in exultant mood nun fleh sie an um Gnade, wo du verachtest, you derided the scorned; in those quarters you disdained, VENUS Weh dir! Verräter! .... VENUS Woe to you, traitor! ... jammre nun um Hold! cry out now for favour! Dann leuchte dein Schande, Let your infamy shine forth, then! .. . Heuchler! Undankbarer! .. ,„ Hypocrite! Ungrateful man! der hellen Schmach wird dann ihr Spott! Their derision, then will be your utter shame! TANNHÄUSER| Nie war mein Lieben... TANNHÄUSER]| Never was my love... SIDE 3 SIDE 2

(Venus entschwindet, Ein furchtbarer Krach, und der (Venus vanishes. With a terrible crash, the interior of the Gebannt, verflucht, ha! wie seh ich schon Banished, accursed, oh, how well I see you Venusberg ist verschlungen.) Venusberg is engulfed.) dich mir nahn tief das Haupt zur Erde: approach me already, your head bowed down to earth: Oh! fändest du sie wieder, die einst dır gelächelt! Oh, if only you might find her again, she who once smiled 2. Szene Scene 2 upon you! Ein grünes Tal A green valley Ach! öffnete sie dir wieder, die Tore ihrer Wonnen! Oh, that the portals of her delight might once more das sich zwischen dem Hörselberg und der Wartburg stretching between the Hörselberg and the open for you! erstreckt. Blauer Himmel, heller Sonnenschein. Im Wartburg. Blue sky, bright sun. In the foreground is a Auf der Schwelle, sieh da! On the threshold, see there— Vordergrund ist ein Schrein der Jungfrau. Ein Hirtenknabe shrine to the Virgin. A Shepherd Boy is blowing his pipe ausgestreckt liegt er nun, dort, wo Freude einst ihm he lies now, stretched full length, bläst auf seiner Flote und singt. Schafglocken läuten. geflossen! there where once delight engulfed him! and singing. Sheep bells tinkle. Um Mitleid fleht er bettelnd, nicht um Liebe! Imploring, he begs for pity, not for love! DER HIRTENKNABE Frau Holda kam aus dem Berg hervor, Zurück! Entweich, Bettler! Back! Be off, beggar! SHEPHERD BOY Dame Holda’s come out of the mountain zu ziehn durch Fluren und Auen; Knechten nie, nur Helden öffnet sich mein Reich! To heroes alone, to menials never, does my kingdom open! to roam through field and meadow; gar süssen Klang vernahm da mein Ohr, my ear caught a sound there so sweet, mein Auge begehrte zu schauen. TANNHÄUSER Nein! Mein Stolz soll dir den Jammer sparen, TANNHÄUSER No! My pride will spare you the complaining; my eye longed to behold. Da traumt’ ich manchen holden Traum, mich entehrt je dir nah zu sehn! ever again to appear before you would degrade me! There I dreamt many a sweet dream, und als mein Aug’ erschlossen kaum, Der heut von dir scheidet, o Göttin, He who parts from you today, oh goddess, and my eyes had scarcely opened when da strahlte warm die Sonnen, der kehret nie zu dir zurück! will never return to you again! there the sun shone warm. der Mai, der Mai war kommen. May, May had come! Nun spiel ich lustig die Schalmei, VENUS Ha! Du kehrtest nie zurück? VENUS Ha! You will never return? Now I gaily play my pipe. der Mai ist da, der liebe Mai! May is here, the lovely May! Wie sagt’ ich? ha! wie sagte er? What have I said? Ha! What has he said? (Aus Richtung der Wartburg nähert sich eine Schar Pilger mit Nie mir zurück! wie soll ich denken? Never return to me! What am I to think? (From the direction of the Wartburg, a band of Pilgrims Gesang.) Wie es erfassen? Mein Geliebter ewig mich fliehn? How understand it? My beloved leave me for ever? approaches, singing.) ÄLTERE PILGER Zur dir wall ich, mein Jesus Christ, SIDE 3 SIDE 3 OLDER PILGRIMS To Thee do I journey, Lord Jesus Christ, der du des Pilgers Hoffnung bist! for Thou art the pilgrims’ hope! Gelobt sie, Jungfrau süss und rein, Wie hätt ich das erworben, How could I have deserved that? Praise be to thee, Virgin sweet and pure. der Wallfahrt wolle günstig sein! wie träf mich solch Verschulden, How incurred such censure, Grant that our pilgrimage may prove propitious! Ach, schwer drückt mich der Sünden Last, das mir die Lust geraubt, as would rob me of the pleasure Alas, the burden of my sins weighs me down, kann länger sie nicht mehr ertragen; dem Trauten zu verzeihn of forgiving my dear one? I can endure it no longer; drum willich auch nicht Ruh noch Rast Der Königin der Liebe, der Göttin aller Hulden, To the queen of love, to the goddess of all grace, I will know neither sleep nor rest therefore und wähle gern mir Müh und Plagen. wär einzig dies versagt, Trost dem Freunde zu weihn? alone, should offering her friend comfort be denied? and gladiy choose toil and vexation. Am hohen Fest der Gnad und Huld Wie einst, lächelnd unter Tränen, Smiling through tears, how once At the sublime feast of clemency and grace in Demut sühn ich meine Schuld; ich sehnsuchtsvoll dir lauschte, I listened to you, yearning I will atone for my sins in humility; gesegnet, wer im Glauben treu: den stolzen Sang zu hören, to hear the proud song blessed is he who truly believes: er wird erlöst durch Buss und Reu. der rings so lang mir verstummt; that has been silent around me for so long! he shall be saved through penitence and repentance. oh, sag, wie könntest je du wohl wähnen, Oh, say, how could you ever suppose DER HIRTENKNABE Glück auf! Glück auf nach Rom! dass ungerührt ich bliebe, I might remain unmoved if, some time, SHEPHERD BOY God speed! God speed to Rome! Betet fur meine arme Seele! drang zu mir einst deiner Seele Seufzen, your soul’s sighing were to urge me, Pray for my poor soul! hört ich dein Klagen? if I were to hear your cry? (Tannhäuser fällt auf die Knie, tief gerührt.) (Tannhäuser falls to his knees, deeply moved.) Dass letzte Tröstung in deinem Arm ich fand, That in your arms supreme comfort I have found, TANNHÄUSER Allmächt’ger, dir sei Preis! oh, lass dess mich nicht entgelten, oh, for that, do not let me suffer. TANNHÄUSER Glory be to Thee, Almighty God! Gross sind die Wunder deiner Gnade. verschmäh einst auch du nicht meinen Trost! Do not you one day scorn my solace! Great are the marvels of Thy grace. Kehrst du mir nicht zurück, If you do not return to me, ÄLTERE PILGER Zur dir wall ich, mein Jesus Christ, usw. OLDER PILGRIMS so treffe Fluch die ganze Welt a curse, then, upon the whole wide world, To Thee do Ijourney, Lord Jesus Christ, etc. und für ewig sei öde sie, and may that from which the goddess withdraws TANNHÄUSER Ach, schwer drückt mich der Sünden Last, usw. TANNHÄUSER Alas, the burden of my sins weighs me down, etc. aus der die Göttin wich! N be for ever waste! O kehr, kehr wieder! Oh, come, come back again! ALTERE PILGER Am hohen Fest der Gnad und Huld, usw. OLDER PILGRIMS At the sublime feast of clemency and grace, etc. Trau meiner Huld, meiner Liebe! Trust my favour, my love! (Inzwischen hat der Hirtenjunge seine Flöte ergriffen und (The Shepherd Boy meanwhile has taken his pipe and folgt seiner verstreuten Herde nach im Gefolge der Pilger. followed his straying flock in the wake of the Pilgrims. The TANNHÄUSER Wer, Göttin, dir entfliehet, TANNHÄUSER He who flies from you, goddess, Man hort die Schafglocken sich in der Entfernun Ri SO sheep bells can be heard fading in the distance. flieht ewig jeder Huld! flies from all favour for ever! Jagdhörner von allen Seiten. Der Landgraf-Graf Hermann Hunting calls on every hand. The Landgrave-Count von Thüringen-und seine Bardenritter—Minnesänger— Hermann of Thuringia-and his minstrel-knights— VENUS Nicht wehre stolz deinem Sehnen, VENUS Do not resist your longing from pride, in Jagerkleidung treten jetzt auf. Minnesingers—robed in hunting attire, now enter. wenn zurück zu mir es dich zieht! if it draw you back to me! Der Landgraf erblickt Tannhäuser, der noch tief im Gebet The Landgrave catches sight of Tannhäuser, still deep versunken ist.) in prayer.) TANNHÄUSER Mein Sehnen drängt zum Kampfe, TANNHÄUSER My longing urges me to combat; nicht such ich Wonn und Lust! I do not seek pleasure and rapture! LANDGRAF Wer ist der dort in brunstigem Gebete? LANDGRAVE Who is that man yonder, sunk in fervent prayer? Ach, mögest du es fassen, Göttin! Oh, if you could understand it, goddess! Hin zum Tod, den ich suche, Hence, to the death I seek! WALTER VON DER VOGELWEIDE WALTER VON DER VOGELWEIDE zum Tode drängt es mich! Iam drawn to death! Ein Büsser wohl. A penitent surely. VENUS Kehr zurück, wenn der Tod selbst dich flieht, VENUS Return, when death itself flies from you, BITEROLF Nach seiner Tracht ein Ritter. wenn vor dir das Grab selbst sich schliesst. when the grave itself closes before you. BITEROLF By his garb a knight. WOLFRAM VON ESCHENBACH TANNHÄUSER Den Tod, das Grab, hier im Herzen ich trag, TANNHÄUSER I carry death and the grave here in my heart, WOLFRAM VON ESCHENBACH Er ist es! durch Buss und Sühne wohl find ich Ruh für mich! through repentance and atonement I will find myself repose! It is he! HEINRICH DER SCHREIBER, WOLFRAM VON ESCHENBACH, BITEROLF, REINMAR VENUS Nie ist Ruh dir beschieden, VENUS Repose will never be your lot, VON ZWEITER nie findest du Frieden! neither will you find peace! HEINRICH DER Kehr wieder mir, suchst einst du dein Heil! Come again to me, if, some time, you should seek your SCHREIBER, WOLFRAM VON ESCHENBACH, BITEROLF: REINMAR VON ZWETER salvation! Heinrich! Heinrich! Henry! Henry! TANNHÄUSER Göttin der Wonn und Lust! Nein! TANNHÄUSER Goddess of pleasure and delight, no! WOLFRAM Er ist es! WOLFRAM Ach, nicht in dir find ich Frieden und Ruh! Oh, not in you shall I find peace and repose! It is he! Mein Heil liegt in Maria! My salvation lies in Mary! WALTER, HEINRICH, BITEROLF, REINMAR WALTER, HEINRICH, BITEROLF, REINMAR Seh ich recht? Do I see a right? SIDE 3 SIDE 3

LANDGRAF Du bist es wirklich? Kehrest in den Kreis LANDGRAVE Is it really you? Have you returned to the circle you : .. kurzen Wiedersehn? ji .. a short reunion? zurück, den du in Hochmut stolz verliessest? forsook in haughty arrogance? O bleib! o bleib! Oh, stay! Oh, stay! O bleib bei uns! Oh, stay with us! BITEROLF Sag, was uns deine Wiederkehr bedeutet? BITEROLF Say, what does your return signify for us? Bei uns sollst du verweilen! You shall tarry with us!

LANDGRAF, WALTER, HEINRICH, REINMAR LANDGRAVE, WALTER, HEINRICH, REINMAR TANNHAUSER Nein, rückwärts darf ich... TANNHÄUSER No, backwards Imay... Sag es an! Tell us what! .. . niemals, niemals sehn! .. . never, never glance! BITEROLF Versöhnung? Oder gilt’s erneutem Kampf? BITEROLF Reconciliation? Or does it betoken renewed strife? Fort, fort von hier! Lasst mich, lasst mich! Away, away from here! Leave me! Leave me! Fort von hier! Fort, fort! Away from here! Away, away! WALTER Nahst du als Freund uns oder Feind? WALTER Do you approach us as friend or foe? DIE ÜBRIGEN! Warum so schnell enteilen? THE REST; Why hurry away so fast? DIE SÄNGER Als Feind? "THE MINSTREL KNIGHTS As foe? Bleib, o bleib! O bleibe bei uns! Stay, oh, stay! Oh, stay by us! Bei uns verweile jetzt!... Remain with us for now!... WOLFRAM O fraget nicht! Ist dies des Hochmuts Miene? WOLFRAM Oh, do not ask! Is this the bearing of arrogance? (an Tannhäuser gewandt) (to Tannhauser) ... Bleib, bleib bei uns! ... Stay, stay by us! Gegrüsst sei uns, du kühner Sänger, Be welcome, you valiant minstrel, der, ach, so lang in unsrer Mitte fehlt’! who have been, oh, so long absent from our midst! WOLFRAM Bleib bei Elisabeth! WOLFRAM Stay by Elizabeth!

WALTER Willkommen, wenn du friedlich nahst! WALTER Welcome, if you come in peace! TANNHÄUSER Elisabeth! O Macht des Himmels, TANNHÄUSER Elizabeth! Oh heavenly powers, rufst du den sussen Namen mir? do you cry out that sweet name to me? BITEROLF Gegrüsst, wenn du uns Freunde nennst! BITEROLF Welcome, if you call us friends! WOLFRAM Nicht sollst du Feind mich schelten, WOLFRAM You shall not rebuke me as an enemy, WALTER, HEINRICH, BITEROLF, REINMAR WALTER, HEINRICH, BITEROLF, REINMAR | dass ich ihn genannt! for that I have spoken it! Gegrüsst! Gegrüsst sei uns! Welcome! We greet you! (zum Landgrafen) (to the Landgrave) Erlaubest du mir, Herr, dass ich Do you permit me, sir, to be LANDGRAF So sei willkommen denn auch mir! LANDGRAVE Be welcome then to me as well! Verkünder seines Glücks ihm sei? herald of his good fortune to him? Sag an, wo weiltest du so lang? Tell us-where have you tarried so long? LANDGRAF Nenn ihm den Zauber, den er ausgeübt, LANDGRAVE Tell him of the spell he has wrought, TANNHÄUSER Ich wanderte in weiter, weiter Fern’ — TANNHÄAUSER I have journeyed in far, far-distant realms— und Gott verleih ihm Tugend, and God grant him virtue, da, wo ich nimmer Rast noch Ruhe fand. there where I never found repose nor rest. dass würdig er ihn löse! that he may undo it aright. Fragt nicht! Zum Kampf mit euch kam ich nicht her. Do not ask! I did not come hither to contend with you. (Wolfram wendest sich an Tannhäuser.) (Wolfram turns to Tannhäuser.) Seid mir versöhnt und lasst mich weitzerziehn! Be reconciled with me and let me go on further! WOLFRAM Als du in kühnem Sange uns bestrittest, WOLFRAM When you strove with us in blithe song, LANDGRAF Nicht doch! Der unsre bist du neu geworden. LANDGRAVE Not so! You have become one of us once more. bald siegreich gegen unsre Lieder sangst, sometimes victorious against our lays, durch unsre Kunst Besiegung bald erlittest: anon defeated through our art, WALTER Du darfst nicht ziehn. WALTER You may not go away. ein Preis doch war’s, den du allein errangst. one prize there was that you alone succeeded in winning. War’s Zauber, war es reine Macht, Was it by magic or by pure might BITEROLF Wir lassen dich nicht fort. BITEROLF We will not let you go. durch die solch Wunder du vollbracht, that you achieved tk. miracle an deinen Sang voll Wonn und Leid of captivating the most virtuous of maids WALTER, HEINRICH, WOLFRAM, REINMAR, LANDGRAF WALTER, HEINRICH, WOLFRAM, REINMAR, LANDGRAVE gebannt die tugendreichste Maid? by your singing filled with joy and sorrow? Bleib bei uns! Stay with us! Denn, ach! als du uns stolz verlassen, For, when, in haughtiness, you left us, verschloss ihr Herz sich unsrem Lied; her heart closed to our song; TANNHÄUSER Lasst mich! Mir frommet kein Verweilen, .... TANNHAUSER Let me be! Delay avails me naught,.... wir sahen ihre Wang? erblassen, we saw her cheeks grow pale, für immer unsern Kreis sie mied. she ever shunned our circle. DIE ÜBRIGEN O bleib! o bleib! THE REST Oh, stay! Stay! Ach! für immer unsern Kreis sie mied. Alas! She ever shunned our circle. O kehr zurück, du kühner Sänger, Oh, return, you valiant minstrel, TANNHÄUSER ...und nimmer kann ich rastend stehn! TANNHÄUSER ...and never can I stop to rest! dem unsren sei dein Lied nicht fern. let not your song be far from ours, Den Festen fehle sie nicht länger, Let her no longer be absent from our festivals, 3 ENSEMBLE ENSEMBLE PASSAGE aufs neue leuchte uns ihr Stern! let her star shine on us once more! DIE UBRIGEN Oh bleib! Bei uns sollst du verweilen, THE REST Oh, stay! You shall tarry with us, wir lassen dich nicht von uns gehn! we will not let you go from us! WALTER Sei unser, Heinrich! WALTER Be one of us, Henry!

TANNHÄUSER Mein Weg heisst mich nur... TANNHÄUSER My way bids me only... ENSEMBLE ENSEMBLE PASSAGE

. . . vorwärts eilen. ... hasten onward. WOLFRAM| O kehr zurück, du kühner Sänger! o kehr zurück! WOLFRAM] Oh, return, you valiant minstrel! Oh, return! Vereint ertönen unsre Lieder, usw. Let our lays ring out in unison, etc., DIE ÜBRIGEN Du suchtest uns, ... THE REST| You were seeking us.... \ und Bruder nenne uns fortan. and brothers let us call ourselves from henceforth.

... . du suchtest uns, warum enteilen? .... . you have sought us out, why hurry away... 1 DIE ÜBRIGEN Sei unser, Heinrich, kehr uns wieder! THE REST]! Be one of us, Henry, return to us! Zweitracht und Streit sei abgetan! usw. Have done with dissension and strife! etc. TANNHAUSER Mein Weg heisst mich nur ... TANNHÄUSER My way bids me only... LANDGRAF]| O kehr zurück, usw. O kehr uns wieder! usw. LANDGRAVE| Oh, return, etc. Oh, come back to us again! etc. ... vorwärtseilen,...... hasten onwards,.... TANNHÄUSER Zu ihr! Zu ihr! Oh, führet mich zu ihr! TANNHÄUSER To her! To her! Oh, lead me to her! DIE ÜBRIGEN] Nach solchem kurzen ... THE REST]... after so short, .... LANDGRAF Er kehrt zurück! LANDGRAVE He is remaining! ... kurzen Wiedersehn? ... . so short a reunion? LANDGRAF, SÄNGER Er kehrt zurück, den wir verloren! LANDGRAVE, MINSTRELS He, whom we had lost, is remaining! TANNHÄUSER . .. und nimmer darf ich... TANNHÄUSER ...and never mayl... TANNHÄUSER Ha, jetzt erkenne ich sie wieder, ... TANNHÄUSER Ha, how I recognize it again...... rückwärts sehn! Ach nimmer darf ich rückwärts sehn! ... cast abackward glance! Alas, never may I cast a backward glance! WOLFRAM Er kehrt zurück! WOLFRAM He is back!

DIE ÜBRIGEN Warum enteilen? Nach solchem... THE REST| Why hurry away? After such.... TANNHÄUSER ... die schöne Welt, der ich entrückt! TANNHÄUSER ...the lovely world that I renounced! SIDE 3 SIDE 4

LANDGRAF, SÄNGER Ein Wunder hat ihn hergebracht! LANDGRAVE, MINSTRELS A miracle has brought him hither! ELISABETH Ich preise dieses Wunder ELIZABETH I praise this miracle aus meines Herzens Tiefe! from the bottom of my heart! ENSEMBLE ENSEMBLE PASSAGE Verzeiht, wenn ich nicht weiss, was ich beginne. Forgive me if I do not know what I am about. TANNHÄUSER Der Himmel blickt auf mich hernieder, TANNHÄUSER! The heavens look down upon me, Im Traum bin ich und tör’ger als ein Kind, Iamina dream, and foolish asa child, die Fluren prangen reich geschmückt! the meadows sparkle, richly-decked! machtlos der Macht der Wunder preisgegeben. surrendered, powerless, into the power of the miracle. Der Lenz mit tausend holden Klängen The spring with a thousand lovely sounds Fast kenn ich mich nicht mehr; oh, helfet mir, I scarcely know myself more; oh, help me zog jubelnd in die Seele mir! has entered into my soul, rejoicing! dass ich das Rätsel meines Herzens löse! unravel my heart’s enigma! In süssem, ungestümen Drängen In sweet impetuous urgency Der Sänger klugen Weisen To the minstrels’ skilful lays ruft laut mein Herz: my heart cries aloud: lauscht’ ich sonst wohl gern und viel; I used to listen often with great pleasure. Zu ihr, zu ihr, usw. To her, to her! etc. ihr Singen und ihr Preisen Their singing and their praise schien mir ein holdes Spiel. seemed to me a pleasant show. LANDGRAF, SÄNGER Die ihm den Ubermut beschworen, LANDGRAVE, MINSTRELS Glory be to the sweet power Doch welch ein seltsam neues Leben But what a strange new life your song gepriesen sei die holde Macht! that has charmed his arrogance away! rief Euer Lied mir in die Brust! conjured up in my breast! Nun lausche unsern Hochgesängen Now may the high-born lady’s ear Bald wollt’ es mich wie Schmerz durchbeben, Now it would thrill through me like pain, von neuem der Gepriesnen Ohr! once more harken to our lays! bald drang’s in mich wie jahe Lust. now penetrate me like sudden joy. Es tön in froh belebten Klängen In joyous animated tones Gefühle, die ich nie empfunden! Emotions I had never experienced! das Lied aus jeder Brust hervor, usw. the song goes up from every breast; etc. Verlangen, das ich nie gekannt! Longings I had never known! Was sonst mir lieblich, war verschwunden "That which once was dear to me vanished (Zum Schluss ist das ganze Tal mit Jägern gefüllt. Der (In the end, the whole valley fills with huntsmen. The vor Wonnen, die noch nie genannt! before a bliss nameless heretofore! Landgraf bläst in sein Horn, und von allen Seiten erwidert Landgrave sounds his horn and is answered by loud blasts Und als Ihr nun von uns gegangen— And when you left us then, ihm ein Geschmetter von Hörnern. Der Vorhang fällt.) from every side. The curtain falls.) war Frieden mir und Lust dahin; peace and joy were gone from me. die Weisen, die die Sanger sangen, The melodies the minstrels sang erschienen matt mir, trüb ihr Sinn. appeared insipid to me, melancholy their temper. SIDE 4 SIDE 4 Im Traume fühlt’ ich dumpfe Schmerzen, Dreaming, I experienced heavy sorrow. mein Wachen ward trübsel’ger Wahn, my waking hours became a troubled delusion. ZWEITER AKT ACT die Freude zog aus meinem Herzen— joy fled from my heart— Halle der Minnesänger in der Wartburg. The Minstrels’ Hall in the Wartburg Heinrich! Heinrich! Was tatet Ihr mir an? Henry! Henry! What had you done to me? Elisabeth betrit die Halle voller Freude und begrüsst sie mit Elizabeth enters joyfully and apostrophises the hall Worten. TANNHÄUSER Den Gott der Liebe sollst du preisen, TANNHÄUSER You must praise the god of love— er hat die Saiten mir berührt, he plucked the strings for me, ELISABETH Dich, teure Halle, grüss ich wieder, ELIZABETH Dear hall, I greet thee once again, froh grüss ich dich, geliebter Raum! er sprach zu dir aus meinen Weisen, he spoke to you in my lays— joyfully I greet thee, beloved place! zu dir hat er mich hergeführt! he has led me to you! In dir erwachen seine Lieder In thee his lays awake und wecken mich aus düstrem Traum. and waken me from gloomy dreams. TANNHÄUSER, ELISABETH Gepriesen sei die Stunde, TANNHÄUSER, ELIZABETH Praised be the hour, Da er aus dir geschieden, When he departed from thee, gepriesen sei die Macht, praised the power wie öd erschienst du mir! how desolate thou didst appear to me! die mir so holde Kunde that has brought me such sweet tidings Aus mir entfloh der Frieden, Peace forsook me, von Eurer Näh gebracht. of your presence. die Freude zog aus dir. joy took leave of thee. aus deinem Mund gebracht. from your lips. Wie jetzt mein Busen hoch sich hebet, How strongly now my heart is leaping; Gepriesen sei die Stunde, usw. Praised be the hour, etc. so scheinst du jetzt mir stolz und hehr. to me now-thou dost appear exalted and sublime. der mich und dich so neu belebet, He who thus revives both me and thee, TANNHÄUSER Dem neu-erkannten Leben TANNHÄUSER To the newly-perceived life nicht weilt er ferne mehr. tarries afar no more. darfich mich... Imay... Wie jetzt mein Busen, usw. How strongly now my heart, etc. Sei mir gegrüsst! Sei mir gegrüsst! I greet thee! I greet thee! .... mutig wihn; ... bravely turn, Du, teure Halle, sei mir gegrüsst! usw. Thou precious hall, receive my greeting! etc. (Wolfram und Tannhäuser erscheinen im Hintergrund.) ja, ich darf mich ihm weihn, yes, I may turn to it! (Wolfram and Tannhäuser appear in the background.) ich nenn’ in freud’gem Beben A-quiver with joy, I call sein schönstes Wunder mein, usw. its fairest wonder mine! etc. WOLFRAM Dort ist sie, nahe dich ihr ungestört! WOLFRAM There she is; approach her without fear. (Tannhäuser wirft sich zu Elisabeths Füssen.) (Tannhäuser throws himself at Elizabeth’s feet.) ELISABETH | Von Wonneglanz umgeben ELIZABETH] Encompassed about with radiant bliss, lacht mir der Sonne Schein; sunshine smiles upon me; TANNHÄUSER O Fürstin! TANNHÄUSER Oh princess! erwacht zu neuem Leben, awakened to new life, nenn ich die Freude mein, usw. I call happiness mine! etc. ELISABETH Gott! Stehet auf! Lasst mich! Nicht darf ich Euch hier Sehn! ELIZABETH Heavens! Rise! Leave me! I may not see you here! WOLFRAM So flieht für... WOLFRAM Thus vanishes, for... TANNHÄUSER Du darfst! O bleib und lass TANNHÄUSER You may! Oh, stay and let me zu deinen Füssen mich! remain at your feet! ELISABETH, TANNHÄUSER| ... dieses Leben mir jeder Hoffnung Schein! ELIZABETH, ABEND .. this life, my every gleam of hope! Ach! Gepriesen sei die Stunde, usw. Oh, praised be the hour, etc. ELISABETH So stehet auf! ELIZABETH Stand up then! (Zum Schluss ziehen sich die beiden Jünglinge zurück.) (At the end of the duet, the two young men withdraw.) Nicht sollet hier Ihr knien, denn diese Halle You shall not kneel here, for this hall! (Der Landgraf kommt herein: zu Elisabeth.) (The Landgrave now enters and addresses Elizabeth.) ist Euer Königreich. Oh, stehet auf! is your kingdom. Oh, rise! Nehmt meinen Dank, dass Ihr zurückgekehrt! Receive my thanks for your return! LANDGRAF Dich treff ich hier in dieser Halle, LANDGRAVE Do I meet you here in this hall you shunned Wo weiltet Ihr so lange? Where did you tarry so long? (Tannhäuser erhebt sich.) S die so lange du gemieden? Endlich denn for so long? Does a festival of minstrelsy (Tannhäuser rises.) lockt dich ein Sängerfest, das wir bereiten. of our preparing attract you then at last? TANNHÄUSER Fern von hier TANNHÄUSER Far from here ELISABETH Mein Oheim! O mein güt’ger Vater! ELIZABETH Uncle! Oh my kindest of fathers! in weiten, weiten Landen. Dichtes Vergessen in broad and distant lands. Deep forgetfulness hat zwischen heut und gestern sich gesenkt. has descended betwixt today and yesterday. LANDGRAF Drängt es dich, dein Herz mir endlich zu erschliessen? LANDGRAVE Do you wish at last to open your heart to me? All mein Erinnern ist mir schnell geschwunden, All my remembrance has vanished in a trice, und nur des einen muss ich mich entsinnen, and one thing only must I recall, ELISABETH Sieh mir ins Auge! Sprechen kann ich nicht. ELIZABETH See in my eyes! I cannot speak! dass ich nie mehr gehofft, Euch zu begrüssen, that I never more hoped to greet you, noch je zu Euch mein Auge zu erheben. nor ever raise my eyes to you. LANDGRAF Noch bleibe denn unausgesprochen LANDGRAVE Fora short while still, then, dein süss Geheimnis kurze Frist; ELISABETH let your sweet secret remain unspoken; Was war es dann, das Euch zurückgeführt? ELIZABETH What was it then that brought you back? der Zauber bleibe ungebrochen, the spell remain unbroken bis du der Lösung mächtig bist. till you are mistress of its loosing. TANNHÄUSER Ein Wunder war’s, TANNHÄUSER It was a miracle, So sei’s! Was der Gesang so Wunderbares So be it! That which his song so marvellousiy awoke ein unbegreiflich hohes Wunder! an unbelievably sublime miracle! erweckt und angeregt, soll heute er and stimulated, he shall reveal today enthüllen und mit Vollendung krönen. and crown with fulfilment. SIDE 4 SIDE 5

Die holde Kunst, sie werde jetzt zur Tat! Now the gracious art will come to fruition! durch die mein Herz er namenlos erquickt through which, ineffably, it revives my heart. Schon nahen sich die Edlen meiner Lande, The nobles of my land whom I have invited Und nimmer möcht ich diesen Bronnen trüben, And never would I sully this fount, die ich zum seltnen Fest hierher beschied; here to a rare festival are approaching now; berühren nicht den Quell mit frevlem Mut: nor taint the spring in wanton mood: zahlreicher nahen sie als je, da sie they come more numerous than of wont, for they in Anbetung möcht’ ich mich opfernd üben, I would practise myself in devotion, sacrificing, gehört, dass du des Festes Fürstin seist. have heard you are to be the festival’s queen. (Die Gäste versammeln sich nun zum Sängerwettkampf.) (The Guests now gather for the singing contest.) vergiessen froh mein letztes Herzensblut. gladiy shed my heart’s last drop of blood. Ihr Edlen möcht’ in diesen Worten lesen You noble ones may gather from these words RITTER, EDELLEUTE, EDELKNABEN KNIGHTS, NOBLES, PAGES wie ich erkenn der Liebe reinstes Wesen! how I do apprehend love’s purest essence to be! Freudig begrüssen wir die edle Halle, Joyfully we greet the noble hall, RITTER, EDELFRAUEN So ist’s! So ist’s! Gepriesen sei dein Lied! KNIGHTS, LADIES ’Tis so! ’Tis so! Praised by your song! wo Kunst und Frieden immer nur verweil’, where may art and peace alone linger ever, wo lange noch der frohe Ruf erschalle: (Tannhäuser, wie aus einem Traum erwachend, sein ganzes (As if waking from a dream: Tannhäuser now speaks, his and the joyous cry long ring out: Gebahren bezeught, dass er von unheimlichen Gewalten erfasst whole demeanour betokening him to be in the grip of “Thüringens Fürsten, Landgraf Hermann, Heil!” “To the Prince of Thuringia, Count Hermann, hail!” ist.) uncanny forces.) EDELFRAUEN Freudig begrüssen wir, usw. LADIES Joyfully we greet, etc (Während sie sich auf die ihnen bestimmten Plätze begeben, (As they proceed to their appointed places, all continue TANNHÄUSER O Wolfram, der du also sangest, TANNHÄUSER Oh Wolfram, you who have sung thus, fahren alle fort, die obigen Worte zu wiederholen.) repeating the above.) du hast die Liebe arg entstellt! have woefully misrepresented love! Wenn du in solchem Schmachten bangest, If you languish so fearfully. EINTRITT DER SÄNGER ENTRANCE OF THE MINSTREL-KNIGHTS versiegte wahrlich wohl die Welt. the world would come to an end, forsoothe! Zu Gottes Preis in hoch erhabne Fernen, To praise God in the sublime and lofty distance, SIDE 5 SIDE 5 blickt auf zum Himmel, blickt auf zu seinen Sternen! raise your eyes to heaven, look up to His stars! Anbetung solchen Wundern zollt, Worship is due to such marvels, da ihr sie nicht begreifen sollt! for one should not aspire to touch them! Doch was sich der Berührung beuget, But that which inclines to touch, LANDGRAF Gar viel und schön ward hier in dieser Halle LANDGRAVE A great deal, much of great beauty , has been sung already lies near the heart and senses, von euch, ihr lieben Sänger, schon gesungen; here in this hall by you, esteemed minstrels, euch Herz und Sinnen nahe liegt, that which, conceived of the selfsame stuff in weisen Rätseln wie in heitern Liedern in sage mysteries and gladsome songs alike was sich aus gleichem Stoff erzeuget, in weicher Formung an euch schmiegt, in weaker mould, nestles to one— erfreutet ihr gleich sinnig unser Herz. you have rejoiced our hearts equally ingeniously. I do boldly approach that fount of delight Wenn unser Schwert in blutig ernstern Kämpfen If our swords in battles grim and bloody ich nah’ ihm kühn, dem Quell der Wonnen, in die kein Zagen je sich mischt, with which no fear is ever mixed, stritt für des deutschen Reiches Majestät, did battle for the majesty of the German realm, denn unversiegbar ist der Bronnen, for the fount is inexhaustible; wenn wir dem grimmen Welfen widerstanden if we withstood the furious Guelphs as my longing is unquenchable! und dem verdervenvollen Zwiespalt wehrten: and averted ruinous dissension, wie mein Verlangen nie erlischt! So, dass mein Sehnen ewig brenne That my desire may ever burn so ward von euch nicht minder Preis errungen. then no less a prize was carried off by you. I will ever refresh myself at the source! Der Anmut und der holden Sitte, By your art you won lab an dem Quell ich ewig mich! Und wisse, Wolfram, so erkenne Then, know, Wolfram, thus do I conceive der Tugend und dem reinen Glauben, for grace and gracious custom, love’s truest essence to be! erstrittet ihr durch eure Kunst for virtue and true belief, der Liebe wahrstes Wesen ich! (Allgemeine Bestürzung.) (General consternation.) gar hohen, herrlich schönen Sieg. wholly sublime, magnificent and glorious victory. Bereitet heute uns denn auch ein Fest. Then, prepare for us today a festival— BITEROLF Heraus zum Kampfe mit uns allen! BITEROLF Outside to fight us all! heut, wo der kühne Sänger uns zurückgekehrt, today when the valiant minstrel, whom we have grievously den wir so ungern lang vermissten. missed for so long, has returned to us. Wer bliebe ruhig, hört er dich? Who could remain calm, when he hears you? Was wieder ihn in unsre Nähe brachte, That which brought him back again among us, Wird deinem Hochmut es gefallen, If it please your arrogance, so höre, Lästrer, nun auch mich! then harken, now, to me, too, blasphemer! ein wunderbar Geheimnis dünkt es mich. appears to me a wondrous mystery; Durch Liedes Kunst sollt ihr es uns enthüllen, through the art of song you shall reveal it to us. Wenn mich begeistert hohe Liebe, When sublime love inspires me, deshalb stell ich die Frage jetzt an euch: Therefore I put the question to you now: stählt sie die Waffen mir mit Mut; it tempers my weapon with courage; könnt ihr der Liebe Wesen mir ergründen? Could you fathom the true essence of love for me? dass ewig ungeschmäht sie bliebe, that it may remain forever unshamed, Wer es vermag, wer sie am würdigsten To the man who can do it, to him who celebrates vergöss’ ich stolz mein letztes Blut. I would proudly shed my last drop of blood. besingt, dem reich’ Elisabeth den Preis it most worthily in song, let Elizabeth present the prize, Für Frauenehr’ und hohe Tugend For women’s honour and highest virtue er fordre ihn, so hoch und kühn er wolle, let him claim it, exalted and bold as he will— als Ritter kämpf ich mit dem Schwert; as a knight I wield my sword; ich sorge, dass sie ihn gewähren solle. I will see she shall bestow it. doch, was Genuss beut deiner Jugend, but that which indulgence offers your youth Auf, liebe Sänger! Greifet in die Saiten! Up, beloved minstrels! Pluck the strings! ist wohlfeil, keines Streiches wert. is cheap and not worth a blow. Die Aufgab’ ist gestellt, kämpft um den Preis! The task is set! Compete for the prize und nehmet all im voraus unsern Dank! and receive in advance all our thanks. RITTER, EDELFRAUEN Heil, Biterolf! KNIGHTS, LADIES Hail, Biterolf!

RITTER, EDELLEUTE, EDELFRAUEN, EDELKNABEN KNIGHTS, NOBLES, LADIES, PAGES RITTER Hier unser Schwert! Hier unser Schwert! KNIGHTS Here are our swords! Here are our swords! Heil! Heil! Thüringens Fürsten, heil! Hail! Hail! Hail to Thuringia’s Prince! Der holden Kunst Beschützer, heil! Heil! Heil! Hail to the protector of the gracious art! Hail! Hail! TANNHÄUSER Ha, tör’ger Prahler Biterolf! TANNHÄUSER Ha, foolish boaster Biterolf! (Man bietet Elisabeth eine Schale an, der sie die Namen der (Elizabeth is presented with a bowl from which she draws Singst du von Liebe, grimmer Wolf! Do you sing of love, surly wolf? Wettbewerber entnimmt. Unterdessen scheint Tannhäuser in the names of the contestants. Tannhäuser, meanwhile Gewisslich hast du nicht gemeint, It’s certain you cannot have meant Träume versunken zu sein, sich von nichts bewusst, was um appears to be sunk in a dream, oblivious of what is going was mir geniessenswert erscheint. that which seems fraught with delight to me! ihn herum vorgeht.) on around him.) Was hast du, Ärmster, wohl genossen? Poor thing! What, then, have you enjoyed? Dein Leben war nicht liebereich, Your life has not been rich in love VIER EDELKNABEN Wolfram von Eschenbach, beginne! FOUR PAGES Wolfram von Eschenbach, begin! und was von Freuden dir entsprossen, and that which gave rise to pleasure in you das galt wohl wahrlich keinen Streich! is truly not worth a blow! WOLFRAM Blick ich umher in diesem edlen Kreise, WOLFRAM When I cast my eye around this noble circle, welch hoher Anblick macht mein Herz erglühn! what a sublime spectacle makes my heart glow! RITTER Lasst ihn nicht enden! Wehret seiner Kühnheit! RITTER Don’t let him finish! Put a stop to his audacity! So viel der Helden, tapfer, deutsch und weise, So many heroes, valiant, upright and judicious. ein stolzer Eichwald, herrlich, frisch und grün. a forest of proud oaks, magnificent, fresh and green. LANDGRAF Zurück das Schwert! Ihr, Sänger, haltet Frieden! LANDGRAVE Up with your sword! Keep the peace, you minstrels! Und hold und tugendsam erblick ich Frauen, And ladies I behold, charming and virtuous, (Wolfram erhebt sich. Tiefe Stille verbreitet sich.) (Wolfram rises. A profound quiet ensues.) lieblicher Blüten düftereichsten Kranz. a richly-perfumed garland of lovel" *!ooms. Es wird der Blick wohl trunken mir vom Schauen, My glance becomes enraptured at the sight, WOLFRAM O Himmel, lass dich jetzt erflehen! WOLFRAM Now, oh heaven, be moved by my entreaty! mein Lied verstummt vor solcher Anmut Glanz. my song mute in face of such radiant loveliness. Gib meinem Lied der Weihe Preis! Grant my song the gift of divine inspiration! Da blick ich auf zu einem nur der Sterne, I lift my eyes up yonder to one star Gebannt lass mich die Sünde sehen Let me see sin banished from der an dem Himmel, der mich blendet, steht: which stands fast in the firmament and dazzles me: aus diesem edlen, reinen Kreis! this noble and unpolluted circle! es sammelt sich mein Geist aus jeder Ferne, my spirit draws comfort from that distance, Dir, hohe Liebe töne To thee, sublime love, that hast andächtig sinkt die Seele im Gebet. mv soul devoutly sinks in prayer. begeistert mein Gesang, penetrated in angelic beauty Und sieh! Mir zeiget sich ein Wunderbronnen, And behold! Before me a miraculous spring appears, die mir in Engelsschöne deep into my heart, in den mein Geist voll hohen Staunens blickt: which my spirit glimpses, filled with wonder! tief in die Seele drang! may my song ring out inspired! aus ihm er schöpfet gnadenreiche Wonnen, From it, it draws bliss, rich in grace, Du nahst als Gottgesandte, Thou dost approach like a messenger of God, ich folg aus holder Fern’— I follow thee from the fair distance— SIDE 6 SIDE 5

Seht mich, die Jungfrau, deren Blüte Behold me, the maid whom he destroyed so führst du in die Lande, thou leadest thus into the lands mit einem jähen Schlag er brach, with one swift blow in the flower of her youth, wo ewig strahlt dein Stern. where thy star ever shineth. die ihn geliebt tief im Gemüte, who loved him deep in her soul, der jubelnd er das Herz zerstach! and whose heart he pierced, exulting! TANNHÄUSER Dir, Göttin der Liebe, soll mein Lied ertönen! TANNHAUSER To thee, goddess of love shall my song ring out! Ich fleh für ihn, ich flehe für sein Leben, I pray for him, I pray for his life, Gesungen laut sei jetzt dein Preis von mir! Now let they praise be sung aloud by me! reuvoll zur Busse lenke er den Schritt! may he turn his step penitently towards atonement! Dein süsser Reiz ist Quelle alles Schönen, Thy honeyed fascination is fount of all beauty, Der Mut des Glaubens sei ihm neu gegeben, May the spirit of belief be granted him anew und jedes holde Wunder stammt von dir! and every sweet wonder stems from thee! dass auch für ihn einst der Erlöser litt! since for him, too, the Saviour suffered once! Wer dich mit Glut in seine Arme geschlossen, That man who has held thee locked in passionate embrace, was Liebe ist, kennt der, nur der allein. knows what love is, and he alone. TANNHÄUSER Weh! Weh mir Unglücksel’gem! TANNHÄUSER Woe, woe is me, unhappy mortal! Armsel’ge, die ihr Liebe nie genossen, Poor creatures who have never enjoyed her love, Zieht hin, zieht in den Berg der Venus ein! fare hence, fare hence into the Venusberg! LANDGRAF, SÄNGER, RITTER Ir LANDGRAVE, MINSTRELS, KNIGHTS Ein Engel stieg aus lichtem Ather, An angel has descended from the shining firmament RITTER, EDELFRAUEN Ha, der Verruchte! Fliehet ihn! KNIGHTS, LADIES Ha, the villain! Fly from him! zu künden Gottes heil’gen Rat! to make God’s holy counsel known. Hört es! Er war im Venusberg! Hear it! He has been in the Venusberg! Blick hin, du schändlicher Verräter, See there, you infamous betrayer, (Die Edelfrauen ziehen sich mit Entsetzen zurück, Elisabeth (The Ladies retire horrified, Elizabeth alone remaining.) werd inne deiner Missetat! acknowledge your misdeed! bleibt allein.) Blick hin auf sie! Look upon her! Du gabst ihr Tod, sie bittet für dein Leben: You dealt her death, she begs for your life— EDELFRAUEN Hinweg! Hinweg! Aus seiner Näh’! LADIES Away! Away out of his presence! wer bliebe rauh, hört er des Engels Flehn? Who could remain stern when he hears the angel’s prayer? Darf ich auch nicht dem Schuldigen vergeben, Though I may not forgive the culprit WOLFRAM Ihr habt’s gehört! WOLFRAM You heard it! dem Himmelswort kann nicht ich widerstehn. yet I cannot oppose heaven’s command. Darf ich auch nie dem Schuldigen vergeben, Though I may never forgive the culprit, ENSEMBLE ENSEMBLE PASSAGE dem Himmelswort kann ich nicht widerstehn. I may not oppose heaven’s command. LANDGRAF, SÄNGER, RITTER LANDGRAVE, MINSTRELS, KNIGHTS Ihr habt’s gehört! Sein frevler Mund You heard it! His wicked lips LANDGRAF, SÄNGER, RITTER LANDGRAVE, MINSTRELS, KNIGHTS tat das Verbrechen schrecklich kund. have made horrible confession of his sin. Du gabst ihr Tod, usw. You dealt her death, etc. Stein Mund tat es kund. His lips impart it! Er hat der Hölle Lust geteilt, He has shared in hellish delights, TANNHÄUSER| Zum Heil den Sündigen zu führen, TANNHÄAUSER To lead the sinner to salvation im Venusberg hat er geweilt! he has sojourned in the Venusberg! “| die Gottgesandte nahte mir! God’s messenger drew near me! Entsetzlich! Scheusslich! Fluchenswert! Frightful! Revolting! Damnable! Doch, ach, sie frevelnd zu berühren, But, oh, to touch her wanton]y. In seinem Blute netzt das Schwert! Steep your swords in his blood! hob ich den Lästerblick zu ihr! I raised my dissolute gaze to her! Zum Höllenpfuhl zurückgesandt, Sent back to the bottomless pit, O du, hoch über diesen Erdengründen, Oh Thou, high above this land of earth, sei er gefehmt, sei er gebannt! let him be condemned, let him be banished! die mir den Engel meines Heils gesandt, Who sent the angel of my salvation to me, (Man bedroht Tannhäuser mit gezogenen Schwertern.) (They threaten Tannhäuser with drawn swords.) erbarm dich mein, der, ach! so tief in Sünden, have mercy on me who, oh, so deep in sin, schmachvoll des Himmels Mittlerin verkannt! shamefully failed to recognize heaven’s mediator! ELISABETH Haltet ein! ELIZABETH Hold! Erbarm dich mein! Ach, erbarm dich mein! usw. Have mercy on me! Oh, have mercy on me! etc. « D WALTER, BITEROLF, REINMAR WALTER, BITEROLF, REINMAR ELISABETH]| Ich fleh für ihn, usw. ELIZABETH I pray for him, etc. Was hör ich? What do I hear? (Das ENSEMBLE geht weiter vor sich.) The ENSEMBLE p proceeds. LANDGRAF, RITTER ‚ SÄNGER LANDGRAVE, KNIGHTS, MINSTRELS Wie? Was seh ich? Elisabeth, What’s this? What do I see? Elizabeth! SIDE 6 SIDE 6 die keusche Jungfrau für den Sünder! The chaste maid siding with the sinner! (Elisabeth wirft sich zwischen Tannhäuser und seine Angreifer.) (Elizabeth interposes herself between Tannhäuser and his LANDGRAF Ein furchtbares Verbrechen ward begangen. LANDGRAVE A fearful wrong has been committed. attackers.) Es stahl mit heuchlerischer Larve sich With dissembling mask, the accursed zu uns der Sünde fluchbeladner Sohn. son of sin came crawling to us. ELISABETH Zurück! Des Todes achte ich sonst nicht! ELIZABETH Back! I take no heed else of death! (zu Tannhäuser) (to Tannhäuser) Was ist die Wunde eures Eisens gegen What is the wound dealt by your swords Wir stossen dich von uns—bei uns darfst du We cast you out from among us: with us den Todesstoss, den ich von ihm empfing? to the death blow I received from him! nicht weilen; schmachbefleckt ist unser Herd you may not tarry; our hearth is stained with shame durch dich, und dräuend blickt der Himmel selbst through you, and heaven itself looks threateningly LANDGRAF, RITTER, SÄNGER LANDGRAVE, KNIGHTS, MINSTRELS auf dieses Dach, das dich zu lang schon birgt. upon this roof, which has sheltered you too long already. Elisabeth! Was muss ich hören? Elizabeth! What am I obliged to hear? Zur Rettung doch vor ewigem Verderben However, a way to deliverance from eternal damnation Wie liess dein Herz dich so betören, How can your heart allow you to be so infatuated, steht offen dir ein Weg: von mir dich stossend, stands open before you: rejecting you, von dem die Strafe zu beschwören, as to exorcise punishment from the man zeig ich ihn dir. Nutz ihn zu deinem Heil! I point it out to you. Make use of it for your salvation! der auch so furchtbar dich verriet? who has so shamefully betrayed you? Versammelt sind aus meinen Landen Gathered together on my lands bussfert’ge Pilger, stark an Zahl. is a great concourse of pilgrim penitents. ELISABETH Was liegt an mir? Doch er-sein Heil! ELIZABETH What do I matter? But he-his salvation! Die ältren schon voran sich wandten, The older ones have gone on before already, Wollt ihr sein ewig Heil ihm rauben? Would you rob him of his eternal salvation? die jüngern rasten noch im Tal. the younger are still resting in the valley. Nur um geringer Sünde willen Trifling though their transgressions be, LANDGRAF, SÄNGER, RITTER LANDGRAVE, MINSTRELS, KNIGHTS ihr Herz nicht Ruhe ihnen lässt, their hearts will give them no rest; Verworfen hat er jedes Hoffen, He has cast away his every hope, der Busse frommen Drang zu stillen, to still the devout distress of repentance niemals wird ihm des Heils Gewinn! never will he win salvation! ziehn sie nach Rom zum Gnadenfest. they are marching towards Rome for the feast of grace. Des Himmels Fluch fiel schwer auf ihn, The curse of heaven has fallen hard upon him, in seinen Sünden fahr er hin! let him go hence in his sin! LANDGRAF, SÄNGER, RITTER LANDGRAVE, MINSTRELS, KNIGHTS Mit ihnen sollst du wallen You must go along with them on pilgrimage ELISABETH Zurück von ihm! Nicht ihr seid seine Richter! ELIZABETH Away from him! You are not his judges! zur Stadt der Gnadenhuld, to the city of clemency and grace, Grausame! Werft von euch das wilde Schwert Inhuman wretches, throw your furious swords from you im Staub dort niederfallen in the dust there to fall prostrate und gebt Gehör der reinen Jungfrau Wort! and give heed to the pure maid’s words! und büssen deine Schuld! and atone for your sin! Vernehmt durch mich, was Gottes Wille ist! Learn from me what is God’s will! Vor ihm stürz dich darnieder, Before him who pronounces the sentence Der Unglücksel’ge, den gefangen Why should the unhappy man, der Gottes Urteil spricht; of God, cast yourself down; ein furchtbar mächt’ger Zauber hält, whom a fearful mighty magic doch kehre niemals wieder, but nevermore return wie, sollt’ er-nie zum Heil gelangen holds captive, not attain salvation ward dir sein Segen nicht! if you do not receive his blessing! durch Sühn und Buss in dieser Welt? through repentance and atonement in this world? Musst’ unsre Rache weichen Though our anger has been forced to soften, Die ihr so stark im reinen Glauben, Do you who are so strong in true belief weil sie ein Engel brach, because an angel checked it, verkennt ihr so des Höchsten Rat? thus misconstrue the counsel of the Highest? dies Schwert wird dich erreichen, this sword will despatch you, Wollt ihr des Sünders Hoffnung rauben, If you would rob a sinner of hope, then say, harrst du in Sünd und Schmach! if you linger in sin and disgrace! so sagt, was euch er Leides Tat? what harm has he done you? SIDE 6 SIDE 7

Dies Schwert wird dich erreichen! This sword will despatch you! ihr Heil’gen, lasst erfüllt es sehen! You Saints in heaven, may she see it consummated! ELISABETH Though the wound remain unhealed, Lass hin zu dir ihn wallen, ELIZABETH Let him journey to Thee, Bleibt auch die Wunde ungeheilt, du Gott der Gnad und Huld! oh, würd’ihr Lindrung nur erteilt! oh, that relief, at least, might be granted her! Thou God of clemency and grace! Ihm, der so tief gefallen, (Die älteren Pilger, von Sünden befreit, kehren zurück.) (The older Pilgrims now return, their sins absolved.) Forgive him, who has fallen so low, vergib der Sünden Schuld! the guilt of his sin! Für ihn nur will ich flehen, For him only will I pray, ALTERE PILGER Begluckt darf nun dich, o Heimat, ich schauen und grüssen.... mein Leben sei Gebet; may my life be prayer; THE OLDER PILGRIMS Blest, I may now look on thee, Oh, my native land, lass ihn dein Leuchten sehen, grant that he may see Thy light, eh’ er in Nacht vergeht! and gladly... before he is lost in night! Mit freudigem Erbeben In joyful trepidation, ELIZABETH That is their song! lass dir ein Opfer weihn! ELISABETH Dies ist ihr Sang! let a sacrifice be dedicated to Thee! Nimm hin, o nimm mein Leben: Take, oh, take my life: WOLFRAM Die Pilger sind’s! WOLFRAM It is the pilgrims. ich nenn es nicht mehr mein, usw. I no longer call it mine! etc. Nimm hin, o nimm es hin! Take, oh, take it from me! ELISABETH Sie sind’s! ELIZABETH It is they! Ich nenn es nicht mehr mein! I call it mine no more! WOLFRAM Es ist die fromme Weise, 4 WOLFRAM It is the pious lay ! TANNHÄUSER Wie soll ich Gnade finden, TANNHÄUSER How shall I find pardon? die der empfangnen Gnade Heil verkundet! that tells of the salvation of pardon received! wie büssen meine Schuld? How atone for my guilt? Mein Heil sah ich entschwinden, My salvation I have seen vanish, (Die Pilger fahren fort während des ganzen obigen (The Pilgrims continue throughout the above.) mich flieht des Himmels Huld. heaven’s favour files from me. zwiegesprachs) Doch will ich büssend wallen, Yet I will travel repentant, PILGER ..... froh deine lieblichen Auen; PILGRIMS ... greet thy pleasant pastures; zerschlagen meine Brust, beat my breast, nun lassich ruhn.... now I lay my pilgrim’s... im Staube niederfallen— fall prostrate in the dust— Zerknirschung sei mir Lust. contrition be my chosen lot. ... den Wanderstab,...... staff aside to rest... Oh, dass nur er versöhnet, Oh, that the angel of my hour of need der Engel meiner Not, who, though so rudely. ELISABETH Sie kehren heim! ELIZABETH They are returning home! der sich, so frech verhöhnet, insolently mocked by me, so frech von mir verhöhnet, yet offered herself for me as sacrifice, PILGER .. . weil Gott getreu ich gepilgert hab! PILGRIMS ... because, faithful to God, I have completed my zum Opfer doch mir bot! might be reconciled with me! pilgrimage! Ach, dass nur er versöhnet, usw. Oh, that the angel of my hour of need, etc. Wie soll ich Gnade, wie Gnade finden? How shall I find pardon? ELISABETH Ihr Heil’gen,..... ELIZABETH You saints in heaven... Wie soll ich bussen die grosse Schuld? How shall I atone for my most grievous fault? Der Seele Heil sah ich entschwinden, I have seen my soul’s salvation vanish, ... zeigt mir jetzt mein Amt, ... show me now my task, mich flieht auf ewig des Himmels Huld, usw. heaven’s grace for ever fly from me, etc. dass ich mit Würde es erfülle! that I may fulfil it worthily! O, dass nur der Engel von mir versöhnet, usw. Oh, that the angel, who, though so rudely mocked by me, etc. WOLFRAM O Himmel, stärke jetzt ihr Hetz WOLFRAM Oh heaven, strengthen now her heart LANDGRAF, SÄNGER, RITTER LANDGRAVE, MINSTRELS, KNIGHTS für die Entscheidung ... to meet the curcial moment... Musst’ unsre Rache weichen, usw. | Our anger was forced to soften, etc. ...ihres Lebens! .. . of her life! (Die jüngeren Pilger durchwandern das Tal, singend, (The younger pilgrims now traverse the valley singing. Unwillkürlich bleiben alle stehen, um dem Gesang der Pilger Involuntarily Be Durch Sühn.... EN: penance... zu lauschen) all pause and listen to the Pilgrims’ singing) JÜNGERE PILGER Am hohen Fest der Gnad und Huld, YOUNGER PILGRIMS At the sublime festival of clemency and grace, ... und Buss hab ich versöhnt ... and repentance I have propitiated in Demut sühn ich meine Schuld. I will atone for my sin in humility. den Herren, dem mein Herze fröhnt, the Lord, Whom my heart serves, Gesegnet, wer im Glauben treu! Blessed is he who truly believes! der meine Reu’ mit Segen krönt, Who crowns my repentance with blessing, Er wird erlöst durch Büss und Reu! He shall be saved through penitence and repentance. den Herren, dem mein Lied ertönt! the Lord to Whom my song goes up! The salvation of pardon is granted the penitent, TANNHÄUSER Nach Rom! Der Gnade Heil ist dem Büsser beschieden, TANNHÄUSER To Rome! er geht einst ein in der Seligen Frieden! in days to come he will walk in the peace of the blessed! Ya Vor Höll und Tod ist ihm nicht bang, Hell and death do not appal him. ELISABETH, LANDGRAF, SÄNGER, RITTER ELIZABETH, LANDGRAVE, MINSTRELS, KNIGHTS drum preis ich Gott mein Lebenlang. therefore will I praise God my life long. Nach Rom! To Rome! Halleluja! Halleluja! In Ewigkeit! Alleluia! Alleluia in eternity!

(Der Vorhang fallt.) (The curtain falls.) ELISABETH Er kehret nicht zurück! ELIZABETH He has not returned! ; (Die Stimmen verstummen nach und nach in der Entfernung.) (The Pilgrims voices die away little by little in the distance.) TANNHÄUSERS PILGERFAHRT TANNHÄUSER’S PILGRIMAGE PILGER Beglückt darf nun dich, o Heimat, ich schauen, usw. PILGRIMS Blest, Imay now look on thee, my native land, etc. SIDE 7 SIDE 7 (Elisabeth sinkt auf die Knie während der letzte Pilger (When the last pilgrim has gone by, Elizabeth sinks to her knees.) vorbeigeht.) DRITTER AKT ACT II Das Tal der Wartburg The Valley of the Wartburg ELISABETH Allmächt’ge Jungfrau, hör mein Flehen! ELIZABETH Almighty Virgin, hear my prayer! (Szene wie im ersten Akt, 2. Szene) (as in scene 2 of Act 1) Zu dir, Gepriesne, rufe ich! I cry to thee, All-glorious! Es ist Herbst. Nacht bricht ein. Elisabeth betet vor dem It is autumn. Evening is falling. Lass mich im Staub vor dir vergehen, Let me perish in the dust before thee, Schrein der Heiligen Jungfrau. oh, nimm von dieser Erde mich! oh, take me from this earth! Elizabeth is praying before the shrine of the Blessed Virgin. Mach, dass ich rein und engelgleich Make me, pure and angel-like, WOLFRAM eingehe in dein selig Reich! enter into thy blessed realm! Wohl wüsst ich hier sie im Gebet zu finden, WOLFRAM I knew full well I’d find her here in prayer, wie ich so oft sie treffe, wenn ich einsam Wenn je, in tör’gem Wahn befangen, If ever, engrossed in foolish fancies, as I so often find her, when, down from aus wald’ger Höh’ mich in das Tal verirre. mein Herz sich abgewandt von dir, my heart did stray from thee, the wooded heights, I stray in the valley alone. Den Tod, den er ihr gab, im Herzen wenn je ein sundiges Verlangen, if ever a sinful longing, The death he dealt her buried deep ein weltlich Sehnen keimt’ in mir, a worldly yearning did spring up within me, dahingestreckt in brünst’gen Schmerzen, in her heart in searing smart, fleht für sein Heil sie Tag und Nacht: so rang ich unter tausend Schmerzen, I wrestled then beneath a thousand smarts, she prays for his salvation day and night— o heil’ger Liebe ew’ge Macht! dass ich es töt in meinem Herzen! to kill it in my heart! oh, eternal might of holy love! Von Rom zurück erwartet sie Doch, konnt’ ich jeden Fehl nicht büssen, But if I could not atone for every fault— die Pilger. She awaits the return of the pilgrims from Rome. Schon fällt das Laub, die Heimkehr steht so nimm dich gnädig meiner an, yet receive me of thy grace, bevor. The leaves are falling already, their return is imminent. Kehrt er mit den Begnadigten dass ich mit demutvollem Grüssen that, as a worthy maid, I may zurück? Will he come back with the pardoned? Dies ist ihr Fragen, als wurd’ge Magd dir nahen kann: draw near thee in humble greeting, dies ihr Flehen— This is her question, this her prayer— um deiner Gnaden reichste Huld only to implore the richest favour SIDE 7 SIDE 8 nur anzuflehn für seine Schuld! of they mercy for his sin! TANNHÄUSER Nun denn! Hör an! Du, Wolfram, du sollst es erfahren. TANNHÄUSER Well then! Listen! You shall hear all, Wolfram. WOLFRAM Elisabeth, dürft’ ich dich nicht geleiten? WOLFRAM Elizabeth, might I not bear you company? (Er setzt sich erschöpft auf einen Felsen. Wolfram setzt sich (He seats himself wearily upon a rock. (Mit einer Bewegung verweigert sie sanft sein Angebot. (With a gesture, Elizabeth gently refuses his offer. neben ihn.) Wolfram goes to sit beside him.) Als sie ausser Sicht ist, nimmt Wolfram seine Leier.) When she has disappeared, Wolfram takes up his lute.) Zurück von mir! Die Stätte, wo ich raste, ist verflucht! Keep away! The place where I rest me is accursed!

WOLFRAM Wie Todesahnung, Dämm’rung deckt die Lande, WOLFRAM Like a presentiment of death, twilight covers the land umhüllt das Tal mit schwärzlichem Gewande; and shrouds the valley in sombre raiment; SIDE 8 SIDE 8 der Seele, die nach jenen Höh’n verlangt, the soul that yearns for heaven’s heights vor ihrem Flug durch Nacht und Grausen bangt! is fearful before its flight through night and horror. TANNHAUSER Hör an, Wolfram, hör an! TANNHÄUSER Hear me, Wolfram, hear me! Da scheinest du, o lieblichster der Sterne, There thou shinest, oh loveliest of stars! Inbrunst im Herzen, wie kein Büsser noch With such devotion in my heart as no penitent dein sanftes Licht entsendest du der Ferne, Thy sweet light thou dost send into the far-off distance, sie je gefühlt, sııcht’ ich den Weg nach Rom. has ever felt before, I sought the path to Rome. die nächt’ge Dämm’rung teilt dein lieber Strahl, thy dear beam pierces the evening twilight, Ein Engel hatte, ach! der Sünde Stolz An angel had, oh, wrenched the sinful pride und freundlich zeigst du den Weg aus dem Tal. and, in friendly fashion, thou dost point the way out of the dem UÜbermütigen entwünden; from out my arrogant being; valley. für ihn wollt’ ich in Demut büssen, for her I wished to expiate my fault in humility, O du mein holder Abendstern, Oh thou, my gracious evening star, das Heil erflehn, das mir verneint, implore the salvation that was denied me, wohl grüsst’ ich immer dich so gern; how gladiy have I always greeted thee; um ihm die Träne zu versüssen, in order to sweeten for her the tears vom Herzen, das sie nie verriet, from a heart she has never betrayed die er mir Sünder einst geweint! she had once shed over me, a sinner! grüsse sie wenn sie vorbei dir zieht, salute her as she passes by thee, Wie neben mir der schwerstbedrückte Pilger The manner in which the heaviest-laden pilgrim next me wenn sie entschwebt dem Tal der Erden, as she soars from this earthly vale, die Strasse wallt’, erschien mir allzuleicht. took his way appeared to me too easy. ein sel’ger Engel dort zu werden. to become a blessed angel yonder. Betrat sein Fuss den weichen Grund der Wiesen, When his foot trod the soft sward of the meadows, (Es ist nun ganz dunkel, Eine einsame, in Lumpen gekleidete (It is now quite dark. A long figure, clad in rags, enters. der nackten Sohle sucht’ ich Dorn und Stein; I sought thorn and stone for my bare feet; Gestalt erscheint. Es ist Tannhäuser.) It is Tannhäuser.) liess Labung er am Quell den Mund geniessen, when at the spring he would allow his lips to taste refreshment, TANNHÄUSER Ich hörte Harfenschlag-wie klang er traurig! TANNHÄUSER I heard the strains of a harp—how melancholy it sounded— sog’ ich der Sonne heisses Glühen ein; I would imbibe the scorching glow of the sun; Der kam wohl nicht von ihr. It surely did not come from her! wenn fromm zu Himmel er Gebete schickte, when he devoutly offered up his prayers to heaven, vergoss mein Blut ich zu des Höchsten Preis; I would shed my blood to the glory of the Almighty; WOLFRAM Wer bist du, Pilger, WOLFRAM Who are you, pilgrim, als im Hospiz der Müde sich erquickte, when the weary pilgrim would refresh himself at the hospice, der du so einsam wanderst? that you journey all alone? die Glieder bettet’ ich in Schnee und Eis. I would bed down my limbs in snow and ice. Verschloss’nen Aug’s, ihr Wunder nicht zu schauen, With eyes fast shut, their beauty not to see, TANNHÄUSER Wer ich bin? TANNHÄUSER Who amI? durchzog ich blind Italiens holde Auen. I dragged myself, blind, through Italy’s fair pastures, Kenn ich doch dich recht gut:— I know you, however, very well— Ich tat’s-denn in Zerknirschung wollt’ ich büssen, I did it, because, filled with remorse, I wished to atone, Wolfram bist du, der wohlgeübte Sänger. you are Wolfram, the minstrel of great skill! um meines Engels Tränen zu versüssen! in order to sweeten my angel’s tears! Nach Rom gelangt’ ich so zur heil’gen Stelle, I came thus to Rome, to the holy see, WOLFRAM Heinrich! Du? WOLFRAM Henry! Is it you? lag betend auf des Heiligtumes Schwelle. lay prostrate, praying, at the threshold to the sanctuary. Was bringt dich her in diese Nähe? Sprich! What brings you to these parts? Tell me! Der Tag brach an; da läauteten die Glocken, Day dawned; bells rang out, Wagst du es, unentsündigt noch, den Fuss Do you dare) still unpardoned, hernieder tönten himmlische Gesänge; heavenly anthems came floating down, nach dieser Gegend herzulenken? to turn your step hitherward? da jauchzt’ es auf in brünstigem Frohlocken, then rose exultantly in a fervent shout of joy, TANNHÄUSER denn Gnad und Heil verhiessen sie der Menge. for they promised pardon and salvation to the multitude. Sei ausser Sorg’, mein guter Sänger! TANNHÄUSER Never fear, my good minstrel, Da sah ich ihn, durch den sich Gott verkündigt,— Then I saw him through whom God proclaims himself— Nicht such ich dich, noch deiner Sippschaft einen. I do not seek to join you, nor your kindred! vor ihm all Volk im Staub sich niederliess. all men prostrated themselves before him in the dust. Doch such ich wen, der mir den Weg wohl zeige, But I seek someone who will show me the way Und Tausenden er Gnade gab, entsündigt, And he bestowed grace on thousands, pardoned, den Weg, den einst so wunderleicht ich fand. which once I found so wondrous easily. er Tausende sich froh erheben hiess, thousands he commanded joyfully to rise. Da naht auch ich,—das Haupt gebeugt zur Erde, Then I, too, drew near—my head bowed down to earth— WOLFRAM Und welchen Weg? WOLFRAM And which way is that? klagt’ ich mich an mit jammernder Gebärde with sorely grieving mien, myself I accused of the sinful delights my senses had experienced, TANNHÄUSER der bösen Lust, die meine Sinn’ empfanden, Den Weg zum Venusberg! TANNHÄUSER The way to the Venusberg! des Sehnens, das kein Büssen noch gekühlt; of the longings no penance had yet cooled; und um Erlösung aus den heissen Banden and for deliverance from the searing bonds, WOLFRAM Entsetzlicher! Entweihe nicht mein Ohr! WOLFRAM Dreadful man! Do not profane my ear! rief ich ihn an, von wildem Schmerz durchwühlt. shot through with savage pain, I implored him. Treibt es dich dahin? Are you drawn to that? Und er, den so ich bat, hub an: And he whom Iso begged began: — “Hast du so böse Lust geteilt, “If you have enjoyed such sinful delights TANNHÄUSER Kennst du wohl den Weg? TANNHÄUSER Do you know the way, then? dich an der Hölle Glut entflammt, and enflamed your passions at the fires of hell, hast du im Venusberg geweilt, if you have sojourned in the Venusberg, then, now from henceforth, you are eternally damned! WOLFRAM Wahnsinn’ger! Grausen fasst mich, hör ich dich! WOLFRAM ‘Madman! Horror seizes upon me, when I hear you! so bist nun ewig du verdammt! As this staff in my hand Wo warst du? Zogst du denn nicht nach Rom? Where have you been? Did you then not read the road to Wie dieser Stab in meiner Hand no longer bedecks itself in fresh green, Rome? nie mehr sich schmückt mit frischem Grün, kann aus der Hölle heissen Brand so from the burning brands of hell deliverance can never blossom for you!” TANNHÄUSER Schweig mir von Rom! TANNHÄUSER Speak not of Rome to me! Erlösung nimmer dir erblüuhn!” Da sank ich in Vernichtung dumpf darnieder; Then I sank, annihilated, speechless, to the ground; WOLFRAM Warst nicht beim heil’gen Feste? WOLFRAM Were you not at the holy feast? die Sinne schwanden mir. I fainted clean away. Als ich erwacht’, auf ödem Platze lagerte die Nacht, When I woke, night brooded over the deserted square, TANNHÄUSER Schweig mir von ihm! TANNHÄUSER Speak not of it to me! von fern her tönten frohe Gnadenheder: from afar off echoed glad songs of grace: da ekelte mich der holde Sang! the sweet singing sickened me! WOLFRAM So warst du nicht? WOLFRAM You weren’t there, then? Von der Verheissung lügnerischem Klang, From the false sound of promise Sag, ich beschwöre dich! Speak, I implore you! der eiseskalt mir durch die Seele schnitt, which, icy-cold, pierced my soul, trieb Grausen mich hinweg mit wildem Schritt! shuddering horror forced me away with wildly staggering step! TANNHÄUSER Wohl war auch ich in Rom! TANNHÄUSER Indeed I was in Rome! Dahin zog’s mich, wo ich der Wonn’ und Lust It drove me there where I had enjoyed so much delight so viel genoss, an ihrer warme Brust! and pleasure on her warm breast! WOLFRAM So sprich! Erzähle mir, Unglücklicher! WOLFRAM Then speak! Tell me about it, unhappy man! (fleht Venus an) (invoking Venus) Mich fasst ein tiefes Mitleid für dich an. I feel profound pity for you! Zu dir, Frau Venus, kehr ich wieder To you, dame Venus, do I return, in deiner Zauber holde Nacht; into thy magic’s sweet night; TANNHÄUSER Wie sagst du, Wolfram? Bist du denn nicht mein Feind? TANNHAUSER What do you say, Wolfram? Are you then not my enemy? zu deinem Hof steig ich darnieder, to your court do I descend, wo nun dein Reiz mir ewig lacht! where your alluring charm will smile upon me now for always! WOLFRAM Nie war ich es, so lang ich fromm dich wähnte! WOLFRAM Nor ever was, whilst I believed you devout! Doch sag, du pilgertest nach Rom? Speak, therefore, did you go on pilgrimage to Rome? WOLFRAM Halt ein! Haltein!.... WOLFRAM Hold! Hold...

l . . Unsel’ger! . .. unhappy man! SIDE 8 SIDE 8

TANNHÄUSER| Ach, idsmich . TANNHÄUSER| on, letme... WOLFRAM Ein Wort, ... WOLFRAM One word...

..... Nicht vergebens suchen! ...notseek in vain! VENUS O, komm! VENUS Oh, come!

WOLFRAM Halt ein! WOLFRAM Hold! WOLFRAM ...esmacht... WOLFRAM ...it willset... (Tannhäuser achtet Wolframs Einsprüche nicht.) (Tannhäuser does not heed Wolfram’s frantic protests.) VENUS| Auf ewig... VENUS | Now be for ever... TANNHÄUSER Wie leicht fand ich doch einstens dich! TANNHÄUSER How easily did I find you once! WOLFRAM)]... dich frei! WOLFRAM]|...you free: ... WOLFRAM Unsel’ger! WOLFRAM Wretched man! TANNHÄUSER| Lass ab! TANNHÄUSER| Have done! TANNHAUSER Du hörst, dass mir die Menschen fluchen— TANNHÄUSER You hear men curse me— VENUS|... mine! nun, süsse Gottin, leite mich! guide me now, sweet goddess! VENUS|...seinun mein! (Wolfram schaudert vor Entsetzen, während dampfender (Wolfram shudders with horror as a vaporous mist gradually Nebel allmählich die Dunkelhiet durchdringt.) fills the darkness.) WOLFRAM | Dein Heil! WOLFRAM]|... your salvation! TANNHÄUSER Let me be! WOLFRAM Wahsinniger, wen rufst du an? WOLFRAM Madman, whom do you call? TANNHÄUSER Lass ab von mir! (Der Nebel beginnt, wie rosiges Licht zu glühen.) (The mists begin to glow with rosy light.) WOLFRAM Noch soll das Heil dir Sünder werden! WOLFRAM You may yet achieve salvation, sinner! TANNHÄUSER Ha! Fühlst du nicht milde Lüfte? TANNHÄUSER Ha! Do you not feel gentle airs? VENUS O, komm! VENUS Oh, come! WOLFRAM Zu mir! Es ist um dich getan! WOLFRAM Come to me! You are lost! TANNHÄUSER Nie Wolfram! Nie. Ich muss dahin! TANNHÄUSER Never, Wolfram, never! I must away there! TANNHÄUSER Und atmest du nicht holde Düfte? TANNHÄUSER And do you not breathe sweet perfumes? WOLFRAM_Ein Engel bat für dich auf... WOLFRAM An angel prayed for you upon... Horst du nicht jubelnde Klänge? Do you not hear sounds of rejoicing? ... Erden, bald... earth, soon... WOLFRAM In wildem Schauer bebt die Brust! WOLFRAM My heart beats madly in dread! VENUS| Komm, o, komm! VENUS| Come, oh, come! TANNHAUSER Das ist der Nymphen tanzende Menge! TANNHÄUSER It is the dancing horde of nymphs! TANNHÄUSER]| Lass mich! TANNHÄUSER | Leave me! Herbei, herbei zu Wonn und Lust! Come on, come here to rapture and delight! (Ein aufgeregter Wirbel von tanzenden Gestalten ist schwach (A confused whirl of dancing shapes can be faintly distinguished..) zu erkennen.) WOLFRAM ...schwebt er segnend über dir: ... WOLFRAM ...she will soar above you, blessing: ...

VENUS Zu mir! zu mir! VENUS To me! To me! WOLFRAM Weh, böser Zauber tut sich auf! WOLFRAM Alas, evil magic is abroad! Die Hölle naht mit wildem Lauf. Hell is approaching in wild career. WOLFRAM ... Elisabeth! WOLFRAM ... Elizabeth! TANNHÄUSER Entzücken dringt durch meine Sinne, TANNHAUSER Rapture thrills my every sense, TANNHÄUSER Elisabeth! . TANNHÄUSER Elizabeth! gewahr ich diesen Dammerschein; when I perceive this glimmering dawn; (The vapours darken and the gleam of approaching torches dies ist das Zauberreich der Minne, (Die Nebel verdichten sich, und der Schein sich nahender this is the magic realm of love— Fackeln dringt durch.) shines through them.) im Venusberg drangen wir ein! we have forced our way into the Venusberg! (Venus erscheint, verführerisch auf ihr Ruhebett gelehnt.) (Venus appears, reclining seductively upon her couch.) ENSEMBLE ENSEMBLE PASSAGE VENUS Willkommen, ungetreuer Mann! \ VENUS Welcome, fickle man! SÄNGER, RITTER, EDELLEUTE MINSTRELS, KNIGHTS, NOBLES Schlug dich die Welt in Acht und Bann? Did the world strike you with ostracism and Der Seele Heil, die nun entflohn.... Hail to the soul that is now fled... Und findest nirgend du Erbarmen, excommunication? ... dem Leib der frommen Dulderin! ... from the pious martyr’s body! suchst Liebe du in meinen Armen? And, finding nowhere pity, do you now seek love in my arms? WOLFRAM|] Dein Engel fleht dur dich WOLFRAM]| Your angel is praying for you an Gottes Tron, er wird erhört: ... at the throne of God-Sshe has been heard: ... TANNHÄUSER Frau Venus, o Erbarmungsreiche! TANNHÄUSER| Dame Venus, oh, truly merciful, Zu dir, zu dir, zieht es mich hin! to you, to you am I driven! .... Heinrich, du bist erlöst! ... Henry, you are saved!

WOLFRAM] Zauber der Hölle weiche, weiche! WOLFRAM]| Magic of hell, turn aside, withdraw! VENUS| Weh! mir verloren! VENUS | Lost to me, alas! Berücke nicht des Reinen Sinn! Do not bewitch the chaste man’s senses! (Venus mit all ihren Geschöpfen verschwindet. Der Tag (Venus vanishes along with all her creatures. VENUS Nahst du dich wieder meiner Schwelle, VENUS If you approach my threshold once again, bricht an; ein Leichenzug verlässt die Wartburg und nähert The day dawns, as a funeral cörtege leaves the Wartburg and sei dir dein Übermut verziehn; let your arrogance be pardoned, sich.) approaches.) ewig fliesse dir der Freuden Quelle the fount of delight flow for ever for you, und nimmer sollst du von mir... and never must you... SÄNGER, RITTER, EDELLEUTE MINSTRELS, KNIGHTS, NOBLES Ihr ward der Engel sel’ger Lohn Hers is now the angel’s blessed recompense, .. . fliehn! ... fly from me more! himmlischer Freuden Hochgewinn! the supreme prize of celestial bliss! TANNHÄUSER | Mein Heil, ... TANNHÄUSER| My salvation ... WOLFRAM (zu Tannhäuser) WOLFRAM (to Tannhauser) Und hörst du den Gesang? And do you hear the chant? ... mein Heil hab ich verloren, ...... my salvation I have lost, .... TANNHÄUSER Ich höre! TANNHAUSER Ido! WOLFRAM Allmächt’ger! Steh... WOLFRAM Almighty God, stand... (Der Leichenzug erreicht nun die offene Bühne. Die Begleiter (The funeral cortege now reaches the open stage. It comprises, sind die älteren der Pilger, dann die Bardenritter, die first, the Older Pilgrims, then the Minstrel-Knights bearing TANNHÄUSER].... nun sei der Hölle .... TANNHÄUSER]|. . . now let the pleasures... Elisabeths Leiche auf der Bahre tragen, dann der Landgraf, Elizabeth’s body on an open bier, then the Landgrave, dessen Ritter und Edelmanner.) his Knights and Nobles.) WOLFRAM)|... dem Frommen bei! WOLFRAM]|...by the devout man! SÄNGER, RITTER, EDELLEUTE MINSTRELS, KNIGHTS, NOBLES TANNHÄUSER ... Lust erkoren! TANNHÄUSER ...of hell be my choice! Heilig die Reine, die nun vereint Holy the pure maid who now united with göttlicher Schar vor dem Ewigen steht! the heavenly host, stands in the presence of the Everlasting! WOLFRAM Heinrich! WOLFRAM Henry! Selig der Sünder, dem sie geweint, Blessed the sinner for whom she wept, dem sie des Himmels Heil erfleht! for whom she implores salvation of heaven! VENUS O, komm! VENUS Oh, come! SIDE 8

(Wolfram führt Tannhäuser an die Bahre, auf der Elisabeths (Wolfram leads Tannhäuser to the bier bearing Elizabeth’s Leiche liegt. Er sinkt langsam zu Boden.) body. He sinks slowly to the ground.)

TANNHÄUSER Heilige Elisabeth, bitte für mich! TANNHÄUSER Holy Elizabeth, pray for me! (Er tut seine letzten Atenzüge.) (He breathes his last.) (Die jüngeren Pilger kommen hervor und tragen einen Stab, (The Younger Pilgrims enter, der mit frischen, grünen Blättern bedeckt ist.) bearing a staff covered in fresh green leaves.)

JÜNGERE PILGER Heil! Heil! Der Gnade Wunder Heil! YOUNGER PILGRIMS Hail! Hail! Hail to the miracle of mercy! Erlösung ward der Welt zuteil. Redemption is conferred upon the world. Es tat in nächtlich heil’ger Stund’ It came to pass in the holy hour of night, der Herr sich durch ein Wunder kund. the Lord manifested Himself in a miracle. Den dürren Stab in Priesters Hand The barren staff in a priest’s hand hat er geschmückt mit frischem Grün: He decked with fresh green: dem Sünder in der Hölle Brand for the sinner in the fires of hell soll so Erlösung neu erblühn! redemption shall blossom thus afresh! Ruft ihm es zu durch alle Land’, Throughout all lands let it be proclaimed to him der durch dies Wunder Gnade fand! who has found forgiveness by the miracle Hoch über aller Welt ist Gott, High above all the world is God, und sein Erbarmen ist kein Spott! and His Mercy is no mockery!

ALLE Der Gnade Heil ward dem Büsser beschieden, ALL The salvation of grace is the penitent’s reward, nun geht er ein in der Seligen Frieden! now he attains the peace of the blessed!

JUNGERE PILGER Halleluja! Halleluja! YOUNGER PILGRIMS Alleluia! Alleluia!

(Der Vorhang fallt.) (The curtain falls.)

ENDE DER OPER END OF OPERA

English Translation: Peggie Cochrane FULL FREQUENCY RANGE RECORDING THE DECCA RECORD CO. LTD. REOPHONIC en en ; ZAL 10623 1 0S 26232

TANNHÄUSER - Paris Version

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1. Overture - Act I scene 1: "Naht euch dem Strande!”’ [21°05°’]

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SPEED 33% GLEN ZAL 10626 4 0S 26235 RIGHTS OF ALL TI TANNHÄUSER - Paris Version [Wagner]

1. Act llscenes 1, 2,3 & 4 [part 1]: "Dich theure Halle’’ [28°00°°’]

HELGA DERNESCH, VICTOR BRAUN, RENE KOLLO, HANS SOTIN with the VIENNA STATE OPERA CHORUS and the VIENNA PHILHARMONIC ORCHESTRA ZI Kyı GEORG conducted SOLTI by se ne NEE west —" MASTERen gy peccn RELOM -senVED. UNAUTHORISEn gun peseR RISEp Pypy, xD wo IC pp sr

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TANNHÄUSER - Paris Version

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1. Act li scene 4 [part 2]: ’'Gar viel und schön ward hier’’ [30°00°’]

HANS SOTIN, CHORISTERS [VIENNA BOYS CHOIR], VICTOR BRAUN, RENE KOLLO, MANFRED JUNGWIRTH, WERNER HOLLWEG, KURT EQUILUZ, NORMAN BAILEY, HELGA DERNESCH with the VIENNA STATE OPERA CHORUS and the Mg VIENNA PHILHARMONIC ORCHESTRA Rx % conducted by „s° KR ETETTE I) nos a MASTEREn gy peccA RECORT STEREOPHONIC SPEED 33% 8 Sides Ba 05 26234 ZAL 10628 TANNHÄUSER - Paris Version [Wagner]

VIENNA PHI MONIC ORC conducted by GEORG SOLTI SPEED 33-} (8 Sides) YANBEINY2) 1 0S 26233

TANNHÄUSER—Paris Version (Wagner) 1. Act DI scenes 1, 2 & 3 (part 1):-*"Wohl wusst’ich hier’ (26.05) VICTOR BRAUN, HELGA DERNESCH, RENE KOLLO with the VIENNA STATE OPERA CHORUS and the VIENNA PHILHARMONIC ORCHESTRA conducted by (8) Te) Teg.To) ut ay RESE RVED. UNAUTHO; york

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TANNHÄUSER - Paris Version

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1. Act Ill scene 3 [conclusion: "'Hör’an, Wolfram’’ [18°15’’]

RENE KOLLO, VIC with the V IENN El: VIENNA PHILHARMON conducted by GEORG SOLTI