Erich Wolfgang Korngold (Brno, 1897 – Los Angeles, 1957)

VIOLANTAOpera in one act - Libretto by Hans Müller

Original version sung in German - Edition: Schott Musik

FIRST ITALIAN PERFORMANCE

Conductor: Pinchas SteinbergChorus Master: Andrea Secchi

Orchestra and Chorus Teatro Regio TorinoNew staging Teatro Regio Torino

Recording, Editing and Post-production: Rino Trasi

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

SUNG IN GERMAN

CDS7876 (DDD)

Violanta Annemarie KremerSimone Trovai Michael Kupfer-RadeckyAlfonso Norman Reinhardt Giovanni Bracca Peter SonnBice Soula ParassidisBarbara Anna Maria Chiuri Matteo Joan FolquéFirst Soldier Cristiano OlivieriSecond Soldier Gabriel Alexander WernickFirst Maid Eugenia BraynovaSecond Maid Claudia De Pian

TRACKLIST

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

TOTAL RUNNING TIME 79:28

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Le dirò con due parole…a cura di Donatella Meneghini

Per il pubblico italiano habitué dei teatri d’o-pera non si può certo affermare che il titoloViolanta sia familiare, così come il suo compo-sitore, Erich Wolfgang Korngold. Eppure, laprima rappresentazione dell’opera, avvenutaallo Hoftheater di Monaco il 28 marzo 1916, fuaccolta con grande successo di pubblico e dicritica, confermando il diciottenne composito-re austriaco un vero enfant prodige. Il titoloperaltro era abbinato a un altro atto unico, –Der Ring des Polykrates, terminato daKorngold un paio d’anni prima – non solo aMonaco ma anche nella successiva rappre-sentazione viennese del 10 aprile 1916. A diri-gere la prima fu Bruno Walter, che di quel tea-tro era direttore musicale, già assistente e col-laboratore di Mahler ad Amburgo e a Vienna.Una città, quest’ultima, che a cavallo tra Ottoe Novecento rappresentava un luogo di con-trasti: vi convivevano nostalgia del passato etendenze innovative, immobilismo ed energiacreatrice. Incapace di aprire gli occhi su unacrisi che avrebbe portato al suo imminentedisfacimento politico (la Grande Guerra eraalle porte), la classe aristocratica viennese,cieca e sorda (volutamente o no) nei confrontidi un intenso fermento culturale, si nasconde-va dietro una facciata spensierata, cercandonella musica da ballo, nei caffè-concerto enelle operette occasioni di evasione. Siamonella stessa Vienna della psicanalisi freudia-na, della Secessione, di Klimt, di Schiele;

della testimonianza letteraria di Musil e Kraus,di George e Rilke, di Schnitzler e diHofmannsthal; dell’architettura di OttoWagner; del contrasto tra la grazia delloJugendstil e L’urlo espressionista di Munch.In ambito musicale, inoltre, la capitale austria-ca era il luogo di approdo di quel linguaggioche, provenendo dalla grande tradizione clas-sica della prima Scuola di Vienna, poi diBrahms, Mahler, Strauss, Zemlinsky, era giun-to attraverso una graduale trasformazione asfaldarsi con Schönberg, epicentro di un radi-cale rinnovamento; al contempo, nell’ambitodella critica musicale il padre di Korngold,Julius, aveva sostenuto il giovane Mahler intempi non sospetti e costituiva uno dei massi-mi esponenti dell’epoca, tanto da essere con-siderato l’erede del celebre Hanslick.Allievo di Zemlinsky ed elogiato da Mahler per lesue qualità, Erich si formò in questo crogiuolo dicorrenti artistiche, recependo stimoli di diversaprovenienza; riversati in toto in Violanta, fanno diquest’opera una sorta di “piccola Vienna”.Impreziosita da combinazioni strumentali chedenotano una precoce raffinatezza nell’orche-strazione e da effetti timbrici Jugendstil, compli-ce l’utilizzo di arpe, celesta, pianoforte, mandoli-no e Glockenspiel, per quanto riguarda il lin-guaggio musicale quest’opera è teatro di incon-tri e di contrasti stilistici. Se il tentativo diKorngold di modernizzarlo perviene a soluzio-ni armoniche “allargate” – anche attraversol’utilizzo di cromatismi e scale esatonali – que-ste sono comunque sempre funzionali alladrammaturgia dell’opera e mai protese verso

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l’abbandono della tonalità. L’opera è impre-gnata di romanticismo tedesco intensificatoda un’ampiezza di respiro tipica di tante frasiwagneriane, mahleriane o dello Strauss sinfo-nista, anche se vi sentiamo echi del mondodell’operetta e della leggerezza musicaledegli Strauss padre e figlio. Non solo: l’accor-do che apre l’opera, nel Preludio, subitoseguito da scale e arpeggi dal timbro cristalli-no, raccoglie su di sé sapori debussyani, mainsieme anche di Schönberg e Bartók, avvol-gendo lo spettatore in una cupa atmosfera daIl castello del duca Barbablù; bastano peròpoche battute perché il discorso musicale siespanda in un’ampia frase di intensa cantabi-lità che oggi riconosciamo come un’anticipa-zione di quelle colonne sonore hollywoodianeche dagli anni Trenta resero celebre il compo-sitore e gli valsero ben due Oscar.Pare ovvio dunque che il successo dellamusica di Korngold stia proprio nell’aversaputo creare un linguaggio “ad ampio spet-tro”, ossia in grado di colpire il gusto e la sen-sibilità di un pubblico molto vasto – e forse inquesta ecletticità sta anche il limite: quello dinon aver saputo caratterizzarsi in un idiomadalla forte personalità.La struttura in un atto unico, al pari di tanta let-teratura operistica concepita in quegli anni, inarea germanica ma non solo – da Salome(1905) ed Elektra (1909) di Strauss a Erwartung(1909) di Schönberg, fino al già citato Castellodel duca Barbablù (1911) –, non impedisce all’a-zione di svilupparsi appieno e, anzi, permette lafocalizzazione dell’attenzione sul trapasso psi-

cologico della protagonista senza divagazioni disorta. Mossa da un sanguigno desiderio di ven-detta nei confronti di chi aveva sedotto e spintoal suicidio la sorella, Violanta coinvolge il maritoSimone inducendolo all’omicidio. Ma dopo averconosciuto e sedotto la propria vittima –Alfonso, figlio illegittimo del re di Napoli – l’odiodi Violanta si trasforma in passione, capovolgen-do il suo ruolo. Una passione tale da indurla adassorbire il colpo inferto dal marito, pur di salva-re Alfonso.Con altre opere sue contemporanee, fra le altreEine florentinische Tragödie di Zemlinsky,Violanta condivide la particolare ambientazionenell’Italia del XV secolo – nello specifico Venezia– nella descrizione per alcuni aspetti approssi-mativa di Hans Müller (1882-1950), autore dellibretto. La vicenda passionale si svolge in ambi-to carnevalesco, nella casa del capitano SimoneTrovai, sul canale della Giudecca; il canto coraledelle maschere – «Fuor da tombe anco i morti /danzan oggi a braccetto, / son banditi gli scon-forti, / il piacer s’allegra eletto» –, fungendo daLeitmotiv nel corso dell’opera, se da un latoalleggerisce la drammaticità della vicenda, dal-l’altro si pone come un ostinato che sottolinea ilcrescendo della tensione emotiva.A un primissimo approccio Violanta può sem-brare un dramma passionale di stampo verista,ma in realtà alcuni elementi lo allontanano daquesta connotazione: dal punto di vista musica-le abbiamo già accennato alla propensione diKorngold verso certe raffinatezze timbriche everso sonorità cupe tipicamente espressionistee decadenti; ricordiamo anche l’ampiezza delle

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linee melodiche dal carattere lirico e slanciatoche si stagliano su un tessuto orchestraledenso, anche grazie all’abbondante utilizzo diLeitmotive. Dal punto di vista drammaturgico epsicologico, se da un lato l’idea della ricongiun-zione amorosa “nella” e “attraverso” la mortepuò sembrare debitrice del Tristan und Isoldewagneriano («Nelle braccia tue / desir e morte»),in realtà sono i concetti di femme fatale (tipicafigura del Decadentismo) e di redenzione aessere messi in gioco, nuovamente attraverso ilcontrasto e la sintesi: nel corso delle sette scenein cui è divisa l’opera, che sfociano l’una nell’al-tra, Violanta, spinta dall’odio, avvicina Alfonsoattraverso l’arte della seduzione («E m’insinuaifin al suo cospetto. / Danzando e sospirando /tremando e languendo / attirai il seduttor allemie spalle»); ma quel «tremando e languendo»rivela una debolezza che confluisce nella consa-pevolezza di essere diventata la sua preda («Edoggi mi ha fatta sua serva…»): ormai ha scoper-to di amarlo e sa che soltanto attraverso la mortedi Alfonso potrà liberarsi dal desiderio. Tuttavia,non può tollerare la vergogna e, desiderandosopra ogni altra cosa la propria purezza, attra-verso un trapasso psicologico Violanta com-prende che potrà redimersi soltanto attraversola propria morte. In questo modo, su una lumi-nosa armonia di do maggiore, riconquisterà lapropria fedeltà al marito («Grazie, uom severo,or tua moglie è di nuovo tua!»), per raggiungere,subito dopo, la «suprema salvezza.

Per gentile concessione del Teatro Regio Torino

TramaVenezia è in festa per il Carnevale. In casa delCapitano Simone Trovai, ancelle e soldati siaccalcano alle finestre per vedere il passag-gio delle fiaccolate dei festanti, scandito dalcanto «Fuori dalle tombe, persino i morti oggidanzano stretti in un abbraccio…». I soldati siprendono gioco del giovane Matteo, innamo-rato della moglie di Simone, Mona Violanta.L’allegria generale è bruscamente interrottadall’arrivo del padrone di casa. Uomo rigoro-so, Simone impone il silenzio, ricordando aipresenti che non tollera la canzone diCarnevale nella sua casa. Poi chiede se qual-cuno ha visto Violanta, e alla risposta negativacongeda i soldati e manda Bice a casa dellasuocera, per vedere se fosse lì.Rimasto solo, Simone riceve la visita del pitto-re Giovanni Bracca, che lo invita ad andare inPiazza San Marco a vedere le maschere.Simone ricusa, ma quando sa che c’è ancheAlfonso, un noto seduttore che è stato lacausa del suicidio di Nerina, la sorella diViolanta, incuriosito, accetta. Da quandoNerina è morta, Violanta è entrata in una sortadi depressione ed è distante, anche nei suoiconfronti. Simone e Giovanni sono già allaporta, quando entra Violanta, con maschera efiori. Informa Simone di essere stata alla festaa San Marco e gli chiede di rimanere con lei. Uscito Giovanni, Violanta dice senza apparen-te emozione a Simone che l’uomo che lei odiaprofondamente sta per arrivare a casa loro. Èandata a cercarlo in Piazza San Marco e l’hainvitato a seguirla, senza che Alfonso sospet-

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tasse la sua identità. Simone è senza parole.Quando chiede alla moglie perché l’abbiafatto, si sente rispondere che è perché lui louccida. Simone esita, ma Violanta cade aisuoi piedi e implorando gli dice che non potràné vivere, né sorridere, né baciarlo finchéAlfonso rimarrà vivo. Simone ricorda allamoglie che Alfonso è figlio di un re; Violantarisponde che in piazza si è già sentita schiavadi quell’uomo e non si sa mai quando l’odio inun cuore possa mutarsi in amore. A questeparole Simone non ha più dubbi: Alfonsodeve morire. Si nasconderà e quando sentiràViolanta cantare la canzone del Carnevale«Fuori dalle tombe, persino i morti oggi dan-zano stretti in un abbraccio…» sarà il segnaleche potrà uscire e colpire la sua vittima.Alfonso entra gioioso. Alle sue lusinghe,Violanta replica che indubbiamente non è l’u-nica ad essere stata nel suo cuore, maAlfonso le risponde che la sua voce melodio-sa non è fatta per biasimare, di cantargli inve-ce la canzone del Carnevale. Violanta rifiuta etemporeggia, e quando lui infine le chiedeperché non voglia soddisfare il suo desiderio,lei gli risponde che è perché è l’ultima canzo-ne che lui sentirà prima di morire. Alfonso,inorridito, le chiede chi sia. Violanta gli riveladi essere la sorella di Nerina e con amarezzagli ricorda come lui abbia riso nell’apprenderedella sua morte e gli rinfaccia la sua esistenzada seduttore. Alfonso ha un moto d’ira: puòaffrontare la morte ma non intende tollerare isuoi insulti. Poi, più calmo, le racconta dellasua vita priva di amore dalla più tenera infan-

zia. Violanta si avvicina alla finestra, singhioz-zando. Quello che temeva è avvenuto, il suoodio si è tramutato in amore, un amore prova-to fin dal primo istante e che ha inutilmentecercato di ignorare. Anche lei ha vissuto unavita priva di vero amore, nella tetra casa diSimone Trovai. Alfonso e Violanta cadononelle braccia l’uno dell’altra. Violanta lo esortaad andarsene, Alfonso invece la invita a viverequesto momento con gioia. Si ode Simonechiamare la moglie. Alfonso chiede a Violantadi cantare finalmente la canzone delCarnevale e lei la intona con voce strozzata.All’arrivo di Simone, Violanta lo implora di nonuccidere Alfonso, perché – gli rivela – si èinnamorata di lui. Simone è sbigottito.Ripresosi, si lancia su Alfonso per vibrare ilcolpo fatale ma ferisce invece a morteViolanta, che si è frapposta per salvare l’ama-to e salvare sé stessa dal peccato e dalla ver-gogna. Simone cade in ginocchio accantoalla moglie, la quale esclama che ora è salva,ora è di nuovo sua moglie. Violanta spiramentre fuori si ode ancora il coro dei festantiche cantano l’inno del Carnevale.

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

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

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

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Norman Reinhardt (Alfonso) and Annemarie Kremer (Violanta)

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

“I will tell you, in two words…”by Donatella Meneghini

For Italian opera goers Violanta is undoubted-ly not a very familiar title, not is its composer,Erich Wolfgang Korngold. And yet the opera’spremière, which took place at Munich’sHoftheater on 28th March 1916, reaped greatsuccess with public and critics, confirmingthat the eighteen-year-old Austrian composerwas a true prodigy. The title was paired withanother single-act opera – Der Ring desPolykrates, written by Korngold a couple ofyears before – not only in Munich but also inthe Vienna performance of 10th April 1916.The first performance was conducted byBruno Walter, who was the theatre’s musicaldirector and had been Mahler’s assistant inHamburg and Vienna. The Austrian capital,from the late 1800s to the early 1900s, was aplace of contrasts: in it, coexisted nostalgia ofthe past and innovative trends, immobilismand creative energy. Unaware of the crisis thatwould determine their imminent politicaldefeat (World War One was at the door), theViennese aristocratic class, blind and deaf(intentionally or not) to such intense culturalferments, hid behind a light-hearted façade,seeking opportunities of escape in dancemusic, café-concerts and operettas. It is theVienna of Freud’s psychoanalysis, ofSecession, of Klimt, of Schiele; of the literaryworks of Musil and Kraus, George and Rilke,Schnitzler and Hofmannsthal; of the architec-ture of Otto Wager; of the contrast between

the grace of Jugendstil and Munch’s expres-sionistic Scream. In the music field, moreover,the Austrian capital was the place where, fromthe great classical tradition of the first ViennaSchool, through Brahms, Mahler, Strauss andZemlinsky, the language had undergone agradual transformation until it had broken upwith Schönberg, epicentre of a radical renew-al; in the same period, in the field of musicol-ogy, Julius Korngold, Erich’s father, had sup-ported a young Mahler when he was not yetknown, and was one of the greatest expo-nents of the day, considered, indeed, the heirof the famous Hanslick.A pupil of Zemlinsky and praised by Mahlerfor his talent, Erich grew up in this environ-ment of artistic movements, absorbing inputsof different provenance; all present in Violanta,they make of this opera a sort of “small-scaleVienna”. Enriched by instrumental combina-tions that denote a precocious sophisticationin orchestral writing and by Jugendstil tone-colour effects thanks to the use of harps,celesta, piano, mandolin and Glockenspiel,the music language of this opera is a stagewhere different styles meet and clash. IfKorngold’s efforts to modernize it result in“widened” harmonic solutions – also via theuse of chromaticism and hexatonal scales –,they are always functional to the dramaturgyof the work and never aimed at the relinquish-ment of tonality. The opera is imbued withGerman romanticism, heightened by thebreadth of phrasing typical in so much ofWagner and Mahler and in Strauss’ symphon-

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ic writing, but we also hear echoes of theoperetta world, and of the lightness ofStrauss, father and son. That is not all: thechord opening the opera, in the Prelude,immediately followed by the crystal-clear tonecolour of scales and arpeggios, has flavoursof Debussy, but at the same time also ofSchönberg and Bartók, wrapping the specta-tor in a gloomy atmosphere, à-la Bluebeard’sCastle; but a few measures later, the musicaldiscourse has already expanded into anample, intensely lyrical phrase, which todaywe recognize as an anticipation of thoseHollywood soundtracks that, from the 1930s,made the composer’s renown and earnedhim as many as two Oscars.It seems clear, therefore, that the success ofKorngold’s music lies in his ability to create amulti-faceted language, which could meet thetaste and sensitivity of a vast public – althoughthis eclecticism, perhaps, is also its limit, for itis not a language with a strong personality.Violanta’s single-act structure – like in manyoperatic works of the time in German-speak-ing countries and elsewhere, from Strauss’Salome (1905) and Elektra (1909) toSchönberg’s Erwartung (1909), and theabove-mentioned Bluebeard’s Castle (1911) –does not prevent the full development of thestory; indeed, it helps focus on the psycho-logical transition of the protagonist, eliminat-ing any digression. Driven by a powerfuldesire of revenge against the man who hadseduced and led to the suicide of her sister,Violanta persuades her husband Simone to

become her accomplice and kill him. But aftermeeting and enticing her victim – Alfonso, theillegitimate son of the King of Naples – herfeelings turn into passion, and her part isoverturned. So strong is her love for him nowthat in order to save Alfonso’s life she takesthe blow meant for him. With other contempo-rary operas, among them Zemlinsky’s Eineflorentinische Tragödie, Violanta shares the15th-century Italian setting – in this caseVenice – though the descriptions of HansMüller (1882-1950), the libretto’s author, arefor some aspects approximate. This story ofpassion unravels during the carnival period. inthe home of Captain Simone Trovai, on theGiudecca canal; the masks’ chorus – «Fuorda tombe anco i morti / danzan oggi a brac-cetto, / son banditi gli sconforti, / il piacer s’al-legra eletto» (« Out of their graves, even thedead / dance arm-in-arm, today, / any dejec-tion is banished, / happiness is the electedpleasure») –, acting as Leitmotiv of the opera,on one hand softens the drama of the story,on the other is an “ostinato” that underlinesthe crescendo of emotional tension.At first sight, Violanta appears as a love dramain the Verismo mould, but some elements,actually, distance it from this connotation.From the musical point of view, we alreadymentioned Korngold’s propensity for therefined use of tone colours and for dark, typi-cally expressionistic and decadent soundcombinations; we must also draw attention tothis work’s broad, expressive and soaringmelodic lines, rising above dense orchestral

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textures, also thanks to the abundant use ofLeitmotive. From the dramaturgical and psy-chological points of view, if the idea of a cou-ple being reunited in and through death canseem indebted to Wagner’s Tristan undIsolde, the most important concepts are thoseof femme fatale (a typical Decadent figure)and of redemption, once again through bothcontrast and synthesis: in the course of theopera’s seven scenes, which flow one into theother, Violanta, driven by hatred, approachesAlfonso using her seductive arts («E m’insinu-ai fin al suo cospetto. / Danzando e sospiran-do / tremando e languendo / attirai il seduttoralle mie spalle» - And I went right up to him. /Dancing and sighing, / quivering and pining, /I attracted the seducer to follow me); but that«trembling and pining» betrays a weaknessthat turns into awareness, the awareness ofhaving become his prey («And today he hasmade me his slave…»): she has realized thatshe loves him and that only Alfonso’s deathcan release her from desiring him. However,she cannot tolerate shame and, since purity isthe most important virtue for her, through apsychological journey, Violanta realizes thatshe can only redeem herself through her owndeath. And so, over a bright C major harmo-ny, she reconquers her marital faithfulness(«Grazie, uom severo, or tua moglie è dinuovo tua!» - «Thank you, rigorous man, nowyour wife is yours again!») and, a momentlater, she attains the ultimate salvation.

Courtesy of Teatro Regio Torino

SynopsisAll of Venice is celebrating Carnival. In thehouse of Captain Simone Trovai, maids andsoldiers crowd at the windows to watch thetorchlit processions of masked peoplesinging the Carnival song «Out of their graves,even the dead dance arm-in-arm, today…».The soldiers mock young Matteo, who is smit-ten with Simone’s wife, Lady Violanta. Thegeneral happiness is brusquely interrupted bythe arrival of Simone. A rigorous man, hesilences them all, telling them that he won’ttolerate people singing the Carnival song inhis house. He then asks if anyone has seenhis wife and when the answer is no, he dis-misses the soldiers and sends Bice to thehouse of his mother-in-law, to see if Violantamight be there.Left alone, Simone receives the visit of thepainter Giovanni Bracca, who invites him togo with him to Piazza San Marco to watch theCarnival. Simone refuses, but when he learnsthat there will be Alfonso, a famous seducerwho was the cause of the suicide of Nerina,Violanta’s sister, driven by curiosity heaccepts. Since Nerina’s death, Violanta hasbeen distant, taciturn. Simone and Giovanniare already at the door when Violanta arrives,with mask and flowers. She tells Simone thatshe has just come from San Marco’s and askshim to remain with her.Once Giovanni has left, Violanta informsSimone, without any apparent emotion, thatthe man she hates so deeply will soon cometo their house. She has gone in search of him

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at San Marco’s and enticed him to follow her,without Alfonso suspecting her identity.Simone is flabbergasted. He asks his wifewhy she has done such a thing and her replyis that it is so that he can kill him. Simone hes-itates, but Violanta falls at his feet andimplores him, saying she will not live, or smileor kiss any more until Alfonso is dead. Simonereminds her that the man is the son of a king;Violanta retorts that already, in the square,she felt enslaved by him and one never knowswhen hatred in one’s heart can turn into love.At these words, Simone has no more doubts:Alfredo must die. He will hide and when hehears Violanta sing the Carnival song, it willbe the signal that he can come out and strikehis victim.Alfonso arrives, full of joy. He complimentsViolanta for her beauty, but she replies thatshe is undoubtedly not the only one he hascourted. Alfonso does not give up: her beau-tiful voice is not made for blaming, she oughtrather to use it to sing him the Carnival song.Violanta refuses, she stalls, and when he asksher why she won’t sing it, she tells him that itis because it is the last song he will hearbefore dying. Horrified, Alfonso asks her whoshe is. Violanta reveals that she is Nerina’ssister; she bitterly reminds him that helaughed when he heard of her death andaccuses him of leading a sinful life. Alfonsoangrily tells her that he’ll face death but doesnot intend to be insulted by her. Then, morecalmly, he reveals that he has never knowntrue love, ever since he was an infant. Violanta

goes to the window, sobbing. What shefeared has happened, hatred has turned intolove, a love she felt ever since seeing Alfonsoand which she vainly tried to hide to herself.She too has led a loveless life, in the rigoroushouse of Simone Trovai. Alfonso and Violantafall into each other’s arms. Violanta exhortshim to leave; Alfonso instead invites her to livethis moment with happiness. Suddenly theyhear Simone call his wife. Alfonso once againasks Violanta to sing the Carnival song, andshe finally does, in a choked voice.When Simone bursts in, Violanta implores himnot to kill Alfonso because – she reveals – shehas fallen in love with him. After a moment ofsurprise, Simone hurls himself against theman, dagger in hand, but his blow insteadwounds to death Violanta, who has come in-between them to save her beloved and at thesame time save herself from sin and shame.Simone falls on his knees beside his wife,whose last words to him are that she is onceagain his wife. Violanta then dies, while in thestreets and canals below merry masks singthe Carnival song.

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LIBRETTOwith parallel English translation

VIOLANTAOper in einem Akt

Text vonHans Müller

Musik vonErich Wolfgang Korngold

Simone Trovai, Hauptmann der RepublikVenedig - Bass-BaritonViolanta, seine Gattin SopranAlfonso, natürlicher Sohn des Königs vonNeapel - TenorGiovanni Bracca, ein Maler - TenorBice - SopranBarbara, Violantas Amme - AltMatteo - TenorErster Soldat - TenorZweiter Soldat - BaritonErste Magd - SopranZweite Magd - Mezzo-Sopran

Soldaten, Schiffer, Mägde, Masken.

Venedig, 15. Jahrhundert.

Vorspiel

I. SzeneDas Haus des Hauptmanns Simone Trovai amKanal der Giudecca. Schöner Raum, strengund ernst in den Linien, doch geschmückt mit

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VIOLANTAOpera in a single act

Libretto byHans Müller

Music byErich Wolfgang Korngold

Simone Trovai, a Captain of the VeniceRepublic - bass-baritoneViolanta, his wife - sopranoAlfonso, illegitimate son of the King ofNaples - tenorGiovanni Bracca, a painter - tenorBice - sopranoBarbara, Violanta’s nurse - altoMatteo - tenorFirst Soldier - tenorSecond Soldier - baritoneFirst Maid - sopranoSecond Maid - mezzo

Soldiers, boatmen, maids, masks.

Venice, 15th century.

Prelude

First SceneThe house of Captain Simone Trovai on theGiudecca canal. it is a fine place, rigorous inits layout but embellished with several works

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vielerlei Zeugnissen der Kunst. Hinten weite,offene Fenster und ein Steinbalkon auf dieLagune hinab. Auftrittstüre links, rechts zweiTüren. Abend. Wenn der Vorhang sich öffnet,erglüht die Bühne einen Augenblick lang ineinem tiefroten, magischen Schimmer, des-sen Feuerwerk die ganze Lagune purpurn auf-zittern macht. Dann Dunkel; in den Fenstern,unbewegt und nur wie Schatten sichtbar, leh-nen die Soldaten und Mägde. Druntenhuschen Fackeln und Lampions vorüber,Gesang und Rufe klingen, der Schlag derRuder tönt. Eine Weile bleibt es auf der Bühneselbst völlig still.

Schiffer - (von unten)„Unsere Barke blüht schon wie ein Weinberg,und unser Mund quillt über wie drei Brunnen...“Va Via! Va Via!Zu den Fenstern fliegen Blumen herauf, farbi-ge Papierbänder.Zweite Magd - Schau! Ein Herr imDogenmantel!Erste Magd - Ein Stutzer, angetan alsHenker,die Hände rot wie Blut. Haha!Erster Soldat - (wirft Flitter hinab)Tänzerinnen vom Teatro Felice!Da habt ihr Perlen um euern Leib!Gesang von unten - (Chor hinter der Szene)„Aus den Gräbern selbst die Totentanzen heute Brust an Brust…Alles Trübe ist verboten,heiß zum Himmel jauchzt die Lust.“Chor der Schiffer - „Unsere Barke blüht

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of art. At the back, open windows and a stonebalcony overlooking the lagoon. On the left,the entrance door, on the right two otherdoors. It is evening. When the curtain opens,the scene is suffused with a reddish and mag-ical light, which tinges the lagoon in a vibrantpurple hue. Then darkness falls; at the win-dows, only visible as motionless shadows, sol-diers and maids appear. Beneath, torches andlanterns slide by, songs and shouts resound,oar strokes can be heard. For a moment onthe scene all is perfectly still.

Boatmen - (from beneath)«Our boat is like a rich vineyard,and from our lips three fountains gush out…».Away! Away!(Colourful paper streamers and flowers fly up,as high as the windows)Second Maid - Look! A nobleman with adoge’s cloak!First Maid - A dandy in an executioner cos-tume,his hands tinged as red as blood. Ha, ha!First Soldier - (throwing glitters)Ballet dancers of the Felice Theatre!Here are pearls for your bodies!Chorus offstage - « Out of their graves, even the deaddance arm-in-arm, today,any dejection is banished,happiness is the elected pleasure».Chorus of Boatmen - «Our boat is like a rich

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schon wie ein Weinberg,und unser Mund quillt über wie drei Brunnen...“Va Via! Va Via!Zweiter Soldat - (stößt Matteo an, einenganz jungen Burschen, der allein abseits ander Wand lehnt)

He, was machst du?Matteo - Lass mich. Nichts.Zweiter Soldat - Denkst du wieder an diegnädige Frau,Du grüner Esel?Matteo - Lass mich. Schweig.Zweiter Soldat - (legt die Hände als Trichteran den Mund)Matteo ist verliebt in Mona Violanta.(Gelächter)Matteo - (zitternd)Ich schlag dich mit den Fäusten. Schweige.Erster Soldat - (parodistisch gefühlvoll)Er träumt von ihren weißen Gliedern,worauf der Mond die Laute spielt…Erste Magd - (übermütig lachend)Allein sie scheut sich, zu erwidern was sie nicht selbst im Busen fühlt.Matteo - (stürzt im Dunkeln auf sie los)Ihr Hunde!Von allen Seiten fliegen ihm Konfetti, Papierstreifen,Erbsen entgegen. Bice, die Kammerzofe, stürztlachend und atemlos herein, im Kostüm einerColombine hinter ihr Stutzer und Masken.Bice - (durch die offene Türe fällt seitlich hel-les Licht auf sie)Haha! Sogar bis hierher folgen sie.Erste Magd - Wer?Bice - Ei, die kecken Kavaliere.

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vineyard,and from our lips three fountains gush out…».Away! Away!Second Soldier - (to Matteo, a young ladwho is leaningagainst a wall)

Hey you, what are you doing?Matteo - Leave me alone. Nothing.Second Soldier - Are you still thinking ofyour fair lady,you tenderfoot?Matteo - Leave me alone. Shut up.Second Soldier - (putting his hands to hismouth funnel-shaped)Matteo is in love with Lady Violanta.(laughter)Matteo - (quivering)I’ll punch you. Shut up.First Soldier - (mockingly sentimental)He dreams of her white body,in honour of which the moon plays the lute...First Maid - (laughing coarsely)Only the lady does not want to reciprocatesentiments that her heart does not feel.Matteo - (rushing against them in the darkness)Dogs!(Confetti and streamers fly against him. Bice,the maid, bursts in out of breath and laughing,in a Colombina costume; behind her aredandies and masks.)Bice - (lit by some light filtering from an openside door)Ha ha! They have followed me all the way here.First Maid - Who?Bice - Oh, the cheeky gentlemen.

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Und kniff ich sie nicht in den Arm,sie küssten mich noch in der Türe.Von rechts ist die alte Barbara eingetreten,mit Lichtern.Barbara - Wo ist die gnädige Frau?Der Trubel verstummt ein wenig.Hat einer sie gesehen?Ich such sie überall. Bice, sahst du sie?Bice - Nein, ich nicht.Zweiter Soldat - (führt Barbara zu Matteo)Frag den da! Möglich weiß ers.Barbara - Du? Du sahst sie?Matteo - (abgewendet)Nein. Ich sah sie nicht...Vielleicht ist sie vor San Marco auf dem Fest,mit ihren Augendie Lichter zu überglänzen.Barbara - (schüttelt den Kopf)Vor San Marco? Weißt du nicht,dass sie nicht mehr gelacht, seitdas Leid geschah mit ihrer Schwester?Matteo - (gesteigert)Vielleicht... vielleicht liegt sie dort in einemArm,wie eine weiße Taube zärtlich im Käfigund lernt das Lachen wieder.Barbara - Du Narr! Weißt du nicht,dass sie keusch ist wie Schnee,und dass wir Angst haben vor ihremSchweigen,vor ihrer geheimnisvollen Schwermut?Matteo - (leidenschaftlich gesteigert)Vielleicht… vielleicht…Barbara - Du Lügner!

If I had not pinched their arms,they would have kissed me even on the threshold.(Old Barbara has entered from the right, withlamps.)Barbara - Where is our dear lady?(The noise abates a little.)Has anyone seen her?I’ve been looking for her everywhere. Bice,have you seen her?Bice - No, I haven’t.Second Soldier - (leading Barbara to Matteo)Ask him! He might know.Barbara - You? Have you seen her?Matteo - (aloof)No. I have not...She might be at Saint Mark’s, at the party,to outshine the lightswith the brightness of her gaze.Barbara - (shaking her head)At Saint Mark’s? Don’t you knowthat she hasn’t laughed sinceher sister’s misfortune...?Matteo - (with feeling)Perhaps... perhaps she lies in someone’sarms,like a white dove in a sweet cage,learning to smile again.Barbara - Fool! Don’t you knowthat she’s as pure as snowand that we are concerned about hersilence,about her dark melancholy?Matteo - (with passion)Perhaps... perhaps...Barbara - Liar!

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Zweiter Soldat - Nimm dich in acht vor demHauptmann!Der macht gern Jagd auf Tauber wie du.Bice - Und kümmerst dich, was sie auch tut?Ich bin wohl nicht genügend gnädig?Zu mir! Und jetzt getanzt mit Wut…Heut ist der Tanztag von Venedig!Alle - (überschäumend)Heut gibt es leichtes Herz und keckes Blut!Heut sind wir aller Sorgen ledig!Heut ist der Tanztag von Venedig!Tanzen, ja Tanzen!Chor der Soldaten und Mägde - (auf der Bühne)Evoè! Evoè!Heut ist der Tanztag von Venedig!Chor der Masken - (auf der Bühne)und Gesang von unten - (leidenschaftlich jauchzend)„Aus den Gräbern selbst die Toten,tanzen heute Brust an Brust…Alles Trübe ist verboten,heiß zum Himmel jauchzt die Lust.“Simon Trovai ist von rechts eingetreten.

II. Szene

Simone - Schweigt still! Wie oft hab ichsgesagt,dass ich das Lied nicht duld in meinem Haus?Zweiter Soldat - Herr, heut ist Fest.Simone - Nichts ist! Hinunterzur Nachtwach vor San Giorgio!Ihr lungert nicht! Feiert nicht! Ihr seid Soldaten!Die Soldaten ordnen sich.(zu Barbara) Sahst du Violanta?

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Second Soldier - Beware of the Captain!He gladly hunts lovebirds like you.Bice - What do you care what she does?Am I not courteous enough?All here! We’ll go dancing,all of Venice dances today!All - (with enthusiasm)Light hearts and hot blood, today!No concerns will trouble us, today!All of Venice dances today!To dancing, yes, to dancing!Chorus of Soldiers and Maids - (on stage)Evohe! Evohe!All of Venice dances today!Chorus of Masks (on stage)and Chorus off stage - (joyfully)Out of their graves, even the deaddance arm-in-arm, today,any dejection is banished,happiness is the elected pleasure.(Simone Trovai enters from the right.)

Scene II

Simone - Be silent! How many timeshave I told youthat I won’t tolerate singing in my home?Second Soldier - But Sir, today is a holiday.Simone - No matter!Go to San Giorgio for the night patrol!You’re not to idle, to party – you’re soldiers.(The soldiers line up.)(to Barbara) Have you seen Violanta?

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Barbara - Ich such sie, gnädiger Herr.Simone - (die Soldaten und Mägde treibend)Weg, sag ich, weg mit Euch!An die Galeerenbank! In die Kasernen!Hier ist das Haus des Hauptmanns Trovai!Das sperrt sich der verbuhlten Zeit.Matteo - (schwer atmend, tritt vor ihn hin)Herr... Herr...Simone - Was?Matteo - (leidenschaftlich)Schick mich von Venedig fort!Simone - Wenn du nicht lernst zu schwei-gen, hängst Duam nächsten Schiffsmast.Fort! Auf eure Posten!Die Soldaten und Mägde zur Türe; dann ab.(hält Bice zurück) Auch du sahst meine Fraunicht?Bice - Nein, Herr.Simone - (die Hände ballend)Nein! Nein! Nur immer nein!Was sinnt sie, dass sie sich verbirgt?Lauf schnell hinab zum Hause Chigi,Vielleicht ist sie bei ihrer Mutter.Bice, Barbara rechts ab.

III. SzeneGiovanni Bracca, der Maler, tritt lebhaft vonlinks ein. In prächtigem Kostüm, heiter, stut-zerhaft, ein wenig beschränkt, „Lebemann“seiner Zeit.

Giovanni - Ich hol dich. Komm! Du05

Barbara - I’m looking for her, Sir.Simone - (driving the soldiers and maids out)Go, I say, off with you!To the bench of a galley! To your barracks!This is the house of Captain Trovai,it is not open to frivolousness.Matteo - (rushing in out of breath)Sir... Sir...Simone - What’s the matter?Matteo - (fervently)Send me away from Venice!Simone - If you don’t shut up, you’ll hangfrom the mast of the first ship.Go! To your posts!(The soldiers and maids head for the doorand leave.)(withholding Bice) You neither have seen mywife?Bice - No, Sir.Simone - (with fists clasped)No! No! Always and only no!What is in her soul, to hide like this?Quick, rush to the Chigi’s,she may be at her mother’s.(Bice and Barbara leave by the right.)

Scene III(Giovanni Bracca, the painter, steps in lively:wearing a magnificent costume and is in agood mood, he is a dandy, a bit narrow-minded, “a man of the world”.)

Giovanni - I’ll take you. Come! You must05

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musst es sehn…Auf nach San Marco! Ganz Venedigträgt Maske, tanzt und lässt sich gehen…Selbst Ehemänner sind heute ledig.Simone zuckt verächtlich die Achseln.Wein! Blumen! Lichter! Geigenhauch…Die Freuden dieser Welt im Chore!Was Lippen hat, das küsst sich auch…(nimmt seinen Arm)Vorwärts zum Fest des Redentore!Simone - (wendet sich ab)Lass! Eure Lustigkeit ist mir zum Ekel…Und diese ganze freche Zeit,die Laster schminkt mit Kunst und Liedern.Giovanni - (heiter)Und willst du nicht Alfonso sehn,den Frauengott der Apenninen? Simone -(dreht sich mit einer lebhaften Bewegung um)Der? Der ist dort?Giovanni - (nickt) Kam von Neapel,auf einem Schiff, gezogen vonvier jungen Liebespriesterinnen.Simone - (heftig) Alfonso in Venedig!Wenn das Violanta wüsste…!Giovanni - (philosophisch)Ei, vielleicht weiß sies. An der Küstedes Abenteuers weiß die Frau Bescheid.

Simone - Sie hasst ihn! Hasst ihn wiedie Niedrigkeit!Hasst ihn wie die Schmach! Weißt dus nicht?Er hat verführt, der Elende,Nerina, ihre Schwester,die im Deserto als Novizin lebte…Und preisgegeben seiner Schande, sprang

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see.Come on, to Saint Mark’s! All of Veniceis masked, dances and revels,today husbands play bachelors in bauta costume.(Simone shrugs in disdain.)Wine! Flowers! Lights! Violin music...All the world’s pleasures united in love!Those who have lips kiss eagerly…(he takes him by the arm)Off we go, to the Redeemer’s feast!Simone - (holding back)Leave me alone! Your happiness disgusts me,as does this time of shamelessnessthat beautifies vices with arts and songs.Giovanni - (happily)Don’t you want to see Alfonso,the god of the Apennines’ women?Simone -(turning abruptly)Him?! Is he there?!Giovanni - (nodding) He came from Naples,on a ship pulled by fouryoung priestesses of love.Simone - (vehemently) Alfonso in Venice!If Violanta knows it...!Giovanni - (philosophically)She might. That woman frequentsthe shores of adventures.

Simone - She hates him! She hates himfor his cowardice!She hates him for the offence! Don’t you know?That scoundrel seducedNerina, her sister,who was a novice in the Deserto convent...Crushed by shame,

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das arme Kind ins blaue Meer.Seit diesem Tod ist Violanta stumm.Ein Ungeheures presst den Hals ihr zu…Und im Geheimnis ihres Hassesweist sie von sich, was Mann sich nennt.Giovanni - Auch dich?Simone - (leidenschaftlich ausbrechend)Um dieses Fremden willen,den sie so hasst, ist sie mir ferner,als einst, da ich um sie warb...(mit jähem Impuls) Und der ist dort, sagstdu?Giovanni - Komm mit:so sollst du an sein Dasein glauben!Die Frauen um ihn wie TurteltaubenEin lachend Herz, wohin er tritt!Simone - (schlägt den Mantel um)Gut! Komm! Das ist der Mann, dem ichschon lang ins Antlitz schauen wollte!

Giovanni - (den Hut schwingend, voran)Wein! Blumen! Lichter! Geigenhauch…Die Freuden dieser Welt im Chore!Wie sie an der Türe sind, tritt Violanta ein.Groß und dunkel, herrliches Haar. DenDomino umgeworfen, Konfetti in Haar undMantelfalten, Maske und Blumen in der Hand.Violanta - (ohne sich zu regen, steht in der Türe)Guten Abend.Simone - Violanta, du…?Giovanni - Ihr seht uns auf dem Weg zumFeste…Violanta - (ruhig) Ich komm von dort.Simone - Du, Violanta?Violanta - Ja, ich. Von dort.(sieht ihn ernst und groß an)

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the poor girl threw herself into the blue sea.Since her death, Violanta has not spoken.A sense of horror constricts her throatand in the depth of her hatredshe rejects whatever has to do with men.Giovanni - You too?Simone - (vehemently passionate)Because of that strangershe hates so much, she keeps at a distancemore than on the day I asked for her hand...(with an abrupt outburst) And he’s here, you

say?Giovanni - Come with me,and you’ll believe me!Around him you’ll see women like doves,wherever he is, hearts leap.Simone - (wrapping himself in his cloak)Very well! Come! There is a manI have longed to look in the eye...!

Giovanni - (preceding him and twirling his hat)Wine! Flowers! Lights! Violin music...All the world’s pleasures united in love!...(When they reach the door, Violanta enters.Tall and mysterious, she has confetti in herhair and in the folds of her cloak, and holds amask and some flowers.)Violanta - (motionless at the door)Good evening.Simone - Violanta, you...?Giovanni - You’ve come just as we’re leav-ing to go to the feast...Violanta - (calmly) I’m coming from there.Simone - You, Violanta?!Violanta - Yes, I. From there.(She looks at him gravely and surprised)

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Und darum bitt ich: bleibe.Giovanni - Per dio! Einmal hat man ihnso weit, dass er was lernen möchte!Simone - (ohne den Blick von Violanta zuwenden)Geh! Siehst du nicht…?Giovanni - (seufzt tragisch)Zum Falter muss man wohlgeboren sein, sonst ist es nicht das Rechte!Simone immer Aug in Aug mit Violanta, machteine Bewegung.Giovanni - Ja, ja. Schon gut. Ich geh.Ich werde eben als Einzelschmetterling fürbeide schweben.Wirft Simone eine elegische Kusshand zu,neigt vor Violanta ein Knie; dann zur Türe. ImAbgehen trällernd.„Was Lippen hat, das küsst sich auchVorwärts! Zum Fest des Redentore!“(ab)

IV. Szene

Simone - (Wie der Maler fort ist, einenSchritt auf Violanta zu, mit dem Ausdruckgesammeltester Spannung)Violanta?Violanta - (ohne die Stimme zu erheben)Er kommt. In zehn Minuten ist er da.Simone - Wer kommt?Violanta - Du weißt es gut, Simone.Simone - Wer? Wer?Den du so hasst? Der kommt?Violanta - (ruhig beginnend)Ich ging, ihn aufzuspüren wie den Luchs.

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Then I beg you: stay.Giovanni - By God! Just when I was aboutto learn something...Simone - (without averting his gaze fromViolanta)You go! Don’t you see...?Giovanni - (with a tragic sigh)One ought to be a moth,or it simply won’t do!(Simone, always engaging Violanta’s gaze,makes a movement.)Giovanni - That’s right. Well then. I’m going.I’ll fly like a solitary moth for both of us.(He makes a gesture as if to kiss despon-dently Simone’s hand, falls on one kneebefore Violanta, and goes to the door,singing under his breath.)«Those who have lips kiss eagerly...Off we go! To the Redeemer’s feast!»(he leaves)

Scene IV

Simone - (as soon as the painter has left,he approaches Violanta, his face betrayingmore tension.)Violanta?Violanta - (without raising her voice)He’s coming. In ten minutes, he’ll be here.Simone - Who?Violanta - You know who, Simone.Simone - Who? Who? The man you hate? He?Violanta - (quietly)I’ve hunted him down like a lynx.

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Umbrannt sah von tausend Lichtern ich ihn,umlacht von Frauen,hinschreitend über den Kirchplatz,hell wie über Rosen…Im Aug das namenlose Lächeln, dasunser Blut in den Adern fiebern macht.Simone - Alfonso!...Violanta - Die Mädchen, die ihn umsch-wärmtenwie Bienen ihren Honigkorb,drängt’ ich zur Seite,schlich mich hin vor ihn.Tänzelnd und seufzend,schauernd und schmachtend,so lockt den Verführer ich hinter mich.Ich sang das Lied, das heut die Jugend singt:

„Aus den Gräbern...Chor Hinter der Szene - (Masken mit Fackelnund Lampions hinter der Szene vorübergleitend)...selbst die Totentanzen Brust an Brust...“(verklingend)Simone - Das verruchte Lied?Du weißt, ich leid es nicht.Violanta - Das sang ich!(schneller) Er hinter mir...Im Gässchen hinter Orologgio [sic] warenwir allein.Simone - Violanta!Violanta - Im Dunkeln neigt’ er sich über mich.Seine Augen brannten,seine Lippen zuckten,und da, da…Simone - (atemlos) Da?...Violanta - (nach einem Schweigen,

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I saw him amidst a thousand blazes,surrounded by women’s laughter,advancing, beaming, on the squareas if walking on roses…His eyes smiled in that unspeakable waythat makes your blood boil in your veins.Simone - Alfonso!Violanta - I drove away the girls who sur-rounded him,swarming like beesaround a honeycomb,and I went right up to him.Dancing and sighing,quivering and pining,I attracted the seducer to follow me.I sang the song young people sing today:

«Out of their graves...Off-stage Chorus - (Masks pass behind thescene with torches and lanterns.)... even the deaddance arm-in-arm...».(it fades away)Simone - That infamous song?You know I don’t tolerate it.Violanta - Yet I sang it!(more hastily) He was close to me...In the alley behind the Clock we were alone.Simone - Violanta!Violanta - In the darkness he bent over me,his eyes were ablaze,his lips quivered,and then, then...Simone - (breathlessly) Then...?Violanta - (after a moment of silence,

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in anderem Ton)Da wusst ich, dass meine Schwester Nerinaheut lachen wird in ihrer Gruft.Simone - (blickt sie an) Heut lachen?...Violanta - (nickt) Ja. In zehn Minuten ist erda.Er ahnt nicht, wer ich bin,hält mich für eine Künstlerin vom Teatro Felice.Nur um mich zu schmückenfür den Königssohn, eilt ich voraus.Dann legt seine Barke hier an.

(wie versunken) Dann hör ich durchNacht und Stillemir nahn des Sünders Verlangen...Simone - Und du… du willst ihn empfangen?Violanta - (breitet die Arme aus, dunkel,doch leidenschaftlich)Ja! Ich warte auf ihn!Hunderttausend reine Fraun warten mit mir.Simone - (immer an ihren Augen hängend,flüsternd)Warum sagst du mir das?Violanta - Weil du…(hält ein)Simone - Weil ich… was? Sprich.Violanta - Weil du... du wirst... (schweigt)Simone - Was, Violanta? Was werd ich? Violanta - Simone, du... Du wirst...(tritt nahe zu ihm hin, blickt ihn aus ihrengroßen Augen an; leiser)Simone, du wirst ihn töten.

Simone - Violanta!Violanta - (mit jäh hervorbrechender

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in a different tone)Then I knew that my sister Nerinatoday will laugh in her grave.Simone - (observing her) She will laugh? Today...?Violanta - (nodding) Yes. He’ll be here in tenminutes.He doesn’t suspect who I am,he believes me an artist of the Felice theatre.I preceded him to adorn myself for him, the king’s son.Soon he’ll dock his boat here.

(absorbed in thought) Then in the silenceof the nightI’ll hear the lusty sinner draw up to me...Simone - And you... will you welcome him?Violanta - (opening her arms, in a mysteriousbut passionate gesture)Yes! I’ll wait for him!Thousands of women await him with me.Simone - (still looking her in the eyes, whis-pering)Why are you telling me this?Violanta - Because you...(she stops in mid-sentence)Simone - Because I... what? Speak.Violanta - Because you... you must... (she falls silent)Simone - What, Violanta? What must I do?Violanta - Simone, you... You must...(she approaches him and looks at him withwide open eyes; more softly)Simone, you must kill him.

Simone - Violanta!Violanta - (in a sudden burst of passion,

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Leidenschaft, stürzt vor ihn nieder)Ja, du wirst ihn töten.Simone, du wirst. Du wirst.Wenn du mich liebest, lebt er nicht länger!Simone - (hebt sie auf, bebend)Wie ich dich liebe, weißt du…Violanta - Solang diese Augen leuchten,vor denen die Scham verglüht,solang diese Lippen sich feuchten,für die jede Sünde blüht,atme ich nicht, lache ich nicht, küss ich dichnicht!Simone - (gepackt)So, Violanta, hassest du ihn?Violanta - So unaussprechlich…(die Augen öffnend, nach einem Atemschöpfen,in anderem Tone, mit harter Kraft)So, ja, so hass ich ihn.Simone - (die Hände hebend)Bedenk, eines Königs Blut…Violanta - (schnell) Und lechzt doch nachniedrem Mund…Simone - Einst kann er mein Herr sein!Violanta - Und schuf mich schon heute zurMagd…Simone - Ahnungslos kommt er hierher.Violanta - Um zu verführen heut Nacht dein Weib.Simone - (ballt die Fäuste)Violanta! Spiel nicht mit mir!Violanta - (indem sie leidenschaftlich seinebeiden Hände ergreift)Und wie, wenns ihm gelänge?Hass und Liebe sind Brüder im Herzen.Wie, wenn ich selbst einst begehrte,Was jetzt mich mit Schauern erfüllt?

throwing herself at his feet)Yes, you’ll kill him.Simone, you must. You’ll do it.If you love me, he must die!Simone - (he lifts her up, trembling)You know how much I love you...Violanta - As long as those eyesthat know no shame gleam,as long as those lipson which all sins blossom are moist,I will not breathe, I will not laugh, I will notkiss you!Simone - (shocked)Do you hate him so deeply, Violanta?Violanta - More than I can tell...(opening her eyes after heaving a sigh, in adifferent tone, with resolution)Yes, I do hate him so.Simone - (lifting his hands)Think, it’s the blood of a king...Violanta - (quickly) That thirsts for lusty plea-sures...Simone - One day he could be my sovereign...Violanta - And today he has made me hisslave...Simone - He comes here unaware...Violanta - To seduce your wife.Simone - (he clasps his fists)Violanta! No one will mess with me!Violanta - (fervently grabbing his hands)What if he succeeds?!Hatred and love are brothers in one’s heart.What if I myself have covetedwhat now fills me with dread...?

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Simone - (schnell, besinnungslos)Was du verlangst, das tu ich.Violanta - Simone!Simone - (die Zähne aufeinander gebissen)Nicht lebend kehrt er zurück über die Schwelle.

Violanta - (leidenschaftlich aufjauchzend)Ja, du wirst ihn töten!Töt ihn, dass ich dein Weib wieder bin!Simone - Hier, hier steh ich und warte auf ihn.Violanta - (schüttelt den Kopf) Nein, nicht so.Sein Antlitz erst lass mich erbleichensehn, das lustverstörte, wüste…Dann... dann nahe dich du!Simone - (mit auffunkelnder Erinnerung)Was wars, Violanta, um das er dich küsste?Das Lied… das Lied, das du sangst,das Lied sei unser Zeichen!Wenn ich es höre, tret ich herzu.Violanta - So sei es!

Dicht Aug in Aug werd ich,gegenüber ihm stehn…ihm um das lachende AntlitzNerinas Seufzer peitschen.Dann, dann, wenn der stolze Verführerein stummes Nichts geworden ist,dann ruf ich dich durch das Lied, dass duihn mitleidlos…wie einen Dieb niederschlägst.Simone - In der Nische des Hauses steh ich,Violanta, angelehnt an die Mauer.Violanta - Und bis das Lied du hörst,das ich heimlich vor ihm sang:„Aus den Gräbern selbst die Totentanzen heute Brust an Brust…“

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Simone - (hastily, without more ado)I’ll do what you ask.Violanta - Simone!Simone - (grinding his teeth)He won’t cross that threshold alive again.

Violanta - (eager and joyful)Yes, you will kill him!Kill him, and I’ll return to be your wife!Simone - I’ll stay, and I’ll wait for him.Violanta - (shaking her head) No, it won’t do.First let me see his debauched face pale,altered by lust...Then... then you can come!Simone - (struck by a thought)How was, Violanta, the spark of his kiss?The song... the song you sang,that song be our signal!When I hear it, I’ll come out.Violanta - Agreed!

With my eyes locked in his,I’ll stand before himand lash out at his jolly facewith Nerina’s sighs.Then, when the cruel seduceris reduced to a silent nothing,then I’ll call you with my song, and you, ruth-lessly,will slay him like a thief.Simone - I’ll hide in the niche, Violanta,leaning against the wall.Violanta - And when you hear the songI shrewdly sang to him,«Out of their graves even the deadtoday dance arm-in-arm...»

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Simone - „Brust an Brust…“Violanta - Dann weißt du, dass er waffenlosreif ist deiner rächenden Faust.Simone - …Dann weiß ich, dass er waffenlosreif ist meiner rächenden Faust.(blickt sie an, bleich und fest)So wart ich drunten auf dein Lied.Sings bald und sei getrost, Violanta!(schnell ab)

V. Szene

Allein geblieben, sieht ihm einen Augenblicknach. Eine Erschütterung scheint sie zu fas-sen, die sie mit gekreuzten Armen in diehochatmende Brust zurückzudrängen sucht.Sie steht eine Sekunde reglos da, geschlos-senen Auges wie horchend. Dann wendet siesich nach rechts, öffnet die Türe und ruft.

Violanta - Barbara! Bring Lichter!Nimmt ihren Domino ab, sodass nun ein wei-ches, helles Kleid sie umfließt, das ihreSchönheit noch tiefer hervortreten lässt.Schüttelt Blumen und Konfetti aus dem Haar.Barbara - (ist mit zwei vielkerzigen Leuchterneingetreten, die den Raum taghell erleuchten)Riefst du, gnädige Frau?Violanta - (vor dem Spiegel sitzend)Ja. Komm. Lös mir auf mein Haar.Barbara - (hinter sie tretend)Gehst du noch nicht zur Ruh, gnädige Frau?Violanta - (schüttelt den Kopf, ganz leise)Noch nicht. Noch nicht. Doch balde…Barbara - (sie kämmend)Dein Hals, dein Busen,

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Simone - «Arm-in-arm...»Violanta - ... then you’ll know that he,disarmed, is ready for your avenging hand.Simone - ... then I’ll know that he,disarmed, is ready for my avenging hand.(he looks at her, pale and resolute)I’ll wait for your song.Sing it soon and... have faith, Violanta!(he quickly leaves)

Scene V

(Left alone, for a moment she follows himwith her gaze. A tremor seizes her, which shetries to repress by crossing her arms on herheaving bosom. She remains still for amoment, with her eyes closed as if she werelistening. Then she turns right, opens thedoor and calls.)

Violanta - Barbara! Bring some light!(She takes off her domino cloak, remaining ina soft, white dress that enhances her beauty.She shakes off the flowers and confetti fromher hair.)Barbara - (entering with two candelabra,which light up the room)Have you called, madam?Violanta - (sitting in front of the mirror)Yes, come. Let my hair down.Barbara - (placing herself behind her)Aren’t you retiring yet, madam?Violanta - (shaking her head, in a sweet voice)Not yet. Not yet. But soon...Barbara - (combing her hair)Your neck and bosom

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wie Schnee so rein…Violanta - (aufatmend, die Hände leicht faltend)Wills Gott, solls niemals anders sein…Barbara - (horchend)Legt da drunten nichtein Boot ans Tor?Violanta - (zitternd)Nein, nein. Ich hör nichts. Das kommt dir nurvor…

Wie ging das Märchen, Barbara,das oft du erzähltest,als ein Kind ich war?Barbara - Und der Engel sprachzu dem Mädchenschwarm:„Nur wens gelüstet, der ist arm.Doch wer mit dem Seinen still und zufrieden,der hat den Himmel schon hienieden“.Violanta - (fährt auf) Hörst du nichts?Barbara - Der laue Wind in der Lagune.Violanta - (bebend) Nein. Geh. Gut’ Nacht.Nun brauch ich dich nicht mehr.Barbara - (leicht erstaunt, will einen Leuchternehmen)Soll ich…Violanta - Nein, geh! Lass alle Lichter brennen!Barbara - So wünsch ich dir: schlaf wohl,gnädige Frau, und träume sanft wie eh.(ab)

InterludioViolanta erschauert in einem jähen Gefühl, dasdie erwartete Totenstunde nahen sieht. Sie holttief und leidenschaftlich Atem.Ihre Lippen öffnen sich , wie zu einem unwillkür-

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are as white as snow...Violanta - (with a sigh, lightly clasping her hands)God willing, they will always be so...Barbara - (listening)Is that a boat docking,down at the entrance door?Violanta - (trembling)No, no, I don’t hear anything. It seems toyou...

How did that story go, Barbara,the one you often told meas a child?Barbara - And the robed angelthus counsels girls:«Poor is only he who covets things,for he who lives in peace with himselfalready has paradise on earth».Violanta - (starting) Can you hear anything?Barbara - The mild breeze of the lagoon.Violanta - (jerking) No. Go. Good-night.I don’t need you anymore.Barbara - (slightly surprised, she makes as ifto get a candelabrum)I shall...Violanta - No, go. Leave all the lights!Barbara - Then let me wish you a good rest,madam, and sweet dreams.(she leaves)

Interlude(Violanta shudders at the sudden notion thatthe long-awaited moment of death is at hand.She heaves deep breaths and frets.Her lips open as in an instinctive desire to con-

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lichen gesteigerten Laut des Entschlusses. Sielegt die Hand über die Augen. Dann, mit ein paarlautlosen Schritten, tritt sie auf den Steinbalkonund beugt sich horchend in die Nacht hinaus...Im Verlauf dieser Spielszene hat Violanta immermehr Lichter angezündet. Draußen ist ein vollerMond aufgegangen, der die Luft weich und sil-brig macht; sein Widerschein schimmert vomWasser der Lagune zurück. Durch die Stille klingtder Schlag von Rudern, die ein Boot näher brin-gen. Jedesmal tropft das Wasser im Takt von denHölzern... Eine Minute lauscht Violanta reglos.Wie in einem unwillkürlichen Schauer wendet siesich ins Zimmer zurück und zieht mit beidenHänden den Vorhang zwischen sich und dieFenster. In seine Falten geschmiegt, ganz an dieMauer gepresst, steht sie jetzt mit hinabhängen-den Armen da, die Augen geschlossen, ohneBewegung. Drunten beginnt eine Männerstimmezur Laute zu singen.

Alfonso - „Der Sommer will sich neigen,am Himmel strahlt sein Licht.Und pflückst du Süße aus den Zweigen,pflück ich mir lachend dein Gesicht.Der goldnen Jugend ist das Königreich:Mund oder Becher, Fraue, das gilt ihr gleich.Mund oder Becher, Kelch oder Zecher…Jugend träumt von Liebe süß und weich...“Violanta - (oben) Locke nur, locke,buhlerischer Traum!Ob deinem Haupte rauscht des Todes Baum.In Staub zerfällt deine Sündenwelt.Alfonso - „Ich dien der Einen, Feinen,die mir so hold erfüllet das Gemüt.

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firm her decision. She puts a hand over hereyes. Then, soft-footed, she steps onto thestone balcony and leans out, listening in thedarkness... Violanta has lit more candelabra.The moon is full, the air is sweet and bathed ina silver light; the water of the lagoon reflectsits brightness. In the silence, the strokes ofoars can be heard, a boat is approaching. Therowing rhythm is accompanied by the drippingof water. Violanta listens motionless for amoment.Seized by sudden terror, she returns into theroom and closes with both hands the curtainbetween her and the windows. Hidden behindits folds and leaning against the wall, shestands with her arms at her sides, her eyesclosed, stock still.Beneath, a male voice begins to sing, accom-panied by a lute:)

Alfonso - «Summer takes a bow,its splendour shines in the sky.You pick delicious fruits from branches,I pick your face, without blushing.It is the kingdom of golden youth:lips or glass – women, for you everything is worthy.Lips or glass, goblet or pint…The youth’s dream is full of tender love...».Violanta - (above) Enthral, enthral,gentle dream!Over your head looms the tree of death.Your sinful world is about to crumble.Alfonso - «I am the servant of the only ele-gant woman

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O Frau, was kann noch scheinen,wenn deine Lippe glüht?Kein Mann wird traurig sein und weinen,so lang der Liebe Garten blüht.Und muss ich einst zur Erd hinab,Dann sollen Frauen, tausend Frauenmir noch Küsse werfen übers Grab...“Die Stimme verstummt. Man hört, wie dasBoot mit starken Ruderschlägen bis ans Hausgetrieben wird und hier laut knirschendanlegt.

VI. Szene

Dann, den Vorhang zurückschlagend, trittAlfonso ein. Er ist jung und lebhaft, von einerprinzlichen Grazie der Bewegungen, schön undunbefangen, das Haupt dunkelgelockt. Ohnesich zu regen, wie in den Anblick der ihm entge-gentretenden Violanta gebannt, bleibt er einenAugenblick im Vorhang stehen.

Alfonso - Wie schön seid ihr,wie herrlich schön!Wie traumhaft, wie zaubrisch, dies Antlitz zusehen...Mir war, ich ging zu einer Königin,Den Himmel hofft ich nicht zu finden.Violanta - (dunkel)Ihr trugt wohl manche schon im Sinn!Alfonso - (schmeichelnd)O Königin, scheltet nicht.Die Frauen alle zanken mich aus.Ihr aber, ihr, in Anmut sorgenlos,ihr dürft nicht so.

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who sweetly appeases my senses.Oh woman, what can be brighterthan the red glow of your lips?No man will be sad and grumblingas long as love’s garden repays him with flowers.And though one day I must go underground,a thousand adoring womenwill still strew my grave with kisses...»(The voice falls silent. The boat is heardbeing led towards the house with vigorousoar strokes, where it noisily docks.)

Scene VI

(Alfonso enters, moving the curtain aside. Heis young and full of life, princely graceful,handsome and unscrupulous, his hair is darkand curly. For a moment he remains still by thecurtain, as if captivated by the gaze of Violanta,who comes towards him.)

Alfonso - How beautiful you are,gorgeously beautiful!What a dream, what a delight to contemplateyour face...To me, it was like going to a queen.I didn’t hope to find heaven here.Violanta - (mysteriously)You’ve already carried many in your heart...!Alfonso - (flatteringly)Do not blame me, my queen.All women blame me.But you, in your light-hearted grace,you cannot.

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(neigt ins Knie)Eure Stimme, süß wie Nachtigallschwingen,ist nicht gemacht zu Groll und Trotz!Ist nur gemacht, zu schmeicheln,zu klingen und singen.Violanta - Steht auf! Steht auf, sag ich.Alfonso - (innig)Singt mir erst euer Lied!Das Lied, durch das ich zu euch fand,das Lied von Sehnsucht und von Leidenschaft,von zweier Seelen heimlichem Band.

Violanta - (sieht ihn an, ihre Augenverschleiern sich. Leicht bebend)Noch nicht das Lied! Legt erst den Mantel ab.Alfonso tut so.Den Degen auch. Das silberne Gehänge.Alfonso - (schnallt die Waffen ab, tritt zu ihr,übermütig)Und bleibt ihr stumm, sing ich es selbst,wenn ich gleich wie ein Rabe sänge:(breitet die Arme aus, beginnt das Lied)„Aus den Gräbern selbst die...“Violanta - (presst mit unwillkürlicher Bewegungjäh ihre Hand vor seinen Mund; keuchend)Schweigt!PauseAlfonso - Wie seid ihr sonderbar!Warum soll nicht dies Lied gesungen sein?Violanta - (blickt ihn an) Warum?Alfonso - (lächelnd) Das frag ich euch,Herzliebste. Sagt.Violanta - (sieht ihn immer an, ihre Augensind ganz dunkel, aus ihren Lippen weichtdas Blut. Nach einem Schweigen)Weil es das letzte Lied ist, das ihr

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(he kneels)Your voice, as sweet as a nightingale song,is not made for despise or rancour,but only for caressing,playing and singing.Violanta - Stand up. – Stand up, I say.Alfonso - (with feeling)First sing me your song!The song of when I found you,the song of yearning and passion,of two souls secretly bonded.

Violanta - (looking at him, her eyes mist.She trembles slightly)Not yet! First take off your cloak.(Alfonso does so.)Your sword too. The silver pendant.Alfonso - (putting down his weapons andapproaching her boldly)If you won’t, then I’ll sing it,even though I have the voice of a crow:(he opens his arms and begins to sing)«Out of their graves, even the...»Violanta - (instinctively, she places a handover his mouth, breathing heavily)Be quiet!(Pause)Alfonso - How odd you are...!Why can’t we sing that song?Violanta - (looking at him) Why?Alfonso - (smiling) It is I who am asking,my dearest. Tell me.Violanta - (she keeps staring at him; her eyesare dark and her lips bloodless; after amoment of silence.)Because it is the last song

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auf dieser Welt noch hören werdet.Alfonso - Wie?Violanta - Blickt um! Der Tod steht hintereuch.Alfonso - (tritt unwillkürlich einen Schrittzurück) Wer seid ihr?Violanta - Nicht die, die ihr denkt.Alfonso - Wer? Wer... ihr seid?Violanta - Die Frau des Hauptmanns Trovai.Und bei dem ersten Takt des Lieds, das ihrbegehrt,schlägt euch mein Mann zur Erde nieder.Alfonso - (starrt sie an) Ihr seid…Violanta - Nerinas Schwester Violanta. Wisstihr noch?Sie sprang ins stille Wasser und ihr lachtet!Alfonso - (stammelnd) Nein, nein!...Wendet sich unwillkürlich nach der TüreViolanta - (schnell, heftig)Nicht lebend kommt ihr aus dem Haus!Verstellt sind alle Ausgangstüren.Alfonso - Ihr scherzt, was wollt ihr mir…Violanta - (auf ihn zu, zuckend)Nun ruft zu Hilfe eure kleinen Frauen!Die Herzen, die gebrochen sind für Euch,haltet als Schildvor eure Lügenbrust.Umsonst! Ihr seid dem Tod noch zu verworfen.Alfonso - (leidenschaftlich auffahrend)Schweigt still! Ermorden könnt ihr mich,doch nicht erniedern!Atmet auf, nach einer Pause, ruhiger

Sterben wollt ich oft,wenn mir mein Leben leer wie Tand erschien…20

you will hear on this earth.Alfonso - What?Violanta - Watch your back! Death is behindyou.Alfonso - (taking an instinctive step back)Who are you?Violanta - Not the woman you think.Alfonso - Who? Who... are you?Violanta - Captain Trovai’s wife,and at the first notes of the song you want,my husband will kill you.Alfonso - (staring at her) You are...Violanta - Nerina’s sister, Violanta. Do youremember her?She threw herself into the calm water, andyou laughed!Alfonso - (stuttering) No, no...(he instinctively turns towards the door)Violanta - (quickly and vehemently)You won’t leave this house alive!All the doors are locked.Alfonso - You’re joking... what will you do to me?...Violanta - (pointing at him, with a flinch)Now call your good-time girls to rescue you!Their hearts, which you broke,use them as shieldfor your devious breast.In vain! Even death considers you a villain.Alfonso - (in a fiery outburst)Be quiet! You can murder me,but not humiliate me!(he catches his breath and continues more calmly)

I often wanted to die,when my life seemed to me trivial and vain.20

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Mir ist der Tod ein alter Spielgenoss.Doch dort verachtet werden, wo ich liebe,wär Gift statt eines guten Schlummerweins.Wendet sich ihr zu. SchlichtIch lag an eurer Schwester Lippen...Wahr ists. Und manche hab ich sonst verkannt.Doch was ich tat und wie ich fehltemir wards vom Schicksal selber aufgebrannt.Die Mutter kannt ich nicht,sie starb an mir,kein Heim, kein Schwestergruß,kein treues Wesen.Im Schwarme eines Königs wuchs ich auf,der Vater hieß und es mir nie gewesen.So sprang mich die Jugend wie Feuer an,mich trieb in die Ferne ein irres Verlangenund hielt ich bebend ein stilles Herz umfangen,schon jagt’ es mich zu neuem Bann.Nie war ich glücklich, nie hab ich geruhtam freundlichen Herd, den ich nicht kenne.Ich Dürstender, der ich nach Liebe brenne,hab nie gefühlt, wie reine Liebe tut...(Schweigen)Gutheißen könnt ihrs nicht,und Milde erwart ich nicht.Doch dass ihr mich kennet,nicht niedrig nennet,schon das macht diese Stunde mir licht...Wendet sich ab. Aufatmend, einfach, ohneGebärdeNun singt Euer Lied!Ich wehr mich nicht. Nein...Violanta sieht ihn an, wendet sich mit raschenSchritten nach hinten. Beugt sich vor, um zurufen. Nur ein Laut kommt aus ihrem Mund.

Death is an old mate of mine.But to be despised by her whom I lovewould be poison, not good wine, for my slumber.(he turns to her. Bluntly)I kissed your sister’s lips...Yes. I abandoned others.But what I did and how I sinnedwas the consequence of my adverse fate.I never knew my mother, she died giving birth to me,I had no hearth, brotherly wordor faithful friend.I grew up in the court of a kingwho called himself a father but never acted as one.And so, youth ignited like a fire,a foolish desire led me astray,and even as I clasped a throbbing heart,I anxiously sought other adventures.I was never happy, never at peaceby the fireplaces where I camped out.I, who am ablaze and thirsting for love,have never experienced the bliss of pure love...(silence)You cannot approve ofor be clement with me.But now you know meand if you don’t call me a vile manthat is enough to make me serene...(he turns. Relieved, without moving)Now sing your song!I won’t resist. No...(Violanta looks at him, taking a few stepsback. She leans forward to call. A singlesound comes out of her mouth. Speechless,

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Verstummt jäh, lässt den Kopf hinabsinken. Pause.Alfonso - (näher an ihr, wie eine leise Frage)

Mona Violanta…Violanta rührt sich nicht.Tu ich Euch leid?Violanta schüttelt den Kopf.Nicht leid? Und dennoch singt ihr nicht?Violanta wendet sich um, hält die Hände vorsGesicht; bricht in ein stoßweises, leisesSchluchzen aus. Auf sie zu, schnell.Violanta!Violanta - (erstickt)Geht! Geht! Und redet nicht zu mir!Alfonso - (ganz, ganz leise, fast keusch)Ihr liebt mich, Mona Violanta?Violanta schluchzt leidenschaftlich und fas-sungslos auf.Nicht um der Schwester willen, nein…für euch, Violanta, für euch selbstist mir der Tod bereitet. Ja?Violanta antwortet nicht.Antwortet, sagt, ich fleh euch an…(an ihren Augen hängend)Sprecht! Ihr habt mich nie gehasst?Violanta - (hebt die Hände empor, wild undzerrissen)Wollt ihr ein Weib in Scham vernichten?Alfonso - (laut aufjauchzend)Violanta!Violanta - (mit leidenschaftlichen Bekenntnis)Geht! Geht von mir! Blickt nicht auf mich,dass mir die Röte nicht verbrenne…!Alfonso - Ihr bangtet nur für eure Reinheit?Und darum sollt ich sterben! Darum!Violanta - (an die Wand gewendet, indem sie

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she lets her head fall forward. Pause.)Alfonso - (closer to her, in a low voice)

Lady Violanta...?(Violanta does not move.)Do I make you suffer...?(Violanta shakes her head.)No? Won’t you sing, then...?(Violanta turns, hides her face in her hands,and erupts into broken sobs.)(Alfonso rushes to her.)Violanta!Violanta - (in a stifled voice)Go! Leave! And do not speak to me!Alfonso - (very gently, almost chastely)Do you love me, Lady Violanta...?(Violanta begins to sob in a desperate anduncontrolled way.)It is not for your sister’s sake, no,it’s for your own, Violanta, for yourselfthat you want to kill me. Isn’t it?(Violanta does not reply.)Answer me, tell me, I beg you...(hanging from her gaze)Speak! Have you ever hated me...?!Violanta - (raising her hands, furious andtorn)Would you crush a woman in shame?!Alfonso - (with great jubilation)Violanta!Violanta - (in a tone of deep-felt confession)Leave! Go away from me! Don’t look at me,don’t let my shame scorch me!Alfonso - Do you only fear for your chasteness...?!That is why I must die!! Yes!!Violanta - (turning to the wall, covering her

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ihr Gesicht bedeckt)Seit ich zum erstenmal euch sah,weiß nicht, wie meinem Blut geschah:es musst nach Euch begehren.Hass aus Liebe und Lieb aus Hass,Mutter Maria, ersinnst du dasdie Menschen zu zerstören?Alfonso - Violanta! Schmäht heilige Jugendnicht.Violanta - Ich schlug die Brust, ich lag aufden Knien,ich rief meinen Gott, nur ihn, nur ihn…Er hörte nicht mein Schreien...(ausbrechend)So lang ihr lebet, sterbe ich,in eurem Tode kann ich michvon meiner Lust befreien.Alfonso - (trunken)Sprecht! So hat noch keine Frau michgeliebt!Violanta - (angstvoll)Rein muss ich vor mir selber sein,und bin ich Frau und doch nicht rein.Was soll mir dann begegnen?Alfonso - (auf sie zu, leidenschaftlich)Du Kind, im lichten Tag verirrt!O denk nicht nur, was war und wird,den Augenblick lass segnen!

Violanta - (wie gepackt, vor sich)Nie hab ich gelebt im Augenblick…Nie kannt ich ein heißes, reuloses Glück.Des Hauses Mauern, dumpf und schwer,schatteten über die Seele zu sehr.Und hob ich empor zur Sonne mein Angesicht,das Aug sah stets nur kalte Pflicht.

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face)Since the first time I set eyes on youI don’t know what got into my blood,I have coveted you.Hatred born out of love and love out of hatred,Holy Mother! Is that your planfor the destruction of man...?!Alfonso - Violanta! Do not blame divineyouth.Violanta - I beat my breast, I fell to myknees,I invoked my God, only my God,he did not hear my outcry...(in an outburst)If you live, I must die,only your deathcan release me from my craving.Alfonso - (elated)Speak! No woman has loved me thus up tonow!Violanta - (frightfully)I want to be chaste, for my own sake,and I am a woman who’s no longer pure.What, then, will become of me...?Alfonso - (to her with passion)My child, lost in the bright day!Do not think only of what was or what will be,bless the moment, without fear!

Violanta - (as if captivated, to herself)I have never seized the moment...never known ardent, remorseless happiness.The house’s walls, dark and gloomy,cast heavy shadows on my soul.And if I lifted my face to the sun,I only perceived my cold duty.

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Sündseliger Schauer hat nie mich durchbebt,nie habe ich Arme mir selbst gelebt.Alfonso - Nun hab den Mut! Nun sei nur du!Das dunkle Haus schließ hinter dir zu!(fasst ihre Hände, innig)Hab keine Angst. Verzehr dich nicht:wo Herzen brennen, da ist Himmels Licht.Violanta - (mehr und mehr erliegend)Erbarm dich meiner... ich vergeh...Mein Gott und Schirm, sei in der Näh,woll mich nicht sinken lassen.Alfonso - (mit heißester Leidenschaft)Nichts schmeckt so süß wie letzter Trunk!Drum hab ich auch gelebt genug,wenn ich dich konnt umfassen.Dich, meines Weges tiefsten Traum!Anfassen! Dich! Deines Kleides Saum...Er zieht sie an seine Brust. Sie stehen umsch-lungen.Violanta, Segnende, bist du mir gut?Violanta - Weiß nichts... Um michwogt purpurgoldne Flut...Beide zugleich

Alfonso - Reine Lieb,die ich suchte ein Leben lang,nun fühl ich, dass mich ihr Heil durchdrang.Die Fraun, die ich kränkte vergessene Not!In deinen Armen ist Leben und Tod.Violanta - Heiße Lust,der ich fluchte ein Leben lang,nun fühl ich, dass mich ihr Hauch bezwang.Der Mann, den ich hasste vergessene Not!In deinen Armen ist Wonne und Tod.Sie drängen die Köpfe aneinander zu einemhingegebenen, besinnungslosen Kuss. Ohne

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I’ve never felt the sinful, blissful shiver,wretched me, life for me has never gone by!Alfonso - Courage! Be yourself now!Leave this dark, wicked house behind you!(he takes her hands, in an intimate gesture)Have no fear. Get rid of your torment,where two hearts burn, the firmament sparkles.Violanta - (gradually yielding)Have pity on me... My strength fails me…Oh God, my shield, stand by me,don’t let me stumble.Alfonso - (with fiery passion)Nothing is as sweet as the last sip!That’s why I will have fully livedonly when I can finally embrace you,ultimate dream of my life!To seize you...! You...! The corner of your dress...(He clasps her to his chest. They remainembraced.)Violanta, my beauty, do you love me?Violanta - I know nothing...Waves of purple and gold flow around me...A due

Alfonso - Pure love,which I pursued all my life,I feel now that your salvation has pervaded me.The women I collided with are a past concern!In your arms life and death.Violanta - Ardent blissI have fled from all my life,I feel now that your waft has entrapped me.The man I hated is a past concern!In your arms yearning and death.(They frantically seek each other’s lips andkiss hungrily. They remain embraced and

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sich zu regen, lehnen sie lange aneinander,indes die Wirklichkeit rings um sie zu versin-ken scheint. In diese Versunkenheit klingt vonunten her der Ruf des Simone.

Simone - Violanta!Violanta - (aufschauernd)Hörst du? Das Verderben!Alfonso - Bleib! Bleib!Ich hör nichts... Bist du mir gut?Simone - Violanta!Violanta - Hörst du? Um uns wogtdas Meer wie blutrote Flut.Simone - Violanta!Violanta - Hörst du, wie es aufrauschtdes Todes Meer?Alfonso - Nun sags ihm! Bekenn es. Nunrufe ihn her!Reißt mit einer leidenschaftlichen Bewegungden Vorhang zurück.Nun sing das Lied,das dir nicht von den Lippen wollte!Violanta - (in Alfonsos Armen, ekstatisch, hingerissen)„Aus den Gräbern selbst die Totentanzen heute Brust an Brust…Alles Trübe ist verboten, heiß zum Himmel jauchzt die Lust...“Im Übermaß ihrer Erregung versagt ihr dieStimme. Ein paar Sekunden atemloser Erwartung.

VII. Szene

Simone - (rasch eintretend)Du riefst, hier bin ich.

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motionless for a long time, as if nothing exist-ed beyond themselves. While they are thusdeeply absorbed, Simone’s call sounds frombeneath.)

Simone - Violanta!Violanta - (in fright)Have you heard...? It’s our doom!Alfonso - Stay! Stay!I hear nothing... Do you love me?Simone - Violanta!Violanta - Have you heard...?Waves swell around us like a blood red tide.Simone - Violanta!Violanta - Can’t you hearthe sea of death roaring?Alfonso - Tell him! Bare yourself. Call himhere!(he abruptly draws the curtain open.)Sing the songthat refused to come out of your lips...!Violanta - (in Alfonso’s arms, ecstatically)«Out of their graves, even the dead come outand dance arm-in- arm today,any dejection is banished,happiness is the elected pleasure...».(In her rapt excitement her voice fails. A fewmoments of anxious waiting.)

Scene VII

Simone - (rushing in)You called, I’m here.

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Violanta - (wendet sich leidenschaftlich um)Töt ihn nicht, Simone! Ich lieb ihn!Simone - (regungslos) Violanta!Violanta - Ich hab ihn geliebt, seit ich ihnsah.Simone - (nach einer Weile völliger Starrheit,aufschreiend)Violanta? Bin ich zu eurem Hohne da?Soll alles Lüge um mich gewesen sein?Alfonso - Du kränkst sie nicht mehr! Nie warsie dein!In jedem Traum war sie mir nah!Simone - (sich gegen Alfonso wendend, inrasendem Zorn)Du Dieb! Brichst du in meine Hütte ein?Außer sich, stürzt er mit erhobenen Fäustengegen ihn los und führt mit seinem Dolch einenwilden Stoß gegen Alfonso. Violanta hat sichdazwischen geworfen und fängt mit ausgebrei-teten Armen den Stoß in ihre Brust auf.Alfonso - (aufschreiend) Zu Hilfe! Er hat siegetroffen!Violanta - (zu Tode getroffen, schließt dieAugen, wankt; entrückt lächelnd)Still...Sie gleitet aufs Ruhebett nieder, von Simonegestützt.Hab Dank, du Strenger:nun ist dein Weib wieder dein!Simone - (aufschluchzend) Violanta!

Violanta - Still... Mich tragen Wogen sil-berrein.Süß der Wind, der über mich zieht...(in einem visionären Aufhorchen)Hört ihr, wies klingt, das selige Lied?

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Violanta - (turning with passion)Don’t kill him, Simone! I love him!Simone - (motionless) Violanta!...Violanta - I have loved him from the momentI saw him.Simone - (after a moment of bewilderment,screaming)Violanta! Am I here to be mocked?Have you deceived me?Alfonso - You’ll never offend her again! Shewas never yours!In her every dream she was with me!Simone - (rushing at Alfonso in wrathful fury)Thief... you trespass into my haven?!(Beside himself, he hurls himself at Alfonsowith raised fist and deals a vicious blow withhis dagger. Violanta, who has flown betweenthem with open arms, receives it in herchest.)Alfonso - (screaming) Help! He has wound-ed her!Violanta - (wounded to death, she closes hereyes and totters; she smiles dreamily)Don’t be troubled...(She falls onto a settee, supported bySimone.)Thank you, rigorous man,now your wife is yours again!Simone - (sobbing) Violanta!

Violanta - Don’t be troubled... Silverwaves rock me.A gentle breeze blows...(listening in a visionary way)Can you hear the pleasant song...?

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Unten zucken die Stimmen und Lichter desKarnevals wieder auf. Buketts und farbigeBänder fallen durch den Balkon und die offe-nen Fenster. Ein paar Masken, Fackeln undLampions tragend, an ihrer Spitze der MalerGiovanni Bracca, stürzen in den Saal.

Epilog

Giovanni - Zum Fest! Zum Fest!Komm mit mir! Fort!Simone - (der bei Violanta kniet, zerrissen von Weh)Lästert ihr noch am Gnadenort?Die Fremden gewahren die Sterbende. IhrLachen verstummt. Die vordersten zuerst, dann,alle übrigen, senken die Fackeln. An der Wandfallen ein paar auf die Knie nieder. Immer mehrMaskierte strömen einstweilen herein. Sie bewe-gen sich nicht, sie verharren lautlos. Stark, lust-voll und hymnisch rauscht es auf.„Aus den Gräbern selbst die Toten,tanzen heute Brust an Brust.“Violanta - (mit einer letzten Anstrengung,erhebt den Kopf, visionär, groß und überwin-dend) Höchstes Heil ist mir entboten…Frei bin ich von Schuld... und Lust...!Sie sinkt, selig lächelnd, befreit zurück.Simone, wortlos erschüttert, kniet bei ihr.Alfonso hat schluchzend sein Antlitz abge-wendet. In den von einem magischen Lichtrot auffunkelnden Saal fallen Blumen überBlumen.

(Beneath, the songs and lights of Carnivalrekindle. Flowers and coloured ribbons fallinside through the balcony and the open win-dows. A few masks, with torches andlanterns, rush into the hall: they are led by thepainter Giovanni Bracca.)

Epilogue

Giovanni - To party! To party!Come along! Let’s go!Simone - (kneeling by Violanta, distraught)Do you curse even in a place of grace...?(The newcomers become aware of the dyingwoman. Their laughter fades away. Thosewho are in front, then all the others, lowertheir torches. Some of them, near the wall,fall to their knees. More masks come in, noone moves, they all fall silent. Outside, thesong sounds loudly, delightedly, like a hymn.)«Out of their graves, even the dead come outand dance arm-in- arm today...»Violanta - (lifting her head with a last effort, ina visionary and solemn voice, transcendingherself) I am granted supreme salvation...I’m free from sin... and voluptuousness...!(She falls back with a blissful smile, liberated.Simone, shocked to the point speechless-ness, kneels by her. Alfonso, sobbing, hasaverted his gaze. More and more flowers fallinto the room, which is suffused with a magi-cal red light.)

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Annemarie Kremer (Violanta)and Norman Reinhardt (Alfonso)

CDS7876

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