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Synthetic Methods of Organometallic and Inorganic Chemistry Catalysis George Thieme Verlag? Wolfgang A. Herrman? GeorgeThiemeVerlag? WolfgangA.Herrman? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Organic? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Physical&Theoretical? Subjects-Science-Chemistry-Crystallography? Subjects-Science-Chemistry-Inorganic? Subjects-Science-Chemistry-Organic-General? Subjects-Science-Chemistry-Organic-OrganometallicCompounds Subjects-Science-Chemistry-Physical&Theoretical-General? Subjects-Science-Chemistry-Industrial&Technical? Subjects-Science-General Early Transition Metal Clusters with Pi-donor Ligands (Chemistry of Metal Clusters) Wiley-VCH? M.H. Chisholm? Wiley-VCH? M.H.Chisholm? Substores-UnknownASINs-36? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Inorganic? Subjects-Science-Chemistry-Inorganic? 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Subjects-Science-Chemistry-Organic-OrganometallicCompounds Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-General Advances in Metal-Organic Chemistry (Advances in Metal-Organic Chemistry) Jai Pr Lanny S. Liebeskind JaiPr LannyS.Liebeskind Subjects-Professional&Technical-ProfessionalScience-Chemistry-Organic? Subjects-Science-Chemistry-Organic-General? Subjects-Science-Chemistry-Organic-OrganometallicCompounds Subjects-Science-General Fluoroplastics - Non-Melt Processible Fluoroplastics The Definitive User's Guide and Databook (Pdl Handbook Series) Plastics Design Library? Sina Ebnessajjad? PlasticsDesignLibrary? SinaEbnessajjad? ユーズドブック(洋書)-Engineering Subjects-Engineering-Chemical-PolymerChemistry? Subjects-Engineering-Chemical-General? Subjects-Engineering-Chemical-Materials? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Engineering-MaterialsScience-General? Subjects-Engineering-MaterialsScience-PolymerScience? 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場面転換。 ブドウ畑。 舞台脇から少し下がったところに設けられたテラスで、シュタディンガーの隣人たちが家族ごとに分かれて食べたり飲んだりしている。 第十二場 シュタディンガー、ブレンナー、隣人たち、多くの男女、楽しそうに動き回る職人たち。 Nr. 8 - 合唱 緑に囲まれた中で水入らずの一時を 過ごすのは何と素晴らしいことだろう。 ワインを片手に笑顔を浮かべ、 人生を讃えよう。 生きているのはまったく最高だ！ 第十三場 前場の人々。大勢の職人に引っぱられてゲオルク。 一人の職人 親方、こいつときたら本当に手がかかって。梃子でもここに来たくなかったようです。 ゲオルク どうか怒らないでください。ちょっと体調が悪くて。 シュタディンガー たしかに病気みたいだな。わたしに処方箋を書けとでも言うのかね？元気を出せ。歌でも歌え。 そうすればよくなるさ。 ゲオルク 歌なんかいやです。 シュタディンガー ゲオルク、わたしを怒らせるな。そう、それでいい。娘とイルメントラウトは見なかったかね？ ゲオルク 見てませんね。 シュタディンガー まったく、とっくの昔に着いてなきゃならんのに！また例によってごてごて飾り立ててでもいるんだろう。とにかく、ゲオルク、ごちゃごちゃ言わずに何か歌ってくれ。 かくなるうえは… ゲオルク ああ、そのセリフは… シュタディンガー （不機嫌になって） とにかく歌ってくれ。（後方に行く。） ゲオルク （独白。） 仕方ないや。歌おう。場が白けてもいけないし。ここは祝宴なんだもの。 Nr. 9 - 合唱付リート ゲオルク 昔々旅に出たがった 元気な若者がいました。 彼は世界を探検し、 名誉や金や財産を得るつもりでした。 「さようなら、いとしい人。泣かないでおくれ。 すぐに帰ってくるから。」でも恋人は言いました。 「ああ、世界を見に行こうなんてしないほうがいいわ。 わたしのそばにいてちょうだいな。 旅に出たばかりに後悔することだってよくあってよ。」 合唱 「ああ、世界を見に行こうなんてしないほうがいいわ。 わたしのそばにいてちょうだいな。 旅出たばかりに後悔することだってよくあってよ。」 ゲオルク 若者は海に出て、まずはメキシコに 行きました。 というのもメキシコには金が石みたいに 転がっているだろうと思い込んでいたのです。 ところが出くわしたのは海賊船。 見事に捕まってしまいました。 口を突いて出るのは絶望の叫び。 「ああ、おれは何だって家にいなかったんだろ。 旅に出なかったら平穏にいられたのにな。」 合唱 口を突いて出るのは絶望の叫び。 「ああ、おれは何だって家にいなかったんだろ。 旅に出なかったら平穏にいられたのにな。」 ゲオルク ちょっとしたきっかけで若者は 何とか災難を切り抜け、 気まずそうな顔をして故郷へ 帰ってきました。 彼は希望を胸に恋人のもとに急ぎましたが、 待っていたのは大きな衝撃でした。 彼女は若者に自分の花婿を紹介し、 耳元でこう囁いたのです。 「旅に出なかったら無事に済んだのにね。」 合唱 彼女は若者に自分の花婿を紹介し、 耳元でこう囁いたのです。 「旅に出なかったら無事に済んだのにね。」 シュタディンガー とにかく娘はどこにいるんだ？ さてと、皆さん、ちょっとばかりおもしろい話をお聞かせしよう。今日、シュヴァーベンの騎士なる人物が訪ねてきましてね、あろうことかわたしの娘を強引に結婚させようとするんですよ。最初は娘をコンラートにやれと言って、次はさっきのは間違いでゲオルクにやってくれ、とこうです。わたしは賛成しませんでした。 というのも夜のとばりが下りる前に… 第十四場 前場の人々、アデルホフ。 アデルホフ （息せき切って） こんにちは、皆さん。ちょっとお邪魔します。 シュタディンガー おっと、やつが来たぞ！ アデルホフ （シュタディンガーに） すみません、二言だけ！急いで駆けてきたんです。ゲオルクとは何があっても結婚させてはなりません。 というのも… シュタディンガー （笑って） さっきわたしは言っておかなかったかな？ 全員 （笑う。） アデルホフ ゲオルクはリーベナウ伯爵とぐるになっているんです。 シュタディンガー えっ？ ゲオルク 何たる中傷！親方、何とか言ってくださいよ！ シュタディンガー 黙れ。はっきりさせよう。 アデルホフ わたしの婚約者がよく存じているのです。 シュタディンガー あなたの婚約者にはっきり申し上げるなら… アデルホフ 何です？ シュタディンガー 他人のかまどに首を突っ込まんでくれ！ アデルホフ その言い方はないでしょう！ シュタディンガー それはこっちが言いたい。いいかね、あなたは楽しいお集まりにいらしてるのだ。ごちゃごちゃおっしゃってると周りも不愉快になるではないか。 アデルホフ ですが、わたしの婚約者が… シュタディンガー （独白。） 婚約者、婚約者とまったくうるさいな！ 後ろの方からイルメントラウトの「助けて」という悲鳴が聞こえる。 ブレンナー あの悲鳴は何ですかな？ 全員 （入り乱れて） 何があったんです？ 第十五場 前場の人々、イルメントラウト。遅れて伯爵とマリー。 Nr. 10 - フィナーレ イルメントラウト （必死に） 助けて！助けて！ シュタディンガー 何てこった！ おまえ一人か？マリーはどこだ？ イルメントラウト 急いで！あの子を助けてください！ 全員 マリーのこと？何があったんです？ イルメントラウト あの子はずっと遠くに連れ去られて！ 大勢の男たちに奪われたんです！ 全員 何だって？誘拐？さらわれたのか？本当か？ シュタディンガー （ちょっと酔っぱらった様子で） わたしの子を！あの子を！ああ、あんまりだ！ きっとあの騎士だ！ 早く街に！ 役所に行くのだ！ 戦ってでも わたしの権利を主張するのだ！ 合唱 早く！街に出て、 役所に行こう。 戦ってでも お嬢さんをお助けしなくては！ ああ、彼女だ！ アデルホフ （気づかないうちに群衆の間に姿を消す。） マリーと伯爵 （入ってくる。） シュタディンガー （マリーを抱きしめて） おまえ！ああ、大事なおまえ！ （突然また怒り出して） 悪い子だな、 おまえたちの仲を 認めた覚えはないぞ。 また一緒にいたのか？ マリー どうしようもなかったんですもの。 ブレンナーと数人の男たち まったく頑固爺だな。 マリー （伯爵を指して） 彼が助けてくれたの。 あの人がいなかったらさらわれていたわ。 シュタディンガー、ブレンナー、合唱 彼がたった一人で？本当か？ マリー 危険をものともせずにね。 伯爵 ちょうど通りかかったのですが、 本当に幸いでした。 彼女を救うためなら 命を投げ打っても惜しくはありません。 シュタディンガー ほほう！ マリー 本当にありがとう、コンラート！ シュタディンガー 黙れ！ （皮肉たっぷりに） 今何とおっしゃったかな。 騎士どもと草原で取っ組み合いをやって、 つまるところわたしの娘を 奪い合ったのだな。 これはまた大変ご迷惑をおかけしましたな！ とんでもないことだ！もうたくさんだぞ！ 殺人事件として噂になるところだった！ （マリーに） 今度こそ修道院に入れるぞ！ かくなるうえは… ゲオルク （大声で） ほら、またそのセリフ！ シュタディンガー （無視して最後まで言ってしまう。） …かくありき！ マリー、イルメントラウト、伯爵、ゲオルク、ブレンナー、合唱 怒って顔を真っ赤にしている。 でも、もうこれには慣れっこ。 朝日が昇るころには きっと考えを変えてくれるだろう/でしょう。 シュタディンガー わたしの思ったようにするからな。 おまえが修道院に入ったら やっと落ち着けるというものだ。 あれこれ心配することもなくて済む。 いやいや、ちがった。 他に計画を立てたんだった。 おまえを結婚させることにしたのだ。 ゲオルク （独白。） ああ、いやだな。今度は僕の番だ！ シュタディンガー （ゲオルクを指して） ほら、この方だよ。 マリー （びっくりして） ゲオルクじゃない！ 全員 えっ、ゲオルクが？ マリー わたし、絶対結婚しないわ。 一生いやよ。 ゲオルク そう言ってくれて助かるよ。 シュタディンガー （怒って） いやなのか？ 他の人々 （マリーを除いて） あの、親方… シュタディンガー 殺してやりたいくらいだ！いやなのか？ ゲオルク 僕もいやです。 シュタディンガー うるさい、おまえはばかだ！ （マリーに） そんならどうしても結婚したくないと 言うのかね？ マリー いやよ！ 修道院のほうがずっとまし！ マリー、イルメントラウト、ブレンナー、合唱 怒って顔を真っ赤にしている。 でも、もうこれには慣れっこ。 朝日が昇るころには きっと考えを変えてくれるだろう/でしょう。 ただ一つだけ申しわけないのは この楽しいお祭りを 修羅場にしてしまったことだ/だわ。 ゲオルク 怒って顔を真っ赤にしている。 でも、もうこれには慣れっこ。 朝日が昇るころには きっと考えを変えてくれるだろう。 ただ少なくともありがたいことに この騒ぎのおかげで 結婚はお流れになったな。 伯爵 怒って顔を真っ赤にしている。 でも、もうこれには慣れてしまった。 朝日が昇るころには きっと考えを変えてくれるだろう。 あの人が思いやり深く なおもわたしに愛を捧げてくれるとは 何と嬉しいことか。 シュタディンガー わたしの思ったようにするからな。 おまえが修道院に入ったら やっと落ち着けるというものだ。 あれこれ心配することもなくて済む。 ただ楽しみの時間が めちゃくちゃになったことは まったく腹が立つ！ 皆がシュタディンガーをなだめようとするうちに幕が下りる。 Verwandlung Weinberg Auf den Terrassen wie unten zur Seite sind die Nachbarn Stadingers mit ihren Frauen und Kindern essend und trinkend gruppiert ZWÖLFTER AUFTRITT Stadinger. Brenner. Nachbarn. Männer und Frauen. Gesellen in fröhlicher Bewegung Nr. 8 - Chor Wie herrlich ist s, im Grünen, im traulichen Verein, bei Wein und frohen Mienen des Lebens sich zu freun, des schönen Lebens sich zu freun! DREIZEHNTER AUFTRITT Die Vorigen. Georg, von mehreren Gesellen gehalten EIN GESELLE Hier, Meister, bringen wir einen Widerspenstigen, er wollte durchaus nicht mit. GEORG Nehmt s nicht übel, Meister, aber es war mir so übel zumute. STADINGER Deine Krankheit kenne ich, soll ich dir etwa ein Rezept verschreiben? - Frisch, sing uns ein Lied, da wird dir besser werden. GEORG Mir wär s ums Singen. STADINGER Georg, mach mich nicht bös. Ja so. Hast du meine Tochter mit der Alten nicht gesehen? GEORG Mit keinem Auge. STADINGER Sie müssten doch zum Kuckuck längst hier sein! - Na, werden wieder viel anzuputzen haben. Jetzt, Georg, mach keine Umstände, sing uns was, es muss dir aber nicht unange - GEORG Meister! STADINGER ärgerlich Dass dich - Er geht nach dem Hintergrunde. GEORG für sich Ich will singen, damit niemand den Berg verlässt, denn jetzt wird der Spass unten losgehen. Nr. 9 - Lied mit Chor GEORG War einst ein junger Springinsfeld, der wollt auf Reisen gehn, erwerben Ehre, Gut und Geld und sich die Welt besehn. »Leb wohl, fein Liebchen, weine nicht. Bald kehr ich heim.« Sie aber spricht »O geh nicht in die Welt hinaus, bleib lieber doch bei mir zu Haus, es schadet oft, wenn man auf Reisen geht!« CHOR »O geh nicht in die Welt hinaus, bleib lieber doch bei mir zu Haus, es schadet oft, wenn man auf Reisen geht!« GEORG Er ging zur See. Nach Mexiko wollt er fürs erste hin, denn dorten gibt es Gold wie Stroh, dacht er in seinem Sinn. Doch ein Korsarenschiff erscheint, das es mit ihm gar übel meint; da ruft er in Verzweiflung aus »Ach, warum blieb ich nicht zu Haus? Das kommt davon, wenn man auf Reisen geht!« CHOR Da ruft er in Verzweiflung aus »Ach, warum blieb ich nicht zu Haus? Das kommt davon, wenn man auf Reisen geht!« GEORG Zuletzt befreit ein Zufall ihn von seinem Missgeschick; er kehrt mit bittersüsser Mien ins Vaterland zurück. Er eilt zum Liebchen froh und keck, doch trifft ihn bald der Schlag vor Schreck. Sie stellt ihm ihren Bräut gam vor und flüstert ihm dabei ins Ohr »Das kommt davon, wenn man auf Reisen geht! CHOR Sie stellt ihm ihren Bräut gam vor und flüstert ihm dabei ins Ohr »Das kommt davon, wenn man auf Reisen geht!« STADINGER Nun möcht ich aber doch ernstlich wissen, wo mein Mädel bleibt. Ja - weil ich gerade von ihr rede, ihr Freunde, da muss ich euch einen Spass erzählen. Heut kommt ein närrischer Kauz, ein schwäbischer Ritter in mein Haus und will mit Gewalt meine Tochter verheiraten. Erst wollte er ihr den Konrad geben, dann sollte Georg sie haben, und ich stehe doch nicht dafür, dass, ehe es Abend wird - VIERZEHNTER AUFTRITT Die Vorigen. Adelhof ADELHOF ausser Atem Guten Tag, Leutchen, lasst euch nicht stören. STADINGER Da ist er! ADELHOF zu Stadinger Alter Freund, nur ein paar Worte, denn ich muss gleich wieder fort Der Georg darf auf keinen Fall Eure Tochter heiraten, denn - STADINGER lacht Hab ich s nicht gesagt! ALLE lachen ADELHOF Der Georg steckt mit dem Ritter Liebenau unter einer Decke. STADINGER Was ist das? GEORG Welche Verleumdung! Meister - und ihr könnt das dulden? STADINGER Ruhe - Beweise! ADELHOF Mein Fräulein weiss die Sache genau. STADINGER Euer Fräulein ist mit Respekt zu melden - ADELHOF Was? STADINGER Nicht recht gescheit! ADELHOF Meister Stadinger, bedenkt, was Ihr sprecht. STADINGER Herr Ritter, bedenkt Ihr, dass Ihr Euch in einem fröhlichen Kreise befindet, der ebensowenig wie ich von Euren Narrheiten etwas wissen will. ADELHOF Aber mein Fräulein sagte mir doch - STADINGER für sich Hol dich und dein Fräulein der Teufel! Man hört Irmentraut hinter der Szene »Hilfe« schreien BRENNER Welch ein Geschrei? ALLE durcheinander Was ist geschehen? FÜNFZEHNTER AUFTRITT Die Vorigen. Irmentraut. Später der Graf und Marie Nr. 10 - Finale IRMENTRAUT ausser sich Zu Hilfe! Zu Hilfe! STADINGER Was muss ich sehn? Du bist allein! Wo ist mein Kind? IRMENTRAUT Ach, eilt zu Hilfe ihm geschwind! ALLE Marie? Was geschah mit ihr? IRMENTRAUT Weit weggeführt ward sie von hier, geraubt von einer grossen Schar. ALLE Wie? Geraubt! Entführt! Wie, ist das wahr? STADINGER dem man nachgerade die Wirkung des Weines anmerkt Mir das! Mir das! Ha! Höll und Teufel. Das ist der Ritter ohne Zweifel! Fort, fort, zur Stadt, zum hohen Rat, um mit den Waffen mir Recht zu schaffen. CHOR Fort, fort, zur Stadt, zum hohen Rat, ihm mit den Waffen Recht zu schaffen. - Da ist sie! ADELHOF verschwindet unmerklich im Tumult MARIE UND GRAF treten auf STADINGER Marie in die Arme schliessend. Mein Kind! Mein teures Kind! plötzlich wieder wütend Du ungeratne Dirne, ich dachte gleich Das wird das Ende sein von euren Liebelein! MARIE Was kann denn ich dafür? BRENNER UND EINIGE MÄNNER Geh, Alter, sei gescheit. MARIE auf den Grafen deutend Seht meinen Retter hier; sein Arm hat mich befreit. STADINGER, BRENNER UND CHOR Er allein? Ist das wahr? MARIE Trotzte kühn der Gefahr. GRAF Ja, preisen muss ich das Geschick, das mich hierhergeführt. Und sie zu retten, hätt mein Leben tausendfach ich hingegeben. STADINGER Oho! MARIE O lieber Konrad! STADINGER Ruh ! zur Gesellschaft Was sagt denn ihr dazu? Die Ritterschaft macht sich den Spass und balgt bei hellem Sonnenschein sich um mein sittsam Töchterlein! Das ist ne schöne Wirtschaft, das! Hammer und Amboss! Nun hab ich s satt! Das gibt nen Mordsskandal in der Stadt. zu Marie Jetzt sperr ich dich ins Kloster ein! Das muss dir aber nicht unange - GEORG ruft ihm zu Aber Meister! STADINGER kann sich nicht bezwingen und schliesst mit dem Worte - sein! MARIE, IRMENTRAUT, GRAF, GEORG, BRENNER UND CHOR Zornesglut färbt seine Wangen, doch wir kennen dieses Dräun, mit der Morgenröte Prangen wird er andern Sinnes sein. STADINGER Du erfüllest mein Verlangen, schliessest dich ins Kloster ein, so nur kann ich ohne Bangen, ohne Furcht und Sorgen sein. Doch halt! Das geht nicht an. Ich hab ja einen andern Plan, ich hab nen Mann für dich. GEORG für sich O weh! Nun kommt die Reih an mich. STADINGER auf Georg zeigend Hier steht er, den ich meine. MARIE erschrocken Georg! ALLE Wie, Georg? MARIE Den nehm in meinem Leben ich nun und nimmermehr. GEORG Dies schmeichelt mir gar sehr. STADINGER zornig Du willst nicht? DIE ANDERN ohne Marie Aber Meister - STADINGER. Ich bring das Mädel um! Du willst nicht? GEORG. Ich will auch nicht. STADINGER. Schweig, Kerl, du bist zu dumm! zu Marie So willst du zu der Heirat durchaus dich nicht verstehn? MARIE. Ach nein! Da will ich lieber zehnmal ins Kloster gehn. MARIE, IRMENTRAUT, BRENNER UND CHOR. Zornesglut färbt seine Wangen, doch wir kennen dieses Dräun, mit der Morgenröte Prangen wird er andern Sinnes sein! Nur das eine tut mir leid, dass die schöne Lustbarkeit sich verwandelte in Streit. GEORG. Zornesglut färbt seine Wangen, doch wir kennen dieses Dräun, mit der Morgenröte Prangen wird er andern Sinnes sein! Nur das eine mich erfreut, dass ich nach dem langen Streit von der Heirat bin befreit. GRAF Zornesglut färbt seine Wangen, doch wir kennen dieses Dräun, mit der Morgenrote Prangen wird er andern Sinnes sein! Nur das eine mich erfreut, dass sie voller Zärtlichkeit mir aufs neu ihr Herz geweiht. STADINGER Du erfüllest mein Verlangen, schliessest dich ins Kloster ein, so nur kann ich ohne Bangen, ohne Furcht und Sorgen sein. Nur das eine tut mir leid, dass die schöne Lustbarkeit sich verwandelte in Streit. Während alle Stadinger zu besänftigen suchen, fällt der Vorhang All rights reserved © Maria Fujioka Lortzing,Albert/Der Waffenschmied/III
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Schau zum Mond 「月を見よう」 詞／In Extremo 曲／In Extremo 言語／ドイツ語 歌詞 Wenn die Sonne rot im Meer versinkt Der Mond sich auf zum Himmel schwingt Die dunkle Nacht den Tag verschlingt Der Tanz von vorn beginnt Das fahle Licht ist nur für ihn bestimmt Sein Körper nun Gestalt annimmt Erntet, was die Nacht heute bringt Der Rausch von vorn beginnt Wo ziehst du hin, wo kommst du her? Noch plagt mich mein Gewissen Du ziehst so leicht, ich tue mich schwer Wirst gleich der Welt entrissen Nun schau zum Mond Die Sehnsucht wird belohnt Was in uns wohnt Hoch am Himmel thront Finsternis ist nur für den gemacht Der neu geboren als Tier erwacht Wenn bleicher Mond den Weg bewacht Pass auf mein Kind, gib Acht! Schwer hängt der Nebel überm Moor Die Kälte dringt zum Herzen vor Er schaut noch mal zum Mond empor Flüstert in ihr Ohr Wo ziehst du hin, wo kommst du her? Ich will es gar nicht wissen Du machst es leicht, es fällt nicht schwer Wirst gleich der Welt entrissen Nun schau zum Mond Die Sehnsucht wird belohnt Was in uns wohnt Hoch am Himmel thront Nun schau zum Mond Die Sehnsucht wird belohnt Was in uns wohnt Hoch am Himmel thront Mein Herz, das will zurück zu mir Auch wenn es mich in Stücke reißt Doch heute Nacht, da weint der Mond mit dir Nun schau zum Mond Die Sehnsucht wird belohnt Was in uns wohnt Hoch am Himmel thront Nun schau zum Mond Die Sehnsucht wird belohnt Was in uns wohnt Hoch am Himmel thront 日本語訳 赤い夕日が海に沈むと 月が空へと躍り出る 暗い夜が昼を飲み込むと 踊りが始まるのだ かすかな光が月のために残る そしてその体が今、姿を現した 夜が今日持ってきたものを手にし 陶酔の時が始まるのだ 君はどこへ向かうのか、どこからやって来たのか 誠実でいようとすると、いまだに心が苦しくなる 君は気楽でいられるけれど、俺には難しいんだ 君は今にも世界から奪い去られてしまうだろう ならば月を見よう 憧れは報われるのだ 俺たちの中に住んでいたものが 空高く鎮座している 暗闇は彼らのためだけに作られたのだ 生まれ変わり、獣として目覚めた者たちのために 青白い月が夜道を見守るときは いいかい、我が子よ、気をつけるんだよ 霧が重苦しく湿地の上にかかり 寒さが心臓に向かって入り込んでくる 彼はもう一度月を見上げると 彼女の耳に囁きかけた 君はどこへ向かうのか、どこからやって来たのか そんなことはもうどうでもいい 君が簡単にやってのけるんだ、そんなに難しくはないだろう 今にも君は世界から奪い去られてしまうのだろうが ならば月を見よう 憧れは報われるのだ 俺たちの中に住んでいたものが 空高く鎮座している ならば月を見よう 憧れは報われるのだ 俺たちの中に住んでいたものが 空高く鎮座している 俺の心は、君の元に戻ろうとしている たとえ自分の身が粉々になろうとも でも今夜、月は君とともに泣いている ならば月を見よう 憧れは報われるのだ 俺たちの中に住んでいたものが 空高く鎮座している ならば月を見よう 憧れは報われるのだ 俺たちの中に住んでいたものが 空高く鎮座している
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KielInstofWorldEconomics? ChristianM.Scholz? FrankStahler? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-International? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-General? Subjects-Nonfiction-Politics-International-Relations? Subjects-Nonfiction-SocialSciences-PoliticalScience-LevelsofGovernment-FederalGovernment? Subjects-Nonfiction-Government-PublicPolicy? Subjects-Nonfiction-Economics-General? Subjects-Nonfiction-Economics-International? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Environment? Subjects-Professional&Technical-Accounting&Finance-International-Economics? Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-General? Subjects-Science-Nature&Ecology-Environment? The Economics of International Environmental Problems Kiel Inst of World Economics? Universitat Kiel Institut Fur Weltwirtschaft? Horst Siebert? KielInstofWorldEconomics? UniversitatKielInstitutFurWeltwirtschaft? HorstSiebert? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-International? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-RealEstate-General? Subjects-Nonfiction-Politics-International-Relations? Subjects-Nonfiction-Economics-General? Subjects-Nonfiction-Economics-International? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General? Subjects-Professional&Technical-Accounting&Finance-International-Economics? Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Kulturlandschaftsforschung (iff-Texte Bd. 5) Springer Verlag Wien? Helmut Haberl? Gerhard Strohmeier? SpringerVerlagWien? HelmutHaberl? GerhardStrohmeier? ジャンル別? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-UrbanPlanning&Development-General? Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-General? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Wie moechten wir in Zukunft leben. Der harte und der sanfte Weg. Beck C. H.? Klaus Michael Meyer-Abich? Bertram Schefold? BeckC.H.? KlausMichaelMeyer-Abich? BertramSchefold? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-General? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Handbuch des Umweltmanagements Beck C. H.? Gerhard Praetorius? Ulrich Steger? BeckC.H.? GerhardPraetorius? UlrichSteger? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Umweltbewusstsein und persoenliches Handeln Deutscher Studienverlag? Rudolf Guenther? Gerhard Winter? DeutscherStudienverlag? RudolfGuenther? GerhardWinter? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-SocialSciences-HumanGeography? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Management der Umweltbeziehungen. Oeffentliche Auseinandersetzungen als Herausforderungen Gabler, Betriebswirt.-Vlg? Thomas Dyllick? Gabler,Betriebswirt.-Vlg? ThomasDyllick? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Fundamente der Oekonomie. Oekologie und Kultur Gabler, Betriebswirt.-Vlg? Peter Bendixen? Gabler,Betriebswirt.-Vlg? PeterBendixen? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Gabler Kompakt- Lexikon Umwelt- und Wirtschaftspolitik. 2800 Begriffe nachschlagen, verstehen, anwenden Gabler, Betriebswirt.-Vlg? Michael Olsson? Dirk Piekenbrock? Gabler,Betriebswirt.-Vlg? MichaelOlsson? DirkPiekenbrock? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Struktur und Entwicklung von Umweltschutzaufwendungen in der Industrie Duncker & Humblot GmbH? Rolf-Ulrich Sprenger? Duncker&HumblotGmbH? Rolf-UlrichSprenger? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Ein Planet wird gerettet. Eine Chance fuer Mensch, Natur, Technik Econ, Muenchen? Friedbert Pflueger? Econ,Muenchen? FriedbertPflueger? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Global Monitoring of Terrestrial Ecosystems John Wiley & Sons Ltd (Import)? United Nations Environment Programme. Harmonization of Environmental Measurement Office? W. Schroder? O. Franzle? H. Keune? P. Mandry? JohnWiley&SonsLtd(Import)? UnitedNationsEnvironmentProgramme.HarmonizationofEnvironmentalMeasurementOffice? W.Schroder? O.Franzle? H.Keune? P.Mandry? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-RealEstate-General? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-Monitoring? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Fauna-Wildlife? Subjects-Outdoors&Nature-Ecology-General? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-Monitoring? Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-Nature&Ecology-General? Subjects-Science-Nature&Ecology-Animals-Wildlife? Der Weg aus der Krise. Umrisse einer sozialoekologischen Marktwirtschaft Kindler Verlag? Wolfgang Roth? KindlerVerlag? WolfgangRoth? ジャンル別? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Oekologieorientierte Volkswirtschaftslehre Oldenbourg Wissensch.Vlg? Guenter Hobbensiefken? OldenbourgWissensch.Vlg? GuenterHobbensiefken? ジャンル別? Subjects-Business&Investing-Economics-Theory? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-Theory? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-Theory? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Weil ich ein Lied hab'. Die Politik einer Umweltministerin Piper Verlag GmbH? Monika Griefahn? Anne. Buhrfeind? PiperVerlagGmbH? MonikaGriefahn? Anne.Buhrfeind? ジャンル別? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Umweltvertraeglichkeitspruefung in der Europaeischen Gemeinschaft Schmidt Erich Verlag? Reinhard Coenen? Juliane Joerissen? SchmidtErichVerlag? ReinhardCoenen? JulianeJoerissen? ユーズドブック(洋書)-Law? Subjects-Business&Investing-Economics-NaturalResources Subjects-Law-Business-Labor&Employment? Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Nonfiction-Law-Business-Labor&Employment? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Grundlagen der Umweltberatung. Ziele, Inhalte, Modelle Schmidt Erich Verlag? Hans-Peter Obladen? SchmidtErichVerlag? Hans-PeterObladen? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Die Organisation des betrieblichen Umweltschutzes Schmidt Erich Verlag? Manfred Matzel? SchmidtErichVerlag? ManfredMatzel? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Geld und Natur Ed. Erdmann, Stuttgart? Hans Christoph Binswanger? Ed.Erdmann,Stuttgart? HansChristophBinswanger? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Oekologische Knappheit Vandenhoeck + Ruprecht Gm? Walter Ludwig Buehl? Vandenhoeck+RuprechtGm? WalterLudwigBuehl? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Makrooekonomik des Umweltschutzes Vandenhoeck + Ruprecht Gm? Dieter Bender? Vandenhoeck+RuprechtGm? DieterBender? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Dictionary of Renewable Resources Vch Verlagsgesellschaft Mbh? Hans Zoebelein? Volker Bollert? VchVerlagsgesellschaftMbh? HansZoebelein? VolkerBollert? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-Industries&Professions-RealEstate-General? Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-General? Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-Science? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Environment? Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-General? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Botany? Subjects-Professional&Technical-ProfessionalScience-Physics-Energy? Subjects-Reference-Dictionaries&Thesauruses-General? Subjects-Reference-Dictionaries&Thesauruses-Science? Subjects-Science-General Subjects-Science-Nature&Ecology-Environment? Subjects-Science-Physics-Energy? Subjects-Science-Technology-RenewableEnergy? Subjects-Science-BiologicalSciences-Botany-General? Oekologische Krise und Marktmechanismen. Umweltoekonomie in evolutionaerer Perspektive Westdt. Vlg., Wiesbd.? Franco Furger? Westdt.Vlg.,Wiesbd.? FrancoFurger? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Marktorientierte Instrumente der Umweltpolitik Westdt. Vlg., Wiesbd.? Armin Sandhoevel? Westdt.Vlg.,Wiesbd.? ArminSandhoevel? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Umweltschutz im Betriebsalltag. Praxis und Perspektiven oekologischer Arbeitspolitik Westdt. Vlg., Wiesbd.? Martin Birke? Michael Schwarz? Westdt.Vlg.,Wiesbd.? MartinBirke? MichaelSchwarz? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Oekologische Zivilisierung. Verhalten in der Umweltkrise Wissenschaftl.Buchgesell.? Walther Koesters? Wissenschaftl.Buchgesell.? WaltherKoesters? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Umwelt und Entwicklung in den Tropen. Naturpotential und Landnutzung Wissenschaftl.Buchgesell.? Walther Manshard? Ruediger Maeckel? Wissenschaftl.Buchgesell.? WaltherManshard? RuedigerMaeckel? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Efficient Conservation of Crop Genetic Diversity Theoretical Approaches and Empirical Studies Springer? Detlef Virchow? Springer? DetlefVirchow? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-EconomicPolicy&Development? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-Industries&Professions-RealEstate-General? Subjects-Home&Garden-Gardening&Horticulture-General? Subjects-Nonfiction-Economics-General? Subjects-Nonfiction-Economics-EconomicPolicy&Development? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Fauna-Wildlife? Subjects-Outdoors&Nature-Conservation-General? Subjects-Outdoors&Nature-Ecology-LivingontheLand? Subjects-Outdoors&Nature-Ecology-General? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General? Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicPolicy&Development? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-General? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Ecology? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geology? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-EarthSciences-Geology-General? Subjects-Science-EarthSciences-Ecology-General? Subjects-Science-General Subjects-Science-Nature&Ecology-General? Subjects-Science-Nature&Ecology-Animals-Wildlife? 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Subjects-Engineering-Civil-Environmental-Hydrology? Subjects-Engineering-Civil-Environmental-Groundwater? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Ecology-LivingontheLand? Subjects-Outdoors&Nature-NaturalResources-WaterSupply&LandUse? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-Hydrology? Subjects-Professional&Technical-Engineering-Civil-Environmental-Groundwater? Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-General? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geology? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-EarthSciences-General? Subjects-Science-EarthSciences-Geology-General? Subjects-Science-EarthSciences-Geology-Hydrology? Subjects-Science-General Subjects-Science-Nature&Ecology-WaterSupply&LandUse? Challenges to the World Economy Festschrift to Horst Siebert Springer? Rudiger Pethig? Michael Rauscher? Springer? RudigerPethig? MichaelRauscher? Subjects-Business&Investing-Biographies&Primers-Policy&CurrentEvents? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-Development&Growth? Subjects-Business&Investing-Economics-International? Subjects-Business&Investing-Economics-EconomicPolicy&Development? Subjects-Business&Investing-Economics-NaturalResources Subjects-Nonfiction-Politics-General? Subjects-Nonfiction-Politics-International-Relations? Subjects-Nonfiction-Economics-Development&Growth? Subjects-Nonfiction-Economics-General? Subjects-Nonfiction-Economics-International? Subjects-Nonfiction-Economics-EconomicPolicy&Development? 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Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Accounting&Finance-Finance-General? Subjects-Professional&Technical-Accounting&Finance-Finance-Finance&Investing? Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-Urban&Regional? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geography? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-EarthSciences-Geography-General? Subjects-Nonfiction-Economics-NaturalResources 洋書
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管理人より こちらに掲載している原語リブレットはどうやらホーフマンスタールの生台本だったようで、シュトラウスが音楽を付けてない部分や追加した詩句があるようです。生台本は話のつながりがスムーズな点もあるということで、wagnerianchanさまはそのまま訳出してくれました。管理人がシュトラウスがカットした原語部分をグレーにする処理を行っています。通常のリブレット日本語対訳はこちらをご覧ください。 → メモ@広報室 第３幕 （ホテルの中。部屋につながる階段のある公共空間。階段は２度カーブしながら上階につながっている。階下には、新聞を置いた机、揺り椅子、肘掛椅子がいくつか置かれている。舞台右側前方には警備員室があり、通りへの出口がある。 夜。部屋は石油ランプで照らされている。制服を着たマッテオが、２階の階段の手すりにもたれているのが見える。彼は階下を見ている。玄関扉の鈴が鳴ると、マッテオは姿を消す。部屋係がポーターの控室から出て来て、鍵を開ける。 フード付きのコートに身を包み、舞踏会から帰ってきたアラベラが入ってくる。部屋係はまたいなくなる。アラベラはゆっくりと階段の方に進む。彼女の目は半ばつぶったままで、表情は幸せに満ちあふれている。 彼女を取り巻いているのはダンスのリズムだが、それにマンドリカのスラブ風の話し方のリズムがからんでいく。アラベラは微笑みを浮かべる） ARABELLA （うつつに夢を見るかのように、舞台前方の揺り椅子に座り、静かに揺する。物思いにふけりながら声に出して独り言を言う）馬車は走るわ。あの方の野原を横切って・・・ 木が高くて静かな森を越えて・・・ そう、あの方によくお似合い。 木が高くて静かな森。 すると騎兵たちが、あの方を出迎えに来るの。 あの方は言うわ。「我が家の女あるじだ」 続けて言うわ。「私が連れて来たのだ」 「皇帝のまします首都からな。だが、もはや首都にお戻りになることはない。ずっと私とともに、この森で暮らし続けるのだ」 MATTEO （また上に姿を現し、手すり越しに身をかがめる。階下で座っている女性を見ると、それがアラベラなので信じられず、思わずささやく） アラベラじゃないか！有り得ない！考えられないことだ！ （アラベラは、幸せな夢想からパッと覚める。後ろにいるマッテオには気がつかないが、何となく一人じゃないのを感じる。マッテオは静かに階下に下り、アラベラに一礼する） ARABELLA （びっくりするが取り乱すことなく、素早く立ちあがり） あなたがここに？こんな遅くに？ ここに住まっておられるとでも？ MATTEO （二人の関係をほのめかすかのように） あなたがここに？ それはぼくのセリフさ、アラベラ！ （一歩進み出て） こんな遅くに、また外出したのかい？ ARABELLA 私は舞踏会から帰ってきて、部屋に行くところよ。 おやすみなさい。 （会釈して、マッテオの脇をすり抜けて部屋に上がっていこうとする） MATTEO （限りなく皮肉を込めて） 舞踏会帰りとはねえ！部屋に行くところ！ （半ば独り言で） 乙女心の神秘･･･何ともきわめがたい！ ARABELLA そうよ。おやすみよ。何がそんなに面白いのよ？ MATTEO おいおい、アラベラ！ （意味ありげに恋の微笑を浮かべている） ARABELLA 何かまだおっしゃりたいことがあるのなら、 お願いですから昼間にして！今ここでは、いや！ MATTEO 何か・・・まだ？ぼくが・・・まだ・・・何か？ ああ、可愛いアラベラ！ぼくは今日のことを 死ぬまで感謝し続けるつもりだよ！ ARABELLA 感謝する・・・何をよ？もう全て終わってしまったというのに。 MATTEO （激しい皮肉を込めて） 感謝？何を？・・・ぼくにはわからない芸当だよ！ ぞっとするほどの名人芸だな。 ARABELLA どういうことよ？ MATTEO 何とまあ、熟練の上演だろう。喜劇のための喜劇。 観客なしの喜劇上演！ もうたくさんだ！魔女の魔法と変わらないよ！ ARABELLA 何一つ言っていることがわからないわ。 ですから、おやすみなさい。 （マッテオは道をふさぐ） MATTEO ならいいよ！だが、もう一度、もう一度だけ、 目を見せてくれないか？ 君の心はあの時と同じだという目を！ ARABELLA あの時と同じ？ MATTEO （燃え上がるように） １５分前と同じ目さ！ ARABELLA （全く悪びれずに） １５分前に、私はここにはいなかったわ！ （楽しいことを思い出した表情で） MATTEO １５分前だよ！いたくせに！上に！ ARABELLA （まるで事情が分からぬまま、上のほうを見る） 何をおっしゃっているのか分からない。 もうここにはいたくないわ。 MATTEO あんまりだ！あんな時を過ごした後に、 こんなにも神経を冷たくもてあそばれては、誰も耐えられない！君が偽りを言えないようにするためには、君の体を流れている血に訴えるしかないのかい！ （アラベラの腕をつかむ） ARABELLA あなた、正気じゃないわ！ マッテオ！そこを通してよ。でないと、人を呼ぶわよ！ MATTEO あなたは、一人の男を狂わせてしまった。 この世のほかの誰でもない。あなたがです！ 最後に一度でいいから、あなたの眼差しで、 あの部屋でぼく達の間に起こった出来事を確信させてください。それ以上のことを何も望んではいないのです！ （部屋係が静かにポーターの控室から出て来て、玄関の鍵を開けに行く） ARABELLA 人が来たわ。行かせてちょうだい！ MATTEO ぼくは君に誓った。君は、これからは、ぼくから自由だと。 君の涙に、ささやくようなキスに、 ぼくは誓った・・・ 明日からは自由だと！誓いは守るよ！ だけど暗闇の中で、君の目は見えなかった・・・ 一目だけでもぼくを見てくれ。 その眼差しが全てを封印したときこそ、 君は永遠に自由の身になるんだ！ （アデライーデが登場する。その後ろにはマンドリカが現れるが、すぐに立ち止まる。ヴァルトナーも登場し、最後に３人のギャンブル仲間が現れるが、彼らは薄暗いロビーに立ち止まったままでいる。その後ろからはヴェルコとデューラも現れる。マッテオは当惑して、ぎこちなく舞台の脇に退く） ADELAIDE まあ、階段部屋で密会なんて！ だから、戻ってこなかったってわけ？ ねえ、あなた、どういうこと？ ARABELLA 何でもないわ、ママ。何でもないの。 MANDRYKA （マッテオをじっと見つめる） そう。鍵を持っていった奴はこいつだ。 ARABELLA （マンドリカに一歩歩み寄って、まるで屈託のない様子で） 今日はもうお会いすることはないと 思っていましたわ。マンドリカさん！ MANDRYKA （むっつりしたままアラベラに） まことに。 伯爵令嬢、おいとましてよろしいでしょうか！ （来た方向を逆戻りしていく） ヴェルコ！ WELKO （マンドリカの近くに来て） 大侯様、やはりあの男ですか？ MANDRYKA お前もわかったろ。一番列車で家に帰ろう。 ARABELLA （マンドリカに歩み寄って） あなたが気にすべきことなど、 何もありません。マンドリカ。 帰宅したら、この方に出くわしたのです。 私たちの古くからのお友達ですの。お望みなら、 後で詳しいことをお話しいたしますわ。 MANDRYKA 本当に、おいとまさせていただきたいのです！ （去ろうという表情を見せる） （アラベラは、驚いて首を横に振る） ADELAIDE ああ、ウィーン！この中傷と陰謀に満ちた街！ （マッテオに） この疫病神め！ WALDNER （マンドリカを引きとめながら） もう少し、ここにいてくださいよ！ どうやら、何か誤解が あるようですからな！ （アラベラに） 娘よ、お前に質問だ！どこから帰ってきた？ お前は、舞踏会からの帰り道を少尉殿に送ってもらったのか？ お前も同意したのか？ ARABELLA パパ！あたしの顔をよく見て！一人頭が変になったからといって、みんながいっぺんにおかしくなることないじゃない？ WALDNER 何も言うべきことはないのだな？ ARABELLA 絶対にありません。 昨夜からパパが知っていること以外には。 それとも何かご存知のことがあるの？ WALDNER とても気が軽くなったよ。 （アラベラの額にキスして、マンドリカに） 見ての通りです！ 何もなかったのです！全く何も！ こんな騒ぎはもう忘れましょう。そして「おやすみ」としましょう！ （ギャンブル仲間たちに） 向こうの部屋に行こう。続きのゲームといこう。 MANDRYKA （アラベラに歩み寄って、彼女にのみ話しかける） 金と善意の許す限り、 私は、この醜い喜劇を隠し通すつもりです。 それというのも、お嬢さん、私はあなたが 仕組んだ役回りには、まるで向いていないからです。 ARABELLA 何ということを私に！私をどんな女だと思っているの？ MANDRYKA 残念ですが、まさにそのままのあなたとしてですよ。 ARABELLA （大きな叫び声をあげるように） こんなひどいこと、夢にも見たことがないわ！ MANDRYKA （背を向けると、独り言で） ばかな、ばかな、なぜ、こんなことが！ ばかな、なぜこんなことが！ ADELAIDE ああ、三重に不幸な出会いだわ！ WALDNER お願いですから、下手なアリアはやめてください！ ARABELLA （マンドリカ一人に向けて） 聞いて、マンドリカ。天の神様に誓って、 あなたの赦しが必要なことは、私、何もしていないわ！ むしろ私よ！もし、それが可能なら、あなたが、そんな言い方で私に言った言葉を許してあげねばならないのは！ MANDRYKA （怒りに燃えてマッテオを見つめる） 私にも同じ言葉を言わせてください。 目が見えなければ良かったんでしょうが、 あいにく目がいいのです。 耳が聴こえなければ良かったんでしょうが、 あいにく耳がいいのです。 頭が弱ければ良かったんでしょうが…そしたら、あるいは、 あそこにいた男に気付くこともなく、 夜にどんなゲームが行われているかも わからなかったかも知れません！ MATTEO （マンドリカの表情と眼差しにこめられた侮辱に傷ついて） あなたが何か権利をお持ちだというのなら、 例えその権利が最近生じたものだとしても、 私は受けて立つつもりです！ ARABELLA （両者の間に立ちながら） そうよ。この方はその権利を持っているわ。 私の婚約者なんですもの！ 一方あなたには、わずかな権利もないわ。 かけらほどの権利も！ さあ、ご自分の口でおっしゃって！ MATTEO （苦悩に満ち、ためらいながら） いいえ。何も・・・ ARABELLA （マンドリカに） お聴きの通りよ。 MANDRYKA 本人に語らせるんだ！ 口から出かかっていた言葉がある・・・ 「いいえ。何も・・・ただし」そう言おうとして、 すぐに飲み込んだじゃないか。 私は、ちょうど唇から出かかっているのを見たんだ。 ARABELLA マッテオ。あなたがそんな卑しい人と思ったことはないわ！ 私に何をしようというの・・・！ あなたは強情のあまり、私を世間の恥さらしにしようとしているのよ！ ADELAIDE 呪わしい陰謀家め！ 娘を盗み取ろうとするなんて！ MANDRYKA （一歩マッテオに近づいて） 「ただし！」さあ、秘めた真実をお話しなさい！ MATTEO （きっぱりと） 何も！何も話すことはありません！ MANDRYKA （アラベラに） この人はこう言おうとしたのです・・・ 「ただし、この夜私が得た権利により」と！ 聞いてみなさい。あなた一人にならば、 その一言を言うかもしれませんよ！ ARABELLA （マッテオに） この人の前で、 何か言うことはある？ MATTEO （うつむいて） 何も。 MANDRYKA おめでとうございます。少尉殿。 こんなに美しくて口の堅い少女を得て、 まことに幸せですな。 お二人とも全くご立派な方々ですよ。 ARABELLA 聞いた？パパ！ WALDNER マンドリカ！きちんと説明してもらおうじゃないか！ 娘よ！おいで！ ARABELLA （その場に立ち止まったまま、苦悩に満ちた表情をしている） もうどうにでもなるがいい！生きていたって何の意味も無いわ！ この世に何かいいことがあるというの？ この人がこんなに弱くて、私を信じる力を持っていないのなら・・・つまらないことで、私を捨ててしまうのなら！ DIE GÄSTE＜ホテルの客たち （階段の上でぶつぶつ言いあう） 何なんだ？知り合いどうしか？誰が誰をつかまえたんだ？何なんだ？女が出て行こうとしているぞ？あの少尉と一緒にか？ ADELAIDE （大きな身振りでヴァルトナーに向かって） だめよ。この若者をあなたのピストルの前に引き出す価値などないわ！テオドール！ 結婚を断れた男の卑劣な悪だくみよ。それ以上のことではないわ！ WALDNER あの男のことなど言ってないぞ。マンドリカだ・・・ わしへの名誉毀損を償う義務がある。すぐにだ。 わしのピストルはどこだ？何っ？売り払った？ こんちくしょう！ ならば、新しいのを仕入れてこよう。 EINER DER SPIELER 異議あり！ まず我々からの借入れを返済してください！ MATTEO 悪いのは私一人です。全ての言葉を撤回します。そして全ての眼差しを！みなさん、誤解しています。 あなたが聞けるだろうと思っていたことを、 私は思い浮かべたこともありません。 誰か罰を受けるべき者がいるなら、それは私です！ WALDNER （鋭い口調で） 足をつっこむと同時に、その足を洗う・・・ 私の若い頃は、将校はそんなことをしませんでしたぞ！ MANDRYKA （アラベラ一人に向けて） この若者は、考えられる限り最高に勇敢に振舞っている。 あなたも、そろそろ少し考えてあげたほうがいいのではないですか。 本当のことを言ってください！私一人に！ あなたの愛人なのですね！私は何でもしましょう・・・ 私のことを信用してもらえますか、アラベラ！ ARABELLA （しっかりとマンドリカを見つめて） マンドリカ！私の魂と心の平和に誓って、 本当のことを言っているわ！ MANDRYKA 心にそんな誓いを立ててはいけません！ あなたのことで、こんなにも苦しんでいるのに！ （独り言で） ああ、神よ！この女性のせいで、なぜこんな恥ずかしい思いをさせるのですか！ （もう一度アラベラに、小声で） 私は少年を見たのです。 あなたの部屋の鍵をこの男に渡した少年の姿を見たのです。 ARABELLA どんな少年ですか？ MANDRYKA あなたが使いに出した従者の少年ですよ！ ARABELLA ズデンコのこと？何てこと？他に誰が？ MANDRYKA ああ！打ち明けてほしいのです！私にだけは！ ARABELLA （独り言で） 地獄が私に向かって口を開けているようだわ！ MANDRYKA 私の人生を台無しにした男を、 あなたの愛人として赦さねばならぬのですか？お答えを！ ARABELLA 真実を私は話します。マンドリカ。真実だけが私の味方です。 その他全てのことは、私の味方をしてくれないからこそ、よけい真実を語るのです。 MANDRYKA これが最後です！あなたは結婚するおつもりなのですか？ 私たちの婚約の１０分後に 逢引したその男と！ ARABELLA 質問に答える必要はございません、 マンドリカさん。 （マンドリカから離れる） ああ、神様・・・私にふさわしい方だと思ったのに、やはりふさわしい方ではなかったのね？（腰をおろして） 神様、私を骨の髄まで打ち砕いてしまって、 このあと私には何が残るというのでしょう？ MANDRYKA （怒りに燃えて） よろしい。ヴェルコよ。武器商店の門を破って、いくら金がかかってもかまわんから、サーベルを手に入れてこい！ 重たいサーベルを２振り！良く砥いであるサーベルだ！ すぐ持ってくるんだ！医者も１人叩き起こせ！ それ以外は何もいらん。そこに庭があるのだから。 （半分マッテオのほうに向きなおって） 立会人なしで、決着させましょう。 （シガレットケースを取り出して、考え事をしながら、マッテオにも一つ差し出すが、マッテオは断る） みなさんは、その時まで、 私たちを二人にさせていただけませんかな。 （タバコを吸う） （漠然とした予感の中で） DRITTER AUFZUG Im Hotel. Offener Raum, zugleich Stiegenhaus. Die Stiege läuft in zwei Wendungen aufwärts. Unten stehen ein paar Tische mit Zeitungen, Schaukelstühle, Fauteuils. Vorne rechts ist die Portiersloge und der Ausgang auf die Gasse. Es ist Nacht; der Raum ist mit Öllampen erleuchtet. Matteo, in Uniformbluse, wird am Stiegengeländer in der Höhe des ersten Stocks sichtbar. Er späht hinunter. Es läutet an der Haustür, Matteo verschwindet. Der Zimmerkellner tritt aus der Portiersloge hervor, sperrt auf. Arabella tritt ein, in Mantel und Capuchon, vom Ball kommend. Der Zimmerkellner verschwindet wieder. Arabella geht langsam auf die Stiege zu. Ihre Augen sind halb geschlossen, ihr Gesicht hat einen glücklichen Ausdruck. Die Musik des Balles umschwebt sie, durch die Tanzrhythmen schlingt sich der Rhythmus von Mandrykas slawischer Redeweise. Sie lächelt ARABELLA wie wach träumend, setzt sich in den vordersten Schaukelstuhl und wiegt sich leise, vor sich laut denkend Über seine Felder wird der Wagen fahren und durch seine hohen stillen Wälder - ja, zu denen passt er hohe stille Wälder. Und dann werden seine Reiter uns entgegenkommen »Das ist Eure Herrin«, wird er sagen, »die ich mir geholt hab«, wird er sagen, »aus der Kaiserstadt, jetzt aber will sie nimmermehr zurück, bleiben will sie nur bei mir in meinen Wäldern.« MATTEO erscheint wieder oben, er beugt sich übers Geländer. Er erblickt die unten Sitzende, kann es kaum glauben dass es Arabella ist, flüstert vor sich hin Arabella! unmöglich! es ist ja nicht denkbar! Arabella fährt aus ihrer glücklichen Träumerei auf. Sie sieht Matteo nicht; er ist ihr im Rücken. Sie spürt nur, dass sie nicht mehr allein ist. Matteo leise unten angelangt, verneigt sich vor ihr ARABELLA erstaunt aber ohne Erregung; sie steht schnell auf Sie hier? So spät? So wohnen Sie noch immer hier im Haus? MATTEO mit versteckter Beziehung Sie hier? so muss ich fragen, Arabellal Einen Schritt näher Sie gehn so spät noch einmal aus? ARABELLA Ich komme heim vom Ball und gehe auf mein Zimmer. Gute Nacht. Sie nickt ihm zu und will an ihm vorbei hinauf gehen MATTEO mit unendlicher Ironie Sie kommen heim vom Ball! Sie gehen auf Ihr Zimmer! Halb für sich Geheimnis eines Mädchenherzens, unergründliches! ARABELLA Ja. Gute Nacht. Was amüsiert Sie da so sehr? MATTEO Oh, Arabella! Er lächelt verliebt und vielsagend ARABELLA Wenn Sie mir noch etwas zu sagen haben, dann bitte ich, bei Tag! nicht jetzt, nicht hier! MATTEO Noch - etwas? Ich - noch - etwas? Oh süsse Arabella, danken will ich dir von heute bis ans Ende meines Lebens! ARABELLA Danken - wofür? Das ist doch alles ein für allemal vorbei. MATTEO mit stärkster Ironie Danken? wofür? - die Kunst ist mir zu hoch! Mir graut vor so viel Virtuosität. ARABELLA Was haben Sie? MATTEO So meisterhaft Comödie spielen, nur um der Comödie willen, Comödie spielen ohne Publicum! das ist zu viel! das grenzt an böse Hexenkünste! ARABELLA Von allen Ihren Reden da versteh ich nicht ein Wort, und somit gute Nacht. Matteo vertritt ihr den Weg MATTEO Schon gut! jetzt einen Blick noch, einen einzigen, der mir sagt, dass du im Innersten die gleiche bist! ARABELLA Die gleiche? MATTEO glühend Wie vor einer Viertelstunde! ARABELLA ganz arglos Vor einer Viertelstunde war ich anderswo! Mit dem Ausdruck verklärter Erinnerung MATTEO Vor einer Viertelstunde! ja! da oben! ARABELLA einen Blick nach oben, ohne Verständnis Ich weiss nicht was Sie meinen, und ich möchte hier nicht länger stehn. MATTEO Das ist zu viel! So kalte Herrschaft über jeden Nerv nach solchen Augenblicken - das erträgt kein Mann! Ich appelliere an den einen Blutstropfen in dir der unfähig zu heucheln ist! Er packt sie am Arm ARABELLA Sie sind ja nicht bei sich! Matteo! Geben Sie den Weg mir frei oder ich rufe! MATTEO Du könntest einen Mann zum Wahnsinn bringen, du, so wie niemand auf der Welt! Bekräftige mit einem einzigen letzten Blick was zwischen uns gewesen ist dort oben und nichts auf dieser Welt verlang ich mehr von dir! Zimmerkellner kommt leise aus der Portiersloge, geht aufsperren ARABELLA Hier kommen Menschen, lassen Sie mich los! MATTEO Ich habs geschworen, dass du frei sein wirst von mir, in deine Thränen, in deine flüsternden Küsse hab ichs geschworen - von morgen ab! Ich halte meinen Schwur! Im Dunkel waren wir, ich habe deine Augen nicht gesehen Gib einen Blick mir jetzt, der alles noch zum letzten Mal besiegelt, und du bist frei für immer! Adelaide, hinter ihr Mandryka, der sofort stehen bleibt, dann Waldner, zuletzt die drei Spieler, die im halb dunklen Vestibül stehen bleiben; hinter ihm Welko und Djura. Matteo tritt ungeschickt und verlegen zur Seite ADELAIDE Welch ein erregtes tête-à-tête im Stiegenhaus! Du hast dich also nicht zurückgezogen? Mein Kind, was soll das heissen? ARABELLA Aber nichts, Mama. Gar nichts. MANDRYKA sieht starr auf Matteo Ja. Es ist der Verfluchte mit dem Schlüssel. ARABELLA tritt einen Schritt gegen Mandryka, ganz unbefangen Sie hab ich heut nicht mehr zu sehn vermutet, Herr von Mandryka! MANDRYKA finster zu Adelaide Sehr wohl. Ich bitte, Gräfin, um Erlaubnis, mich zurückzuziehn! Zurücktretend Welko! WELKO bei ihm Der Gospodar hat ihn erkannt? MANDRYKA Du packst. Wir fahren mit dein ersten Zug nachhaus. ARABELLA zu Mandryka hintretend Hier ist nichts, das Sie anginge, Mandryka. Ich komm nachhaus, begegne diesem Herrn. Das ist ein alter Freund von uns. Darüber alles erzähl ich Ihnen später, wenn Sie wollen. MANDRYKA Ich bitte wirklich sehr, mich zu entschuldigen! Er macht Miene zu gehen Arabella schüttelt erstaunt den Kopf ADELAIDE Oh Wien! du Stadt der médisance und der Intrige! Gegen Matteo Sie Unglückseliger! WALDNER Mandryka aufhaltend Du bleibst noch einen Augenblick! Es scheint, dass hier noch Missverständnisse geblieben sind! Zu Arabella Ich frage dich, mein Kind! Wo kommst du her? Hat der Herr Leutnant dich vom Ball nachhaus begleitet mit deiner Zustimmung? ARABELLA Papa, so schau mir ins Gesicht! Kann ein Verrückter alle närrisch machen auf eins zwei? WALDNER Du hast mir nichts zu sagen? ARABELLA Aber wirklich nichts, als was du ohnehin schon weisst, Papa, seit heute abend. Oder weisstdu's etwa nicht? WALDNER Da bin ich sehr erleichtert. Küsst Arabella auf die Stirn. Zu Mandryka Also bitte! Es ist nichts vorgefallen! aber gar nichts! Schwamm drüber über alle Aufregung und gute Nacht! Zu den Spielern Ich bitte dort hinein. Wir spielen sofort weiter. MANDRYKA tritt zu Arabella, spricht nur zu ihr Ich werde helfen, soviel Geld und guter Wille helfen kann, vertuschen diese hässliche Comödie, da ich die Rolle nicht geeignet bin zu spielen, die Sie mir haben zugedacht, mein Fräulein. ARABELLA Wie reden Sie zu mir! Wer bin ich denn? MANDRYKA Sie sind halt eben, die Sie sind. ARABELLA quasi Aufschrei So ähnlich einem bösen Traum hab ich noch nie etwas erlebt! MANDRYKA wendet sich - für sich Nein, -nein, wie ist das möglich! nein, wie kann das möglich sein! ADELAIDE O dreimal unglückselige Begegnung! WALDNER Jetzt keine Arien, wenn ich bitten darf! ARABELLA nur zu Mandryka Mandryka, hören Sie, so wahr ein Gott im Himmel ist, so haben Sie mir nichts hier zu verzeihen! Viel eher muss ich Ihnen, wenn ich kann, verzeihen, was Sie zu mir geredet haben und in welchem Ton! MANDRYKA den Blick böse auf Matteo geheftet Ich bitte, mir dergleichen Sprüche zu ersparen. Ich müsste blind sein und hab leider scharfe Augen, ich müsste taub sein und hab leider gute Ohren, und müsste schwach im Kopf sein -dann vielleicht, dass ich das Individuum dort nicht erkennen täte und nicht verstünde, was hier für ein Spiel gespielt wird bei der Nacht! MATTEO getroffen von der Insulte, die in Mandrykas Blick und Miene liegt Mein Herr, falls Sie hier irgendwelche Rechte besitzen, wenn auch erst seit kurzer Zeit - ich stehe zur Verfügung! ARABELLA zwischen beiden stehend Ja, a l l e Rechte besitzt dieser Herr denn er ist mein Verlobter! und Sie besitzen das leiseste nicht, auch nicht einen Schatten von Rechten! Sagen Sie selber! MATTEO zögernd, gequält Nein. Keines - ARABELLA zu Mandryka Sie hören. MANDRYKA Hätten Sie den Herrn ausreden lassen! Ein kleines Wort war ihm noch auf der Zunge - »Nein keines - ausser« hat er sagen wollen und hat es schnell verschluckt Ich aber hab es grade noch gesehn auf seinen Lippen. ARABELLA Matteo, nie hab ich für niedrig Sie gekannt! Was tun Sie jetzt an mir - ! Sie wollen mich aus Trotz vor aller Welt compromittieren! ADELAIDE Unseliger Intrigant! so will er die Hand meines Kindes erschleichen! MANDRYKA tut einen Schritt näher zu Matteo »Ausser - «! Heraus mit der verschwiegenen Wahrheit! MATTEO fest Kein Wort! Kein Wort! MANDRYKA zu Arabella Ausser den Rechten, hat er sagen wollen - die diese Nacht verliehen hat! Versuchen Sie, vielleicht zu Ihnen ganz allein wird er ein Wörterl drüber sagen! ARABELLA zu Matteo Haben Sie vor diesem Herrn mir etwas noch zu sagen? MATTEO senkt den Kopf Nein. MANDRYKA Ich gratuliere Ihnen, Herr Leutnant, zu Ihrem Glück bei schönen Mädchen und zu Ihrer Discretion. Die beiden sind gleich gross. ARABELLA Hast du gehört, Papa! WALDNER Mandryka, dafür wirst du Rechenschaft mir geben! Komm her zu mir, mein Kind! ARABELLA bleibt stehen, wo sie ist, mit tief schmerzlichem Ausdruck Soll alles gehen wie es will, das Leben ist nichts wert! Was ist an allem in der Welt, wenn dieser Mann so schwach ist und die Kraft nicht hat an mich zu glauben - und mich dahingibt wegen eines Nichts! DIE GÄSTE oben auf der Treppe murmeln Wie? Kennen Sie sich aus? Welcher hat wen erwischt? Was? Sie hat fort gewollt? Wie mit dem Leutnant? ADELAIDE mit einer grossen Gebärde auf Waldner zu Nein, dieser junge Mensch ist es nicht wert vor dein Pistol zu kommen, Theodor! das ist die niederträchtige Cabale des abgewiesenen Freiers, und nichts weiter! WALDNER Von dem da redet niemand. Der Mandryka - der ist Genugtuung mir schuldig. Auf der Stelle. Wo sind meine Pistolen? was - verkauft? o Sakrament! Ich werd mir andre zu verschaffen wissen. EINER DER SPIELER Wir protestieren! Zuerst kommt die revanche, die Sie uns schulden! MATTEO Ich bin allein der Schuldige. Ich nehme jedes Wort zurück und jeden Blick! Missdeutet hat man alles. Ich habe nichts von dem gemeint, was Sie zu hören glaubten. Wenn jemand Strafe hier verdient hat, so bin ichs. WALDNER scharf Eintunken und reinwaschen wiederum in einem Atem das war zu meiner Zeit nicht Brauch bei Officieren 1 MANDRYKA nur zu Arabella Der junge Mensch benimmt sich brav wie möglich. Es wäre an der Zeit, dass Sie auf ihn ein bissl Rücksicht nehmen täten, schönes Kind. Gestehn Sie mir die Wahrheit, mir allein! Es ist Ihr Liebhaber! Ich werde alles tun - Sie können sich auf mich verlassen, Arabella! ARABELLA sieht ihn fest an Bei meiner Seel' und Seligkeit, Mandryka, die Wahrheit ist bei mir! MANDRYKA Nicht deine Seele so verschwören, Mädel! Mir tut das Herz zu weh um dich! für sich O Gott, was tust du mir für eine Schande an durch dieses Weib! nochmals zu Arabeila, leise Wenn ich den Buben doch gesehen hab, wie er den Schlüssel ihm hat übergeben zu Ihrem Zimmer. ARABELLA Was für einen Buben? MANDRYKA Den Buben, Ihren groom, den Sie geschickt! ARABELLA Den Zdenko? Mein Gott! oder wen? MANDRYKA Aha! Ich will, dass Sie gestehen! mir allein! ARABELLA für sich Ist denn die Hölle gegen mich verschworen! MANDRYKA Soll ich den Menschen dort, der mir mein Leben ruiniert hat, soll ich ihn schonen als Ihren Geliebten? Reden Sie! ARABELLA Die Wahrheit ist bei mir, Mandryka, nur die Wahrheit, denn alles sonst - das seh ich ja - ist gegen mich. MANDRYKA Zum letzten Mal! Willst du heiraten dort den Menschen mit dem du hast das süsse Stelldichein gehabt nach unserer Verlobung zehn Minuten! ARABELLA Ich habe nichts zu antworten, Herr von Mandryka, auf Ihre Fragen. Sie geht von ihm weg O Gott - so ist der Richtige doch nicht der Richtige? Setzt sich O Gott wie du mich demütigst bis ins Mark was von mir bleibt denn übrig noch nach dieser Stunde? MANDRYKA grimmig Auch gut. Aufsperren lass dir eine Waffenhandlung, Welko, soll kosten was es will, ich brauche Säbel! zwei schwere Säbel, scharfgeschliffene! Sofort hierher! und einen Doctor lass aufwecken, sonst brauch ich nichts. Dort ist der Wintergarten. Mit einer halben Wendung zu Matteo Wir werden ohne Zeugen alles schon zu Ende bringen. Er nimmt seine Cigarrentasche heraus, überlegt, bietet Matteo eine an, der ablehnt; zündet sich selber eine an Die Herrschaften vielleicht gestatten uns allein zu bleiben bis dahin. Er raucht Dumpfe Erwartung この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@wagnerianchan Strauss,Richard/Arabella/III-2
https://w.atwiki.jp/oper/pages/980.html
第３幕 第１場 Ｎｏ．１４ 合唱 （全ての人の合唱） 喜べ、喜べ 私たちの仲間はすぐに来ます 大きな名誉！ 足を健康に あなたを幸せに迎えるために 彼らは勝者として戻る ああ、喜び、ああ、幸せ！ Ｎｏ．１５ クープレ （アルゼナ） １． 女の子がイヤなのは あれこれ気を揉む事 心が平和である限り あれこれ考えないでいいわ そして、愛する人を見るのが 私達は好きです 居心地良く、ひそやかに 世間の喜びがあるわ！ それは羨ましさになり、憎しみにもなります あれこれ噂して そう、あれこれと そして、倍以上になって そう、あれこれと 羨ましさや憎しみを語るのです！ （3人全員） そう、あれこれと そして、倍以上になって そう、あれこれと 羨ましさや憎しみを語るのです！ （アルゼナ） ２． 私は思うわ、もし私を好きなら 私は彼にあれこれ伝えます 世間の中で私を疑わないで そして、あれこれに関してじゃなく そして、私達は静かな夜に キスをした 私の心の中で目覚めたのは 愛でした！ そして、腰かけた私が 彼に送ったのは ため息でした そう、あれこれと 投げキッス そして、２倍以上のあれこれがあって そう、あれこれが 私は置き去りにされました！ （３人全員） そう、あれこれと そして、２倍以上のあれこれがあって そう、あれこれが 私は置き去りにされました！ （アルゼナ） （繰り返し、連詩） 時々、私は結婚に関して聞いたわ あれこれ教えて下さい 男は人生の為に手を差し出します そして、あれこれと言います 好奇心は私を苦しめた 私は呼ぶわ 女友達を、彼女は私に説明するわ それが何であるかを 彼女が意味するのは、楽しいことがある事 彼女は私達にあれこれもたらして あれこれと 揺り籠 そして、２倍以上のあれこれが あれこれを 私達の結婚の楽しさにもたらして！ （３人全員） あれこれと そして、２倍以上のあれこれが あれこれを 私達の結婚の楽しさにもたらして！ 第６場 Ｎｏ．１６ 行進―合唱付きクープレ （ジュパン） １． タホの海岸から 強力な力で ワシ等は敵をモレスまで撤退させた ワシ等は帰還した 多くの名声を得て 名のあるものは、全て持ち帰りに値した！ 戦争は恐ろしい 終わらせた神に感謝だ ワシは健康で、家に帰る道を見つけた ワシを怖がらせる一撃も、 銃弾も、刀傷も無く さあ急いで 友人と子供よ、こんにちは 友と子供よ、こんにちは 皆、再び健康でいるよ、そうさ！ （合唱） 友人と子供よ、こんにちは 友と子供よ、こんにちは 皆、再び健康でいるよ！ （ジュパン） ２． 気を付けて！ 物凄い音がした！ スペイン兵がワシに叫んだ！ お前を撃つ お前を！ ワシは出来る限り、身を反らした！ 奴の銃は 空だった ワシはそれを奪った そこで そう 奴をバラバラにしてやった！ おっと カオッツは 納屋に横たわっていた ワシは探した すぐに 奴の持っていた小銭をな 仲間よ 全ては損壊してしまった 彼の破片に至るまで探した ワシは何回も探した ワシは敵かどうかも気にしなかった 敵の英雄よコンニチワ 時計と金よコンニチワ お前が倒れても、何て事はない！ヤー （合唱） 敵の英雄よコンニチワ、 ｅｔｃ。 （ジュパン） ３． 一度 ＜何てこった！＞ スペイン女がワシを誘惑した！ ホホー、 何もない ワシは言った「３歩離れて！」 だが 彼女には 恋人がいた それで ワシは 再び才能を見せた！ 素早く ワシは 彼女に慇懃に接した 彼女は 白い手を ワシに預けた ワシが取ろうとしていた ダイヤを付けてな 指は指輪で一杯だ 真実の愛の証にそれを身に着けている 何処でもワシは賢く振る舞った、 ワシは敵も気にしなかった！ そして、ワシは ？ 鉄の様に固かった ？ どの兵士にも勝った！ そして灼熱の中で育った 女性たちにも だが、ワシは非常に慎重だったのだ！ 戦争は恐ろしい 終わらせた神に感謝 等々 Ｎｏ．１７－入場行進 （合唱） フラー、我々は 遠く 離れた国で戦って来た 火薬の 煙を 本当に体験したんだ！ 止まれ 同志よ 心と手で打ち負かせ 先に立って 男達が 武器を装備すれば 敵が 現れる所 男は敵を捉える！ 新鮮さと陽気さは 我々の血に流れている 戦いのある所で 我々を見るだろう そのモットーは、迅速で適切！ 戦場で大砲が 鳴り響く時にも 我々は決して臆さない もしそうでなかったら それは災難だ！ 軍隊で！フラー！ 面白いこともあるさ 予想外に 戦争中でもあるもんだ 何人もの敵 誰がうまくやるのか ああ、どれほど簡単に征服できるのか！ 難しくはない 男が弱くても その戦士の心は大きくなる そして、勇敢な兵士として それをつかむ！ ほっそりした愛する人 一人でいて下さい でも心配しないで 私は実現します 神が望んでいるように 義務としての兵隊として 真実を守り 過ぎ去った 戦争での幸運に微笑み 私はその瞬間へ向かう 元の場所へ！ それから私は良く愛し それは私達の血の中にあります キスによって、私の真実よ！ 私はそこに居る 私は愛を好み もっとキスを これは軍のいい習慣です！ （それで私は良く愛し これは私達の血に流れています） Ｎｏ．１８―フィナーレ３ （ザッフィ―） （幕下で） その手を取り ジプシーを信じなさい あなたの行く所 あなたの友として私は行きます トリアン、トリアンダヴァー （バリンカイ） 全て巧くいった 敵を征服し 一人の女性を手に入れた だから、全ての人の胸に歌おう 確かに、私は 何でも昔より巧く出来る 一旦なされてしまえば、 何であれもう難しくはない！ （全ての仲間） 確かに、私は 何でも昔より巧く出来る 一旦なされてしまえば、 何であれもう難しくはない！ 万歳、最高、フラー！ ジングラー！！！ （仲間と人々） 万歳！！！ DRITTER AKT ERSTE SZENE No. 14 - Chor ALLGEMEINER CHOR Freuet Euch - freuet Euch, Uns re Leute kommen gleich An Ehren reich! Seid munter auf den Füssen, Sie fröhlich zu begrüssen, Als Sieger kehren sie zurück - O Freude - o Glück! Nr. 15 - Couplet ARSENA 1. Ein Mädchen hat es gar nicht gut, Bedenk ich dies und das - So lang das Herz im Frieden ruht - Weiss es nicht dies und das. Und seh n wir einen lieben Mann Der uns gefällt - Nur heimlich und verstohlen an, Da schmäht die Welt! Es kommt der Neid - es kommt der Hass Und munkelt dies und das - Ja, dies und das und noch etwas Und zweimal mehr als dies und das, Ja, dies und das und noch etwas Erzählt der Neid und Hass! ALLE DREI Ja, dies und das und noch etwas Und zweimal mehr als dies und das, Ja, dies und das und noch etwas Erzählt der Neid und Hass ARSENA 2. Ei - dacht ich, wenn mir wer gefällt, Sag ich ihm dies und das - Und scheer mich gar nicht um die Welt Und nicht um dies und das - Und seit wir uns in stiller Nacht Gar traut geküsst, Da ist s im Herzen mir erwacht Was Liebe ist! - Und als ich dann verlassen sass, Sandt ich ihm dies und das Seufzer. Ja, dies und das und noch etwas Kusshändchen. Und zweimal mehr als dies und das, Ja, dies und das und noch etwas Als ich verlassen sass! ALLE DREI Ja, dies und das und noch etwas Und zweimal mehr als dies und das, Ja dies und das und noch etwas Als ich verlassen sass! ARSENA Repetions-Strophe Oft hört ich schon vom Ehestand Erzählen dies und das, Man reicht für s Leben sich die Hand Und sagt sich dies und das - Die Neugier quälte mich zu sehr, Ich rief herbei Die Freundin, dass sie mir erklärt Was daran sei ... Sie meint - die Eh hat manchen Spass, Sie bringt uns dies und das, Ja dies und das und noch etwas Kinderwiegen Und zweimal mehr als dies und das, Ja, dies und das und noch etwas Bringt uns der Ehe Spass! ALLE DREI Ja, dies und das und noch etwas Und zweimal mehr als dies und das, Ja, dies und das und noch etwas Bringt uns der Ehe Spass! SECHSTE SZENE Nr. 16 - Marsch-Couplet mit Chor ZSUPAN 1. Von des Tajo Strand, Wo mit starker Hand Wir die Feinde Mores gelehrt - Sapperment! Sind wir heimgekehrt, Reich mit Ruhm beschwert, Nahmen mit, was des Mitnehmens werth! So ein Krieg ist ein Graus Gott sei Dank, dass er aus, Dass gesund ich den Heimweg noch fand, Nicht ein Hieb schreckte mich, Nicht ein Schuss, nicht ein Stich, Nur mein Teint ist ein bisserl verbrannt, Nun geschwind - grüss Dich Gott, Freund und Kind, - grüss Dich Gott. Alle find - ich wieder schön beinand ja - ja! CHOR Nun geschwind - grüss Dich Gott, Freund und Kind - grüss Dich Gott Alles findet er wieder schön beinand! - ZSUPAN 2. Gib Acht, Es kracht!´ Schreit mich ein Spanier an! Schiess Du Nur zu! Ich bück mich, wie ich kann! Sein G wehr Ist leer - Ich reiss ihm s aus der Hand, Und hau Genau Ihn mitten auseinand! Pardautz Der Kautz, Da liegt er mäuserlstad Ich find Geschwind Das Kleingeld, das er hat - Oho Herr Kamerad, Um Alles wär s a Schad -´ Und such ihn durch bis auf die letzte Naht. So macht ich s wohl ein Dutzendmal; Beim Feind war mir das ganz egal. Fremder Held - grüss Dich Gott Uhr und Geld - grüss Dich Gott, Wenn man fällt, - ist das Alles leerer Tand ja! ja - - CHOR Fremder Held - grüss Dich Gott etc. etc. etc. ZSUPAN 3. Einmal, － Scandal! - Lockt mich ein spanisch Weib Holla - Nix da,´ Sag ich - drei Schritt vom Leib!´ Doch zirpt Und wirbt Um zarte Liebe sie, Da zeig Ich gleich Mich wieder als Genie! Im Nu Per Du´ War ich mit ihr galant. Sie gibt Verliebt Mir ihre weisse Hand. - Darauf steckt ein Diamant, Den sanft ich ihr entwand, Flunkert mit dem Ring am Finger. Hier trag ich ihn als theures Liebespfand! So machte schlau ich s überall, Beim Feind war mir das ganz egal! Und ein jedesmal Blieb ich hart wie Stahl, Kein Soldat, der gleich es mir thut - sapperment Denn voll heisser Gluth, War die Weiberbrut, Aber ich war sehr auf der Hut! So ein Krieg ist ein Graus, Gott sei Dank, dass er aus! etc. etc. Nr. 17 - Einzugsmarsch CHOR Hurrah - die Schlacht Mitgemacht Haben wir im fernen Land, - Pulverdampf Ist im Kampf Uns gar nicht unbekannt! Halt Dich g rad Kamerad, Hau zu mit Herz und Hand - Frisch voran Mann für Mann, Wer die Waffen tragen kann, Wo der Feind Nur erscheint, Da packt man fest ihn an! Frisch und wohlgemuth, Das liegt in unser m Blut, Wo s losgeht, hei - Sind wir dabei Die Losung Kurz und gut! Wenn der Donner kracht Um uns her in der Schlacht, Wird uns das Herz nicht schwer - Es wär auch ein Malheur, Wenn s ander s wär Beim Militär! - Hurrah! Lustig oft Unverhofft Geht es auch im Kriege zu, - Manchen Feind, Der gut es meint, Ach, wie leicht eroberst Du! Sie nicht hart, Wenn man zart Deinem Kriegerherzen naht, Und als muthiger Soldat Greif zu! - Liebchen fein, Bleibst allein, Aber kränk Dich darum nicht Ich erfüll , Wie Gott es will, Als Soldat nur meine Pflicht Bleibe treu, s geht vorbei - Lächelt uns das Kriegerglück, Dann kehr ich im Augenblick Zurück! ... Dann lieb ich wohlgemuth, Das liegt in unser m Blut; Beim Küssen, meiner Treu! - Da bin ich gleich dabei, Die Liebe schmeckt mir sehr, Das Küssen noch weit mehr, So ist es fescher Brauch beim Militär! ( Dann lieb ich wohlgemuth, Das liegt in unser m Blut etc. etc. ) Nr. 18 - Finale III SAFFI im Hintergrunde Reich ihm die Hand, Vertraue dem Zigeuner Wo er erscheint Da kommt er als Freund trian triandavar. BARINKAY Alles gelungen, Die Feinde bezwungen, Ein Weib errungen, Drum sei aus voller Brust gesungen Ja, das Alles auf Ehr Das kann ich und noch mehr. Wenn man s kann ungefähr, Ist s nicht schwer - ist s nicht schwer. ALLGEMEINER SCHLUSSCHOR Ja das Alles auf Ehr Das kann ... und noch mehr, Wenn man s kann ungefähr Ist s nicht schwer - ist s nicht schwer Vivat - Hoch - Hurrah! Dschingrah!!! GRUPPE UND VOLKSMENGE Vivat!!! - - - Strauss,Johann II/Der Zigeunerbaron