A Short History of Opera, fourth edition

2.1 Coussemaker, ed. Oeuvres complètes du trouvère Adam de la Halle.
Translation: Robin: Yes, and you shall be my love, you shall have my belt, my purse, and my buckle. Shepherdess, sweet girl, give me your rosary. Marion: Gladly, my sweet friend.

3.1 Beaujoyeulx, ed., Circe ou le Balet comique de la Royne (Paris, 1582), 31. (See also facsimile editions.)

3.2 Cavalieri, Intermedio. M. Schneider, Die Anfänge des Basso Continuo (Leipzig, 1918), 147–48.
Translation: Rejoice, ye mortal throng, happily and gladly rejoice at such a gift, and with music and song allay the fatigue of your toil.

3.3 Della Viola, Il sacrificio d‘Abramo. Solerti, Gli albori del melodramma.
Translation: Thou with heavenward—pointing horns fixed in thy broad and spacious forehead: O Lycian Pan!

4.1 L‘Euridice composta in musica in stile rappresentativo da Giulio Caccini Romano (Florence: C. Marescotti, 1600), 15.
Translation: And raising her eyes toward heaven, her lovely face pale and colorless, all her great beauty remained immobile, frozen.

4.2 Peri, Euridice. Kretzschmar, Geschichte der Oper (Leipzig: Breitkopf & Härtel, 1919), 38. Realization omitted.
Translation: Alas! How my heart turns cold in my breast with horror and pity; O miserable beauty, how in an instant, ah! thou art brought low.

4.3 Caccini, L‘Euridice, 1600.
Translation: To song, to dance, to the shade, to the flower-decked meadows, to the happy streams run singing, O shepherds, on this blessed day.

4.4 L‘Orfeo favola in musica da Claudio Monteverdi rappresentata in Mantova l‘anno 1607 novamente data in luce (Venice: B. Amadino, 1609), 1.

4.5 Monteverdi, Orfeo. C.E. XI, 31. Note values halved, bar lines twice as frequent.
Translation: Remember, O shady thickets, my long and bitter torments.

4.6 Monteverdi, Orfeo. C.E. XI, 59. Facsimile of first edition. Figures in brackets correspond to Malipiero‘s realization.
Translation: Messenger: To you I come, Orpheus, unhappy messenger of most unhappy and baneful news. Thy lovely Euridice … Orpheus: Alas, what do I hear? Messenger: Thy beloved wife is dead. Orpheus: Alas!

4.7 Monteverdi, Orfeo. C.E. XI, 61. Facsimile of first edition. Last two accidentals under bass notes correspond to Malipiero’s realization.
Translation: Calling to thee, Orpheus! Orpheus! after a deep sigh she breathed her last in my arms and I remained, my heart filled with pity and horror.

4.8 La Dafne da Marco da Gagliano … rappresentata in Mantova (Florence: C. Marescotti, 1608), 3–4.
Translation: If a heart can find mercy above in the golden cloisters, hear our lamentations and prayers, O monarch and king of Heaven.

5.1 Il S‘Alessio, dramma musicale … posto in musica da Stefano Landi Romano (Rome: P. Masotti, 1634), I.

5.3 Il S‘Alessio (1634), 107.
Translation: Brief shall be the delay; rest and take hope. And when thou art come to the last hour, do not fear death. Contemplate the dark pass, full of hope to all who have suffered pain.

5.4 La catena d‘Adoneposta in musica da Domenico Mazzocchi (Venice: A. Vincenti, 1627), 23. Rome: Bibl. Santa Cecilia, G.C.S. 2. C.6
Translation: The breeze smiles to the fair sky of your divine countenance, and amid dances and songs is revealed to you a smiling new heaven, a new earth, and a new world.

5.5 La Galatea, dramma del Cav. Loreto Vittori da Spoleti, dal medesimo posto in musica (Rome: V. Bianchi, 1639), 112–13.
Translation: Weep, O fields and flowers, for the vanished splendors; and thou, O earth, wrap thy breast in a dark mantle and sadly keep company to our plaints.

5.6 Rossi, Orfeo (Rome: Biblioteca Apostolica Vaticana, MS Chigi Q. V 58, f.189).
Translation: Kill me, O sorrows: and while I go with desperate pace amidst these savage rocks seeking how I may die, to you more than to a serpent or a wild beast is due that despicable glory. Kill me: since death knew that Euridice alone was my life, and he does not remember that I still live. Kill me, O sorrows.

5.7 Mazzocchi, Chi sofre speri (Rome: Biblioteca Apostolica Vaticana, MS Barb. lat. 4376, ff. 49^v–50).
Translation: Let each one follow his pleasure, as long as I may live happily on this shady bank where my father, near to death, promised me (may the prophecy be true!) an unexpected outcome of fortunate happenings.

5.8 Abbatini, Dal male il bene (Rome: Biblioteca Apostolica Vaticana, MS Barb. lat. 4376, ff. 49^v–50).
Translation: What is the good of searching forever so anxiously to know what others do? Of fretting my brain in my own craze to understand what may be outside of this and that?

6.1 Monteverdi, Poppea. C.E. XIII, 80–81. Realization omitted.
Translation: Seneca: Reason is the ruler of men and gods. Nero: You—you—you drive me to frenzy!

6.2 Monteverdi, Poppea. C.E. XIII, 136. Signature changed from one flat: flat omitted under bass C in measures 1, 4, 8.
Translation: When I am with you my heart beats, when you are away I am dull; I long for and constantly think about your beauty.

6.3 Cavalli, Egisto (Venice: Biblioteca Nazionale di San Marco, MS It. IV–411, ff. 84–85^v). Time values halved; original time signature C 3/2, no accidentals in signature.
Translation: Rejoice with me, beloved trees; resound with glad harmonies, ye songsters; Lidio returns and leaves Clori.

6.4 Cavalli, Egisto (Venice: Biblioteca Nazionale di San Marco. MS It. IV–411, f. 50^v). Time values halved; original signature 3/2. Bar lines added before measures 5, 9, 16.
Translation: Weep, sorrowing eyes, and let the fountain and river weep to my tearful plaint.

6.5 Cavalli, Giasone (Venice: Biblioteca Nazionale di San Marco, MS It. IV–363, ff. 58^v–59), Original time signature 3/2; time values halved.
Translation: Open to me the creaking hinges of the magic cave and admit me among the shades of the black abode.

6.6 Provenzale, Il schiavo di sua moglie. Rolland, Les Origines du théâtre lyrique moderne, Supplément musical, 9. Reduced from four staves.
Translation: Let me die, cruel stars.

6.7 Stradella, Il Trespolo tutore. Hess, Zur Geschichte des musikalischen Dramas im Seicento, 88–89. Introduction omitted (six measures of two parts over continuo).
Translation: What are you thinking of, my heart? Your beloved is lost, and lost is all hope of ever having him back.

7.1 Cesti, La Dori.Venice: Biblioteca Nazionale di San Marco, MS It. IV–41, ff. 30–30^v.
Translation: If perfidious Love pierce thee with his arrows …

7.2 Cesti, La Dori.Venice: Biblioteca Nazionale di San Marco. MS It. IV–41, f. 33 ^v.
Translation: The sweet sighs and afflictions are precious to me.

7.3 Cesti, Ilpomo d‘oro. DTOe VI, 108. Continuo omitted.
Translation: These are the tricks used by madmen and mountebanks.

7.4 Pallavicino, Gerusalemme liberata. DdT LV, 102. Bass and realization omitted.
Translation: Victory! victory!

7.5 Pallavicino, Gerusalemme. DdT LV, 74. Realization and German text (translation) omitted.
Translation: Cruel lady, you laugh at me but I shall laugh at you. I shall pray to Jupiter that he someday burn with his lightnings the one who has outraged me.

7.6 Steffani, Alcibiades. DTB XII², 119–20. Condensed from five staves; realization omitted.
Translation: Cease, O fate, to make me suffer.

7.7 Steffani, Tassilone. DTB XII², 159. Accompaniment (three-part strings) omitted.
Translation: I tremble, and mortal cold runs through my veins.

7.8 Steffani, Tassilone. DTB XII², 163–64. Condensed from five staves; realization omitted.
Translation: The trumpet calls me here.

8.1 Staden, Seelewig. MfMg XIII (1881)
Translation: Ah, omnipotent God, worker of miracles, who has led me mercifully through many a plight! Neither in misery nor in happiness would I know what to do without you.

8.2 Franck, Cara Mustapha; H. C. Wolff, Die Barockoper in Hamburg, II, 40–41.
Translation: Parting, sad parting, forever; ah, how any heart is torn by suffering, all too heavy.

8.3 Franck, Die drey Töchter. Das Erbe deutscher Musik, ser. 2, II, 147. Realization omitted.
Translation: When one has achieved his goal he should not let any misgivings trouble his happiness, which will be gone before he knows it.

8.4 Kusser, Erindo. H. C. Wolff, Die Barockoper in Hamburg, II, 68–69.
Translation: Thus, in this longed-for sanctuary, may remembrance and pledge both flourish together.

9.1 Lully, Persée. SB. ex. 232. Accompaniment omitted.
Translation: O death, come and put an end to my sad lot.

9.2a Atys. Tragédie mise en musique par Monsieur de Lully. (Paris: Christopher Ballard, 1689), 58–59.
Translation: Is it so wrong to love overmuch that which we find loveable?

9.2b Atys. Tragédie mise en musiquepar Monsieur de Lully. 2nd ed. Oeuvre VI ([Paris]: Christopher Ballard, 1720), 42–43.

9.3 Lully, Amadis; H. Prunières, ed., J. B. Lully: Oeuvres complètes (Paris, 1930–39), III, 95–96. Condensed from five staves; flat added before last bass note of measure 8.
Translation: Thick woods, redouble your shade; you will never be dark enough, you will never conceal deeply enough my unhappy love.

10.2 Blow, Venus and Adonis. Old English Edition, XXV, 2I. Reduced from three staves; realization omitted.

10.3 Blow, Venus and Adonis. Old English Edition, XXV, 130–31. Realization omitted.

10.5 Purcell, Dioclesian. C.E. IX, 17–18. Reduced from four staves; realization omitted.

10.6 Purcell, Indian Queen. C.E. XIX, 49. Reduced from two staves; realization omitted.

11.1 A. Scarlatti, Mitridate Eupatore (Library of Congress, M 1500.S28M5 case. f. 45–46^v).
Translation: Kind Gods of our fathers, graciously hear my sorrow; as you favored with your help the undertakings of my ancestors, give strength to him who is preparing to punish a traitor.

11.2 A. Scarlatti, Mitridate Eupatore. Dent, Alessandro Scarlatti, 110. Realization omitted; figures and accidentals in brackets correspond to Dent’s realization. Translation: O vain hope! O broken faith! O brief, alluring, dolorous, impious happiness! From whom now can I seek aid or consolation? In heaven, on the sea or the earth, in the abyss? Ah! Mithridates is dead!

11.3 Keiser, Octavia. Händel, C.E. Supplement VI, 104. Reduced from four staves; names of instruments changed from “violino e flauto dolce”; “(Bassi)” changed to “[Continuo].”
Translation: Babble not so loud. O crystal-silver brook.

11.4 Keiser, Octavia. Händel, C.E. Supplement VI, 26.
Translation: Ormena! Ormena, thou settest me on fire!

11.5 Keiser, Croesus. DdT XXXVII/XXXVIII, 38. Reduced from five staves; realization omitted; stage direction translated.
Translation: … and lovest no other?

11.6 Keiser, Croesus. DdT XXXVII/XXXVIII, 202. Reduced from five staves. Translation: Gods, show pity.

11.7 Händel, Agrippina. C.E. LVII, 72. Accompaniment omitted.
Translation: Let the world fall.

11.8a Händel, Giulio Cesare. C.E. LXVIII, 82–83. Recitative reduced from five

and b staves, aria from six staves.
Translation: (Recitative) What do I hear? O God! Cleopatra will yet die. Vile soul, when wilt thou depart? For mercy’s sake, be still! To avenge myself I shall have … (Aria) If you do not feel pity for me, just Heaven, I shall die.

11.9 Rameau, Dardanus. C.E. X, Appendice, 26.
Translation: Mournful spot, where everything breathes shame and sorrow; dark and cruel realm of despair.

12.1 Händel, Serse. C.E. XCII. Three string parts omitted; ornamented version of melody by Dr. Putnam Aldrich.
Translation: Never was shade of plant so dear, precious, and kindly.

12.2 Giacomelli, Merope. Haas, Aufführungspraxis, 186. Signature changed from two flats.
Translation: … explains the cruelty of fate.

13.1 Vinci, Artaserse (Library of Congress M1500.V6A6), 17ff.
Translation: The wave of the sea bathes the valley and the mountain, goes by in the river, is imprisoned in the fountain, murmurs and groans always until it returns to the sea.

13.2 Pergolesi, L’Olimpiade (MS copy, Library of Congress M1500.P42O6 case).
Translation: While you sleep, Love increases the pleasure of your dreams with the thought of my pleasure.

13.3 Hasse, Didone. Gerber, Der Operntypus Hasses, 77–78. Slurs added, other slight changes in notation.
Translation: I will be silent if you desire it, but you are wronging my faithfulness if you call me betrayer.

13.4 Graun, Montezuma. DdT XV, 166. Accompaniment reduced from four staves.
Translation: Without regret I leave a greatness which I have known to be all too fragile and fleeting, and which I have possessed without being overcome by pride. A great and strong soul should always be ready to quit those goods from which death one day will separate him. But thou, O faithful wife!

13.5 Traetta, Antigona. DTB XIV¹, 146–47. Accompaniment (first and second violins, viola, continuo) omitted; realization and reduction omitted. Translation: Do not weep for my misfortunes, do not be distressed at my torments.

14.1 Gluck, Le nozze d’Ercole. DTB XIV², 144. Accompaniment (four string parts) omitted.
Translation: As your beautiful flame is lighted in your natal star, so will it shine resplendent.

15.1 Pergolesi, La serva padrona. I classici della musica italiana XXIII, Quaderno 89–90, 11.
Translation: And yes and no, and no and yes, and here and there, and up and down—now enough of this: let’s have an end of it!

15.2 Paisiello, Nina. I classici della musica italiana XX, Quaderno 80, 6–7. Reduced from three staves.
Translation: But if Lindoro comes, then, ah! then all is joy, all is well. When I shall see my love …

15.4 Monsigny, Le Déserteur. Piano-vocal score, Paris: Alphonse Leduc, no. A.L. 5204, 10–11.
Translation: Can one give pain to the one he loves? Why try to annoy him? It is just like being spiteful toward oneself.

15.5 Grétry, Richard Coeur-de-Lion. C.E. 1,43–44. Orchestra parts condensed from seven staves.
Translation: O Richard, O my king! All the world abandons you; only I in all the earth am concerned about you; I alone want to break your chains, and all the rest abandon you.

15.6 The Beggar’s Opera, 2nd ed. (1728), [45]. Repeat marks after first double bar omitted to conform with text.

15.7 Hiller, Die Jagd (Leipzig, 1772).
Translation: O, that his heart loved me as my heart loves him!

15.8 Dittersdorf, Das rote Käppchen. MS Vienna Nationalbibliothek.
Translation: 1. Why in a word, does Mr. Schulz stay at home and not appear at today’s meal? 2. I thank you for the food and drink, when drunken men fall off their chairs. (Refrain) It might go bad with the women, but if one stays at home nothing can happen.

16.1 Martín y Soler, Una cosa rara. G. Henle edition, vol. 5 of Die Oper, 38. © G. Henle Verlag Munich, 1990. All rights reserved. Used by kind permission of G. Henle Verlag.
Translation: Ah pity, mercy, help. (… I am so tired …)

17.1 Cherubini, Lodoïska (Paris, [1791?], 180–83.
Translation: Alas, in this cruel refuge, there was enough of my misfortune … the end of the woes which I have suffered.

17.2 Cherubini, Les Deux Journées. Piano-vocal score, Universal Edition 3157, 14. Text underlaid from another ed., Braunschweig: Meyer, [before 1862]. Translation: Good Frenchman, may God reward you; a good deed is never in vain.

17.3 Spontini, Fernand Cortez, Leipzig: Hofmeister, plate no. 1135, 282. Condensed from three staves.
Translation: Sorrowful presentiments, you do not deceive me; my fate is decided.

181 Auber, La Muette de Portici. Novello piano-vocal score, 137.
Translation: Holy love for our country, give us boldness and pride; to my country I owe life and it owes me liberty.

18.2 Meyerbeer, L’Africaine. Edition Peters No. 2773, piano-vocal score, 127. Reduced from three staves; indication of instruments omitted.
Translation: How pale she is! What cold runs in my veins!

18.3 Berlioz, Les Troyens. Piano-vocal score, Choudens, 420. Names of instruments translated; flat added before bass D in measure 11; first eighth rest added in measure 15.
Translation: Farewell, proud city, which generous striving has so quickly built and made to flourish; my loving sister, follower in all my wanderings; farewell, my people, farewell!

19.1 Boieldieu, Jean de Paris. Piano-vocal score, Brussels: E. Loweryns, [c. 1830?]. 60–61.
Translation: Remain faithful to Glory, cherish the beauty of ladies: that is the way to act like a true French cavalier.

19.3 Auber, La Part du diable (Paris: Boulé, 1843).
Translation: Return, my protectress, help your poor servant; turn from me the rigor of a fate whose caprice I fear.

19.4 Herold, Le Pré aux Clercs. Piano score, Paris: Léon Grus, plate no. 1746, 72–73. For this example, the three vocal parts and accompaniment have been further reduced to illustrate Herold’s style.

20.1 Rossini, Tancredi. Piano-vocal score, Paris: Launer, plate no. 3237, 50–51.

20.2 Donizetti, Robert Devereux. Piano-vocal score, © Kalmus Publications/Belwin Mills Publishing Company. All Rights Reserved. Used by permission of Warner Bros. Publications U.S., Inc., Miami, Fla. 33014.
Translation: Go! Death hangs over your head and disgrace descends on your name.

20.3 Donizetti, Linda di Chamounix. Piano-vocal score, Paris: Schonenberger, s.d. [c. 1840], plate no. S-975, 157.
Translation: If our love is so hateful to men, let us break the hard tie of this bitter life; in Heaven above our struggle will be ended.

20.4 Bellini, La sonnambula. Novello octavo piano-vocal score.
Translation: Ah, I will not look on thee, O flower so soon withered; thou hast passed away even as love, which endured but a single day.

20.5 Mercadante, La vestale. Piano-vocal score, [c. 1830], plate no. v 12212^v, 155–62.
Translation: Vestal chorus: Through my being courses the horrid cold of death: surely a God whom the Tiber abhors today gave a sign in Heaven.

20.6 Verdi, Ernani. Piano-vocal score, Novello, plate no. 8063, 174–75. Condensed from six staves.
Translation: So thou didst laugh, Lion of Castile, and every mountain of Iberia; every glad echo produced a great roar as once against the oppressing Moor.

20.7 Verdi, La traviata. Piano-vocal score, G. Schirmer, 108.
Translation: Love me, Alfredo, love me as I love you.

20.8 Verdi, Otello. Piano-vocal score, Ricordi, plate no. 52105, 361.
Translation: And thou, how pale thou art! and motionless, and mute, and lovely, blessed creature born under an evil star.

22.1 Wagner, Das Liebesverbot. Piano-vocal score. Breitkopf &Härtel, plate no. E.B. 4520, 396.
Translation: Ah, what a death for love and honor; to it I dedicate my youthful strength.

22.2 Wagner, Tannhäuser. Eulenburg small score, plate no. E.E. 4850, 648–49. Reduced from six staves.
Translation: With fervor in my heart such as no sinner has ever felt, I sought the road to Rome.

22.3 Wagner, Lohengrin. Breitkopf & Härtel, plate no. 25700, 140.
Translation: Never shalt thou ask me, never trouble to know whence I came, nor my name and state.

23.1 D’Indy, L’étranger. Piano-vocal score, Durand (1902), 149–50. Some notes enharmonically altered.
Translation: O sea! Sinister sea, seductive in thy raging.

23.2 Puccini, Tosca. Piano-vocal score, G. Ricordi & Co., plate no. 109916, I. By kind permission of G. Ricordi & Co., Milan.

23.4 Giordano, Andrea Chénier. Piano-vocal score, Sonzogno (1896), plate no. 929, 88–89.
Translation: I have often heard her say with her ardent voice: have faith in love, Chénier! thou art loved!

23.5 Kienzl, Der Evangelimann. Bote & Bock, piano-vocal score (1894), plate no. 14035, 66–67. Upper staff of accompaniment omitted.
Translation: You’re not hitting anything any more. The bowling ball is too heavy for you.

24.1 Glinka, A Life for the Tsar. Piano-vocal score, Moscow, n.d., 212. Alto voice and accompaniment omitted.

24.2 Glinka, Ruslan and Ludmila. Piano-vocal score, Moscow: P. Jurgenson, s.d., plate no. 30087, 269–70.

24.3 Musorgsky, Boris Godunov. Piano-vocal score, London: J. & W Chester, plate no. J. W. C. 972, 154. Reproduced by permission of J.& W Chester, Ltd., London.
Translation: Phew! Give me air! This suffocates my soul! I felt blood surging upward to my face, then down again like a torrent. O conscience, thou art cruel, merciless thy vengeance!

24.4 Rimsky-Korsakov, Sadko. Piano-vocal score, Leipzig: M. P. Balaieff, [1906?], plate no. 1434–1643, 82–83.
Translation: Come out from the blue sea, come out to the green fields; come out, prophetic sisters.

24.5 Misón, Una mesoñera. Subirá, La tonadilla escénica III, [16–17].
Translation: Let us go to the market, my dear.

24.6 Pedrell, Los Pirineos. Piano-vocal score, J. B. Pujol, plate no. P. 25C., 239–40. Time signature, tempo mark, and first “pp” inserted from previous directions.

25.1 Debussy, Pelléas et Mélisande. Piano-vocal score, Durand (1907), 236.
Translation: Mélisande: Pelléas! Pelléas: Mélisande! Is it thou, Mélisande? Mélisande: Yes. Pelléas: Come here.

25.2 Dukas, Ariane et Barbe-Bleue. Piano-vocal score, Durand (1906), 72–74. Reduced from three or five staves to show only essential harmonic outline; recitatives (two soloists) omitted.
Translation: The five daughters of Orlamonde (the black fairy is dead) have sought the gates, have lighted their five lamps, have opened the towers, have traversed three hundred rooms without finding daylight, have opened a well …

25.3 Honegger, Antigone. Piano-vocal score, Senart, plate no. EMS7297, 51–52. Translation: Neither does justice impose laws of this sort, and I did not believe that your decree could make the caprice of a man prevail over the rule of the immortals, over the laws which are not written.

25.4 Milhaud, Le Pauvre Matelot. Piano-vocal score, Paris: Heugel, 38–40.
Translation: His wife: Come in! The sailor: I come to bring you news, Madame. His wife: Of my husband? The sailor: Yes, indeed, Madame, news of your husband. His wife: He is dead … The sailor: No, Madame, he is alive, I saw him three weeks ago.

25.5 Poulenc, Dialogues des Carmélites. Piano-vocal score, Ricordi, plate no. R. 1471, 80–81. by kind permission of G. Ricordi & Co., Milan.
Translation: … like the child of one’s old age, and also the most risky, the most threatened. To turn away this threat I would gladly have given my poor life.

25.6 Montemezzi, L’amore dei tre rè. Piano-vocal score, Ricordi, plate no. 114651, 126–27. Reduced from four staves; first two measures notated with signature of three flats instead of three sharps.
Translation: Take, take her; there thou art, Fiora.

25.7 Dallapiccola, Il prigioniero. Piano-vocal score, S. Zerboni, plate no. S. 4464 Z., 61–62. By kind permission of Edizioni Suvini Zerboni, Milan.
Translation: I cannot control [myself]. Surprised here, at night, I could not avoid renewed, atrocious sufferings. What to do? Return to my dark cell and wait still, always in vain?

26.2 R. Strauss, Die Frau ohne Schatten. Piano-vocal score, Boosey & Hawkes. © 1919 by Adolph Furstner. U.S. Copyright Renewed. Copyright assigned 1943 to Hawkes & Son (London) Ltd. (a Boosey & Hawkes Company) for the world excluding Germany, Italy, Portugal, and the Former Territories of the U.S.S.R. (excluding Estonia, Latvia, and Lithuania). Reprinted by permission of Boosey Hawkes, Inc.
Translation: I will not!

26.3 R. Strauss, Die Frau ohne Schatten. Piano-vocal score, Boosey & Hawkes. © Copyright 1919 by Adolph Furstner. U.S. Copyright Renewed. Copyright assigned 1943 to Hawkes & Son (London) Ltd. (a Boosey & Hawkes Company) for the world excluding Germany, Italy, Portugal, and the Former Territories of the U.S.S.R. (excluding Estonia, Latvia, and Lithuania). Reprinted by permission of Boosey & Hawkes, Inc.
Translation: Now will I rejoice as no one has ever rejoiced!

26.4 R. Strauss, Capriccio. Piano-vocal score. Boosey Hawkes, plate no. 8453, 80–81. © 1942 by Richard Strauss. Reprinted by permission of Boosey Hawkes, Inc., Sole Agents.
Translation of Pierre de Ronsard’s sonnet XXVIII from his Continuation des Amours (Paris, 1555). See Pierre de Ronsard, Oeuvres complètes, vol. 7, ed. by Paul Laumonier (Paris: Droz, 1934), 145–46:

Je ne saurois aimer autre que vous,
Non, Dame, non, je ne aurois le faire:
Autre que vous ne me sauroit complaire,
Et fust Venus descendue entre nous,

Vos yeus me sont si gracieus & dous,
Que d’un seul elin ils me peuvent defaire,
D’un autre elin tout soudain me refaire,
Me faisant vivre ou mourir en deux cous.

Quand je serois cinq cens mille ans en vie,
Autre que vous, ma mignonne m’amie,
Ne me feroit amoureus devenir.

Il me faudroit refaire d’autres venes,
Les miennes sont de vostre amour si plenes,
Qu’un autre amour n’y sauroit plus tenir.

26.5 Berg, Wozzeck. © 1931 by Universal Edition A.G., Vienna. English translation © 1952 by Alfred A. Kalmus, London W I. © renewed. All Rights Reserved. Used by permission of European American Music Distributors LLC, sole U.S. and Canadian agent for Universal Edition A.G., Vienna.
Translation: We poor folk! See, Captain, money, money! Those who have no money!

26.6 Hindemith, Die Harmonie der Welt. Piano-vocal score, Mainz: B. Schott’s Söhne, ed. no. 4925.

26.7 Orff, Oedipus der Tyrann. Piano-vocal score, © 1965 Schott Musik International. © renewed. All Rights Reserved. Used by permission of European American Music Distributors LLC, sole U.S. and Canadian agent for Schott Musik International.
Translation: Perish the man, whoe’er he was, that loosed me from the cruel fetters on my feet and rescued me from death and saved my life, conferring no kindness thereby! for had I then died, I had not been so sore a woe to my friends or mine own self. (Chorus): I too could have wished it thus. (E. P. Coleridge’s translation).

26.8a Zimmerman, Die Soldaten. “Preludio.” B. Schott’s Söhne, ed. 5076, 1. © 1975 Schott Musik International. © renewed. All Rights Reserved. Used by permission of European American Music Distributors LLC, sole U.S. and Canadian agent for Schott Musik International.

26.8b Zimmerman, Die Soldaten. B. Schott’s Söhne, ed. 5076, 524. © 1975 Schott Musik International. © renewed. All Rights Reserved. Used by permission of European American Music Distributors LLC, sole U.S. and Canadian agent for Schott Musik International.
Translation: Our Father, who is in (heaven).

27.1 Prokofiev, War and Peace (Moscow, 1958, plate no. M 26793a), 77–79.
Translation: … when from the gold-drenched hills the herds are flocking down to the river, and the clamor of their lowing thunders melodiously across the waters; and, his nets hauled in, the fisherman in his boat is shore-bound, sailing alone, framed by bushes …

27.2 Janáček, Kát’a Kabanowá. Piano-vocal score, Universal Edition, plate no. U.E. 7103, 143–45. With kind permission of European American Music Distributors LLC, sole U.S. and Canadian agent for Universal Edition.
Translation: How kindly my Boris spoke to me, how tenderly! I know no more. The nights are full of terror; everyone goes to rest, but for me it is like sinking into the grave. This fear of the dark! And such a noise!—That is like singing!

27.3 Janácek, Das schlaue Füchslein (The Cunning Little Vixen). © 1924 by Universal Edition. © renewed. All Rights Reserved. Used by permission of European American Music Distributors LLC, sole U.S. and Canadian agent for Universal Edition.

27.4 Szymanowski, Król Roger (King Roger). © 1925, 1953 by Universal Edition. © renewed. All Rights Reserved. Used by permission of European American Music Distributors LLC, sole U.S. and Canadian agent for Universal Edition.
Translation: See, there he is! There he comes! Seize the wretch, kill the blasphemer, stone him, stone him!

27.5 Bartók, Herzog Blaubarts Burg (Bluebeard’s Castle). Piano-vocal score, Universal Edition, plate no. U.E. 7026, 11. © 1921 by Universal Edition. Renewed 1948. © and renewal assigned to Boosey & Hawkes, Inc. Reprinted by permission.
Translation: The walls are wet! What moisture is on my hands? Do the rocks and dungeons weep?—Ah, Judith, better were the bright days of our betrothal, when white walls enclosed the garden of roses and sunshine gilded the gables.

29.1 Stravinsky, The Rake’s Progress. Piano-vocal score, Boosey & Hawkes, plate no. 17088, 222. © Copyright 1951 by Hawkes & Son (London) Ltd. Copyright Renewed. Reprinted by permission of Boosey & Hawkes, Inc.

29.2 Weisgall, Six Characters in Search of an Author. Measures 635–37.© 1960 Merion Music Inc. All Rights Reserved. Reproduced by permission of the publisher through the U.S. agent, Theodore Presser.