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•METROPOLITAN OPERA ASSOCIATION, INCORPORATED

METROPOLITANOPERA

LIBRETTOThe Original Italian, French or German

Libretto with a correct

English Translation

LES CONTES D' HOFFMANN

FRED RULLMAN, Inc.

1425 Broadway, Neit; York 18, N. Y.

THE ONLY CORRECT AND AUTHORIZED EDITION

KNABE PIANO USED EXCLUSIVELY

Printed in U. S. A.

^"^

Cornell University

Library

The original of this book is in

the Cornell University Library.

There are no known copyright restrictions in

the United States on the use of the text.

http://www.archive.org/details/cu31924090833264

ICORNELL UNIVERSITY UBRARY

924 090 833 264

V

^^LES CONTES D'HOFFMANN

The Tales of Hoffmann

OPERA IN THREE ACTS

A PROLOGUE AND AN EPILOGUE

Music by

JACQUES OFFENBACH

Libretto by

JULES BARBIER

English text by

JOHN GUTMAN

%«>?'S/^;

Published by

FRED RULLMAN, INC, NEW YORK, N. Y.

517

1 1>jS^

English Text

Copyright 1955, by John Gutman

The Tales of HoffmannIn this opera, E.T.A. Hoffmann, the German romantic poet, tells the story of his

three loves. All three were unhappy and all three were destroyed by Hoffmann'sevil spirit. '

PROLOGUEA crowd of merry students are assembled in Luthei''s tavern, which is located

right in the opera house where a performance' of Don Giovanni is about to start.

La Stella is to sing in it and, since she is Hofifmann's latest idol, his friends are

amazed that he hasn't arrived yet. He finally does enter, in a state of bitter dejec-

tion. At his friends' request^ he sings for them the old song of Kleinzach but in

the middle of it he is' carried away by the vision of one of his past loves, and onthe spur of the moment, he asks his friends whether they would like to hear the

story of his three loves. Luther rushes in to annoimce that the curtain is going upfor the first scene of Don Giovanni but everybody seems to prefer the tales of

Hoffmann.

The Councillor Lindorf (the latest incarnation of Hoffmann's evil spirit) has been

watching the scene. Since he intends to take Stella away from Hoffmann, he is

pleased about all the drinking that is going on : if Hoffmann should be dead drunk

at the end of this Don Giovanni performance, his chances with the enchanting diva

will not be too promising.

Hoffmann begins his tales : "the, first I ever worshipped was called Olympia."

ACT I

Spalanzani, a famous physicist, is giving an elegant party to celebrate the debut of

his daughter Olympia. Hoffmann is among his guests, in fact he has fallen des-

perately in love with Olympia although he has seen her only from afar. Olympia

charms him with her tseauty, her grace, and her singing; he is deliriously happy

when she agrees to dance with him. In the midst of .all this excitement enters

Dr. Coppelius (alias Lindorf). He has been cheated by his friend Spalanzani and,

in revenge, has come to destroy Olympia who, as he well knows, is nothing but an

automaton invented and built by Spalanzani with Coppelius' assistance : he supplied

her eyes.

When Hoffmann rushes off to Olympia's room, he finds only the shattered remains

of a lifeless puppet.

ACT II

In Venice, Giulietta, a beautiful courtesan, is giving a)pa.Tty for her admirers,

among them her present suitor, Schlemihl ; Dappertutto, and Pitichinaccio. Dapper-

tutto (alias Lindori) through the means of a magic diamond compells Giulietta to

make Hoffmann fall in love With her. As a token of his love she demands from

him that he give her his reflection just as earlier she had stolen Schlemihl's shadow.

When Hoffmann, in his senseless passion, asks Schlemihl to hand him the key to

Giulietta's room, Schlemihl refuses and is killed in the ensuing fight. Hoffmanntakes the key from Schlemihl's lifeless body but he finds Giulietta's room emptyand returns just in time to see her gliding away in a gondola, in the arms of

Pitichinaccio.

, ,

.: ACTJII ^ .

Antonia's father Crespel has brought her back to Munich so that she would forget

her love for the young poet Hoffmann. He has also begged his daughter to give

up her singing since it was singing that caused her mother's death.

But Hoffmann has followed them : here he is now, happy to be reunited with

Antonia who, forgetting the promise she has made to her father, gives expression

to her delight in song.

Frantz, the servant, announces the visit of Dr. Miracle (alias Lindorf) whoallegedly has come out of anxiety for Antonia's health but whom Crespel wants to

prevent by all means from seeing'his daughter since it was he, Miracle, who killed

Crespel's wife.

However, Miracle has a way of entering rooms without using doors. He uses his

evil liiagic power to induce Ajitonia to sing again, finally even by making a por-

trait of Antonia's dead mother come to life to assist him in his devilish enterprise.

When Hoffmann returns, he finds Antonia dead.

EPILdCJUE

We are back in Luther's tavern again. The students have listened to Hoffmann'stales with rapt attention. So has Councillor Lindorf who is pleased to see Her-mann in a condition of rather advanced inebriation. The performance of DonGiovanni has evidently come to an end because one heafs the audience giving anovation to La Stella. >

Lindorf rushes off to take Hoffmann's place in Stella's heart

Hoffmann is too drunk to get up from his table.

CHARACTERS

E. T. A. HOFFMANN, a poet

OLYMPIAGIULIETTAANTONIA

his three loves

NIKLAUS, his friend

LINDORF, a councillor

COPPELIUS, an eye-glass salesman '

DAPPERTUTTO, a guest at Giulietta's party

DR. MIRACLE

SPALANZANI, a physicist

COCHENILLE, his servant

SCHLEMIHL, a man without a shadow

PITICHINACCIO, a character in Venice

CRESPEL, a citizen of Munich, father of Antonia

FRANTZ, his servant

THE VOICE OF ANTONIA'S MOTHER

HERMANNNATHANAELWILHELM

- students

ANDRES, servant of La Stella, prima donna

LUTHER, host of Luther's tavern

Les Contes d'Hofimann

PROLOGUE

La Taverne de Maitre Luther

Interieur d'une taverne allemande. Aufond, a droite, en pan coupe, grandeparte donnant sur la rue. A gauche,

en pan coupe, une fenetre a petits

vitraux. Dans le milieu un large

enfoncement rempli de tonneaux sy-

metriquement ranges auiour d'un

tonneau colossal surmonte d'un pe-

tit Bacchus tenant une banderole qui

parte cet exergue: Au Tonneau deNuremberg. Au-dessus des ton-

neaux s'etagent des rayons garnis

de flacons de tautes formes. Devantle grand tonneau, un petit comptoir.

Fortes laterales, sur le premier plan,

a gauche, un grand poele; a droite,

une horloge de bois et une petite

parte cachSe dans la boiserie. Cette

baiserie s'etend sur la muraille, tout

autour de la salle a hauteur d'-

homme. Qd et Id, des tables et desbancs.

ESPEITS

// fait nuit; la scene est iclairee par unrayon de lune.

chceur invisible

Les Esprits de la Biere

Glou! glou! glou! glou! je suis la

biere.

Les Esprits du VinGlou! glou! glou! glou! je suis le vin.

Tous les Esprits Ensemble

Glou! glou! glou! nous sommesLes amis des hommes;Nous chassons d'ici

Langueur et souci.

Glou!

LE CONSEILLER LINDORF, ANDRES.

LiNDOEF, (entrant, suivi d'Andres),

Le conseiller Lindorf, morbleu! C'est/

moi qui suis

Le conseiller Lindorf ! . . . Ne crains

rien et me suis.

N'as-tu pas pour maitresse'

La Stella, cette enchanteresse?

AndresOui.

Lindorf

<Qui vient de Milan . .

.

AndresOui,

Lindorf

Trainant sur ses pasNoltnbre d'amoureux, n'est-ce pas?

AnbresOui.

Lindorf

C'est a I'un d'eux, je gage,

Que tu portes ce message?

AndresOui.

'. Lindorf

Je te I'achete.

AndresBon.

LindorfDix thalers!

"' '

ANDRi:sNon!

LindorfVingt! Trente!...

(Andres ne repand pas.—A pari.)Parlons-lui sa langue.

(Levant sa canne. )

Quarante!

AndresOui!.,.

Lindorf(lui donnant de l'argent et prenani

la lettre).

Donne, et va-t'en au diable.

\

The Tales of Hoffmann

PROLOGUE

'A German tavern. In the middle alarge recess filled with casks symmet-rically arranged around a large cask

with a small Bacchus on top. Abovethe casks there are shelves with

flasks of every description. Beforethe large cask, a small counter.

It is night.

The Spirits of Beer

We were madeto bring you joy

!

The Spirits of Wine

I am called wine.

We were madeto bring you joy

!

Beer

My name is beer.

All

We will make you stronger,

you will live much longer.

Where we two hold sway,

sorrow flies away.

LiNDORF

(enters, followed by Andres)

My name is Lindorf, Councillor.

I'm a,lmost sure

you must have heard that name?Never mind. Come along

!

I believe you are serving

—

am I wrong

—

some one called "La Stella?"

Lindorf

Who comes from Milan?

Andres

Yes.

Lindorf

. . . and more than one manfollows her and pines for her love?

AndresTrue!

Lindorf

And I will bet this letter

is addressed to one of them ?

AndresRight.

Lindorf

I'd like to buy it.

Andres

Good! •*

Lindorf

Twenty Thaler?

Andres,

No.

Lindorf

Thirty? forty?

(Andres does not answer)(I don't speak his language.)

(raising his cane)One hundred?

Andres

Yes!

Andres

Right

!

Lindorf

(gives him money, and takes the letter)

Take the money

—

there ! And go to the devil . . .

LES CONTES D'HOFFMANN

Oui ! oui

!

Andres

LiNDORF

(// sort.)

Voyons :. "pour Hoffmann", bonje m'en doutais ! 6 femmes

Voila les maitres de vos coeurs!

Voila de vos amesLes heureux vainqueurs

!

Un poete ! . . . un ivrogne ! . . . enfin

!

passons ! . .

.

(// ouvre la lettre, en tire une petite

clef et lit. )

"Je t'aime!...

"Si je t'ai fait souffrir, si tu m'aimestoi-meme,

"Ami, pardonne-moi,"Cette clef t'ouvrira ma loge, sou-

viens-toi ! . .

.

"

Oui, Ton devient digne d'envie,

quand, brise par I'amour, on porte

aux cabarets

et ses espoirs et ses regrets

!

Voila ce qu'il vous faut ! . . . Eh bien 1

non, sur ma vie!

Dans les roles d'amoureux langou-reux

je sais que je suis pitoyable,

mais j'ai de I'esprit comme un diable.

Mes yeux lancent des eclairs

j'ai dans tout le physiqueun aspect satanique,

qui produit sur les nerfs

I'effet d'une pile electrique!

Par les nerfs j'arrive au coeur

je triomphe par la peur.

Oui, chere Primadonna,quand on a la beaute parfaite

on doit dedaigner un poete

!

De ce boudoir parfumeque le diable m'emportesi je n'ouvre pas la porte. . .

.

Mon rival est aime

—

je ne le suis pas,

que m'importe?Sans parler du positif

,

je suis vieux, mais je suis vif.

(// regarde sa montre.)

Deux heures devant moil... Si j'ai

bonne memoire,C'est dans ce cabaret, qu'avec de jeu-

nes fousHoffmann vient deviser et boire!

Surveillons-le jusqu'au moment durendez-vous

!

Luther(entrant, suivi de ses gargons.)

Vite! vite! qu'on se remue!

Les brocs ! les chopes, les quinquets

!

Les toasts vont suivre les bouquets

et souhaiter la bienvenue

a cet astre du firmament

!

Vivement, gargons, vivement!

(Nathanael, Hermann, Wilhelmet une troupe d'etudiants entrent

gaiement en scene.)

Chceur des StudiantsDrig! drig! drig! maitre Luther

Tison d'enfer,

Drig ! drig ! drig ! a nous ta biere,

A nous ton vin,

Jusqu'au matinRemplis mon verre,

Jusqu'au matinRemplis les pots d'etain!

NathanaelLuther est un brave homme;

Tire Ian laire

!

C'est demain qu'on I'assomme;Tire Ian la

!

Le ChceurTire Ian la

!

LutherVoila, messieurs, voila!

^ HermannSa cave est d'un bon drille

;

C'est demain qu'on la pille.


WilhelmSa femme est fille d'feve;

C'est demain qu'on I'enleve.

Le ChceurTire Ian la

!


Le ChceurDrig! drig! drig! maitre Luther

Tison d'enfer!

J)rig! drig! drig! a nous la biere.A nous ton vin

!

Jusqu'au matin-Remplis mon verre!Jusqu'au matin

Remplis les pots d'etain!

THE TALES OF HOFFMANNAndres

Yes ! yes

!

(Exit)LiNDORF

(reading the address on the letter)

Let's see . . .

"to Hoffmann". . .

Sure ! just as I thought.Oh—^wonjen . . .

are those the masters of your dream?You choose for a lover, strange though

it may seem,a poet—and a drunkard

!

That's how they are! (he opens the

letter, takes out a small key, and reads)"I love you,

yet I have hurt your heart

!

But, my friend, if you love me,I know you will forgive.

Here's the key that opens my dressing-

room . . .

Think of me . . . think of me!"It seems the way to rouse a woman's

heart to passion,

is to moan, and to pine,

to sit in taverns and to drown yourlover's grief

in wine

—

Well, ladies, as you please

!

As for me: that's not my fashion.

When it comes to the role of the lover,

I know that I rouse only pity,

and yet I am three timfes as witty

as the devil

!

My eyes are throwing sparks of light,

and in my aspect physical

there's something rather quizzical,

and, therefore, at my sight

you feel something almost metaphysi-

cal!

Yes, that almost satanical might

makes you quaver at my sight . . .

well you might

!

A famous prima-donnashould really not fall for a poet,

and I should have thought

she would know it — : :

She loves him? That is all right.

She does not love me-^pes it matter?

Whether she loves me, does it matter?

I will play the lover's part—I am old but I am smart.

(looking at his watch)

Two hours still to wait!

But I'm good at such matters.

It seems this is the place

where Hoffmann spends his nights

!

That fool—and when he drinks, he chatters

!

But I shall watch himand be sure to dim his lights.

Luther (enters, with his waiters)

Hurry—dhurry—ôn't be so lazy I

Put candles here, and there some steins.

If something should be shining soon,

that's not a nose—that is the moon.Let's serve them beer, let's serve them

wine:I like a man who's in his cup!Don't be so lazy, hurry up!

(enter: Nathanael, Hermann,WiLHELM, and other students)

ChorusHermann and Basses

Dear master Luther,

our beloved host! ,,

Give up your ghost

—

before you do, give us some' wine

—

some beer, some wine.

AllLet's go on drinkingtill- the cask is empty.Yes, let us drink

till the sun begins to shine,

and when we see

that moon and stars are sinking,

we'll stop the beer, and start on wine

!

HermannLuther's an honest fellow

—

don't you believe it!

AllDon't you believe it!

' HermannSometimes he's rather yellow

—

that is the truth

!

LutherHere is your wine!

HermannAll of his wines have savor!

AllDon't you believe it.

HermannVinegar has ftibre flavor

—

AllThat is the truth!

LutherAll right—all right—^here is more wine.

NathanaelWomen are mad about him

!

. ; r,All

Don't you believe it.

NathanaelOnly his own would clout him

!

AllThat is the truth.

Women are mad about him

—

Don't you believe it—it isn't true!

Only his own would clout him.

You may believe it

—

LutherI come—I'm here—^here is your wine 1

i6 LES CONTES D'HOFFMANNLxriHER

Eh bien! Stella?

Nathanael

Vive Dieu! mes amis, la belle crea-

ture!

Comme au chef-d'ceuvre de MozartÊlle prete I'accent d'une voix ferme

et sure!

C'est la grace de la nature,

Et c'est le triomphe de I'art!

Que mon premier toast soit pour elle!

Je bois a la Stella!

Tous

Vivat! a la Stella!

Nathanael

Comment Hoffmann n'est-il pas la

Pour feter avec nous cette etoile nou-

velle!

Eh! Luther!... ma grosse tonne!

Qu'as-tu fait de notre Hoffmann?

HermannC'est ton vin qui I'empoisonne!

Tu I'as tue, foi d'Hermann!Rends-nous Hoffmann!

Tous

Rends-nous Hoffmann!

LiNDORF (d part). ^

Au diable Hoffmann!

Nathanael

Morbleu ! qu'on nous I'apporte

Ou ton dernier jour a lui

!

LutherMessieurs, il ouvre la porte,

Et Nicklausse est avec lui I

TousVivat! c'est lui!

Lindorf (d part).

Veillons sur lui.

Les Memes, hoffmann, nicklausse.

Hermannj

{d'un air sombre).

Bonjour, amis! \

Nicklausse

Bonjour!

HermannUn tabouret! im verre!Une pipe!. ..

Nicklausse (railleur).

Pardon, seigneur!... sans vous de-

plaire,

Je bois, fume et m'assieds commevous!. . . part a deux!

Le Chceur

C'est juste !. . . Place a tous les deux!

Hoffmann et Nicklausse s'assoient;

Hoffmann se prend la tete entre

les \nains.

Nicklausse (fredonnant).

Notte e giorno mal dormire . .

.

Hofffmann (brusquement).

Tais-toi, par le diable!...

Nicklausse (tranquillement).

Oui, mon maitre.

Hermann (d Hoffmann).Oh! oh! d'ou vient cet air fache?

Nathanael (d Hoffmann).C'est a ne pas te reconnaitre.

HermannSur quelle herbe as-tu done marche?

HoffmannHelas! sur une herbe morteAu soufHe glace du nord!...

Nicklausse

Et la, pres de cette porte,

Sur un ivrogne qui dort!

HoffmannC'est vrai!... Ce coquin-la, pardieu!

m'a fait envie!

A boire!... et, comme lui, couchonsdans le ruisseau.

HermannSans oreiller?

HoffmannLa pierre!

NathanaelEt sans rideau-?

HoffmannLe ciel!

NathanaelSans couvre-pied?

HoffmannLa pluie!

HermannAs-tu le cauchemar, Hoffmann?

THE TALES OF HOFFMANN 11

LutherWell—what about Stella?

NathanaelLet me tell you, my friends

:

that woman is enchanting

—

a singer after my own heart!

I have heard all the stars of our time

singing Mozart—but there's nonewho can rival Stella

!

Her soul is as great as her art.

Let us drink a toast to this marvel:to Stella and her art

!

ChorusLet's raise our glass to Stella's art!

HermannI am amazed: how can it bethiat Hoffmann is not here

when la Stella is singing?

NathanaelNow, look here,

my dear diluter

:

where is Hoffmann? Come, speak up!

HermannI am sure that he has killed him

—

he put poison in his cup.

ChorusWe want him back

!

LiNDORF

The stupid fools

!

NathanaelI swear : if we don't find him,

you will have a widowed wife

!

LutherBut look — : with Niklaus behind him,

here is Hoffmann, large as life!

Tenors

We're glad you've come

!

LiNDORF

The word is "mum". . .

{enter Hoffmann and Niklaus)

HoffmannGood evening, friends.

NiklausMy friends!

HoffmannA stool—a glass

—

3. pipe

—

some tobacco . . .

Niklaus

If you don't mind,

I'd like to join you:

I drink—I smoke, \

'

and don't like to stand on n^y feet . .

NathanaelSit down here.

Basses ^

You can both sit down

—

there's room for both of you.

Tenors

Two more glasses, and more wine.

(Hoffmann and Niklaus sit downjHoffmann looks dejected.)

Niklaus"Notte e giorno mal dormire . .

."

HoffmannCan't yuu keep your tongue still ?

NiklausYes, Î'U try it.

HermannBut why are you so furious?

NathanaelSomething is wrong—^you can't deny it.

Which side did you get out of bed?

HoffmannWhen the light seeps through my

shutter,

I am so sad I could weep . . .

NiklausOn the street, right in,the gutter,

we found a drunkard, asleep . . .

HoffmannThat's true. The lucky man!My face was green with envy.

Let's toast him! More wine here!

Let's be like him

:

the gutter be my bed . . .

HermannWhat is your mattress?

HoFfMANNThe pavement.

NathanaelOver your head?

HoffmannThe sky.

NathanaelAnd on your feet?

HoffmannThe rain,

HermannThat sounds more like an evil dream.

12 L E S .CO NT ES D'HOFFMANN

HoffmannNon, mais ce soir

Tout a I'heure, au theatre. .

.

TousEh bien?

Hoffmann

J'ai cru revoir.

Baste!. . . a quoi bon rouvnr une vieil-

le blessure?

La vie est courte! ... II faut I'egayer

en chemin.

II faut boire, chanter et rire a I'aven-

ture,

Sauf a pleurer demain!

NathanaelChante done le premier, sans qu'on te

le demande;Nous ferons chorus.

HoffmannSoit!

Nathanael

Quelque chose de gai!

HermannLa chanson du Rat!

NaTHAjNAEL

Non! moi, j'en suis fatigue.

Ce qu'il nous faut, c'est la legendeDe Klein-Zach?. ..

^Tous

C'est la legende de Klein-Zach!

HoffmannVapour Klein-Zach!

II etait une fois a la cour d'EysenachUn petit avorton qui s6 nommait

Klein-Zach

!

II etait coiffe d'un colbac,

Et ses jambes faisaient clic, clac!

Clic, clac! -

Voila Klein-Zach!

Le ChceurClic, claci. .

.

Voila Klein-Zach!

HoffmannII avait une bosse en guise d'estomac;Ses pieds ramifies semblaient sortir

d'un sac,

Son nez etait noir de tabac,

Et sa tete faisait eric, crac,

Cric, crac,

Voila Klein-Zach.

Le Ch(euk

Cric, crac,

Voila Klein-Zach!

Hoffmann

Quant aux traits de sa figure. .

.

(7/ semble âbsorber peu a peu dans

son reve.)

Le Chceur

Quant aux traits de sa figure?...

Hoffmann {tres lentement).

Quant aux traits de sa figure...

(// se leve).

Ah! sa figure etait charmante!. . •

Je la vois,

Belle comme le jour ou, courant apres

elle,

Je quittais comme un fou la maisonpaternelle

Et m'enfuis a travers les vallons et les

>bois!

Ses cheveux en torsades sombresSur son col elegant jetaient leurs chau-

des ombres.Ses yeux, enveloppes d'azur,

Promenaient autour d'elle un regard

frais et purEt, comme notre char emportait sans

secousse

Nos coeurs et nos amours, sa voix vi-

brante et douceAux cieux qui I'ecoutaient j etait ce

chant vainqueur

Dont I'etemel echo resonne dans moncoeur!

Nathanael .

bizarre cervelle!

Qui diable peins-tu la! Klein-Zach?.,,

HoffmannJe parle d'elle.

Nathanael(/«»' touchant I'epmile)..

Qui?

Hoffmann(sortant de son reve).

Non! personnel... rien! mon esprit

se troublait! .

Rien!... Et Klein-Zach vaut mieux,tout difforme qu'il est!...

Quand il avait trop bu de genievre oude rack

II fallait voir flotter les deux pans deson frac,

Comme des herbes dans un lac!, .

.


HoffmannNo!At the theatre, just for a moment . . .

ChorusGo on!

HoffmannI thought I saw . . . bah

!

What's the use remembering anguishand sorrow ?

Let's grasp the moment

:

for life is as short as a sigh

—

let's make merry

—

let's go on drinking

—

drink till tomorrow . . .

there's always time to cry

!

NathanaelBut we must have a song.

Why don't you start the singing?;

We will sing with you . . .

HoffmannGood.

NathanaelIt should be something gay.

Hermann-Sing: "There was a rat . .

."

NathanaelNo. Let's have no more of that.

Why don't you sing for us the story

of Kleinzach ?

Chorus

Why don't you sing for us the story

of Kleinzach?

HoffmannRight ! I don't mind . . .

In times of yore,

well over a century back ...

there lived a dwarfwho went by the name of Kleinzach.

His eyes would roll,

his lips would smack ...

and his legsyand his legs made a noise

:

crick-crack—crick-cracks—crick-crack

!

That was, that was Kleinzach

!

ChorusCrick-crack . . .

that was Kleinzach.

HoffmannHe had a paunch in front

and a hunch in the back . . .

His duck feet looked

as though they came out of a sack . . .

He snuffed so much, his nose was

black . . .

and his head, and his head made anoise

:

crick-crack

!

But what can I say about his features ?

(slowly, as though absorbed by his

dream)

ChorusTell us all about his features . . .

HoffmannWhat is there to tell about those fea-

tures . . . ? ' (getting up)Those beautiful, enchanting features...

full of charm . . . lovely . . .

like a sunray at dawn,,

so radiant, yet so fleeting!

And I longed and I pined,

my pulses wildly beating . . .

through the woods I would rOamand forsake house and honie.

Lovely curls, pitch-black curls

falling on her shoulders,

from her eyes that were warmer thanfire that smoulders

one glanqe would rouse my heart to

love ...ah, those eyes would transport meto heavens above

!

On wings of love we flew

to ever higher regions,

to all that's great and true

we swbre a deep allegiance.

Her vibrant, loving voice

rang out and filled the sky . . .

I hear it still—^but now

,

it sounds like a broken sigh . . .

NathanaelWhat a marvelous story

!

but what is it about? Kleinzach?

HoffmannKleinzach? I spoke of love lost,. . .

Nathanael (touching his .shoulder)

Who?Hoffmann

(awakening from his dream)

No I no matter ! no

—

it's my wandering mind! no^let's talk of Kleinzach . . .

for at least he was kind

:

He drank a lot of beer and of schnappsand of sack,

and when he had too muchthen his knees would be slack,

he would fall down—âlas—âlack!

—

14 LES CONTES D'HOFFMANNEt le monstre faisait flic, flac ! . .

.

Flic, flac!

Voila Klein-Zach!

Le ChceurFlic, flac!

Voila Klein-Zach!

Hoffmann (jetant son verre).

Peuh ! . . . cette biere est detestable

!

AUumons le punch ! grisons nous

!

Et que les plus fous

Roulent sous la table.

Le Chceur


Roulent sous la table

!

(Mouvement general. On eteint les

lumieres. Luther ailume . un im-

mense bol de punch; une lumiere

hleudtre eclaire la scene.)

Luther e^t un brave homme,Tire Ian laire,

Tire Ian la,

C'est demain qu'on I'assomme,

Tire Ian laire.

Tire Ian la,

Sa cave est d'un bon drille.

'

Tire Ian laire,

Tire Ian la,

C'est demain qu'on la pille,

Tire Ian laire.

Tire Ian la.

NiCKLAUSSE

A la bonne heure, au moins ! voila queTon se pique

De raison et de sens pratique

!

Peste soit des cceurs langoureux

!

NathanaelGageons qu'Hoffmann est amoureux!

HoffmannAmoureux. . . Le diable m'emporteSi jamais je le deviens

!

LiNDORF (d mi-voix).

Eh ! eh ! I'impertinence est forte

;

II ne faut jurer de rien!

Hoffmann (se retournant).

Plait-il?

(Reconnaissant Lindorf.)

Quand on parle du diable,

On en voit les cornes ! . .

.

NiCKLAUSSE

Pardon,

La perruque ! . . . chaste donD'une epouse trop aimable

!

HoffmannA madame votre femme, cher suppot

de Lucifer.

Lindorf

Elle en mourra, sur mon ame,cher echappe de I'enfer.

NiCKLAUSSE

Simple echange de politesses

!

C'est ainsi qu'a I'ombre des bois

de deux bergers pour leurs maitresses

alternaient les chants et les voix.

Hoffmann (aux etudiants)

Je vous dis, moi,qu'un malheur me menace:je ne I'ai pas rencontre face a face

qu'il ne m'en soit arrive quelqu'ennui.

Tout mauvais sort me vient de lui . . .

.

Si je joue, il me fait perdre. .

.

LindorfBon. II faut croire que vous jouez mal.

HoffmannSije bois, j'avale de travers.

\

Lindorf

Vous ne savez pas boire!

HoffmannSi j'aime. . .

.

LindorfMonsieur aime done quelquefois?

HoffmannApres ?

Nathanael <':

II ne faut pas en rougir, j'imagine

:

notre ami Wilhelm que voila, brulepour Leonor, et la trouve divine

;

Hermann aime Gretchen, et moi,je me mine pour la Fausta. . . !

Hoffmt<6tnOui, Leonor, ta virtuose! Oui, Gret-

chen,

ta poupee inerte, au coeur glace. . . !

Et ta Fausta—paiivre insense ! la

courtisane au front d'airain

NathanaelTa maltresse est done un tresor \_Que tu raeprises tant les notres ?


and in falling he would make a noise

:

Crick-crack ! Crick-crack ! Crick-crack

!

That was, that was Kleinzach

!

ChorusCrick-crack ! Crick-crack

!

That was—Kleinzach!

Hoffmann(throwing his glass to the floor)

Beer?I would sooner give up drinking

!

Let's rather have punch!

ChorusLet's rather have punch!

HoffmannLet's get drunk

!

ChorusLet's get drunk

!

HoffmannLet's hope that the punch will keep us

from thinking!

ChorusLet's hope that the pitnch willkeep us

from thinking!

(General excitement. They are turn-

ing out the lights while Lutherlights a big punch bowl. )

Luther's an honest fellow,

(don't you believe it—it isn't true—

)

Sometimes he's rather yellow

(you may believe it — that is the

truth—)All his wines have savor

(don't you believe it—it isn't true^)Vinegar has more flavor

—

NiKLAUSNow you are talking sense:

I like a nose that's shining

—

no more moping, and no more pining

—

of all that we have had enough

!

NathanAELI'll bet that Hoffmann is in love . . .

HoffmannI in love?

May hell be my station,

if I ever fall so low

!

LiNDORFHeh—heh—heh ...he's asking for damnation

!

"never" is quite long, you know.Hoffmann

Who's that? (recognizing Lindorf)

When you speak of the devil,

you can see his horns move.

NiklausNot fair!

Horns should be reserved for wives

who can put them on a husband's head

!

HoffmannHere is to your charming lady.

(Did I sense a sulphurous smell?)

Lindorf

Such a toast from you will surely kill

her,

my dear fugitive from Hell

!

Niklaus

Such delightful, old-worldly mannersremind me of the times of old,

when loving shepherdswould sing the praises

of the nymphs they loved, i'

in voices of gold

!

HoffmannLook at him—there

—

like the pest I should flee him:it is a fact that, whenever I see him,

something unfortunate happens myway—

:

he makes me weep when I am gay

!

When I play he makes me the loser . .

.

LindorfMaybe the reason is

:

you don't know how?

HoffmannIn his presence my wine turns to gall...

LindorfMaybe you should not drink at all ?

HoffmannAs lover . . .

LindorfWhat is that? . . .

I thought you were never in love?

HoffmannWhy not?

NathanaelWhy should he not be in love?

It's the fashion

—

For instance, take friend Wilhelm here

:

he swears by Leonor,and he loves her with passion.

And Hermann loves his Gretchen,

and I—I am enamoured of Fausta

!

HoffmannYes, Leonor—she walks the tight-rope,

and Gretchen has a heart of stone,

and blood as cold!

Your Fausta, too . . . must you be told

you're not the only one she loves?

NathanaelIs your mistress so bright a star

that all the others pale beside her?

16 LES CONTES D'HOFFMANNHoffmann

Ma maitresse ? . .

.

(A part.)

Oui, Stella!

Trois femmes dans la meine femme!Trois ames dans une seule ame!Artiste, Jeune fiUe, et courtisane!. . .,

(Tendant la main vers la droite.)

La!...

(Haut.)

Ma maitresse?.... Non pas! dites

mieux, trois maitresses,

Trio charmant d'enchanteresses

Qui se partagerent mes jours I

Voulez-vous le recit de ces folks

amours ? . .

.

: Le ChceurOui, oui

!

,

NlCKLAUSSE

Que plarles-tu de trois maitresses?

HoffmannFume ! . .

.

Avant que cette pipe eteinte se rallu-

meTu m'auras sans doute compris',

O toi qui dans ce drame oil mon coeur

se consume(railleur)

Du bon sens emportas le prix! '.

{Tous les etudiants vont reprendreleurs places.)

Luther (rentrant en seine).

Messieurs, on va lever le rideau.

NathanaelQu'il se level

C'est la notre moindre souci

!

Lindorf (a part).

Avant que I'opera , s'acheve,

J'ai ie temps d'ecouter aussL

(Luther va reprendre sa place a son

comptoir.

)

Le Chceur

ficoutons ! il est doux de boire

Au recit d'une foUe histoire.

En suivant le nuage clair

Que la pipe jette dans I'air

!

Hoffmann(s'asseyant sur le coin d'une table:)

Je commence.

Silence

!

Le Chceur

Hoffmann

Le nom de la premiere etait Oljmipia!

{Le rideau tombe, pendant q.ufHoFF-

mann parle a tous les etudiants at-

Jentifs.)

FIN DU PROLOGUE


HoffmannMy mistress? . . . Stella, yes

—

Three loves I had, never requited

—

in Stella I find them united:

an artist— a young girl— a lovely

courtesan . . .

not one mistress, my friends

—

there were three that enthralled me:each one of them was an enchantress,

capricious—^haughty—one so frail . . .

Would you like me to tell youa mad lover's tale ?

ChorusYes, yes, yes

!

NiKLAUS

You really want to tell that story?

HoffmannSurely! Before you light again that

pipe there

in your hand, maybe you, too, will

understand.

Luther (rushing in)

It's late: time for the curtain to rise!

NathanaelCurse that curtain

!

The tales of Hoffmann

—

what a treat!

Chorus

Let the curtain be hanged!

—

LlNDOilF

Before the opera ends, I'm certain

he will be much too drunkto stand up on his feet.

ChorusBottoms up!There's no greater glory

than to drink

listening to a story . . .

to a tale of enchanted love,

watch the smoke while it floats above...

to a tale of enchanted love,

watch the smoke while it floats above.

I am ready.

Hoffmann

Chorus

Let's listen!

Hoffmann

The first I ever worshippedwas called Olympia . . .

(While Hoffmann speaks to the stu-

dents, who listen eagerly, the curtain

falls.)

END OF PROLOGUE

18 LES CONTES D'HOFFMANN

PREMIER ACTE

OLYMPIA

(Un riche cabinet de physicien don-nant sur une galerie dont les partessont closes par des tapisseHes; par-

tes laterales fermees egalement pardes portieres. Le theatre est eclaire

par des bougies.)

Spalanzani, seul, il tient la portiere

de draite soulevee.

La! dors en paix. Eh! Eh!.,, sage,

modeste et belle,

Je rentrerai par elle

Dans les cinq cents ducats que la ban-

querouteDu jtiif filias me coute!

Reste Coppelius dont la duplicite

Pour avoir de moi quelque somme,Peut reclamer des droits a la paternite,

Diable d'homme!...II est loin, par bonheur!

SPALANZANI, HOFFMANN, puis COCHE-NILLE et les LAQUAIS

Spalanzani

(voyant entrer Hoffmann).Ah! bonjour. . . fenchante!...

HoffmannJe viens trop tot, peut-etre?

.Spalanzani

Comment done, un eleve. .

.

HoffmannIndigne de son maitre.

Spalanzani

Trop modeste, en verite!

Plus de vers, plus de musique,Et vous serez en physiqueProfesseur de faculte.

Vous connaitrez ma fiUe,

un sourire angelique,

La physique est tout, mon cher!

Olympia vaut tres cher!. .

.

Hoffmann (a part).

Quel rapport la physique a-t elle avecsa fille?

Spalanzani (appelant).

Hola! he!... Cochenille!

(CocHENiLLE paratt.)

Fais allumer partout. .

.

Cochenille (begayant)

Et... le champagne.

Spalanzani

Attends!

Suis-moi.(A Hoffmann.)

Pardon, mon cher, je reviens dans

I'instant.

(lis sortent.)

Hoffmann (seul).

Allons! Courage et confiance

Je deviens un puits de science!

II faut tourner selon le vent.

Pour meriter celle que j'aime,

Je saurai trouver en moi-memeL'etoffe d'un savant,

Elle est la. . . Si j'osais !. .

.

(// souleve tout doucement la portiere

de draite.)

C'est elle!...

Elle sommeille!. . . Qu'elle est belle!...

Ah! vivre deux!... N'avoir qu'unememe esperance,

Un meme souvenir!

Partager le bonheur, partager la souf-

france,

Partager I'avenir!. .

.

Laisse, laisse ma flammeVerser en toi le jour!

Laisse eclore ton ameAux rayons de I'Amour!

Foyer divin!... Soleil dont I'ardeur

nous penetre

Et nous vient embraser!. .

.

Ineffable desir oil Ton sent tout sonetre

Se fondre en un baiser.

Laisse, laisse ma flammeVerser en toi le jour!. .

.

Laisse eclore ton ameAux rayons de I'Amour!

(II souleve de nouveau la portiere;

Nicklausse parait.)

hoffmann, nicklausse.

Nicklausse

Pardieu! . . . J'etais bien sur de te trou-

ver ici!. .

.

Hoffmann(laissant brusquement retamber la

portiere)

Chut!...

NicklaussePourquoi?.,. C'est la que respireLa colombe qui fait ton amoureux

souci.

La belle Olympia?..^ Va, mon en-fant! Admire!


ACT I

A physicist's study.

Spalanzani

(alone, lifting a drape to look at

Olympia)Yes, sleep,

my child ! My child

—

how I adore and love her!She'll help me to recoverthe money that I lost

through that cheat Elias,

who recently went bankrupt.But—Coppelius, my friend?

There's nothing he won't doto get some of my hard-earned money.He even might insist

he is her father, too!

What a scoundrel

—

but at least he is far.

(on seeing Hoffmann enter)

Ah—good day . . . glad you came,

Hoffmann

I hope I don't disturb you?

Spalanzani

Not at all ! You're a student.

Hoffmann

Unworthy of the master.

Spalanzani

You are much too shy, my friend.

Shun the artist's vain elation

and make science your vocation

—

you'll be famous in the end.

You shall soon meet my daughter:

She's as sweet as an angel . . .

Only science counts today.

Don't you agree with that view?

Hoffmann

What has science to do

with Spalanzani's daughter?

Spalanzani

Cochenille I Cochenille . . . !

(Cochenille appears)

Light all the chandeliers.

Cochenille

Champagne . . . is . . . ready . . .

Spalanzani

Don't talk. Come on.

Pardon, my friend.

I'll be back in a wink.

(Exit Spalanzani, followed byCochenille.)

Hoffmann

All right. I'll answer his defiance

and become a master of science

!

(Do as the Romans, when in Rome...)To win the one for whom I'm pining,

if I have to, I shall be shining

as scientific star.

Is she there? If I dared? . . .

(looking behind the drapes, stealthily)

Olympia

!

to stand before her . . .

She is so lovely—I adore her.

To be in love

!

Your fondest hopes I would be sharing,

and all your memories.Share your moments of joy,

be with you when you are despairing...

all that we should be sharing I

To share your joy and your despairing

:

that is love

!

Love me, as I would love you

—

let love be our guiding light . . .

Lovethat like the stars above youwill break through darkest night!

Like glittering stars above youwill break through darkest night!To be in love

!

To know each little thing about you

—

to know your heart by heart

!

Though the world may divide us,

I'd never be without you.To know so much about youthat though I'm far I'm not without

you

—

that is love

!

NiKLAUs (entering)

Well, well.

I could have swornthat I would find you here.

Hush!Hoffmann

NiKLAUS

All right. But what are you doing?Is tHat Olympia, the object of your

wooing ?


Hoffmann

Oui, je I'adore!

NiCKLAUSSE

Attends a la connaitre mieux.

HoffmannL'ame qu'on aime est aisee a connai-

tre!

NiCKLAUSSE (railleur).

Quoi? d'un regard?... par la fene-

tre?

HoffmannII suffit d'un regard pour embrasser

les cieux!

NiCKLAUSSE

Quelle chaleur!. . . Au moins sait-elle

que tu I'aimes?

HoffmannNon!

NiCKLAUSSE£cris-lui

!

Hoffmann

Je n'ose pas.

NiCKLAUSSE

Pauvre agneau! Parle-lui!

HoffmannLes dangers sont les memes,

NiCKLAUSSE

Alors, chante, morbleu! pour sortir

d'un tel pas!

HoffmannMonsieur Spalanzani n'aime pas la

musique.

NiCKLAUSSE (riant).

Oui, je sais! Tout pour la physique!...

Une poupee aux yeux d'email

Jouait au mieux de I'eventail

Aupres d'un petit coq en cuivre;

Tons deux chantaient a I'unisson

D'une merveilleuse faQon,

Dansaient, caquetaient, semblaient vi-

vre.

HoffmannPlait-il? Pourquoi cette chanson?

NiCKLAUSSE

Le petit coq, luisant et vif,

Avec un air rebarbatif,

Tournait par trois fois sur lui-meme;

Par un rouage ingfoieux,

La poupee, en roulant les yeux,

Soupirait et disait: Je t'aime!

Les Memes, coppelius.

COPPELIUS

C'est moi, Coppelius!... doucement,

prenons garde!

(Apercevant Hoffmann.)Quelqu'un . .

.

NiCKLAUSSE (se retournant).

Hein!...

COPPELIUS

Qu'est-ce done que ce monsieur re-

garde ?

(Regardant par-dessus I'epaule d'HoF-mann.)

Notre Olympial. . . fort bien. .

.

NiCKLAUSSE (d part).

Leur Olympia?

CoppELius (d Hoffmann).Jeune homme,

(Elevant la voix.)

Eh! monsieur!

(Voyant gw'HoFFMANN ne rSpond pas,

lui frappant sur I'epaule.)

II n'entend rien!

Monsieur!

HoffmannPlait-il?

Coppelius

Je me nommeCoppelius, un amiDe monsieur Spalanzani.

(Hoffmann le salue.y

Voyez ces barometresHygrometres,

Thermometres,Au rabais, mais au comptant.Voyez, vous en serez content.

(Vidant a terre son sac rempli de lor-

gnons, lunettes et lorgnettes.)

Chacun de ces lorgnons rend noir com-me le jais,

Ou blanc comme I'hermine,

Assombrit,Illumine,

ficlaire, ou fletrit

Les objets.

J'ai des yeux, de vrais yeux,Des yeux vivants, des yeux de flamme,Des yeux merveilleuxQui vont jusqu'au fond de l'ameEt qui meme dans bien des cas


HoffmannI confess it: yes, I adore her.

NlKLAUSBut meet her first—and then admire

!

HoffmannWhen you're in love,

your heart at once is certain.

NiKLAUSJust through one glance

behind a curtain?

HoffmannYes, one glance is enoughto set my heart on fire

!

NiKLAUSSuch fiery words

!

But have you told her you adore her?

HoffmannNo.

NiKLAUSWrite to her.

HoffmannI do not dare.

NiKLAUS

Timid soul ! Speak to her.

HoffmannHow dare I stand before her?

NiKLAUS

Well then sing her a song

!

But at least let her know.

HoffmannThe master of this house

does not approve of music.

NiKLAUS

That is so. Everything is science —nothing but science

!

Fancy a doll with eyes of glass,

waving a fan, the pretty lass.

Beside her was a little cock in brass.

Whenever these two lovers met,

they liked to sing a love duet,

they danced and chattered

—

and she winked at him,

with her eyes of glass.

HoffmannWhat's that? What kind of song is

this?

NiKLAUSWait . . .

\

That rooster was beyond compare.

He crowed with a triumphant air,

he flapped his wings and turned before

you,

and, thanks to an ingenious freak,

our doll could sigh, and even speak

:

She told the rooster—Î adore you—

!

CoppELius (entering)

Let's see : No one around

—

that is good!I'm Coppelius (noticing Hoffmann)What's that? ^

NiKLAUSHm . . .

Coppelius

Who is there?

I wonder what he stares at?

(looking over Hoffmann's shoulder)

Looking at our child ? That's right.

NiKLAUS"Looking at their child?"

CoppeliusBeg pardon

!

are you deaf ?

you're not polite

!

I say ... I say . . .

HoffmannYou say? . . .

Coppelius

I'm Coppelius,

that is my name.I'm a friend of Monsieur Spalanzani's.

All these tools of my science

will make giants

of my clients!

Price reduced, but not for long!

You buy my goods, you can't go wrong.(shoiving his collection of various

eyeglasses)

These glasses make you see

the world as black as night

;

put those on

—

everything looks as white as ermine!Use this pair—everyone looks like

vermin

!

Through those the world appearsa world of delight.

t sell eyes, living eyes,

and I can claim they are the keenest.

My eyes

penetrate the secrets of the kindest andthe meanest!

Yes, my eyes can read the heart,

and even the hearts of those

22 LES CONTES D'HOFFMANNEn peuvent preter une a ceux qui n'en

ont pas.

J'ai des yeux, de vrais yeux vivants,

des yeux de flamme.

J'ai des yeux,De beaux yeux

!

Oui!Veux-tu voir le coeur d'une femme?S'il est pur ou s'il est infame!Ou bien preferes-tu le voir

Le voir tout blanc quand il est noir?Prends et tu verras

Ce que tu voudras.Prenez mes yeux, mes yeux vivants,

mes yeux de flamme,Mes yeux qui percent I'ame.

Prenez mes yeux!

Hoffmann

Dis-tu vrai?

COPPELIUS

(/mi presentant un lorgnon.)

Voyez!

HoffmannDonne

!

COPPELIUS

Trois ducats!

Hoffmann(soulevant la portikre et regardant).

Dieu puissant! quelle grace rayonneSur son front!

COPPELIUS

Trois ducats.

HoffmannCher ange, est-ce bien toi?

COPPELIUS

(faisant retomber la portiere).

Trois ducats!

HoffmannAh! pourquoi me ravir cette imageDe bonheur et d'amour?

(NiCKLAussE donne les ducats a

COPPELIUS.)

Les Memes, spalanzani, puis

cochenille.

Spalanzani

{entrant en se frottant les mains, puisapercevant Coppelius).

Hein! Vous?Coppelius

Ce cher maitre!. .

.

Spalanzani

Morbleu!II etait convenu . .

.

Coppelius

Rien d'ecrit. .

.

SpalanzaniMais . .

.

Coppelius

Chimere!. .

.

L'argent sur vous pleuvra dans peu,

Je veux tout partager.

Spalanzani

Ne suis-je pas le pereD'Olympia?

Coppelius

Pardon, elle a mes yeux.*

SpalanzaniPlus bas I . .

.

{A part.)

Bien lui prend que j 'ignore

Son secret. Mais j'y pense, oui!

{Haut.)Voulez-vous encore

Cinq cents ducats ? qu'un ecrit de vousm'abandonne

Ses yeux, ainsi que toute sa personne,

Et voici votre argent sur le juif ifilias.

Coppelius

filias?

Spalanzani

Une maison siire.

Hoffmann{bas, a Nicklausse).

Quel marche peuvent-ils conclurer

Coppelius

{ecrit sur ses tablettes).

Allons, c'est dit,

Spalanzani

{lis echangent leurs papiers).

Donnant, donnant!Ce cher ami!

{lis s'embrassent.) '

Coppelius

Ce cher ami!

Spalanzani (d part).

Va, maintenant!Va te faire payer!

THE TALESwho never had one from the start

!

If you want to know how she treats

you,

if she loves you, or if she cheats you,or if you want to fool your sight,

that white is black and black is white,

buy your eyes from me,and then wait and see

!

You'll read the hearts of boththe kindest and the meanest,for my eyes are the keenest

—

so buy my eyes

!

Hoffmann

Is that true?

CoppELius (giving him a pair)

It is.

OF HOFFMANNCOPPELIUS

23

Show me.

Hoffmann

COPPELIUS

Pay me first.

Hoffmann

(gazing through the drapes')

What is this ?

It's a dream:so much grace, so much beauty in one

face!

COPPELIUS

Pay in gold

!

Hoffmann

A vision—or a dream . . .

COPPELIUS

Give them back!

Hoffmann

If this is but a dream,

do not wake me: let me dream.

Spalanzani

(entering, seeing Coppelius)

You here ?

Coppelius

I salute you.

Splanzani

I thought that it was understood . . . ?

Orally.

But . . .

Spalanzani

Coppelius

. . . and long ago

!

It seems you will be very rich

;

I insist on my share.

Spalanzani

That I'm Olympia's father no onedenies.

Coppelius

But I gave her her eyes

!

Spalanzani

Don't speak so loud—speak low.

(The fool—what if Hoffmann should hear about

those eyes?but I'll teach him!) Look—^how aboutsome ducats—five hundred more ?

Against a word from you, in writing,

that all of her is mine

—

and no more fighting?

I will make out a draft

on Elias the banker.

Is he good ?

Coppelius

Spalanzani

None was ever better.

Hoffmann (to Niklaus)(I wonder what is in that letter , . .)'

Coppelius

My word on that

!

Spalanzani

(exchanging papers with CoppeliusJ'

No !—tit for tat . . .

Coppelius and Spalanzani

My noble friend! (they embrace)

Spalanzani

(Let's make an end

—

go and try to get paid !)


COPPELIUS

A propos, une idee,

Mariez done Olympia

!

(Montrant Hoffmann. )

Le jeune fou que voila,

Ne vous I'a done pas demandee?

Spalanzani {Vemhrassant)

.

Ce eher ami!

CoppELitrs (meme jeu).

Ce eher ami.

(// sort en ricanant.)

Spalanzani (d Hoffmann).

La physique, mon eher !

Ah!.

Hoffmann

c'est une manie.

COCHENILLE

(paraissant au fond).

Monsieur, voila toute la eompagnie.

HOFFMANN, spalanzani COCHENILLE,nicklausse, InviteSj Laquais.

Le Chceur des Invites

Non, aucun bote, vraiment,Ne regoit plus richement!Par le govit, sa maison brille!

Tout s'y trouve reuni.

Ca, monsieur Spalanzani,

Presentez-nous votre fille.

On la dit faite a ravir,

Aimable, exempte de vices.

Nous comptons nous rafraichir

Apres quelques exercices.

Non, aucun bote vraimentNe regoit plus richement!

Spalanzani

Vous serez satis faits, messieurs, dansun moment.

{II fait signe a Cochenille de le sui-

vre, et sort avec lui par la droite.

Les invites se promenent par grou-

pes en admirant la demeure de Spa-lanzani. Nicklausse /approched'HOFFMANN.)

Nicklausse (d Hoffmann).Enfin, nous allons voir de pres cette

merveille

Sans pareille!

Hoffmann

Silence!,., la voiei!...

(Entree de Spalanzanj conduisaM

Olympia. Cochenille les suit Cu-riosite generate.)

Les memes, olympia.

Spalanzani

Mesdames et messieurs,

Je vous presente

Ma fille Olympia.

Le Chceuk

Charmante!Elle a de tres beaux yeux

!

Sa taille est fort bien prise!

Voyez comme elle est mise!

II ne lui manque rien!

Elle est tres bien!

Hoffmann

Ah! qu'elle est adorable!

Nicklausse

Charmante, incomparable!

Spalanzani (d Olympia).

Quel sucees est le tien.

Nicklausse (en la lorgnant}

Vraiment elle est tres bien.

Le Chceur

Elle a de tres beaux yeux,

Sa taille est fort bien prise

Voyez comme elle est mise,

II ne lui manque rien.

Vraiment elle est tres bien.

Spalanzani

Mpsdames et messieurs, fiere de vosbravos,

Et surtout impatiente

D'en eonquerir de nouveaux,Ma fille, obeissant a vos moindres ca-

prices,

Va, s'il vous plait. .

.

Nicklausse (d part).

Passer a d'autres exercices.

Spalanzani

. . . vous chanter un grand air, ensuivant de la voix

(Talent rare!)le clavecin, la guitare,

Ou la harpe, a votre choix.


COPPELIUS

One more thing, Spalanzani;why not marry our child

to this young romantic fool?Has he not asked yet for her hand?

CoppELius and Spalanzani

My noble friend ! (Exit Cofpelius)

Spalanzani

That's what scierice will do . . .

Such-

HOFFMANN

-scientific passion!

CocHENiLLE (announcing)

Your guests:

every one who's some one in the worldof fashion!

Chorus (guests of Spalanzani),

No one, but no one at all

no one at all

ever offers such a ball!

Wealth, but without ostentation

—

style and moderation—no one else has, no one else has such

good taste!

But where is Spalanzani's daughter ?

That's what wie ask:

he promised us a sensation

!

They say she's like a work of art

—

that's what they say.

She is like a work of art,

and she has no vices,

and she also has a heart!

AH in. her enchants, entices.

Spalanzani

I'll introduce her now

;

your wish is my command.

(goes off, ordering Cochenilleto follow him)

NiKLAUS (speaking to Hoffmann)

At last we are to see

this wonder of creation

;

I am ready with my admiration

!

Hoffmann

Be still—^you ... she is here.

Spalanzani

(returns, introducing Olympia)

Now, friends

and honored guests: it gives mepleasure

:

to introduce my child.

Chorus

A treasure! enchanting!

She has the brightest eyes,

the slenderest of waistHnes,

and all her lines are chaste lines,

of elegant design.

She simply is divine

!

Hoffmann

To see her is to love her

!

NiKLAUS

It's true: few are above her.

Spalanzani

I'm proud that you are mine.

NiKLAUSShe simply is divine.

ChorusShe has the tiniest feet;

no sylph was ever lighter.

No eyes were ever brighter

:

they sparkle and they shine.

Yes, it is true : she is divine.

Spalanzani

We thank you very much.Proud to hear your acclaim,

in the hope that you plight find herworthy of more of the same,my daughter, who believes it is only

her duty,

will, if you like . . .

NiKLAUS. . . convince you she owns more than

beauty

!

Spalanzani

. . . show her talent for song,

by producing her voice, which is price-

less,

accompanied by a guitar or ... by aharp

—

you take your choice

!

26 LES CONTE^ D'HOFFMA;N;N

COPHENILLE

(«» fond du theatre, en voix defausset).

La.harpe!...

Une Voix de Basse

(repondant dans la coulisse d la voixde Cochenille).

La harpe!...

Spalanzani

Fortbien!... Cochenille,

Va vite nous chercher la harpe de mafille!

(Cochenille entre dans Vapparte-

ment d'OLYMPiA).

Hoffmann (d part).

Je vais I'entendre. . . 6 jbie!

NiCKLAussE (d part).

O folk. passion!


Maitrise ton emotion,

Mon enfant!

OlympiaOui!

Cochenille

(jrentrant en seine avec une harpe).

Voila!

Spalanzani(/asseyant aupres ^'Olympia et fla-

gant sa harpe devant lui.)

Messieurs, attention!

Cochenille

A. . . attention!

Le ChceurAttention.

Olympia(accompagnee par Spalanzani.— Detemps a autre sa voix faiblit, Coche-nille lui touche I'epaule et I'on entend

le bruit d'un ressort)..

Les oi-seaux-dans-la-char-mille,

Dans-les-cieux-l'astre-du-j our,

. Touterparle-a-la-jeune-fil-le

D'a-mour

!

D'a-mour

!

Voi4aLa-chan-son-gen-tille,

Voi-la,

La-chan-son-d'0-lym-pia! .

Ha!

Le Chceur -

C'est la chanson d'Olympia!

Olympia,

Tout-ce^qui-chante-et-re-sonne

Et-sou-pire-tour-a-tour-,

£-meut-son-ccEur-qui- fris-sonne

D'a-mour

!

Voi-la

La-chan-son-mi-gnon-ne \Voi-la

Voi-la. V

La-chan-son-d'O-lym-pia.

Ha!

Le Chceur.;

C'est la chanson d'Olympia.

Hoffmann (d Nicklausse).

Ah! mon ami! quel accent!... '<

Nicklausse

Quelles gammes!...

(Cochenille a enleve la harpe,et toul

le monde sêst empresse autour d'O-lympia qui rentercie tour a tour dela main droite et de la main gauche.Hoffmann la contemple avec ra-

vissement. Un laquais. vient dire

quelques mots a Spalanzani.)

Sp'alanzani

AUons, messieurs! la main aux da-mes!...

Le souper nous attend!. .

.

Le ChceurLe souper!. . . Bon cela!. .

.

Spalanzani

A moins qu'on ne prefereDanser d'abord!...

Le Chgeur (avec energie).

Non!. . . non!. . . le souper!. . . bonneaffaire,

Ensuite on dansera.

SpalanzaniComme il vou's plaira!. .

.

Hoffmann(s'approchant d'OLYMPiA).

Oserai^je?. .

.

,

Spalanzani (intervenant).

Elle est un peu lasse;

Attendez le: tal.

(II touche I'epaule d'OLYMPiA).

OlympiaOui.


COCHENILLE

The harp—-please

!

A Voice

The harp—^please!

Spalanzani

All right. Cochenille, go quick andbring the harp,

so that my Olympia may start singing.

HoffmannI am to hear her voice

!

NiklausHis passion drives him wild!

Spalanzani

Try to compose yourself, my child.

Can we start?

Yes—^yes.

Olympia

Cochenille

(comes back—with a harp)

There's the harp.

Spalanzani

My friends—attention please.

Cochenille

All this talk must cease.

Chorus

Attention, please. ,

OLYMPIA'S SONGOlympia

(accompanied by Spalanzani. When-ever her voice grows weak, Coche-nille touches her shoulder and the

sound of a winding spring is heard)

When the birds begin their singing,

when the stars light up above,

when they set the heavens ringing,

what they sing of

when they're singing

is love

—

they sing of love. ,

'

On wirigs of song I'm wingitig—

they carry me up to the sky

—

wings of my song.

ChorusOn wings of song, up to the sky.

OlympiaWhen your heart begins its singing,

and when words are not enough,

when you feel like dancing, swinging,

what you sing ofwhen you're siniging

is love

—

you sing of love.

On wings, of song I'm winging —they" carry me up to the sky

—

wings of my song.

i

ChorusOn wings of song, up to the sky.

HoffmannI am entranced! It's sublime!

NiklausAnd such rhythm

—

like a heart that's beating!

Spalanzani

But now it's time

to think of eating.

I am told supper's served.

ChorusSupper's served, supper's served

—

what a treat

!

. Spalanzani

-tor perhaps you would rather first have; a dance?

ChorusWe would much rather take no

chances

:

let's go at once and eat

!

Spalanzani

You're very discreet.

Hoffmann (a/»/>roac/tm^ Olympia)

Shall I dare it?

Spalanzani .

Now she's tired from singing-^

I think you should wait.

(He touches Olympiads shoulder)

Olympia

Yes—^yes.

28 LES CONTES D'HOFTMANNSpalanzani

Vous voyez, jusque-Ia

Voulez-vous me faire la graceDe tenir compagnie a mon Olympia?

HoffmannO bonheur!

Spalanzani

(d part, en riant).

Nous verrons ce qu'il lui chantera.

Nicklausse (d Spalanzani).

Elle ne soupe pas ?

Spalanzani

Non!

Nicklausse (d part).

Ame poetique!

(Spalanzani passe un moment der-

riere Olympia. On entend de nou-veau le bruit d'un ressort qu'on re-

monte. Nicklausse se retourne).

Plait-il?...

SpalanzaniRien! la physique!.,, ah! monsieur!

la physique.

(// conduit Olympia d un fauteuil et

Vy fait asseoir; puis il sort avec les

invites.)

CochenilleLe-e souper vou-ous attend.

Le Chceur{avec un enthousiasme croissant).

Le souper, le souper, le souper nousattend!

Non, aucun bote vraiment,Ne regoit plus richement!

hoffmann, olympia.

Hoffmannlis se sont eloignes enfin!... Ah! jv

respire!....

Seuls! seuls tous deux!

(S'approchant J'Olympia).

Que j'ai de choses a te dire,

O mon Olympia!... Laisse-moi t'ad-

mirer!

De ton regard charmant laisse-mmm'enivrer.

(Iltouche legirement I'Spaule

(/'Olympia).

OlympiaQui

HoffmannN'est-ce pas un reve enfante par la

fievre ?

J'ai cru voir un soupir s'echapper deta levre!. .

.

(// touche de nouveau Fipaule

d'OLYMPIA).

OlympiaOui.

HoffmannDoux aveu, gage de nos amours,Tu m'appartiens, nos coeurs sont unis

pour toujours!

Ah! comprends-tii, dis-moi, cette joie

eternelle

Des coeurs silencieux?. . .

Vivants, n'etre qu'une ame, et du me-me coup d'aile

Nous elancer aux cieux!

Laisse, laisse ma flammeVerser en toi le jour!

Laisse eclore ton ameAux rayons de l*amour!

(// presse la main d'OL-ii/imA. avecpassion; celle-ci, comme si elle Stait

mue par un ressort, se 'Ibve aussitot,

partbiirt la scene en differents senset sort enfin par une des partes dufond sans se servir de ses mainspour ecarter la Japisserie. Hoff-mann se leve et suit OhYUPiA dansses evolutions.)

Tu me fuis?.. . qu'ai-je fait?... Tune me reponds pas?...

Parle!... t'ai-je irritee?... Ah!....je suivrai tes pas

!

(Au moment od Hoffmann va sfeloi-

gner a la suite (/'Olympia, Nick-lausse parait a I'une des partes op'posies et I'interpelle.)

hoffmann, nicklausse.

Nicklausse

Eh! morbleu! modere ton zele!

Veux-tu qu'on se grise sans toi?...

Hoffmann {avec ivresse)

Nicklausse ! . . . je juis aime d'elle !. .

«

Aime, Dieu puissant!...

Nicklausse

Par ma foi!

Si tu savais ce qu'on dit de ta belle!

HoffmannQu'en peut-on dire? Quoi?


SpalanzaniAll the same, I suggest,

if it's not a sacrifice you're bringing,you might remain with her,

so she won't be alone.

Hoffmann

Lucky me

!

Spalanzani

That will be a sight for gods to see

!

Niklaus

Does Olympia not eat?

Spalanzani

No!

Niklaus

Not to eat is so inspiring!

(Spalanzani again has touchedOlympia's shoulder: the noise of a

spring is heard once more.)

Niklaus

What's that?

Spalanzani

That? Faulty wiring.

Leave it all to ray science!

COCHENILLE

If you're ready, supper's waiting.

Chorus

Let us waste no more time

:

let's sit down.No one, but no one at all,

ever offers such a ball!

Hoffmann

They're gone—we are alone at last

—

no one can hear me.

We are . . . alone

!

And I can say: I love you dearly.

Olympia of my heart

:

let me look into your eyes,

and let them give me hope

that you'll answer to my sighs . . .

(he touches her shoulder timidly)

Hoffmann

Have I heard two wordsof sweetest consolation,

or is all this, , .

;

a dream of my imagination?

No—^no.

Olympia

Hoffmann

OlympiaYes—^yes.

Say again that I may own your heart.

Say it again

that you and I shall never part.

Ah—^you will never knowwhat I feel when you say

that my hopes are not in vain . . .

Our love bears us to heaven,

heavenwardwhere but joy and eternal love remain.Love me as I would love you:that love will be our light-^

Love

—

that, like the stars above youwill break through darkest night.

(He presses Olympiads fiand with pas-

sion; she rises suddenly, as if movedby a spring,..rushes about the stage

and finally leaves the room. Hoff-mann follows her.)

Do not flee, lovely one:why do you scorn me so?Tell me : what have I done ?

Where you go, I must go!

Niklaus (coming back)

Here you are:

now don't overdo it.

We cannot get drunk without you.

Hoffmann

Oh, Niklaus, all my doubts are ended

:

I'm loved by an angel.

Niklaus

If you knewwhat they are saying about your in-

tended ...

Hoffmann

What are they saying—^what?

30 LES CONTES D'HOFFMAI^N

NiCKLAUSSE

Qu'elle est morte.

HoffmannDieu juste ! . .

.

NiCKLAUSSE

Ou ne fut pas en vie.

Hoffmann {avec ivresse).

Ange que I'envie

Suit en fremissant,

Justice etemelle!

Nicklausse!. . . Je suis aime d'elle!..,

Aime!... Dieu puissant !..

.

(// sort rapidement; Nicklausse le.

suit.)

COPPELIUS

(entrant, furieux, par la petite parte

de gauche)

Voleur!... brigand!... quelle derou-

te!...'

filias a fait banqueroute ! . .

.

Va, je saurai trouver le moment op-

portunPour me venger. . . Vole!. . . moi!. .

.

je tuerai quelqu'un.

{Les tapisseries du fond yScartent.

CopPELius se glisse dans la cham-bre d'OLYMPiA, d, droite.)

SPALANZANI, HOFFMANN, OLYMPIA,NICKLAUSSE, COCHENILLE, ItlviteS,

Laquais, puis coppelius.

Spalanzani

Voici les valseurs.

Cochenille

Voici la ritournelle!

HoffmannC'est la valse qui nous appelle.


Prends la main de monsieur, mon en-

fant...

(Lui touchant I'epaule.)

AUons!...

OlympiaOui.

(Hoffmann enlace la taille ^'Olym-piA et its commencent a valser. Onleur fait place et ils disparaissent

par la gauche. LE Chceue les suit

des yeux. Spalanzani cause sur le

devant de la scene avec Nicklaus-se.)

Le ChceurEUe danse I

En cadence!

C'est merveilleux,

Prodigieux!

Place! place!

Elle passe,

Elle fend I'air

Comme un eclair!

{Pendant ce Chceur, Hoffmann ei

Olympia ont repasse en valsant

dans le fond de la galerie et ont dis-

paru par la droite. Le mouvementde la valse sânime de plus en plus.)

La Voix d'Hoffmann(dans la coulisse).

Olympia!. .

.

Spalanzani (remontant la seine).

Qu'on les arrete!. .

.

Le ChceurQui de nous les arretera?. .

.

NicklausseElle va lui casser la tete!. .

.

(Hoffmann et Olympia reparaissent

et redescendent en scene en valsant

de plus en plus vite. Nicklausses'elance pour les arreter.)

Eh! mille diablesi. .

.

(// est violemment bouscule et va tom-ber sur un fauteuil en tournant pliu-

sieurs fois sur lui-meme.)

Le ChceurPatatra!...

Spalanzani(s'elangant a son tour).

Halte la!

(// louche Olympia a I'epaule. Elle

s'arrete subitement. Hoffmann, e-

tourdi, va tomber sur un canape.

Spalanzani continue en se retour-

nant vers les invites.)

Voila.

(A Olympia.)Assez, assez, ma fille.

OlympiaOui.

SpalanzaniII ne faut plus valser.

OlympiaOui.

Spalanzani (d Cochenille).Toi, CochenilleReconduis^la.

(// touche Olympia qui se tourne versla droite.)

THE TALESOF HOFFMANN 31

NiKLAUS

That she's dead . . .

Hoffmann

Good Heavens

!

NiKLAUS

And never was alive.

Chorus

Look, how gracious.

How vivacious —wonderful sight

—

a true delight

!

Light as a thimble,

feet that are nimble

—

look at this pair:

they float on air.

Hoffmann

What nonsense

!

All my doubts are ended—I'm loved by an angel

!

(he rushes off, followed by Niklaus)

C0PFEL.1VS (entering, furious)

The thief—the crook

!

but he shall rue it!

Elias broke—I'm sure he knew it.

But I'll yet win the game.He'll find out before long,

who has been wrong.I'm robbed—betrayedr-rbroke

—

Murder is my aim

!

(he disappears into Olymfia's room)

Spalanzani

(returns z«VA Olymfia, Cochenille,

and all his guests)

There's nothing like waltzing!

Cochenille

I like to watch when they're dancing.

Hoffmann ; .

To, hold her in my arms . . . entrancing

!

Spalanzani

Give your arm to this gentleman; here,

my child.

Olympia

Yes—^yes.

(Hoffmann waltzes off with

Olympia)

Hoffmann

I'm out of breath.

Spalanzani

Don't stand around there

—

some one must stop them.

Chorus

That is easier said than it's done.

You're the one!

NiKLAUS

Don't you see : if you do not stop them,she's sure to kill him.

(Hoffmann and Olympia have re-

turned: their wqltsing is getting

faster and faster.)

Spalanzani

That's enough.Come here

:

(as he touches hershoulder, she stops suddenly.)

that is enough, my daughter.

You must obey your father.

Yes!

Olympia

Spalanzani

You've danced enough, my daughter.

(to Cochenille)

Take her aijd lead her back to her room.


COCHENILLE

{poiissant Olympia).

Va-a done!... Va!...

OlympiaOui.

{En sortant, lentement poussie parCochenille).

Le Chceur

Que voulez-vous qu'on disc?

C'est une fiUe exquise!

II ne lui manque rien!

EUe est tres bien!

(Olympia sort par la droite, suivie

de Cochenille.)

NiCKLAUSSE

{d'une voix dolente, en montrantHoffmann).

Est-il mort?. .

.

Spalanzani

{examinant Hoffmann).

Non! en somme,Son lorgnon seul est en debris.

II reprend ses esprits.

Le Chceur

Pauvre jeune homme!

Cochenille (dans la coulisse).

Ah!(II entre en scHe, la figure boule-

versee.)

SpalanzaniQuoi?

Cochenille

L'homme aux lunettes!. . . Lai

Spalanzani

Misericordel Olympia!...

HoffmannOlympia!. .

.

(Spalanzani va pour s'elancer. Onentend dans la coulisse un bruit deressorts qui se brisent avec fracas.)

Spalanzani

Ah! terre et cieux! Elle est cassee!. .

.

Hoffmann (se levant).

Cassee! . .

.

COPPELIUS

(entrant par la droite et eclatant de

rire).

Ha! ha! ha! ha! oui. . . Fracassee!. .

.

(Hoffmann s'elance et disparait par

la droite. Spalanzani et Coppe-

Lius se jettent I'un sur I'autre et se

prennent au collet.)

SpalanzaniGredin!

COPPELIUSVoleur

!

SpalanzaniBrigand!

COPPELIUSPaien!

SpalanzaniBandit!

COPPELIUSPirate!

Hoffmann'

(apparaissant, pale et epouvantS).

Un automate! un automate!

(// se laisse tomber sur un fauteuil,

NiCKLAUSSE cherche d le calmer.

Eclat de rire general.)

Le Chceur

Ha ! ha I ha ! la bombe eclate

!

II aimait un automate!

Spalanzani (avec desespoir).

Mon automate!

TousUn automate! ^

Le Chceur

Ha! ha! ha! ha!

FIN DU PREMIER ACTE


COCHENILLECome, my child,

do as you're told.

Yes.Olympia

ChorusYou can't deny : she's charming

—

her charms are quite disarming:look at her eyes : they shine

—

She is divine.

NiKLAUS (pointing at HofPmann)Is he dead ?

. .

Spalanzani

No—don't worry,only his glasses broke in two:look—^he is coming to.

ChorusIt makes you sorry . . .

COCHENILLE

Ah . . . (comes back)

SpalanzaniWhat?

COCHENILLE

There is that man again . . .

Spalanzani

Dreaded suspicion : where is ray child ?

HoffmannWhere is my love?

(Spalanzani rushes off: the sound ofbreaking springs is heard, off-stage.

)

Spalanzani

He smashed my child

—

she'll never mend

!

HoffmannHe smashed her? . . .

COPPELIUS

(coming out of Olympia's room,laughing)

to smithereens! This is the end.

(Hoffmann runs into her room.)

. Spalanzani

(fighting with Coppelius)

You scamp

!

You thief

!

You crook

!

Coppelius

Spalanzani

You cheat

!

You'll pay

!

Coppelius

Spalanzani

CoppeliusI'll show you .

'. .

Hoffmann(^returning, pale with horror)

A lifeless puppet

—

that's what Olympia was

!

ChorusLove can be a fool's undoing —

:

it's a doll he has been wooing

!

Spalanzani /What am I doing?This is the end—

!

ChorusA puppet—that is what he has been

wooing.

END OF ACT ONE

34 LES CONTES D' HOFFMAN N

ACTE DEUXIfeME

A Venise. Galerie de fete dans unpalais, donnant sur le grand canal.

HOFFMANN, PITICHINACCIO, JeuneS

Gens et Jeunes Femmes, Laquais,

puis GIULIETTA et NICKLAUSSE.

GlULIETTA et NiCKLAUSSE

Belle nuit, 6 nuit d'amour,

Souris a nos ivresses,

Nuit plus douce que le jour,

O belle nuit d'amour!Le temps fuit et sans retour

Emporte nos tendresses!

Loin de cet heureux sejour,

Le temps fuit sans retour

Zephyrs embrases,

Versez-nous vos caresses;

Zephyrs embrases,

Donnez-nous vos baisers.

Belle nuit, 6 nuit d'amour,

Souris a nos ivresses,


O belle nît d'amour!

HoffmannEt moi, ce n'est pas la, pardieu ! ce qui

m'enchante

!

Aux pieds de la beaute qui nous vient

enivrer

Le plaisir doit-il soupirer?

Non ! . . . Le rire a la bouche,

ecoutez comme il chante.

Amis : I'amour tendre et reveur

—

erreur

!

,

L'amour dans le bruit et le vin

—

divin.

Que d'un brulant desir votre coeur

s'enflamme

!

Aux fievres du plaisir consumez votre

ame!Transports d'amour, durez un jour. . .

.

Au diable celui qui pleure

pour deux beaux yeux!A nous I'ivresse meilleure deS chants

joyeuxVivons una heuredans les cieux. . .

.

Le del te prete sa clarte

—

beaute

!

Mais vous cachez, 6 coeurs de fer,

I'enfer

Bonheur du paradis oil I'aniour convie,

serments, espoirs maudits, reves de la

vie,

o chastetes, o puretes . . .mentez, men-tez!

Au diable celui qui pleure pour deuxbeaux yeux

!

A nous I'ivresse meilleure des chants

joyeux.

Vivons une heure dans les cieux!

ScHLEMiL (^Mfmn* en scene).

Je vois qu'on est en fete. A merveillfi,

madame

!

GlULIETTA

Comment!. . . Mais je vous ai pleure

trois grands jours.

PlTICHINACClO

Dame!

SCHLEMIL (d PiTICHINACCIO).

Avorton

!

PiTICHINACCIOHola!

GlULIETTA (les calmant).

Calmez-vous

!

Nous avons un poete etranger parminous.

(Presentant Hoffmann.)Hoffmann

!

Schlemil (de mauvaise grace).

Monsieur

!

Hoffmann (ironique).

Monsieur

!

GlULIETTA (d Schlemil).

Souriez-nous, de grace.

Et venez prendre place

Au pharaon

!

Le ChceurVivat! Au pharaon!

SchlemilMorbleu

!

GlULIETTA (aux invites).

Au jeu, messieurs, au jeu

!

"Le ChceurAu jeu! au jeu!

(Tout le monde sort, mains NiCK-LAUSSE et Hoffmann.)

NiCKLAUSSE (d Hoffmann).Un mot ! . . . J'ai deux chevaux selles

;

au premier reveDont se laisse affoler mon Hoffmann,

je I'enleve.

HoffmannEt quels reves, jamais, pourraient etre

enfantes

Par de telles realites?

Aime-t-on une courtisane?. .

.


ACT nVenice. A palace on the Grand Canal.(GiULiETTA is entertaining guests,

Hoffmann, Niklaus and Piti-CHiNACCio among them)

GiuLiETTA and NiklausDream of love

enchanted night

a night for sweet embraces.Sky so darkand stars so bright

look down on our delight.

Dawn shall never shed its light

on lovers' radiant faces.

Strains from distant harps invite

to love's enchanted ni^ht.

GlULIETTAA silvery kindly moonsmiles on all our embraces.The water's lazy tune

echoes from the lagoon . . .

BothDream of love—enchanted night

—

a night for sweet embraces . . .

Sky so dark and stars so bright

look down on our delight,

HoffmannThose sighs, those sentimental wordsare vain and hollow

!

To lie at Beauty's feet,

to moon and to entreat

—

that is not the way to conquer.

No! You want her to love you?then forget about sighing

!

No one conquers by crying.

You're dreaming of love in a song,

you're wrong

!

For love is a passionate child,

so wild!

To love is to desire,

and you win by daring,

to love is fanning a fire

till the flame is flaring!

A lover's swoonwill end so soon

!

The devil care for the treasure

of her blue eyes

!

The fever shouts of our pleasure

will rock the skies.

We'll live for pleasure

—

no more sighs

!

The sky in a star-studded night

—

delight

!

And yet, in your bosom you bear

despair

!

/

When love's sweet voices call,

in a tone so tender.

you know you ride for a fall

if you dare surrender

:

now far, now high

—

they laugh—they cry

—

now low, now high

—

they lie ! They lie

!

The devil care for the treasure

of her blue. eyes!

The fever shouts of our pleasure

will rock the skies.

We'll live for pleasure

—

no more sighs!

ScHLEMiHL (enters)

I see you're making merry?I'm astounded, Giulietta

!

GlULIETTAYou are?

Yet I've cried for your soul

three whole days

!

PitichinaccioThat's love

!

SCHLEMIHL (to PiTICHINACCIO)Stupid fool!

PitichinaccioDon't dare . . .

!

GlULIETTAThat's enough.I present Monsieur Hoffmann, a poet.

He's my guest tonight.

SCHLEMIHLMonsieur.

HoffmannMonsieur.

GlULIETTAI wish you were less heated.

Let us go and be seated—the cards are there.

ChorusYou're right. Time for a game.

SchlemihlI say ...

GlULIETTANo time to lose. Let's play.

ChorusNo time to lose:

let's play.

(all leave, except Hoffmannand Niklaus)

NiklausLook here : our horses wait outside.

No more romances

!

If you love, you must leave

:

I am taking no chances.

HoffmannNot Giulietta?

to love anyone of her kind

I should be out of my mind

!

Fall in love with a hired harlot?


NiCKLAUSSE

Ce Schlemil, cependant. .

.

Hoffmann

Je ne suis pas Schlemil.

NiCKLAUSSE

Prends-y garde, le diable est malin.

(Dapertutto parait au fond.)

Hoffmann

Le fut-il,

S'il me la fait aimer, je consens qu'il

me damne.AUons

!

NiCKLAUSSEAllons!

(// sortent.)

Dapertutto (seul).

Allez!. . . pour te livrer combatLeS yeux de Giulietta sont une arme

certaine.

II a fallu que Schlemil succombat. .

.

Foi de diable et de capitaine

!

Tu feras comme lui.

Je veux que Giulietta t'ensorcelle au-

jourd'hui.

(Tirant de son doigt une bague oil

brille un gros diamant et le faisant

scintiller.)

CHANSONTourne, tourne, miroir oti se prend

I'alouette, *

Scintille, diamant, fascine, attire-la...

L'alouette ou la femmeA cet appat vainqueurVont de I'aile ou du cceur

;

L'une y laisse sa vie et I'autre y perdson ame.

Tourne, tourne, miroir oil se prendl'alouette.

Scintille, diamant, fascine, attire-la.

(Giulietta parait et s'avance, commefascinee, vers le diamant que Da-pertutto tend vers elle.)

dapertutto, giulietta.

Dapertutto

(passant la bague au doigt de Giu-lietta).

Cher ange!

Giulietta

Qu'attendez-vous de votre servante?

Dapertutto

Bien, tu m'as devine,

A seduire les cceurs entre toutes sa-

vante,

Tu m'as deja donneL'ombre de Schlemil! Je varie

Mes plaisirs et te prie

De m'avoir aujourd'hui

Le reflet d'Hoffmann!

Giulietta

Quoi! son reflet!

Dapertutto

Oui!Son reflet!. . . Tu doutes

De la puissance de tes yeux?

GiuliettaNon.

Dapertutto

Qui sait? Ton Hoffmann reve peut-

etre mieux.(Avec duretS.)

Oui, j'etais la, tout a I'heure, auxecoutes,

(Avec ironie.)

II te defie. ..

Giulietta

Hoffmann?. . . C'est bien!. . . des au-

jourd'hui

J'en ferai mon jouet.

(Hoffmann entre.)

DapertuttoC'est lui!

(Dapertutto sort aprhs avoir baise

la main de Giulietta.)

GIULIETTA) HOFFMANN.(HOFFMANN troverse le theatre, salue

GiULTETTA et fait mine de êloigner.)

Giulietta (d Hoffmann)Vous me quittez?

Hoffmann (railleur)

J'ai tout perdu. .

.

Giulietta

Quoi ! . . . vous aussi! . .

.

Ah! vous me faites injureSans pitie, ni merci.Partez!... Partez!...

HoffmannTes larmes t'ont trahie.

Ah! je t'aime. . . fut-ce au prix de mavie.


NlKLAUS

And yet—Schlemihl, it seems . . .

Hoffmann

But I am not Schlemihl!

NiKLAUS

Still—^be careful.

The devil has his ways . . .

(DAPPERTUTto appears in the back)

Hoffmann

If I end by making love to her—I consent to my damnation-

Let's go.

{Exeunt Hoffmann and Niklaus)

Dappeetutto

The fool!

he never had a chance . . .

To flee from Giulietta?

I defy you to dare it.

If poor S<;hlemihl had to yield

to her glance,

by the devil, himself I swear it

:

you will do as I say

!

I'll order Giulietta to bewitch you

—

and bewitch you today!

{he draws from his finger a ring with

a large sparkling diamond)

Dappertutto

Shine and glitter,

in your splendor

dazzle and glisten and daze

—

blind her breaking gaze

:

like a moth to the fire

entranced, she will surrender.

Shine and glitter,

magic stone,

respond to the art of your master

—

win her for me!Magical stone, ensnare her soul

!

(Giulietta appears and walks, as

though fascinated by the diamond,

towards Dappertutto)

Dappertutto ,

{putting the ring on her finger)

My angel !

,

Giulietta

What is your wish?

tell it to your servant.

Dappertutto

Yes. You can best them all.

In missions of this kind

none is as you so fervent

:

you've brought me, at my call,

the shadow of Schlemihl.

But my pleasure has changed—

;

the reflection of Hoffmann

—

that's what I'm asking today

!

Giulietta

His reflection?

Dappertutto

Here in this glass.

You wonder if you can win his love,

it seems?

No.Giulietta

Dappertutto

Who knows—it could bethat he has higher dreams . . .

From what I heard,

listening to his words from yonder,

he's mocking you—^he's full of spite!

Giulietta

I will break him like a toy!

{Enter Hoffmann)

Dappertutto

That's right—that's right.

{he leaves)

(Hoffmann bows to Giulietta)

Giulietta

You leave so soon?

Hoffmann

I played-Î lost.

Giulietta

What? You did, too?But—^not one thought for Giulietta

!

No—^you are cruel and merciless.

Not one thought for my grief— noword—no glance

!

Hoffmaptn

Your bitter tears betray you

:

Ah—I love you!Command—and I'll obey you.

38 LES CONTES D 'HOFFMANNGlULIETTA

Malheureux, tu ne comprends done pas

qu'une heure, qu'un moment peuventt'etre funestes?

que mon amour te perd a jamais, si tu

restes.

Que Schlemil ce soir pent te frapper

dans mes bras?

Ne repousse pas ma priere

!

Ma vie est a toi, toute entiere.

Pars ! pars. Demain je te prometsd'accompagner tes pas.

HoffmannO Dieu, de quelle ivresse embrases-tu

mon ame,comme un concert divin ta voix m'a

penetr6

!

D'un feu doux et brulant mon etre est

devore.

Tes regards dans les miensont epanche leur flamme, comme des

astres radieux.

Et je sens, 6 ma bien-aimee, passer

ton ihaleine embaumeesur mes leVres et sur mes yeux.

GlULIETTA

Aujourd'hui, cependant, affermis moncourage

en me laissant quelque chose de toi . . .

.

HoffmannQue veux-tu dire?

GlULIETTAficoute, et ne ris pas de moi.

(Elle enlace hoffmann de se^ bras

et prend un miroir qui est sur la table)

Ce que je veux, c est ta fidele imageQui reproduit tes traits, ton regard,

ton visage,

Le reflet que tu vois sur le mien se

pencher.

HoffmannQuoi ! mon reflet ? quelle folic

!

GlULIETTANon ! . . . car il pent se detacher

De la glace polie

Pour venir tout entier dans mon cceur

se cacher.

HoffmannDans ton cceur?

GlULIETTADans mon coeur. C'est moi qui t'en

supplie,

Hoffmann, comble mes voeux!

HoffmannMon reflet?

GlULIETTA

Ton reflet. Oui, sagesse ou folic,

Je I'attends, je le veux

!

ensemble

HoffmannExtase ! ivresse inassouvie,

fitrange et doux effroi!

Mon reflet, mon ame et ma vie

A toi, toujours a toi

!

GlULIETTA

Si ta presence m'est ravie,

Je veux garder de toi

Ton reflet, ton ame et ta vie,

Ami, donne-les-moi

!

GlULIETTA et HoffmannAujourd'hui, aujourd'hui les larmes,

mais demain, demain les cietix!

Les memes, schlemil, dapertutto,NICKLAUSSE, PitlCHINACCIO.

GlULIETTA (vivement)

Schlemil

!

(schlemil entre suivi de nicklausse,

DAPERTUTTO, PITICHINACCIO et quel-

ques autres invites.)

Schlemil

J'en etais sur! Ensemble!(// remonte, s'addressant aux invites.)

Venez, messieurs, venez,C'est pour Hoffmann, a ce qu'il, sem-

ble,

Que nous sommes abandonnes.(Rires ironiques.)

Hoffmann (presque parte)

Monsieur

!

GiuLietta (d Hoffmann)Silence

!

(Bos.)

Je t'aime, il a ma clef.

Pitichinaccio (d schlemil)Tuons-le.

SchlemilPatience.

Dapertutto(s'approchant c^'hoffmann)

Comme vous etes pale

!

HoffmannMoi!


GlULIETTA

You must go.

You'd better flee my sight.

Each moment that you stay

would spell a mortal danger . . .

You speak of love,

but I'm not to love any stranger.

If you scorn Schlemihl,

he will destroy you tonight.

And therefore I beg.and iniplore you

—

your life and our love, are before you

:

go—^go! tomorrow I'll be yours.

Hoffmann

Enchanted revelation

that fills my soul with wonder,and like a magic voice

your voice sings in my heart:

it sings of ardent love,

a love that none can part.

No storm, however wild,

can rend this love asunder.

You call, and I follow,

where you call me I follow

—

I'll be with youwhen you're near me,when you are far.

Enchanted revelation

that fills my soul with wonder!

GlULIETTA

As a proof of your love,

as a sign of affection^,

I want a token that's part of your self

!

Hoffmann

What are you saying?

GlULIETTAJust listen,

listen but do not laugh:

(she takes a mirror from the table)

As token of your love,

I want your own reflection

as seen here in this glass,

with your face and your features . .

.

this reflection you see

now bending over me.

Hoffmann

/That's . . . what you ask—'but that is madness ! ^

GlULIfiTTA

No ! All you must do is agree

:

allow me to remove it,

and your.deed will be proof

that your heart shall be min^

!

HoffmannThat my heart . . .

GlULIETTA

. . . shall be mine.

You say you love me ?

You must prove it.

I want you to agree.

HoffmannYou insist?

.GlULIETTAYes, I do.

Whether wisdom or madness

—

you will do this for me! -

If they should force our separation,

if cruel fate should make us part,

give me, for my soul's consolation,

the dear reflection of your heart.

HoffmannMy love cries out in jubilation:

no fate shall ever make us part

:

I will give you, for your consolation,

my life, my own reflection,

and all my heart.

GlULIETTA and HoffmannStill today,

still today we are earthbound,but tomorrow,tomorrow we'll be free!

(Schlemihl enters, with Niklaus,Dappertutto, Pitichinaccio andsome other guests.)

GlULIETTASchlemihl!

SchlemihlJust as I thought:

together.

Come h«re, my friends, come here:Giulietta chose to love a poet

—

we are cast to the winds, I fear

!

HoffmannMonsieur

!

GlULIETTA (to H0FFMANN,)_

Be careful. He has my key

!

I love you.

PitichinaccioHe must die

!

SchlemihlDo not rush me.

Dappertutto(approaching Hoffmann)

Why should you be so pale?

HoffmannI?

40 LES CONTES D' HOFFMANNDapertutto

(lui presentant un miroir)

Voyez plutot [

Hoffmann(stupefait, en regardant le miroir)

Gel!

NiCKLAUSSE(d HOFFMANN)

Quoi?

Hoffmann{aivec une sorte d'effroi)

Men reflet

!

(Courant a deux grandes glaces alter-

nativement. )

J'ai perdu mon reflet

!

NiCKLAUSSE

(en montrant giulietta ironique-

ment)Pour madame.

Tous(mains hoffmann et nicklausse, en

riant, d'une voix etpuffee)

Ha ! ha ! ha ! voyez son effroi.

NiCKLAUSSEAh ! vienSj fuyons ces lieux ou tu per-

dras ton ame. '

Hoffmann (eperdu)Non ! non ! je I'aime. Laisse-moi

!

ensemble

HoffmannHelas ! mon coeur s'egare encore,

Mes sens se laissent embraser,

Maudit I'amour qui mei devore,

Ma raison ne peut s'apaiser.

Sous ce front clair comme une auroreL'enfer meme vient me griser.

Je la hais et je I'addre

Je veux mourir de son baiser.

Giulietta

Mon bel Hoffmann, je vous adore,

Mais n'a'i point I'ame a refuser

Ce diamaht aux feux d'aurore

Qui ne me coute qu'un baiser.

Car je suis femme et j'adore

Ce qui me fait plus belle encore

Pour vous griser.

Poete, il faut vous apaiser

Dapertutto et Pitichinaccio

Pauvre Hoffmann, I'amour encore

Vainement vient t'embraser;

Ta belle au regard d'aurore

Nous a vendu son baiser.

Car la coquette s'adore

;

Un bijou qui peut encore

L'embellir et nous griser

Vaut bien pour elle un baiser.

Schlemil

(en touchant la garde de son epie)

Ce poete que j'abhorre

Aurait bientot son baiser

Sans ce fef clair' et sonore

Dont je sais fort bien user.

Un fol amour te devore ?

Je suis la pour t'apaiser.

Tu pretends que Ton t'adore,

C'est boh, nous allons causer.

Nicklausse et Le Chceur

Helas ! son ccEur s'enflamme encore

!

Par elle il s'est laisse griser.

L'amour le brule et le devore.

Rien ne pourra I'apaiser.

La perfide qu'il adorePrend les cceurs pour les hriser.

Fuis la belle au front d'aurore.

Car on meurt de son baiser.

(On entend un chant de gondoliers.)

Giulietta

ficoutez, messieurs,

Voici les gondples,

L'heure des barcarolles

Et celle des adieux

!

(schlemil reconduit les invites jus-qu'au fond de la scene; giuliettasort par Id gauche apres avoir jete

un dernier regard a hoffmann quila suit des yeux. dappertutto reste

au fond de la scene, nicklausse,voyant que hoffmann ne le suit

pas, revient d lui et lui touche I'e-

paule.

)

NicklausseViens-tu ?

HoffmannPas encore.

NicklaussePourquoi?

Bien, je comprends ! adieu

!

(A part.)Mais je veille sur toi.

(// salue schlemil et sort.)

SchlemilQu'attendez-vous,, monsieur ?

HoffmannQue vous me dojinie? certaine clef que

j'ai jure d'avoir.


DappertuttoDo have a look . . .

HoffmannGod!

NiKLAUSWhat?

HoffmannLook at this:

I have lost my reflection

!

In this glass . . .

NiKLAUS... no reflection.

All (Tvithout Hoffmann andNlKLAUS)

He is pale

—

any one might be.

NiKLAUSCome, friend, let's flee from here

—

here you are lost forever.

HoffmannNo—no

—

I love her ! I love her ! I can't flee

!

HoffmannMy heart is filled with trepidation,

her laughter sounds my love's funereal

knell

I curse that love

!

Love is damnation.Yet my reason reels under her spell.

If her eyes shine in jubilation,

it's the triumph of darkest hell.

Now it's hatred—ând now veneration.

GlULIETTA

I yield my love to this domination,

for this magic stone has caught mewith its spell.

This diamond is a temptation

—

and I have only love to sell

!

Though you hold me in abomination,

I owe my dedication to every magicspell.

A poet's fate: to end in hell.

Poor Hoffmann! poor poet!

Dappertutto and Pitichinaccio

Foolish lover! Her fascination

has ensnared him with magical spell.

You love her in adoration,

yet she has sold you to the Prince of

Hell.

Foolish love

—

to fall to such a spell

!

for she sold your soul without ahesitation I

That's a poet's fate

—

your fate—poor fool

!

Schlemihl

Foolish poet:,

he believes the lying wordswomen tell!

I swear I will breakthat magical spell

by my sword's ministration,

send him on the road to Hell.

That love—I know it so well

:

I have suffered its spell.

NiKLAUS and Chorus

Such foolish fascination . . .

as though by magic spell.

His eyes are full of adoration,

and these silent words of supplication

speak of hell and damnation.Foolish love!

turning heaven into hell.

This love, with its magical spell,

has turned his heaven to hell

!

(The song of the gondoliers is heard)

GlULIETTA

Hear that lovely tune?A song to delight you,gondolas to invite you

—

we'll say goodbye so soon

!

(GlULIETTA leaves, after having givenHoffmann a last glance. Dapper-tutto remains.)

NiKLAUS (to Hoffmann)

Are you coming?

Not yet.

Hoffmann

NiKLAUS

I understand;you can count on me

!

(bows to Schlemihl, and goes off)

Schlemihl

What are you waiting for, Signore ?

Hoffmann

I am waiting for you to give me acertain key,

which I have sworn to possess

!

42 LES CONTES D'HOFFMANNSCHLEMIL

Vous n'aurez cette clef, monsieur,qu'avec ma vie!

HoffmannJ'aurai done I'une et I'autre.

ScHLEMILC'est ce qu'il faut voir! En garde!

DapertuttoVous n'avez pas d'epee

(lui presentant son epee)

Prenez la mienne

!

Hoffmann (prenant I'epee)

Merci

!

Chceur(dans la coulisse qui se termine au

baisser du rideau)

Belle nuit, 6 nuit d'amour!Souris a nos ivresses,


O belle nuit d'amour

!

(HOFFMANN et SCHLEMIL se bottent;

apres quelques passes, schlemil est

blesse a mort, et tombe. hoffmannjette son epee, se penche sur le

corps de schlemil et lui prendune petite clef pendue a son cou.

HOFFMANN s^Hancc dans I'apparte-

ment de giulietta, pitichinaccioregarde schlemil avec curiosite et

âssure qu'il est bien mort. daper-

tutto ramasse tranquillement son

epee et la remet au fourreau, puis

il remonte vers la galerie. . . giu-

lietta parait dans une gondole; au

meme moment rentre hoffmann.)

HoffmannPersonne. .

.

Giulietta {riant)

Ha ! Ha ! Ha

!

(hoffmann se retourne vers giuliet-

ta et la regarde avec stupeur.)

Dapertutto (d giulietta)

Qu'ens fais-tu maintenant?

Giulietta

Je te I'abandonne!

Pitichinaccio

{entre dans la gondole)

Cher ange!(giulietta le prend dans ses bras.)

Hoffmann{comprenant toute I'infamie de giu-

lietta)Miserable

!

NiCKLAUSSE

Hoffmann! Hoffmann! Les sbires!

( NICKLAUSSE cntraine hoffmann.—GIULIETTA et dapertutto ricnt.)

FIN DU SECOND ACTE


SCHLEMIHLYou can take that key only together

with my life I

HoffmannI will take both

!

SCHLEMIHLThat's what we are going to see ! En

garde

!

Dappertutto

You have no sword?(offering him his sword.)

Take mine.

HoffmannThank you.

GhorusDream of love

—

enchanted night,

a night for sweet embraces.

Sky so dark and stars so bright

look down on our delight.

Night of endless delight . . .

night of tender embraces ...night of love—enchanted night!

(Hoffmann and Schlemihl fight.

ScHLEMiHL falls, moTtully wounded.Hoffmann takes the key fromSchlemihl's body, and storms off

to Giulietta'j roorri. Giuliettaappears in a gondola, as he returns. )

HoffmannNobody

!

{he stares at Giulietta, as he hears

her Icfugh)

Dappertutto(to Giulietta)

What do you wish to do with him now ?

Giulietta

I leave him to you

!

Pitichinaccio(steps into the gondola, where

Giulietta takes him in her arms. )

HoffmannI'll kill him

!

NiKLAUSHoffmann! Come away! Police!

(he drags him away.)

END OF ACT TWO

44 LES CONTES D'HOFFMANNACTE TROISIfiME

ANTONIA

A Munich ches crespel. Une chambrebizarrement meublee. A droite, unctavecin. A gauche, canape et fau-teuil. Violons suspendus au mur. Aufond, deux partes en pan coupL Surle premier plan, a gauche, une fe-

netre en pan coupe formant un en-

foncement et donnant sur un bal-

een. Soleil couchant. Au fond, entre

tes deux portes, un grand portrait

de femme accroche au mur.

Antonia

(seule. Elle est assise devant le clave-

cin et chante)

Elle a fui, la tourterelle,

Elle a fui loin de toil

(Elle sârrete et se leve.)

Ah! souvenir trop doux! image trop

cruelle!. .

.

Helas! a mes genoux, je I'entends, je

le vois ! . .

.

{Elle descend sur le devant de la

scene.)

Elle a fui, la tourterelle,

Elle a fui loin de toil. .

.

Mais elle est toujours fidele

Et te garde sa foi.

Bien-aime, ma voix t'appelle.

Tout mon coeur est a toi.

{Elle se rapproche du clavecin et con-

tinue debout, en feuilletant la mu-sique.)

Chere fleur qui viens d'eclore.

Par pitie, reponds-moi,

Toi qui sais s'il m'aime encore,

S'il me garde sa foi! . .

.

Bien-aime, ma voix t'implore.

Que ton coeur vienne a moi !

{Elle se laisse tomber sur la chaise quiest devant le clavecin.)

crespel, antonia

Crespel

{entrant brusquement et courant dantonia)

Malheureuse enfant fille bien-aimeeTu m'avais promis de ne plus chanter.

Antonia

Ma mere s'etait en moi ranimee

;

Mon coeur en chantant croyait I'ecou-

ter.

Crespel

C'est la mon tourment. Ta mere cherie

T'a legue sa voix, regrets superflus!^

Par toi je I'entends. Non. . . non. . . je

t'en prie.

Antonia {tristement)

Votre Antonia ne chantera plus!. .

.

{Elle sort lentement.)

Crespel {seul)

Desespoir ! . . . Tout a I'heure encore

Je voyais ces taches de feu

Colorer son visage, Dieu!

Perdrai-je I'enfant que j'adore?

Ah! cet Hoffmann. . . C'est lui

Qui jeta dans son coeur ces ivresses . .

.

J'ai fui

Jusqu'a Munich. ..

crespel, frantz

Crespel

Toi, Frantz, n'ouvre a personne.

Frantz {fausse sortie)

Vous croyez ... /

Crespel

Ou vas-tu?. .

.

Frantz

Je vais voir si Ton sonne.

Comme vous avez dit...

Crespel

J'ai dit: n'ouvre a personne!

{Criant.)

A personne! Entends-tu, cette fois?

Frantz

Eh! mon Dieu!

Je ne suis pas sourd!

Crespel

Bien! que le diable t'emporte!

FrantzOui, monsieur, la clef sur la porte.

Crespel

Belitre! Ane bate!

FrantzC'est convenu.

CrespelMorbleu

!

{II sort vivement. frantz va refermerla porte et redescend.)


ACT THREEThe home of Crespel, in Munich. On

the wall, the portrait of a woman.Sunset.

Antonia {seated at the piano)

Flown away,dove that I cherished . . . {getting up)Oh, memory of love,

of love that long has vanished.

I see him at my knees,

where he knelt every day,

1 hear the loving words he would say

though they seem far away . . .

Flown away, dove that I cherished

—

how my heart aches for you.

Yet I know love has not perished;

it is faithful and true.

And once again this voice youcherished

proclaims undying love anew.

Only yours is my heart,

and my song is for you.

Flown awaydove that I cherished . . .

flown away . . .

how my heart aches for you.

Like a cloud, floating and gliding,

thus my song soars above,

if you know where he is hiding,

little cloud, give him my love.

And though the world should be

dividing

what higher fate has joined above,

ever yours is my heart,

ever your^ is my love.

Crespel {entering)

Poor unhappy child—my beloved

daughter.

I thought you'd agreed you would never

sing?

Antonia

I thought I had heard

the voice of my mother . . .

My heart, while I sang,

replied to her song.

Crespel

Torment of my soul

;

your poor loving mother

left her voice to you.

The voice of my wife comes back in

your song.

No—child—^no more singing!

Antonia

I'll sing no more^never in my life.

{She walks out, slowly)

Crespel

What despair

!

Once again I sawhow her lovely face

was aflame with the fire of that fever

!

God! to think that I might lose mydaughter . . .

It's all his fault—that Hoffmann,who ravished her heart

with those raptures

!

I fled as far as Munich . . .

{enter Frantz)Frantz: let's keep the door locked.

FrantzVery well. {starts to leave)

Crespel

Where do you go?

Frantz

To see who once before knocked?I do as I am told.

Crespel

I said: let's keep the door locked!

{shouting) Keep the door locked

!

You understand me now?

FrantzYes, I do.

One would think I'm deaf

!

Crespel

Go! I will see you in hell yet.-

Frantz

Is that so? I have not heard the bell

yet.

Crespel

I've never seen such an ass!

Frantz

I quite agree.

Crespel

Enough ! ! . . . {walks out in a huff)

46 LES CONTES D'HOFFMANNFrantz (seul)

Eh bien ! Quoi ! toujours en colere

!

Bizarre! quinteux! exigeant!

Ah! Ton a du mal a lui plaire

Pour son argent. .

.

Jour et nuit je me mets en quatre,

au moindre signe je me tais.

C'est tout comma si je chantais...

Encore non: si je chantais, de ses

meprisil lui faudrait rabattre.

Je chante seul quelquefois.

Mais chanter n'est pas commode.Ce n'est pourtant pas la voix

qui me fait defaut, je crois

:

non—c'est la methodelDame! on n'a pas tout en partage,

Je chante pitoyablement

;

Mais je danse agreablement,

Je me le dis sans compliment.

Corbleu ! la danse est a mon avantage,

C'est la mon plus grand attrait,

Et danser n'est pas commode.(II danse. II s'arrete.)

Pres des femmes le jarret

N'est pas ce qui me nuirait.

Non! c'est la methode.

(HOFFMANN etitre par le fond, suivi

de NICKLAUSSE.)

HoffmannFrantz ! . . . C'est ici

!

Debout, I'ami.

Frantz

Hein ! qui va la ?

Monsieur Hoffmann

!

HoffmannMoi-meme! Eh bien, Antonia?

FrantzII est sorti, monsieur.

Hoffmann (riant)

Ha ! ha ! plus sourd encore

Que I'an passe?. .

.

FrantzMonsieur m'honoreJe me porte bien, grace au ciel.

HoffmannAntonia!... Va!... fais que je la

voie!

Frantz (souriant)

Tres bien ! . . . Quelle joie

Pour monsieur Crespel

!

(// sort.)

HoffmannC'est une chanson d'amour

Qui s'envole,

Triste ou folle

Tour a tour ! . .

.

Antonia(entrant precipitamment en scene)

Hoffmann ! . .

.

Hoffmann(se relevant et recevant antonia dans

ses bras)

Antonia!

NicKLAussE (a part)

Je suis de trop; bonsoir.

(// s'esquive.)

AntoniaAh ! je le savais bien que tu m'aimais

encore

!

HoffmannMon cceur m'avait bien dit que j'etais

regrette ! . .

.

Mais pourquoi nous a-t-on separes?

Je I'ignore.

Antonia

HoffmannAh ! j'ai le bonheur dans Tame

!

Demain tu seras ma femme.Heureux epoux

L'avenir est a nous

!

A I'amour soyons fideles!

Que ses chaines eternelles

Gardent nos coeursDu temps meme vainqueurs

!

Antonia

Ah! j'ai le bonheur dans I'ame!Demain, je serai ta femme

!

Heureux epoux,L'avenir est a nous

!

Chaque jour, chansons nouvelles

!

Ton genie ouvre ses ailes !

Mon chant vainqueurEst I'echo de ton cceur

!

Hoffmann (souriant)

Pourtant, 6 ma fiancee,

Te dirai-je une penseeQui me trouble malgre moi ?

La musique m'inspire un peu de ja-lousie,

Tu I'aimes trop!


FrantzWhat a man ! it is very curious

:

He's yelling—he's cross—that I see.

But I wonder who makes him furious

—

It can't be me.

Day and night

I am at his service,

I always do as I am told

—

I'm told I mustrefrain from singing

(I used to sing in the times of old!)

but it would seemmy singing makes him nervous,

it is a sound that annoys.

When I sing, my chords are straining

—

but it's not a lack of voice,

for my voice,

I'm sure,

is choice.

All I need is training

!

True my song could be called pathetic,

and I'll never sing in Offenbach,

but wait till you have seen me dancing

—

I could be great if I had some luck

!

Yes, I can dance,

both ballroom and balletic,

I am the best you will ever see . . .

When I dance,

my foot is straining

—

yet I have a nimble knee.

Any girl would envy me

—

All I need is training,

some expert training

!

Hoffmann(entering with Niklaus)

Frantz—^here I am!It's I—^my friend.

FrantzAnd who is I?

It's Mister Hoffmann

!

HoffmannIn person

!

But where—^where is Antonia?

FrantzHe left a while ago.

HoffmannTwice as deaf as before!

It's hard to believe.

FrantzYou're very flattering.

It's true that I am very well.

HoffmannAntonia! please! go

—

say I want to see her.

Frantz

You want Mr. Crespel?he will be surprised

!

(exits)

Hoffmann

Song of my love

I will sing you again

with words so tender

—

words that whisper of fleeting Joylike . . .

Antonia (rushing in)

It's you

!

Hoffmann (taking her in his arms)

My love Antonia

!

NiklausI am not needed here . . . (leaves)

Antonia

I knew it in my heart

that you had not forgotten meand loved me still

!

Hoffmann

And in my heart of hearts

I knew you thought of me.Now that at last I found youI'm folding my arms around you

:

When we are lovers, we are divine

—

I am yours,

you are mine!

Antonia

Now that at last I found youI'm folding my arms around you

:

When we are lovers

we are divine

—

I am yours,

you are mine

!

I am yours, you are mine . . .

Antonia and Hoffmann

And even the darkest night

can never darken this light

—

you and I

will be in love

with love.

Hoffmann

One thought rouses my suspicion—

:

though you answer with derision,

may I tell you what it is ?

though not jealous at heart,

I'm jealous of your music

—

you love it so!

48 LES CONTES D'HOFFMANNAntonia (souriant)

Voyez I'etrange fantaisie!

T'aime-je done pour elle, ou I'aime-je

pour toi?

Car toi tu ne vas pas sans doute medefendre

De chanter, comme a fait mon pere?

HoffmannQue dis-tu?

Antonia

Oui, mon pere a present, m'impose la

vertu

Du silence.

(Vivement.)Veux-tu m'entendre?

Hoffmann (d, part)

C'est etrange!. . . Est-ce done. .

.

Antonia{Ventrainant vers le clavecin)

Viens la, comme autrefois,

ficoute, et tu verras si j'ai perdu mavoix.

HoffmannComme ton ceil s'anime et comme ta

main tremble!

Antonia{le faisant âsseoir devant le clavecin

et se penchant sur son epaule)

Tiens, ce doux chant d'amour que nouschantions ensemble.

(Êlle chante, accompagnee par Hoff-mann.)

C'est une chanson d'amourQui s'envole

Triste ou folle

Tour a tour;

C'est une chanson d'amour.

La rose nouvelle

Sourit au printemps.

Las ! . . . combien de tempsVivra-t-elle ?

EnsembleC'est une chanson d'amour

Qui s'envole,

Triste ou foUeTour a tour.


HoffmannUn rayon de flammePare ta beaute.

Verras-tu I'ete,

Fleur de I'ame?

EnsembleC'est une chanson d'amour

Qui s'envole

Triste ou folle

Tour a tour.


(antonia porte la main a son coeur et

semble prete d defaillir.)

HoffmannQu'as-tu done?

Antonia(mettant la main d son coeur)

Rien.

Hoffmann (ecoutant)

Chut!

AntoniaCiel! mon pere!Viens!. ,. viens 1. .

.

(Elle sort.)

HoffmannNon! je saurai le mot de ce mystere.

(// se cache dans I'enfoncement de la

fenetre, crespel parait.)

CRESPEL, HOFFMANN COckS, pUtSfrantz.

Crespel(regardant autour de lui)

Non, rien ! J'ai cru qu'Hoffmann etail

ici.

Puisse-t-il etre au diable!

Hoffmann,(d. part)

Grand merci!

Frantz (entrant, a crespel)Monsieur

!

CrespelQuoi?

FrantzLe docteur Miracle.

CrespelDrole!... infame!Ferme vite la porte

!

IFrantz

Oui, monsieur, medecin...

CrespelLui! medecin? Non, sur mon ame,Un fossoyeur, un assassin!

Qui me tuerait ma fille apres mafenrnie.

J'entends le cliquetis de ses flaconsdans I'air.

Loin de moi qu'on le chasse.

(miracle parait subitement. frantzse sauve.)


AntoniaTell me how jealous a lover can be?I am in love with musicbecause I love you more!But you will never ask of meWhat my father asks . . .

he forbids my singing

!

HoffmannIs that true ?

AntoniaYes. My father insists

I exercise the virtue of silence . . .

You want to hear me ?

HoffmannThis is strange . . . very strange . . .

Antonia

And yet, I have no choice—

:

If I'm to live, I must sing! . . .

and you will tell me if I have lost

my voice—,

if I still have my voice.

{leading him to the piano)

Hoffmann

Your eyes are full of passion,

your hand is cold and trembles . . .

Antonia

Come, let us sing our song,

often we sang it together ...Song of my love

I will sing you againwith words so tender

—

words that whisperof fleeting joy,

like sighs

that pine and long . . .

Hoffmann

Your eyes are burning,

your song takes wing,

it soars to sing

of your yearning

—

Antonia and Hoffmann

Song of my love

I will sing you again

with words so tender:

It's love's

old eternal song!

HoffmannYou're afraid.

Ni

Antonia

HoffmannHush

Antonia

That—is my father . . . come! {exit)

Hoffmann

No—first I want to knowwhat is this secret?

{he hides as Crespel ewferj)

Crespel

No?I thought I should find Hoffmann here ?

I hope he's gone to the devil

!

Very kind.

Hoffmann

Frantz {returning)

He's here.

Crespel

Who?

Frantz

Miiacle, the doctor.

Crespel

Idiot! I told youhe must never come in here

!

Frantz

Yes, I knbw^— : our physician

—

Crespel

He? Surely not! He is a murderer

—

he's digging graves: .,

that is his trade

!

And, having killed my wife,

he'd kill my daughter.

I can still hear the clanging

of his horrid flasks

!

You must never admit him.

(Dr. Miracle appears suddenly.

Frantz runs away.)

50 LES CONTES D'HOFFMANNLes memes, miracle.

MiracleIla, ha, ha, ha!

CrespelEnfin!

MiracleEh bien! me voila! c'est moi-meme,

Ce bon monsieur Crespel, je I'aime!

Ou done est-il?

Crespel (I'arretant)

Morbleu!

Miracle

Ha, ha, ha, ha!

Je cherchais votre Antonia!Eh bien! ce mal qu'elle herita

De sa mere? Toujours en progres?

chere belle!

Nous la guerirons. Menez-moi pres

d'elle.'

Crespel

Pour I'assassiner ! . . . Si tu fais un pas,

Je te jette par la fenetre.

MiracleEh! la! tout doux ! Je np veux pas

Vous deplaire.

(// avance un fauteuU.)

Crespel

Que fais-tu, traitre?

MiraclePour conjurer le danger,

II fauf'le connaitre.

Laissez-moi I'interroger.

Crespel et HoffmannL'effroi me penetre.

ensemble

Miracle

(/a main etendue vers la chambre d'-

antonia)A mon pouvoir vainqueurCede de bonne grace I . .

.

Pres de moi, sans terreur,

Viens ici prendre place,

Viens!

Crespel et HoffmannD'epouvante et d'horreurTout mon etre se glace.

Une etrange terreurM'enchaine a cette place,

J'ai peur.

Crespel(s'asseyant sur le tabouret du clave-

cin)

Allons, park, et sois bref!

(miracle continue ses passes magni'tiques. La parte de la chambre d'AN-TONiA louvre lentement. miracleindique par ses gestes qu'il prend la

main ^'antonia invisible, qu'il la

mene pres de I'un des fauteuils et

la fait s'asseoir.)

Miracle(indiquant Pun des fauteuils et Zeis'

seyant sur I'autre)

VeuiHez vous asseoir la!

Crespel

Je suis assis!

Miracle

{sans repondre a crespel)

Quel age avez-vous, je vous prie?

CrespelQui? moi?

Miracle

Je parle a votre enfant.

Hoffmann (d part)

Antonia ?

MiracleQuel age?. .

.

(// ecoute.)

Vitigt ans!

Crespel ^Hein?

MiracleLe printemps ide la vie ! . .

.

(// fait le geste d'un homme qui tate

le pouls.)

Voyons la main!. .

.

Crespel

La main?. .

.

Miracle (tirant sa montre)Chut! Laissez-moi compter.

Hoffmann (d part)

Dieul... suis-je le jouet d'un reve?Est-ce un fantome?

MiracleLe pouls est inegal et vif, mauvais

symptome

!

Chantez I . .

.

'

Crespel (se levant)

Non, non, tais-toi!... ne la fais paschanter ! . .

.

(La voix d'ANTONiA se fait entendredans I'air.)

Ha! ha!

The fiend

THE TALESDr. Miracle

Crespel

Dr. Miracle

OF HOFFMANN 51

I'm here once again.

Where is Crespel?

Where is Crespel, my friend?

I love him . . . Where can he be?

Away!Crespel

\ Dr. Miracle

Where is your child ?

I have come out of love for her.

That illness,

left her by her dear loving mother,

has still not been cured?

I am sorry. But leave her to me,

and you need not worry.

Crespel

You would be her death

!

If you make one step,

I will throw you out of the window

!

Dr. Miracle

You would . . . indeed?

I suggest you do not bother.

Crespel

What do you want, murderer?

Dr. Miracle

This is a most serious case,

we must not make an error.

Hoffmann and Crespel

I tremble with terror.

Dr. Miracle

(his hand stretched out toward

Antonia's room)

I shall find the means and ways.

My power is so great,

no one has yet defied me.

Come, before it is too late.

Come, and sit here beside me.

Hoffmann and Crespel

This is the hand of fate.

All hope has been denied me . . .

All hope has been denied me . . .

It is late—^maybe too late

!

Crespel

What's your story?

I'm prepared.

(the door to Antonia's room opensslowly, Miracle makes a gesture as

though leading an invisible Antonia

to a chair)

Dr. Miracle

Won't you please have a seat?

Crespel

I'm seated now.

Dr. Miracle

(not answering Crespel)

Now—^what is your age?Will you tell me?

CrespelWho? I?

Dr. MiracleI asked Antonia

!

HoffmannBut where is she?

Dr. Miracle

You heard me.Answer me : what's your age ? . . .

Nineteen ? That is the spring of life,

they tell me . . .

Come on

—

(gesture of feeling her pulse)

and give me your hand.

Crespel

Her hand?

Dr. Miracle (looking at his watch)

Hush ! Let me count her pulse.

HoffmannGod ! This must be an evil dream

—

Hell's machination .....

Dr. Miracle

Her pulse—irregular and fast . . .

bad indication. Now sing I

Crespel

Not that, not that

!

I will not let her sing.

Dr. Miracle

You sing 1

1

(Antonia's voice is heard)

52 LES CONTES D'HOFFMANNMiracle

Voyez, son front s'anime et son regardflamboie

;

Elle porte la main a son coeur agite.

(// semble suivre antonia du geste,

la porte de la chambre se refermebrusquetnent.)

CrespelQue dit-il?

Miracle

(se levant et remettant un des fan-teuils en place)

II serait dommage, en verite,

De laisser a la mort une si belle proie!

CrespelTais-toi! . .

.

(// repousse violemment Vautre fau-teuil.)

MiracleSi vous voulez accepter mon secours,

Si vous voulez sauver ses jours,

J'ai la certains flacons que je tiens enreserve.

(// tire plusieurs flacons de sa poche

et les fait sonner comme des castor

gnettes.)

CrespelTais-toi!...

MiracleDont il faudrait. .

.

Crespel

Tais-toi! Dieu me preserve

D'ecouter tes conseils, miserable as-

sassin!...

MiracleDont il faudrait, chaque matin. .

.

ensemble

MiracleEh oui ! je vous entends

!

Tout a I'heure! un instant!

Des flacons, pauvre pere,

Vous en serez, j'espere.

Content

!

CrespelVa-t'en! va-t'en! va-t'en!

Hors de chez moi, Satan!Redoute la colere

Et la douleur d'un pere!Va-t'en!

Hoffmann (d part)

A la mort qui t'attend,

Je saurai, pauvre enfant,

T'arracher, je I'espere!

Tu ris en vain d'un pere,

Satan

!

Miracle(continuant toujours avec le mente

flegme)

Dont il faudrait. .

.

CrespelVa-t'en!

MiracleChaque matin. .

.

CrespelVa-t'en!...

(// pousse MIRACLE dchors, par la

porte du fond et la referme sur lui)

Ah! le voila dehors et ma porte est

fermee!

Nous sommes seuls en fin,

Ma fille bien-aimee!;

Miracle(rentrant par la muraille)

Dont il faudrait chaque matin. .

.

Crespel

Ah! miserable!

Viens!. . . viens!. . . Les flots puissent-

ils t'engloutir

Nous verrons si le diable

T'en fera sortir ! . .

.

ensemble

Crespel

Va-t'en! Va-t'en! Va-t'en!Hors de chez moi, Satan!Redoute la colere

Et la douleur d'un pere,

Va-t'en!

Hoffmann (d part)

A la mort qui t'attend,

Je saurai, pauvre enfan*T'arracher, je I'espere!

Tu ris en vain d'un pere,

Satan!

MiracleDont il faudrait. .

.

CrespelVa-t'en!

MiracleChaque matin. .

.

CrespelVa-t'en!

(// suit Miracle qui sort a reculons enfaisant sonner ses flacons. lis di-sparaissent ensemble.)


Dpn't. you see haw she blushed,

how her eyes shine with joy,

how she raises her haiiids

to her passionate heart?

(the door to Antonia's room closes)

Crespel

Are you mad ?

Dr. Miracle

It would be a shame,

you will allow,

if Death should get awaywith such a loVely prey . . .

Crespel

No more ! no more

!

Dr. Miracle

If you would only listen to advice,

I still could save her—for a price!

I have some useful flasks,

which I could leave behind me . . .

(takes several flasks out of his pocket)

Crespel

Be still!

Dr. Miracle

All that's required . . .

CrespelBe still

!

May God not blind methat I should take advice

from a murderous fiend . . .

Dr. Miracle

You don't mean what you say

:

you'll see it still my waly

!

Scorn me, and you will rue it

—

but I am sure you will do it

my way!

HoffmannLove of my heart

!

I will take you away,

will tear you from his sway.

And I know I can do it:

love makes me strong

to do it

Crespel

Away, and out of my sight—away

!

The pledge I made

I renew it—

:

I will put you to death I

Fatherly grief can do it.

Dr. Miracle


Crespel

Devil—leave me

!

Dr. Miracle

. . . once every day . . .

Crespel

Satan—devil

!

(he pushes Miracle out of jthe roomand locks the door)

Ah—now at last he's gone.

And we shall keep the door locked!

At last we are alone,

my child, my darling daughter . . .

Dr. Miracle

(entering through the wall)


once every day . . .

Crespel

I told you : stay out

!

Every time yoii appearthere's a devilish smell,

there is no other way out

but to gend you to hell I

Dr. Miracle

You don't know what you say,

you'll see it yet my way I

Hoffmann

Love of my heart!

,

I will take you away,

it's my love that will do it

—

love makes me strong to dp it

!

Dr. Miracle

All that's required : once every day . .

.

Away!Crespel

(Miracle leaves^ followed

fey Crespel)


\

HOFFMANN Seul, puis ANTONIA.

Hoffmann (redescend en sc/ene).

Ne plus chanter! Helas! Commentobtenir d'elle

Un pareil sacrifice?

Antonia {parait).

Eh bien?

'Mon pere, qu'a-t-il dit?

HoffmannNe me demande rien,

Plus tard tu sauras tout; une route

nouvelle

S'ouvre a nous, mon Antonia!...

Pour y suivre mes pas, chassede ta

memoireCes reves d'avenir, de succes et de

gloire

Que ton coeur au mien coniia.

AntoniaMais toi-meme?

HoffmannL'amour tous les deux nous convie,

Tout ce qui n'est pas toi n'est plus

rien dans ma vi^.

AntoniaTiens done! voici ma main!

HoffmannAh! chere Antonia! Pourrai-je recon-

naitre

Ce que tu fais pour moi?

(// lui baise les mains.)

Ton pere va peut-etre

Revenir, je te quitte... a demain!

Antonia

A demain!

(Hoffmann sort. Antonia le re-

garde s'eloigner. Apres un moment,elle redescend en scene.)

ANTONIA, puis miracle.

Antonia(âllant ouvrir une des partes

laterales).

De mon pere aisement il s'est fait le

complice!

Allons, les pleurs sont superflus,

Je I'ai promis, je ne chanterai plus.

{Êlle se laisse tomber sur un fauteuil.)

Miracle

(^surgissant tout a coup derriere elle

et se penchant a son oreille).

Tu ne chanteras plus? Sais-tu quel

sacrifice

S'impose ta jeunesse, et I'as-tu me-sure?

La grace, la beaute, !e talent, don

sacre,

Tous ces biens que le ciel t'a livres en

partage,

Faut-il les enfouir dans I'ombre d'un

menage ?

N'as-tu pas entendu, dans un reve or-

gueilleux,

Ainsi qu'une foret par le vent balan-

cee,

Ce doux fremissement de la foule

pressee

Qui murmure ton nom et qui te suit

des yeux?

Voila I'ardente joie et la fete eternelle

Que tes vingt ans en fleur sont pres

d'abandonner,

Pour les plaisirs bourgeois ou Ton veut

t'enchainer

Et des marmots d'enfants qui te reft-

dront moins belle!

Antonia (sans se retoumer).

Ah! quelle est cejtte voix qui nMtrouble I'esprit?

Est-ce I'enfer qui parle ou Dieu quim'avertit ?

Non, non, ce n'est pas la le bonheur,voix maudite,

Et contre mon orgueil mon amour s'est

arme;La gloire ne vaut pas I'ombre hea-

reuse ou m'invite

La maison de mon bien-aime.

MiracleQuelles amours sont done les votres:

Hoffmann te sacrifie a sa brutalite;

II n'aime en toi que ta beaute,

Et pour lui, comme pour les autres,

Viendra bientot le temps de I'infide-

lite!...

(J/ disparait.")

Antonia {se levant).

Non, ne me tente plus ! . . . Va-t'en,Demon!... Je ne veux plus t'enten«

dre.

J'ai jure d'etre a lui, mon bien-aimem'attend.

Je ne m'appartiens- plus et ne puis mereprendre

;

Et tout a I'heure encore, sur son coemadore

Quel eternel amour ne m'a-t-il pasjure!. .

.


Hoffmann (alone)

Give up her art? so young

—

and so much resignation

—

who would dare to demand it ?

Antonia (entering)

You saw my father?

What did he say?

HoffmannI ask you not to ask.

You'll know—some other day.

But believe : you and I will find a way

—

a way to happy lands.

If you would go there,

be willing to surrender

your dreams of art and fame,

of success and of splendor—

:

happiness will be in our hands.

Antonia

Are you certain?

HoffmannAs love grows deeper

and grows stronger,

there's nothing in fny life

that matters any longer

!

AntoniaThen love

will be my song?

HoffmannAntonia of my heart,

how can I ever merit

such an enchanting wife ?

Your father must not find me here

agam

—

I will leave you not for long

!

Antonia

Not for long

—

(Hoffmann leaves)

Who could have thought that he

would fall in with my father?

Too late : my tears are now in vain

:

I have agreed

—

I'll never sing again . . .

Dr. Miracle(appearing suddenly behind her)

You'll neversing again? Tremendous sacrifice.

I wonder if you fathom_

the meaning of your choice?

Your talent and your grace,

the delight of your voice

—

all these gifts that the Lord

has given you to cherish

you're willing to renounce,

to let them fade and perish?

Maybe you've never dreamtthe heady dream of fame,

when all were at your feet

in untold admiration,

when you regaled your ear

with the crowd's jubilatioil,

when your audiences cried

the glory of your name !

—

when, everlasting joy|

would ;be your one and only duty . . .

And in your ardent youthyou'd give up all of this ?

And give it up for what

—

for doubtful married bliss,

for children and their care,

who'd only spoil your beauty?

Antonia

Whose is this fearful voice,

that fills my mind with doubt

—

is it the voice of hell, •

or heaven, crying out?No—no ! I will not yield

to your vain temptation:

a love as great as mineeven pride cannot harm.What famecould compare to the sweet consolation

I shall find in my lover's arm?

Dr. Miracle

What is this love that is so mighty?You think Hoffmann is faithful?

It's true, he loves you today.

What does he love?

—

only your youth.

You must knowthat all men are flighty:

as soon as you fade

he will throw your love away

!

(he disappears)

Antonia

No—I will hear no more. Away!Away!

In vain you hope to sway me.I will give him my heart

—

for him to have and hold:

I trust in Hoffmann's love,

he never will betray me.He held me in his arms,in a moment of bliss

—

what happiness on earth

can ever equal this?

But how can I be savedfrom myself, and this demon?

56 LES CONTES D'HOFFMANNAh! qui me sauvera du d^mon, de

moi-meme?. ..

{regardant le portrait de sa mere.)

Ma mere! O, ma mere!

Je I'aime! Je I'aime!

Miracle

(reparait derriere Antonia.)

Ta mere?... Oses-tu I'mvoquef?. .

.

Ta mere? Mais n'est-ce pas elle

Qui park par ma voix, ingrate, et te

rappelle

La splendeur de son nom que tu veuxabdiquer?

(Le portrait s'Sclaire et semble s'ani-

tner. C'est le fantome de la mbrequi apparait a la place de la pein-

ture.)

ficoute!...

La Voix

Antonia!

Antonia

Di^!... ma mere! ma mere!

Le Fantome

Cher enfant que j'appelle

Comme autrefois,

C'est ta mere, c'est elle,

Entends sa voix!

Antonia

Ma mere!

Miracle

Oui! oui! c'est sa voix, I'entends-tu?

Sa voix, meilleure conseillere.

Qui te legue un talent que le mondea perdu!

Le FantomeAntonia!

Miracle

ficoute! Elle semble revivreEt le public lointain de ses bravos I'ct

nivre!

Antonia (se levant).

Ma mere!

Le Fantome

Miracle

Reprends done avec elle!...

(// saisit un violin et accompagne avec

une sorte de fureur.)

ensemble

AntoniaOui, son ame m'appelle

Comme autrefois!

C'est ma mere, c'est elle,

J'entends sa voix!

Le FantomeCher enfant que j'appelle

Comme autrefois,

C'est ta mere, c'est elle!

Entends sa voix!

AntoniaNon! assez!... Je succombe!

MiracleEncore!

AntoniaJe ne veux plus chanter.

MiracleEncore

!

AntoniaQuelle ardeur m'entraine et me de-

vore?

MiracleEncore! Pourquoi t'arreter?

Antonia (haletante).

Je cede au transport qui m'enivre!Quelle flamme eblouit riies yeux!. ..

Un seul moment encore a vivre,Et mon ame s'envole aux cieux!

ensemble

Le FantomeCher enfant que j'appelle

AntoniaC'est ma mere, c'est elle,

etc.

Ah!Antonia

etc.

Antonia

!

(Elle vient tomber mourante sur le

canape, miracle s'engloutit dansla terre en poussant un eclat de ri-re. Le fantome disparait et le por-trait reprend son premier aspect.)

ANTONIA, CRESPEL, pUlS HOFFMANN,nicklausse, miracle et frantz.

Crespel (accourant).

Mon enfant!... ma fille!... Antonia!..


My mother—oh, my mother

:

I love him, I love him!

Dr. Miracle(reappearing behind Antonia)

Your mother

!

don't call her name in vain

—

your mother

!

but it is none otherwho speaks to you through me. Re-member :

it's her memory that you would desert

by not singing again!Come—listen

:

(the portrait of Antonia's motherseems to come to life)

The Mother's Voice

Antonia

!

God-Antonia

The Voice

Antonia! Antonia!

Dr. Miracle

Antonia—^you feel it

how her life is returning

as though a distant crowdinspired her song with its yearning

!

The Voice

Antonia

Antonia

My mother—^my mother

!

Dr. Miracle

Yes, your mother is calling

:

she speaks to you!only to you.

It's your mother who's calling.

Dr. Miracle

You hear' her ?

The Voice

Antonia . . .

Dr. Miracle

Remember ?

Antonia

God ! My mother—my mother . . .

- The Voice

Hear me, child,

as in the olden times,

listen anew

:

it's your mother,her voice that speaks to you.

Antonia

It is her voice as it used to be

!

My Mother is calling me . . .

Dr. Miracle

It's her voice

!

Hear, and choose!

Obey her word: she is your mother!

who has left you a gift

that the world must' not lose.

Antonia

No! Enough!I might weaken

—

yet I must sing no more

!

Dr. Miracle

You doubt ? you falter ?

It is your mother who's calling

!

Antonia

My mother ... I hear . . . anew . . .

Yes, my mother's voice is calling!

The Voice

Hear me, child, I am calling.

Hear my voice as in the olden times

!

Antonia

It's my mother,

that beautiful voice I knew . . .

Dr. Miracle

Antonia—^ybur mother is calling

—

Sing for your mother, Antonia! '

(she falls—dying)

Crespel (entering)

Ah, my child ! Antonia, my only love

!

58 LES CONTES D' HOFFMANNAntonia (expirante).

Mon pere!

ficoutez! c'est ma mereQui m'appelle!... Et lui... de retour...

C'est une chanson d'amour...Qui s'envole. .

.

Triste ou foUe. .

.

(Elle meurt.)

Crespel

Non!... un seul mot!... un seuU...

ma fille... parle-moi.

Mais parle done !. . . Mort execrable!...

Non!... pitie!... grace!... filoigne-

toi!

Hoffmann

(entrant precipitamment).

Pourquoi ces cris?

Crespel

Hoffmann!... ah! miserable!

C'est toi qui I'as tuee!. .

.

Hoffmann

{courant a Antonia).

Antonia!. .

.

Crespel (courant avec igarement).

Du sang!

Pour colorer sa joue!... Une arme,Un couteau ! . .

.

(// saisit un couteau sur une table et

va pour s'elancer sur Hoffmann.)

NiCKLAUSSE

(entrant en scene et arretant Crespel).

Malheureux!. .

.

Hoffmann (d Nicklausse).

Vite! . . . donne I'alarme! . .

.

Un medecin! . . . un medecin ! . .

.

Miracle (paraissant)

.

Present!

(// /approche ^'Antonia et lui tate

le pouts.)

Morte!

Crespel (eperdu).

Ah! Dieu; mon enfant! ma fille!

Hoffmann (avec desespoir),

Antonia!

(Fronts est entre le dernier et sêst

agenouille pres d'Antonia.)

FIN DU TROISIEME ACTE

EPILOGUEMeme dScoration qu'au premier acte.

HOFFMANN, NICKLAUSSE, LINDORF,

NATHANAEL, HERMANN, WILHELM,LUTHER. Les Etudiants.

(On retrouve tous les personnages

dans la situation oH on les a laisses

d la fin du premier acte.)

Hoffmann

Voila quelle fut I'histoire

De mes amoursDont la memoire

En mon coeur restera toujours.

Luther (entrant).

Grand succes, on acclameNotre prima donna.

LiNDORF (a part).

II n'est plus a craindre... a moi la

diva!

(// s'esquive.)

Nathanael

Qu'a de commun Stella?. ..

Nicklausse (se levant).

Ah! je comprends! trois drames dansun drame

Olympia. . . Antonia. . . Giulietta , .

.

Ne sont qu'une meme femme:La Stella!

Le Chceur

La Stella!

Nicklausse

Buvons a cette honnete dame!

Hoffmann

(furieux, brisant son verre).

Un mot de plus et sur mon ameJe te brise comme ceci!...

Nicklausse

Moi, ton mentor? Merci!...

HoffmannAh! je suis fou!. . . A nous le vertige

divin

Des esprits de I'alcooi, de la biere etdu vin!

A nous I'ivresse et la folie,

Le neant par qui Ton oublie


Antonia

My father : did you hear ?

it's my mother . . . my mother . . . whohas called!

and he has come back . . .

Love's old eternal song . . .

Love's old eternal song . . .

Words so tender. . .sweet surrender. .

.

it's love's old eternal song ! (^she dies)

Ceespel

Do speak to me—my child

!

my daugnter, speak to me

!

I cannot hear her . . .

Look at me, my child, my daughter

!

You must not die, Antonia . . .

(Hoffmann returns)

It's you! Don't dare come near her

—

it's you—it's you who killed my child

!

Your blood will put a blush on hercheek . . .

) (taking a knife from the table)

you'll pay with your bloodfor this deed . . .

NiKLAUS (trying to stop Crespel)

You are mad

!

HoffmannNiklaus—go fetch a doctor

!

A doctor's skill is what we need . . .

Dr. Miracle (reappearing)

I'm here

!

(he bends over Antonia and feels

her pulse)

Dead . . .

Crespel

Oh, Lord—it's not true ? . . . Antonia

!

Hoffmann

Love of my heart

!

(Frantz comes in and kneels beside

Antonia)

END OF ACT THREE

EPILOGUEThe Tavern, as in the Prologue.The students are still listening to

Hoffmann.

HoffmannAnd this ends the tales of Hoffmann,mad as a dream : I shall always cherish

those loves—strange though it mayseem ...

AtJDiENCE (off-stage)

Stella!

Stella

!

LutherWhat a night

:

they are shouting for your Prima-donna

!

LiNDORF

Not much of a rival ...Stella will be mine

!

(he leaves)

Stella

!

Hoffmann

NathanaelWhy does he cry for Stella?

NiklausDon't you see— : three loves

—

each unrequited—Olympia first

—

Antonia. last—Giulietta . . .

he now sees all three united in Stella!

ChorusLa Stella

!

NiklausAnd therefore, friends,

let's drink to Stella.

Hoffmann(furious—smashes his glass)

Just one more word,and I'll be delighted

to destroy you just like this glass

!

NiklausIs that my thanks . . . ? Alas

!

HoffmannOh—I am mad, but madness alone is

divine

!

Let us drink, let us drown all

our sorrow in wine!v

So let us be raving,

leave reason behind us

—

60 LES CONTES D'HOFFMANNLe CncExnt

Allumons le punch!... grisons-nous

!


Roulent sous la table.

Luther est un brave homme,Tire Ian laire, tire Ian la!

C'est demain qu'on rassomme

Tire Ian laire, tire Ian la!

Sa cave est d'un bon drille,

Tire Ian laire, tire Ian la!

C'est demain qu'on la pille

!

Tire Ian laire, tire lah la

!

Jusqu'au matin

Remplis mon verre,

Jusqu'au rnatin

Remplis les pots d'etain!

(Les etudiants entrent en tumulte

dans la salle voisine. Hoffmannreste comme frappe de stupeur.)

NiCKLAUssE (a Hoffmann)

Eh bien, Hoffmann?

WiLHELM (entrainant Nicklausse,

et designant Hoffmann) :

II est completement ivre

!

FIN DE L'OPERA


when we're drunk,

no one can remind us!

Let's have some more punch!

Chorus, Nathanael andHermann

Let's have some more punch!

HoffmannLet's get drunk.

ChorusLet's get drunk.

HoffmannLet's hope that the punchwill keep us from thinking!

ChorusLet's hope that the punchwill keep us from thinking!

Luther's an honest fellow

—

don't you believe it

—

that isn't true!

Sometimes he's rather yellow

—

you can believe it—that is the truth!

All of his wines have savor I

Don't you believe it, that isn't true

—

vinegar has more flavor . . .

you can believe it,

that is the truth

!

Let's go on drinking

till the cask is empty,friends—let us drink

till the sun begins to shine!

And when we see

that moon and stars are sinking,

we'll stop the punch

—

and then we'll start

on wine

!

(the students leave, noisily. Hoffmannremains seated at the table)

NiklausWell, Hoffmann?

WilhelmHe is too dnmk to speak . . . !

(Niklaus and Wilhelm turn to the

door, as the curtain falls. )

END OF OPERA

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