eh! His size is very well taken! why please me this image
The choir follows them with their eyes. On est en fête! And there, near this door,
Here then!
On the right, a harpsichord.
HOFFMANN
...
In the roles of lovers
GIULIETTA
How to get from her
To us the best drunkenness
In the five hundred ducats that bankruptcy
Nicklausse trains Hoffmann.
[8] It was presented in an abridged form at Offenbach's house, 8 Boulevard des Capucines, on 18 May 1879, with Madame Franck-Duvernoy in the soprano roles, Auguez as Hoffmann (baritone) and Émile-Alexandre Taskin in the four villain roles, with Edmond Duvernoy at the piano and a chorus directed by Albert Vizentini.
... How long
... execrable death!
Who troubles me despite myself? He follows Miracle, who goes backwards, sounding his bottles.
do you understand, tell me, this eternal joy
I love you, Hoffmann! In serenity mice to your pains,
breathless
Frantz runs away. ...
... my daughter ... talk to me.
We find all the characters in the situation where we left them at the end of the first act.
As your eye comes alive and your hand trembles! Only one moment yet to live,
NICKLAUSSE
Pitichinaccio looks at Schlemil with curiosity and makes sure he's dead. Electric!
Both men requested the rights, but Offenbach granted them to Carvalho. HOFFMANN
SCENE IX
we must believe
Schlémil refuses. Salomon handed the project to Offenbach. CHOIR OF GUESTS
He loves only your beauty,
HOFFMANN
I do not want
CRESPEL
Let your soul hatch
Schlemil
NICKLAUSSE
THE CHOIR
To make you drunk. Singers | CRESPEL
laughing
Ha!
apart
Giulietta’s jealous lover Schlémil watches Hoffmann resentfully. Andrès does not answer. (Nicklausse, Spalanzani, Chorus, Cochenille, Hoffmann, Coppelius), 23. Alone, Frantz tries, and fails, to sing and dance.
The letter and the key to the room are intercepted by Councillor Lindorf ("Dans les rôles d'amoureux langoureux" – In the languid lovers' roles), the first of the opera's incarnations of evil, Hoffmann's nemesis. And what dreams, ever, could be born
Luther is a good man,
My senses are let go,
It's him! He advances an armchair.
On my lips and on my eyes! To no one! ... and Klein-Zach is better, as deformed as he is! Even though Antonia is not in the room, the doctor declares that he can perceive that her pulse is irregular. SPALANZANI
Above the barrels, rays are adorned with flasks of all shapes. How successful is yours! Fault! Yes, wisdom or madness,
HOFFMANN
Elias went bankrupt! No, on my soul,
Luther’s Tavern.
... tender and dreamy love
Eavesdropping, Hoffmann learns Antonia may die if she sings too much. He grabs a knife on a table and goes to rush on Hoffmann. From a sweet and burning fire my being is devoured,
He lacks nothing! Antonia? Baste! Is your youth imposed, and have you measured it? Yes, we become worthy of envy,
Who? I have some bottles that I hold in reserve. Despair! The beautiful Olympia? COPPELIUS
Ils se sont éloignés enfin!...Ah! That's your souls
Crespel threatens to kill him, but Nicklausse intercedes.
Close the door quickly! The Tavern of Master Luther. Miracle indicates by his gestures that he takes the hand of Antonia invisible, that he leads her near one of the armchairs and makes her sit down.
Here
Raising his cane.
NICKLAUSSE
FRANTZ
... at least does she know that you love him? it is my mother
Wait for the ball.
Like radiant stars,
...
Councilor Lindorf! My beloved daughter! we do not share everything. at Hoffmann
Very well! They disappear together. Come, let's flee these places where you will lose your soul. Yes! Spalanzani spends a moment behind Olympia. My heart told me I was sorry! Hear his voice! They represent, respectively, the young girl's, the musician's, and the courtesan's side of the prima donna. to students
The reflection of Hoffmann! Happy songs! You have to drink, sing and laugh on the adventure, Once upon a time at the court of Eysenach. Qu'as-tu donc? Yes! Who flies away
entering the scene and arresting Crespel
Is it hell speaking or God warning me? She dies in her grieving father’s arms. Alas! Olympia! Our hearts and loves, his vibrant and sweet voice, To the heavens who listened to him cast this winning song. Ha! The effect of an electric battery,
hand extended to Antonia's room
HOFFMANN
CRESPEL
entering, furious, through the little door on the left
it's hard to please him
The splendor of his name that you want to abdicate? Lead me near her. From my father easily he became an accomplice! (Hoffmann, Nicklausse, Spalanzani, Chorus, Olympia, Cochenille), 19. Either flyable, dear love! Color his face, God! stunned, looking at the mirror
Look! at Olympia
"Belle nuit, ô nuit d'amour" (Barcarolle) [Nicklausse, Giulietta, Chorus], 36. Coppélius returns, enraged that Spalanzani’s check has bounced. She fled, the turtledove,
Both sang in unison
LINDORF
What does it matter to me? The henchmen! ... Ecoutez, messieurs! Duo
my God! Donkey! May my love lose you forever if you stay?
ANTONIA
To the heavens who listened to him cast this winning song
... to fight you off
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