Les Contes d'Hoffmann Libretto
English Translation

PROLOGUE



The Tavern of Master Luther.
Interior of a German tavern. In the background, on the right, in cutaway, big door giving on the street. On the left, in cutaway, a window with small windows.
In the middle a large depression filled with barrels symmetrically arranged around a colossal barrel surmounted by a small Bacchus holding a banner carrying this exergue: To the Barrel of Nuremberg. Above the barrels, rays are adorned with flasks of all shapes. In front of the big barrel, a small counter. Side doors, in the foreground, on the left, a large stove; on the right, a wooden clock and a small door hidden in the woodwork. This woodwork extends on the wall, all around the room at height of man. Here and there, tables and benches.

SCENE FIRST
Spirits
It's night; the scene is lit by a moonbeam.
Invisible choir.

THE SPIRITS OF BEER
Glug! glug! glug! glug! I am beer.

THE SPIRITS OF WINE
Glug! glug! glug! glug! I am the wine.

ALL SPIRITS TOGETHER
Glug! glug! glug! we are
The friends of men;
We hunt from here
Languor and worry.
Glug!




SCENE II
Councilor Lindorff, Andrès.

LINDORF
Incoming, followed by Andrès
Councilor Lindorf, morbleu! It's me who am
Councilor Lindorf! ... Do not be afraid and follow me.
Do not you have mistress
Stella, this enchantress?

ANDRÈS
Yes.

LINDORF
Who comes from Milan ...

ANDRÈS
Yes.

LINDORF
Dragging on his steps
Number of lovers, is not it?

ANDRÈS
Yes.

LINDORF
It's up to one of them, I bet,
What do you wear this message?

ANDRÈS
Yes.

LINDORF
I buy you.

ANDRÈS
Good.

LINDORF
Ten thalers!

ANDRÈS
No!

LINDORF
Twenty! Thirty!..
Andrès does not answer. - Apart.
Let's talk his language.
Raising his cane.
Forty!

ANDRÈS
Yes! ...

LINDORF
giving him money and taking the letter.
Give, and go to the devil!

ANDRÈS
Yes! Yes!
He goes out.

LINDORF
looking at the address of the letter.
Let's see: "for Hoffmann", well ... I suspected it!
O women
These are the masters of your hearts!
That's your souls
The happy winners!
A poet! ... a drunkard! ... finally! go! ...
He opens the letter, draws a little key and reads it.
"I love you! ...
If I made you suffer, if you love me,
Friend, forgive me,
This key will open my box, remember! ... "
To himself.
Yes, we become worthy of envy,
When, broken by love, we go to cabarets
And his hopes and his regrets!
That's what you need! ... Well! no, on my life.
In the roles of lovers
Languorous
I know that I am pitiful;
But my mind is like a devil,
Like a devil! ...
My eyes are flashing,
Lightnings! ...
I have in all the physics
A satanic aspect
Who produces on the nerves
The effect of an electric battery,
Electric! ...
By the nerves I arrive at the heart
I triumph by fear,
By fear! ...
Yes, dear prima donna
When we have
The perfect beauty
We must despise a poet,
A poet!
From this perfumed boudoir,
fragrant,
May the devil take me
If I do not open the door!
My rival is loved,
I'm not, what does it matter to me?
What does it matter to me?
Not to mention the positive.
I am old, but I am alive!
I am alive
He's watching his watch.
Two hours ahead of me! ... if I have a good memory,
It's in this cabaret, with crazy young people
Hoffmann comes to talk and drink!
Watch it until the appointment!




SCENE III
Lindorf, Luther, Boys

LUTHER
Incoming, followed by his boys
Quick! quick! let's move!
The jugs! the mugs, the quinquets!
The toasts will follow the bouquets
And welcome
To this star of the firmament!
Highly, boys, keenly!

The boys finish preparing the room. The back door opens: Nathanael, Hermann, Wofframm, Wilhelm and a troop of students enter merrily.




SCENE IV
Lindorf, Luther, Nathanael, Hermann, Students, Tavern Boys.

CHORUS OF STUDENTS
Drig drig drig Master Luther,
Tison of hell,
Drig drig drig to us your beer,
To us your wine,
Until morning
Fill my glass,
Until morning
Fill the tin pots!

NATHANAEL
Luther is a good man;
Pull lan laire!
It is tomorrow that is knocked down;
Shoot it!

THE CHOIR
Shoot it!
Students hit the cups on the tables.

LUTHER
going from table to table with the boys and serving the students.
There you are, gentlemen!

HERMANN
His cellar is a good one;
Pull lan laire!
It's tomorrow that we loot
Shoot it!

THE CHOIR
Shoot it!

Noise of goblets.

LUTHER
There you are, gentlemen!

WILHELM
His wife is Eve's daughter;
Tire lan laire;
It is tomorrow that we remove it;
Shoot it!

THE CHOIR
Shoot it!

LUTHER
There you are, gentlemen!

THE CHOIR
Drig drig drig master Luther
Tison of hell!
Drig drig drig to us the beer,
To us your wine!
Until morning
Fill my glass!
Until morning
Fill the tin pots!

Students sit, drink and smoke in every corner.

LUTHER
Well! Stella? ...

NATHANAEL
Long live God! my friends, the beautiful creature!
Like Mozart's masterpiece
She gives the accent in a firm and sure voice!
It is the grace of nature,
And it's the triumph of art!
May my first toast be for her!
I drink at the Stella!

ALL
Vivat! at the Stella!

NATHANAEL
How is Hoffmann not here
To celebrate with us this new star!
Eh! Luther! ... my big ton!
What did you do with our Hoffmann?

HERMANN
It's your wine that poisons him!
You killed him, Hermann's faith!
Give us back Hoffmann!

ALL
Give us back Hoffmann!

LINDORF
apart
To hell with Hoffmann!

NATHANAEL
Zounds! we bring it to us
Or your last day to him!

LUTHER
Gentlemen, he opens the door,
And Niklausse is with him!

ALL
Vivat! it's him!

LINDORF
apart.
Watch over him.
Oh! Oh! where does this angry look come from?

NATHANAEL
at Hoffmann
It's not to recognize you.

HERMANN
On what grass did you walk?

HOFFMANN
Alas! on a dead grass
With the icy breath of the north! ...

NICKLAUSSE
And there, near this door,
On a drunkard who sleeps!

HOFFMANN
It is true! ... that rascal, pardieu! made me want!
To drink! ... and, like him, sleep in the stream.

HERMANN
Without pillow?

HOFFMANN
Stone!

NATHANAEL
And without curtain?

HOFFMANN
The sky!

NATHANAEL
Without a foot cover?

HOFFMANN
The rain!

HERMANN
Do you have the nightmare, Hoffmann?

HOFFMANN
No, but tonight.
Just now, at the theater ...

ALL
Well?

HOFFMANN
I thought I saw again ...
Baste! ... what is the use of reopening an old wound?
Life is short! ... It must be brightened on the way.
You have to drink, sing and laugh on the adventure,
Except to cry tomorrow!

NATHANAEL
Sing first, without being asked;
We will do chorus.

HOFFMANN
Is!

NATHANAEL
Something cheerful!

HERMANN
The Rat song!

NATHANAEL
No! I am tired of it.
What we need is the legend
From Klein-Zach? ...

ALL
This is the legend of Klein-Zach!

HOFFMANN
Go for Klein-Zach!
Once upon a time at the court of Eysenach
A little runt that was called Klein-Zach!
He was wearing a colbac,
And his legs were click, clac!
That's Klein-Zach!

THE CHOIR
Click, clac! ...
That's Klein-Zach!

HOFFMANN
He had a hump as a stomach;
His branched feet seemed to come out of a bag,
His nose was black with tobacco,
And his head was jacking, cracking,
Jack, crack,
That's Klein-Zach.

THE CHOIR
Jack, crack,
That's Klein-Zach

HOFFMANN
As for the features of his face ...
He seems to be gradually absorbed in his dream.

THE CHOIR
As for the features of his face? ...

HOFFMANN
very slowly
As for the features of his face ...
He gets up.
Ah! his face was charming! ... I see her,
Beautiful as the day when, running after her,
I left the father's house like a madman
And flee through the valleys and the woods!
Her hair in dark twists
On his elegant collar threw their warm shadows.
His eyes, wrapped in azure,
Walking around her a fresh and pure look
And, as our tank carried without a jolt
Our hearts and loves, his vibrant and sweet voice
To the heavens who listened to him cast this winning song
Whose eternal echo resounds in my heart!

NATHANAEL
O weird brains!
Who the hell are you painting there? Zack? ...

HOFFMANN
I'm talking about her.

NATHANAEL
touching his shoulder
Who?

HOFFMANN
coming out of his dream
No! nobody! ... nothing! my mind was troubled!
Nothing! ... and Klein-Zach is better, as deformed as he is! ...
When he had drunk too much juniper or rack
You had to see the two flaps of his frac,
Like herbs in a lake! ...
And the monster was cop, flac! ...
Cop, flac!
That's Klein-Zach!

THE CHOIR
Cop, flac!
That's Klein-Zach!

HOFFMANN
throwing his glass
Pooh! ... this beer is detestable!
Let's turn on the punch! Graubünden us!
And that the craziest
Roll under the table.

THE CHOIR
And that the craziest
Roll under the table!

General movement. We turn off the lights. Luther lights a huge bowl of punch; a bluish light illuminates the scene.
Luther is a good man,
Lanlaire tire,
Pull the lan,
It's tomorrow that we knock him out,
Pull lan laire,
Pull the lan,

His cellar is a good one.
Pull lan laire,
Pull the lan,
It's tomorrow that we loot it,
Pull lan laire,
Pull it out.

NICKLAUSSE
At the right time, at least! we are stinging
From reason and practical sense!
Plague be languorous hearts!

NATHANAEL
Let's bet that Hoffmann is in love!

HOFFMANN
Lovers ... The devil takes me
If ever I become it! ...

LINDORF
at half-voice
Eh! eh! impertinence is strong
Do not swear anything!

HOFFMANN
turning around
Pleasure?
Recognizing Lindorf
When we talk about the devil,
We see the horns! ...

NICKLAUSSE
Sorry!
The wig! ... chaste gift

LINDORF
Admitting that a bohemian
Either flyable, dear love!

HOFFMANN
raising his glass
To your wife,
Dear Lucifer's henchman!

LINDORF
same game
She will die, on my soul,
Dear escaped from Hell!

They drink.

NICKLAUSSE AND CHORUS
Simple exchange of courtesies!
That's how in the shade of the woods
Two shepherds, for their mistresses
Alternating songs and voices!

HOFFMANN
to students
I say to you, that a misfortune threatens me!
Showing Lindorf
I did not meet him face to face
That it did not happen to me any trouble!
All bad luck comes from him! ...
If I play, it makes me lose! ...

LINDORF
Good! we must believe
That you play badly!
Morose,
Thank you so much for Fausta, Gretchen and Leonor!

HOFFMANN
Baste! as many as others?

NATHANAEL
Your mistress is a treasure
What do you despise ours?

HOFFMANN
My mistress? ...
Apart
Yes, Stella!
Three women in the same woman!
Three souls in one soul!
Artist, girl, and courtesan! ...
Stretching your hand to the right
The!
top
My mistress? ... Not! say better, three mistresses,
Charming trio of enchantments
Who shared my days!
Do you want the story of these crazy loves? ...

THE CHOIR
Yes Yes!

NICKLAUSSE
What are you talking about three mistresses?

HOFFMANN
Smoke! ...
Before this extinct pipe comes back
You will probably have understood me,
O you who in this drama where my heart is consumed
scoffer
Common sense wins the price!

All students will resume their places.

LUTHER
coming back
Gentlemen, we'll lift the curtain.

NATHANAEL
Let him get up!
This is our least concern!

LINDORF
apart
Before the opera ends,
I have time to listen too.

Luther will resume his place at his counter.

THE CHOIR
Let's listen! it is sweet to drink
To the story of a crazy story,
Following the clear cloud
That pipe throws in the air!

HOFFMANN
sitting on the corner of a table.
I begin.

THE CHOIR
Silence!

LINDORF
apart
In an hour, I hope they will be at quia!

HOFFMANN
The name of the first was Olympia!

The curtain falls, while Hoffmann speaks to all the attentive students.




FIRST ACT




OLYMPIA
A rich cabinet of physicist overlooking a gallery whose doors are closed by tapestries; side doors also closed by doors. The theater is lit by candles.


SCENE FIRST

SPALANZANI
alone, he is holding the right door raised
The! sleep in peace. Eh! ... wise, modest and beautiful,
I will go back to her
In the five hundred ducats that bankruptcy
Jewish Elias is costing me!
Remain Coppelius whose duplicity
Can claim paternity rights,
Devil of a man! ...
He is far away, by luck!




SCENE II
Spalanzani, Hoffmann, then Cochinille and the Laquais.

SPALANZANI
seeing Hoffmann enter.
Ah! Hello, nice to meet you! ...

HOFFMANN
I come too early, maybe?

SPALANZANI
How then, a student ...

HOFFMANN
Indignant to his master.

SPALANZANI
Too modest, indeed!
More worms, more music,
And you will be in physics
Professor of faculty.
You will know my daughter, an angelic smile,
Physics is everything, my dear!
Olympia is very expensive! ...

HOFFMANN
apart
What does physics have to do with her daughter?

SPALANZANI
appellant
Hola! Hey! ... Cochineal!
Cochineal appears.
Light everywhere ...

CATERPILLAR
stammering
And ... the champagne.

SPALANZANI
Hold on!
Follow me.
A Hoffmann
Sorry, my dear, I'll be right back.

They go out.




SCENE III

HOFFMANN
only
Come on! Courage and trust
I become a science sink!
You have to turn according to the wind.
To deserve the one I love,
I will find in myself
The stuff of a scientist,
She is here ... If I dared! ...
He gently lifts the door on the right.
It's her? ...
She is asleep! ... That she is beautiful! ...
Ah! live two! ... to have the same hope,
The same memory!
Share happiness, share suffering,
Share the future! ...
Leave, leave my flame
Pour in you the day!
Let your soul hatch
To the rays of Love!
Divine home! ... Sun whose ardor penetrates us
And we come to blaze! ...
Ineffable desire where one feels one's whole being
Blend into a kiss.
Leave, leave my flame
Pour in you the day! ...
Let your soul hatch
To the rays of Love!

He raises the door again; Nicklausse appears.




SCENE IV
Hoffmann, Nicklausse.

NICKLAUSSE
Pardieu! ... I was sure to find you here! ...

HOFFMANN
suddenly letting go of the door
Hush! ...

NICKLAUSSE
Why? ... This is where breathes
The dove that makes your love sake,
The beautiful Olympia? Go, my child! Admire!

HOFFMANN
Yes, I love it!

NICKLAUSSE
Wait to know her better.

HOFFMANN
The soul we love is easy to know!

NICKLAUSSE
scoffer
What? a look? ... by the window?

HOFFMANN
Just a look to kiss the heavens!

NICKLAUSSE
What warmth! ... at least does she know that you love him?

HOFFMANN
No!

NICKLAUSSE
Write him!

HOFFMANN
I do not dare.

NICKLAUSSE
Poor lamb! Talk to him!

HOFFMANN
The dangers are the same.

NICKLAUSSE
So, sing, morbleu! to come out of such a step!

HOFFMANN
Mr. Spalanzani does not like music.

NICKLAUSSE
laughing
Yes I know! Everything for physics! ...
A doll with enamel eyes
Played at the best of the range
By a small copper cock;
Both sang in unison
In a wonderful way,
Danced, cackled, seemed to live.

HOFFMANN
Pleasure? Why this song?

NICKLAUSSE
The little rooster, shiny and lively,
With a forbidding air,
Turned three times on himself;
By an ingenious cog,
The doll, rolling the eyes,
Sighed and said: I love you!




SCENE V
The same, Coppelius.

COPPELIUS
It's me, Coppelius! ... gently, take care!
Seeing Hoffmann.
Someone ...

NICKLAUSSE
turning around
Huh! ...

COPPELIUS
What is this man looking at?
Looking over Hoffmann's shoulder
Our Olympia! ... very good..

NICKLAUSSE
apart
Their Olympia?

COPPELIUS
at Hoffmann
Young man,
Raising the voice.
Eh! sir!
Seeing that Hoffmann does not answer, hitting him on the shoulder.
He does not hear anything!
Sir!

HOFFMANN
Pleasure?

COPPELIUS
My name is
Coppélius, a friend
From Mr. Spalanzani.
Hoffmann salutes him.
See these barometers
hygrometers,
thermometers
Discount, but cash.
See, you'll be happy.
Dumping his bag full of eyeglasses, glasses and glasses.
Each of these lorgnons makes black as jet,
Or white like the ermine,
darkens,
Illuminated,
Enlighten, or wither
Objects.
I have eyes, real eyes,
Live eyes, flame eyes,
Wonderful eyes
Who go to the bottom of the soul
And who in many cases
Can lend one to those who do not have one.
I have eyes, real eyes alive, eyes of flame,
I have eyes,
Beautiful eyes!
Yes!
Do you want to see a woman's heart?
If he is pure or if he is infamous!
Or do you prefer to see him
See it all white when it's black?
Take and you'll see
Whatever you want.
Take my eyes, my eyes alive, my eyes flame,
My eyes piercing the soul.
Take my eyes!

HOFFMANN
Do you say true?

COPPELIUS
presenting him with an eyeglass
Look!

HOFFMANN
Given!

COPPELIUS
Three ducats!

HOFFMANN
lifting the door and looking
Powerful God! what grace radiates
On his forehead!

COPPELIUS
Three ducats.

HOFFMANN
Dear angel, is it you?

COPPELIUS
knocking down the door
Three ducats!

HOFFMANN
Ah! why please me this image
Of happiness and love?

Nicklausse gives the ducats to Coppelius.




SCENE VI
The same, Spalanzani, then Cochineal.

SPALANZANI
entering, rubbing his hands, then seeing Coppelius.
Huh! You?

COPPELIUS
This dear master! ...

SPALANZANI
Zounds!
It was agreed ...

COPPELIUS
Nothing written ...

SPALANZANI
But ...

COPPELIUS
Chimera! ...
The money on you will rain in little,
I want to share everything.

SPALANZANI
Am I not the father
From Olympia?

COPPELIUS
Sorry, she has my eyes.

SPALANZANI
Lower! ...
Apart.
Well take him I do not know
His secret. But I think about it, yes!
High.
Do you still want
Five hundred ducats? that a writing from you abandons me
His eyes, as well as his whole person,
And here's your money on the Jewish Elias.

COPPELIUS
Elias?

SPALANZANI
A safe house.

HOFFMANN
down at Nicklausse
Which market can they conclude?

COPPELIUS
written on his shelves
Come on, it's said.

SPALANZANI
They exchange their papers.
Give and take!
This dear friend!
They are kissing.
COPPELIUS
This dear friend!

SPALANZANI
apart
Go now!
Go get paid!

COPPELIUS
By the way, an idea,
So marry Olympia!
Showing Hoffmann
The crazy young here
So did not you ask for it?
What a fool!

SPALANZANI
It's young!

COPPELIUS
Yes, you've put him to sleep.

SPALANZANI
kissing
This dear friend!

COPPELIUS
same game
This dear friend.
He goes out sneering.

SPALANZANI
at Hoffmann
Physics, my dear! ...

HOFFMANN
Ah! ... it's a mania.

COCHINEAL
appearing at the bottom
Sir, that's the whole company.




SCENE VII
Hoffmann, Spalanzani, Cochineal, Nicklausse, Guests, Laquais.

CHOIR OF GUESTS
No, no host, really,
No longer receiving richly!
By taste, his house shines!
Everything is there together.
That, Mr. Spalanzani,
Introduce us to your daughter
It is said to be delightful,
Friendly, free of vices.
We plan to refresh ourselves
After a few exercises.
No, no host really
No longer receiving richly!

SPALANZANI
You will be satisfied, gentlemen, in a moment.
He motioned Cochenille to follow him, and went out with him on the right. The guests walk in groups admiring the house of Spalanzani. Nicklausse approaches Hoffmann.

NICKLAUSSE
at Hoffmann
Finally, let's take a closer look at this wonder
Unique!

HOFFMANN
Silence! ... there she is! ...
Spalanzani entrance leading Olympia. Cochineal follows them. General curiosity.




SCENE VIII
The same, Olympia.

SPALANZANI
Ladies and gentlemen.
I introduce you
My daughter Olympia.

THE CHOIR
Delightful!
She has very beautiful eyes!
His size is very well taken!
See how she is put!
He lacks nothing!
She is very good!

HOFFMANN
Ah! how adorable she is!

NICKLAUSSE
Charming, incomparable.

SPALANZANI
In Olympia
How successful is yours!

NICKLAUSSE
in the peeping
Really she is very good.

THE CHOIR
She has very beautiful eyes,
Its size is very well taken
See how she is put,
He lacks nothing.
Really she is very good.

SPALANZANI
Ladies and gentlemen, my dear braves,
And especially impatient
To conquer new ones,
My daughter, obedient to your every whim,
Go, please ...

NICKLAUSSE
apart
Move on to other exercises.

SPALANZANI
You sing a great air, following your voice,
Rare talent!
The harpsichord, the guitar,
Or the harp, your choice!

COCHINEAL
at the back of the theater, in falsetto
The harp! ...

A VOICE OF BASS
responding behind the scenes to the voice of cochineal
The harp! ...

SPALANZANI
Very good! ... Cochineal
Go quickly get us the harp of my daughter

Cochineal enters the Olympia apartment.

HOFFMANN
apart
I will hear it ... oh joy!

NICKLAUSSE
apart
O crazy passion!

SPALANZANI
at Olympia
Master your emotion.
My child!

OLYMPIA
Yes!

COCHINEAL
coming back with a harp
Here!

SPALANZANI
sitting with Olympia and placing his harp in front of him
Gentlemen, be careful!

COCHINEAL
A ... attention!

THE CHOIR
Warning.

OLYMPIA
accompanied by Spalanzani. From time to time his voice falters, Cochineal touches his shoulder, and the sound of a spring is heard.
The birds-in-the-cart-mile.
In-the-heavens-the star-of-date,
All-talking-to-the-young-fil-a
Of love!
Of love!
Here
La-chan-its-gen-daughter,
Here,
La-chan-son-of O-lym-pia!
Ha!

THE CHOIR
This is Olympia's song!

OLYMPIA
All-what-sings-and-re-sounds
And-dime-worst turn to Tour-,
E-moves-his-heart-that-sounds-fried
Of love!
Here
La-chan-its-mi-do-gnon
Here
Here
La-chan-son-of O-lym-pia.
Ha!

THE CHOIR
This is the Olympia song.

HOFFMANN
at Nicklausse
Ah! my friend! what an accent! ...

NICKLAUSSE
What ranges! ...

Cochineal removed the harp and everyone
eagerly around Olympia who thanks in turn the right hand and the left hand. Hoffmann gazes at her with delight. A lackey comes to say a few words to Spalanzani.

SPALANZANI
Come on, gentlemen! ... the ladies' hand! ...
Dinner is waiting for us! ...

THE CHOIR
The diner! ... good this! ...

SPALANZANI
Unless we prefer
Dance first! ...

THE CHOIR
with energy
No! ... no! ... The diner! ... good deal,
Then we will dance.

SPALANZANI
As you would like! ...

HOFFMANN
approaching Olympia
Dare I? ...

SPALANZANI
speaker
She's a little tired
Wait for the ball.

He touches Olympia's shoulder

OLYMPIA
Yes.

SPALANZANI
You see, until then
Will you give me grace
To keep my Olympia company?

HOFFMANN
O happiness!

SPALANZANI
aside, laughing
We will see what he will sing to him.

NICKLAUSSE
in Spalanzani
She does not drink?

SPALANZANI
No!

NICKLAUSSE
apart
Poetic soul!
Spalanzani spends a moment behind Olympia. We hear again the sound of a spring that goes back up. Nicklausse turns around.
Pleasure? ...

SPALANZANI
Nothing! physics! ... ah! sir! physics.

He leads Olympia to an armchair and sits there and then goes out with the guests.

COCHINEAL
The supper is waiting for you.

THE CHOIR
with increasing enthusiasm
Supper, supper, supper is waiting for us!
No, no host really,
No longer receiving richly!
Ah! do you understand, tell me, this eternal joy
Silent hearts? ...
Live, be a soul, and at the same time wing
Rushing us to heaven!
Leave, leave my flame
Pour in you the day!
Let your soul hatch
To the rays of love!
He presses Olympia's hand with passion; The latter, as if she were moved by a spring, rises at once, traverses the scene in different directions, and finally leaves at one of the doors at the back without using her hands to remove the tapestry. Hoffmann gets up and follows Olympia in his evolutions.
You flee me? ... what did I do? ... You are not answering me? ...
Spoken! ... did I irritate you? ... Ah! ... I will follow your steps!

As Hoffmann goes away after Olympia, Nicklausse appears at one of the opposite doors and calls out to him.




SCENE IX
Hoffmann, Olympia.

HOFFMANN
They have moved away at last! ... Ah! I breathe! ...
Only! only both!
Approaching Olympia
I have things to tell you,
O my Olympia! ... let me admire you! ...
From your charming look let me get drunk.

He touches Olympia shoulder slightly.

OLYMPIA.
Yes.

HOFFMANN
Is it not a dream born of fever?
I thought I saw a sigh escape from your lip!
He touches Olympia's shoulder again.

OLYMPIA
Yes.

HOFFMANN
Sweet confession, pledge of our love,
You belong to me, our hearts are united forever!
Ah! do you understand, tell me, this eternal joy
Silent hearts? ...
Live, be a soul, and at the same time wing
Rushing us to heaven!
Leave, leave my flame
Pour in you the day!
Let your soul hatch
To the rays of love!
He presses Olympia's hand with passion; The latter, as if she were moved by a spring, rises at once, traverses the scene in different directions, and finally leaves at one of the doors at the back without using her hands to remove the tapestry. Hoffmann gets up and follows Olympia in his evolutions.
You flee me? ... what did I do? ... You are not answering me? ...
Spoken! ... did I irritate you? ... Ah! ... I will follow your steps!
As Hoffmann goes away after Olympia, Nicklausse appears at one of the opposite doors and calls out to him.




SCENE X
Hoffmann, Nicklausse.

NICKLAUSSE
Eh! Zounds! moderate your zeal!
Do you want us to be gray without you? ...

HOFFMANN
with drunkenness
Nicklausse! ... I am loved by her! ...
Beloved, mighty God! ...

NICKLAUSSE
By my faith
If you knew what they say about your beauty!

HOFFMANN
What can we say? What?

NICKLAUSSE
That she is dead.

HOFFMANN
Just God! ...

NICKLAUSSE
Or was not alive.

HOFFMANN
with drunkenness
Angel that envy
Follows shuddering,
Eternal justice!
Nicklausse! ... I am loved by her! ...
Love! ... mighty God! ...

He goes out quickly; Nicklausse follows him.




SCENE XI

COPPELIUS
entering, furious, through the little door on the left
Thief! ... brigand! ... what a rout! ...
Elias went bankrupt! ...
Go, I'll find the right moment
To avenge myself ... stolen! ... me! ... I will kill someone.

The tapestries of the background part. Coppelius slips into Olympia's room, on the right.




SCENE XII
Spalanzani, Hoffmann, Olympia, Nicklausse, Cochineal, Guests, Laquais, then Coppelius.

SPALANZANI
Here are the waltzers.

COCHINEAL
Here is the ritornello!

HOFFMANN
It's the waltz calling us.

SPALANZANI
at Olympia
Take the hand of sir, my child ...
Touching his shoulder
Come on! ...

OLYMPIA
Yes.

Hoffmann embraces the size of Olympia and they begin to waltz. We make room for them and they disappear on the left. The choir follows them with their eyes. Spalanzani takes center stage with Nicklausse.

THE CHOIR
She dances!
Rhythmically!
That's wonderful,
Prodigious!
Square! square!
She's passing,
She splits the air
Like a flash!

During this chorus, Hoffmann and Olympia waltzed back to the back of the gallery and disappeared to the right. The movement of your waltz comes alive more and more.

VOICE OF HOFFMANN
behind the scenes
Olympia! ...

SPALANZANI
going up the scene
Stop them! ...

THE CHOIR
Who of us will stop them? ...

NICKLAUSSE
She's going to break her head! ...
Hoffmann and Olympia reappear and descend on stage, waltzing faster and faster. Nicklausse runs to stop them.
Eh! a thousand devils! ...

He is violently jostled and will fall on a chair turning several times on himself.

THE CHOIR
Patatra! ...

SPALANZANI
darting in turn
Stop there!
He touches Olympia on the shoulder. She stops suddenly. Hoffmann, stunned, will fall on a couch. Spalanzani continues turning to the guests.
Here.
A Olympia
Enough, enough, my daughter.

OLYMPIA
Yes.

SPALANZANI
We must not waltz anymore.

OLYMPIA
Yes.

SPALANZANI
Cochenille
You, Cochineal,
Take her back it.

He touches Olympia who turns to the right.

COCHINEAL
pushing Olympia
Go away! ... Go!

OLYMPIA
Yes.
On leaving, slowly pushed by Cochenille
Ha! Ha! Ha! Ha! Ha! Ha! Ha!

THE CHOIR
What do you want us to say?
She is an exquisite girl!
He lacks nothing!
She is very good!

Olympia exits on the right, followed by Cochenille

NICKLAUSSE
in a sad voice, showing Hoffmann
Is he dead? ...

SPALANZANI
examining Hoffmann
No! in short,
His eyeglass alone is in debris.
He regains his senses.

THE CHOIR
Poor young man! ...

COCHINEAL
behind the scenes
Ah!

He enters the scene, the figure upset

SPALANZANI
What?

COCHINEAL
The man with the glasses! ... The!

SPALANZANI
Mercy! Olympia! ...

HOFFMANN
Olympia! ...
Spalanzani is going to start. We hear in the wings a sound of springs that crash with a crash.
Ah! earth and heavens! She is broken! ...

HOFFMANN
elevating
Broken! ...

COPPELIUS
coming in from the right and bursting with laughter
Ha! Ha! Ha! Ha! yes ... Shattered! ...

Hoffmann rushes out and disappears on the right.
Spalanzani and Coppelius throw themselves on each other and get caught in the collar.

SPALANZANI
Rogue!

COPPELIUS
Thief!

SPALANZANI
Brigand!

COPPELIUS
Pagan!

SPALANZANI
Bandit!

COPPELIUS
Pirate!

HOFFMANN
appearing, pale and appalled
An automat! an automat!

He falls on an armchair, Nicklausse tries to calm him down. Sparkle of general laughter.

THE CHOIR
Ha! Ha! Ha! the bomb bursts!
He loved an automaton!

SPALANZANI
with despair
My automat!

ALL
An automat!

THE CHOIR
Ha! Ha! Ha! Ha!




ACT SECOND




GIULIETTA
To Venise. Festive gallery in a palace overlooking the Grand Canal. Practicable water at the bottom for the gondolas. Balustrade, stairs, pillars, chandeliers, cushions, flowers. Side doors in the foreground, further wide doors or arcades cut, leading to other galleries.


SCENE FIRST
Hoffmann, Pitichinaccio, Young Men and Women, Laquais, then Giulietta and Nicklausse.
Giulietta's guests are grouped standing or lying on cushions. Bright and animated painting.

Barcarolle

GIULIETTA AND NICKLAUSSE
behind the scenes
Beautiful night, oh night of love,
Mouse to our drunkenness,
Night softer than the day,
O beautiful night of love!
Time flees and no return
Take away our tenderness!
Far from this happy stay,
Time flees without return
Burning Zephyrs,
Pour us your caresses;
Burning Zephyrs
Give us your kisses.

Beautiful night, oh night of love,
Mouse to our drunkenness,
Night softer than the day,
O beautiful night of love!

Giulietta and Nicklausse enter the scene, slowly coming from the back gallery.

HOFFMANN
And me, it is not there, pardieu! what enchants me!
At the feet of the beauty that comes intoxicating
Should the pleasure sigh?
No! ... laughter in your mouth, listen as he sings!

Giulietta sits on the right, on a couch where she gradually extends listening to Hoffmann.

Bachic song

Friends! ... tender and dreamy love
Fault!
Love in noise and wine
Divine!
That of a burning desire
Your heart ignites
Fun fevers
Consume your soul!
Love transports,
Last day!
To hell with the one who's crying,
For two beautiful eyes
To us the best drunkenness
Happy songs!
Live one hour
In the heavens!

THE CHOIR
To hell with the one who's crying,
For two beautiful eyes!
To us the best drunkenness
Happy songs!
Live one hour
In the heavens!

HOFFMANN
The sky lends you its clarity
Beauty,
But you hide, O hearts of iron,
Hell!
Happiness of paradise,
Where love invites,
Oaths, cursed hopes,
Dreams of life!
O chastity!
O purities,
Lie!

THE CHOIR
To hell with the one who's crying,
For two beautiful eyes!
To us the best drunkenness
Happy songs!
Live one hour
In the heavens!




SCENE II
The same, Schlemil, then Dapertutto.

Schlemil
entering the scene
I see we are celebrating. Wonderfully, madam!

GIULIETTA
How! ... but I cried for you three big days.

Pitichinaccio
Lady!

Schlemil
at Pitichinaccio
Runt!

Pitichinaccio
Hola!

GIULIETTA
the soothing
Calm down!
We have a foreign poet among us.
Introducing Hoffmann
Hoffmann!

Schlemil
bad luck
Sir!

HOFFMANN
ironic
Sir!

GIULIETTA
at Schlemil
Smile us, thank you.
And come and take a seat
To Pharaoh.

THE CHOIR
Vivat! To Pharaoh!

Giulietta, after having invited everybody to
to follow her in the playroom, goes to the exit. Hoffmann goes to offer his hand to Giulietta, Schlemil intervenes strongly.

SCHLEMIL
taking Giulietta's hand trying to calm him down.
Zounds!

GIULIETTA
to the guests
At play, gentlemen, at the game!

CHORUS
At the game! gambling!

Everyone leaves, less Nicklausse and Hoffmann.




SCENE III
Hoffmann, Nicklausse.

NICKLAUSSE
to Hoffmann
A word! ... I have two saddled horses; At the first dream
Of which my Hoffmann is frightened, I take it off.

HOFFMANN
And what dreams, ever, could be born
by such realities?
Do we like a courtesan? ...

NICKLAUSSE.
That Schlemil, though ...

HOFFMANN
I'm not Schlemil.

NICKLAUSSE
Take care, the devil is clever.

Dapertutto appears at the bottom.

HOFFMANN
The it was,
If he did love me, I agree that damn me.
Come on!

NICKLAUSSE
Come on!

They go out.

DAPERTUTTO
alone
Go! ... to fight you off
Giulietta's eyes are a sure weapon.
It was necessary that Schlemil succumbed ...
Faith of devil and captain!
You will do like him.
I want Giulietta to beguiling you today.

Drawing from his finger a ring where a big diamond shines and makes it sparkle.

Song

Turns, turns, mirror where the lark is caught,
Shimmers, diamond, fascinates, attracts ...
The lark or the woman
To this conquering lure
Go wing or heart;
One leaves his life there and the other loses his soul.
Turn, turn, mirror or catch the lark.
Shimmers, diamonds, fascinates, attracts her.

Giulietta appears and advances, as if fascinated, towards the diamond that Dapertutto is tending toward her.




SCENE IV
Dapertutto, Giulietta.

DAPERTUTTO
passing the ring on Giulietta's finger.
Dear angel!

GIULIETTA
What do you expect from your maid?

DAPERTUTTO
Well, you guessed me,
To seduce hearts among all learned,
You've already given me
The shadow of Schlemil! I vary
My pleasures and pray to You for
having me today
The reflection of Hoffmann!

GIULIETTA
What! his reflection!

DAPERTUTTO
Yes!
His reflection! ... Do you doubt
The power of your eyes?

GIULIETTA
No.

DAPERTUTTO.
Who knows? Your Hoffmann may be better dreaming
With hardness
Yes, I was there, just now, listening,
With irony
He defies you ...

GIULIETTA
Hoffmann? ... It's good! ... from today
I will make my toy.

Hoffmann enters.

DAPERTUTTO
It's him!

Dapertutto leaves after kissing Giulietta's hand.




SCENE V
Giulietta, Hoffmann.

Hoffmann crosses the theater, greets Giulietta and pretends to go away.

GIULIETTA
at Hoffmann
You leave me?

HOFFMANN
scoffer
I lost everything ...

GIULIETTA
What! ... you too!..
Ah! you insult me
No mercy, no thanks.
Go! ... go! ...

HOFFMANN
Your tears have betrayed you.
Ah! I love you ... even at the cost of my life.

Duo

GIULIETTA
Ah! unhappy, but you do not know
That an hour, a moment, may be fatal to you?
May my love lose you forever if you stay?
That Schlemil can hit you in my arms tonight?
Do not reject my prayer;
My life is yours.
Everywhere I promise to accompany you.

HOFFMANN
O God! what drunkenness do you embrace my soul?
As a divine concert your voice penetrated me;
From a sweet and burning fire my being is devoured;
Your eyes in mine have breathed their flame
Like radiant stars,
And I feel, O my beloved,
Spend your balmy breath
On my lips and on my eyes.

GIULIETTA
Today, however, strengthen my courage
By leaving me something of you!

HOFFMANN
What do you mean?

GIULIETTA
Listen, and do not laugh at me.
She hugs Hoffmann with her arms and takes a mirror that is on the table.
What I want is your faithful image
Who reproduces your features, your eyes, your face,
The reflection that you see on mine lean over.

HOFFMANN
What! my reflect? What madness!

GIULIETTA
No! ... because it can come off
Polished ice
To come whole in my heart to hide.

HOFFMANN
In your heart?

GIULIETTA
In my heart. It's me who begs you,
Hoffmann, fill my wishes!

HOFFMANN
My reflect?

GIULIETTA
Your reflection. Yes, wisdom or madness,
I wait for it, I want it!

Together

HOFFMANN
Ecstasy! unfulfilled drunkenness,
Strange and sweet dread!
My reflection, my soul and my life
To you, always yours!

GIULIETTA
If your presence is delighted,
I want to keep you
Your reflection, your soul and your life,
Friend, give them to me!




SCENE VI
The same, Schlemil, Dapertutto, Nicklausse, Pitichinaccio.

GIULIETTA
deeply
Schlemil!

Schlemil followed Nicklausse, Dapertutto, Pitichinaccio and some other guests.

Schlemil
I was sure of it! Together!
He goes back, addressing the guests
Come, gentlemen, come,
It's for Hoffmann, it seems,
That we are abandoned.
Ironic laughs

HOFFMANN
almost spoken
Sir!

GIULIETTA
at Hoffmann
Silence!
low
I love you, he has my key.

Pitichinaccio
at Schlemil
Let's kill him.

Schlemil
Patience.

DAPERTUTTO
approaching Hoffmann
How pale you are!

HOFFMANN
Me!

DAPERTUTTO
presenting him with a mirror
See more!

HOFFMANN
stunned, looking at the mirror
Sky!

NICKLAUSSE
at Hoffmann
What?

HOFFMANN
with a kind of fright
My reflect!
Current with two large windows alternately
I lost my reflection!

NICKLAUSSE
by showing Giulietta ironically
For Madame.

ALL
less Hoffmann and Nicklausse, laughing, in a muffled voice.
Ha! Ha! Ha! see his terror.

NICKLAUSSE
Ah! Come, let's flee these places where you will lose your soul.

HOFFMANN
distraught
No! no! I love it. Leave me!

Together

HOFFMANN
Alas! my heart goes astray again,
My senses are let go,
Cursed the love that devours me,
My reason can not subside.
Under this clear forehead like a dawn
Even hell comes to me.
I hate her and I love her
I want to die from his kiss.

GIULIETTA
My beautiful Hoffmann, I adore you,
But do not have the soul to refuse
This diamond with dawn lights
Who only costs me a kiss.
Because I am a woman and I love
What makes me more beautiful
To make you drunk.
Poet, you have to appease yourself.

DAPERTUTTO and PITICHINACCIO
Poor Hoffmann, love again
In vain comes you to blaze;
Your beauty at dawn
We sold his kiss.
Because the coquette adores herself;
A jewel that can still
Embellish it and make us intoxicating
It's worth a kiss.

Schlemil
touching the guard of his sword
This poet that I abhor
Would soon have her kiss
Without this clear iron and sound
Which I know very well to use.
A mad love devours you?
I'm here to calm you down.
You pretend that we adore you,
It's good, we'll talk.

NICKLAUSSE AND CHORUS
Alas! his heart is still burning!
Through her he let himself go intoxicating.
Love burns and devours him.
Nothing can soothe him.
The perfidious he adores
Take the hearts to break them.
Flee the beautiful at the dawn front,
Because we die of her kiss.

We hear a song of gondoliers.

Final

GIULIETTA
Listen, gentlemen,
Here are the gondolas,
The hour of the barcarolles
And that of the goodbyes!
Schlemil takes the guests back to the back of the stage Giulietta goes out on the left after one last look at Hoffmann who follows her eyes.
Dapertutto remains at the back of the stage. Nicklausse, seeing that Hoffmann does not follow him, returns to him and touches his shoulder.

NICKLAUSSE
Are you coming?

HOFFMANN
Not yet.

NICKLAUSSE
Why?
Well, I understand! farewell!
Apart.
But I watch over you.

He greets Schlemil and goes out.

Schlemil
What are you waiting for, sir?

HOFFMANN
That you gave me some key that I swore to have.

Schlemil
You will only have this key, sir, with my life!

HOFFMANN
I will have one and the other.

Schlemil
This is what you have to see! On guard!

DAPERTUTTO
You do not have a sword,
Presenting him his sword
take mine!

HOFFMANN
taking the sword
Thank you!

CHOIR
behind the scenes that ends at the curtain
Beautiful night, oh night of love!
Mouse to our drunkenness,
Night softer than the day,
O beautiful night of love!

Hoffmann and Schlemil fight; after a few passes, Schlemil is wounded to death, and falls. Hoffmann throws his sword, bends over Schlemil's body and takes a small key from his neck. Hoffmann rushes into Giulietta's apartment. Pitichinaccio looks at Schlemil with curiosity and makes sure he's dead. Dapertutto quietly picks up his sword and puts it back in the sheath, then goes back to the gallery ... Giulietta appears in a gondola; at the same moment Hoffmann returns.

HOFFMANN
Nobody ...

GIULIETTA
laughing
Ha! Ha! Ha!

Hoffmann turns to Giulietta and looks at her with astonishment.

DAPERTUTTO
at Giulietta
What are you doing now?

GIULIETTA
I abandon you!

Pitichinaccio
enter the gondola
Dear angel!

Giulietta takes him in his arms.

HOFFMANN
including all the infamy of Giulietta
Wretched!

NICKLAUSSE
Hoffmann! Hoffmann! The henchmen!

Nicklausse trains Hoffmann.
Giulietta and Dapertutto laugh.




ACT THIRD




ANTONIA
In Munich, at Crespel. A room oddly furnished. On the right, a harpsichord. On the left, sofa and armchair. Violins hanging on the wall. At the back, two doors cutaway. Sui the foreground, on the left, a cutaway window forming a recess and overlooking a balcony. Sunset. In the background, between the two doors, a large portrait of a woman hanging on the wall.


SCENE FIRST

ANTONIA
alone. She sits in front of the harpsichord and sings.
She fled, the turtledove,
She fled away from you!
She stops and gets up.
Ah! remember too sweet! image too cruel! ...
Alas! at my knees, I hear it, I see it! ...
She comes down to the front of the stage.
She fled, the turtledove,
She fled away from you! ...
But she is always faithful
And keep your faith.
Beloved, my voice calls you,
All my heart is yours.
She approaches the harpsichord and continues standing, flipping through the music.
Dear flower that has just hatched,
For pity, answer me,
You who know if he loves me again,
If he keeps me his faith! ...
Beloved, my voice begs you.
May your heart come to me! ...

She falls on the chair in front of the harpsichord.




SCENE II
Crespel, Antonia.

CRESPEL
entering abruptly and running to Antonia.
Unhappy child, beloved girl You promised me to stop singing.

ANTONIA
My mother had revived me;
My heart singing thought to listen to it.

CRESPEL
This is my torment. Your darling mother
You bequeathed his voice, superfluous regrets!
By you I hear it. No ... no ... I beg you.

ANTONIA
sadly
Your Antonia will not sing anymore! ...

She goes out slowly.




SCENE III

CRESPEL
only
Despair! ... Just now
I saw these fire spots
Color his face, God!
Will I lose the child I adore?
Ah! this Hoffmann ... It's him
Who threw into his heart these drunkenness ... I fled
Until Munich ...




SCENE IV
Crespel, Frantz.

CRESPEL
You, Frantz, do not open to anyone.

FRANTZ
false exit
You think ...

CRESPEL
Where are you going? ...

FRANTZ
I'll see if we ring.
As you said ...

CRESPEL
I said: do not open to anyone!
Calling out
To no one! Do you hear this time?

FRANTZ
Eh! my God!
I am not deaf!

CRESPEL
Well! let the devil take you!

FRANTZ
Yes, sir, the key on the door.

CRESPEL
Rascal! Donkey!

FRANTZ
It's agreed.

CRESPEL
Zounds!

He goes out quickly. Frantz will close the door and go down again.




SCENE V
Frantz, alone.
Well done! What! always angry!
Bizarre! crotchety! demanding!
Ah! it's hard to please him
For his money ...
Day and night I go out of my way,
At the slightest sign I am silent,
It's just like I'm singing! ...
No, if I sang,
From his contempt he would have to fall back.
I sing alone sometimes;
But singing is not convenient!
Tra la la! Tra la la!
This is not the voice
Which I miss, I think ...
Tra la la! Tra la la!
No! it's the method.
Lady! we do not share everything.
I sing pitifully;
But I dance pleasantly,
I tell myself without compliment.
Corbleu! the dance is to my advantage,
This is my biggest attraction,
And dancing is not convenient.
Tra la la! Tra la la!
He dances. He stops.
Near women's hock
That's not what would hurt me.
Tra la la! Tra la la!
He falls.
No! it's the method.

Hoffmann walks in, followed by Nicklausse.




SCENE VI
Frantz, Hoffmann, Nicklausse.

HOFFMANN
appears at the back door
Frantz! ... It's here!
He goes down on stage, touching Frantz's shoulder
Standing, friend.

FRANTZ
Huh! Who's there?
He stands up surprised.
Mr. Hoffmann!
HOFFMANN
Myself! Well, Antonia?

FRANTZ
He went out, sir.

HOFFMANN
laughing
Ha! Ha! even deafer
What last year? ...

FRANTZ
Mister honors me
I'm well, thanks to heaven.

HOFFMANN
Antonia! ... Go! ... let me see it!

FRANTZ
smiling
Very well! ... What joy
For Mr. Crespel!

He goes out.

HOFFMANN
sitting in front of the harpsichord and accompanying himself.
It's a love song
Who flies away,
Sad or crazy
Alternately! ...

ANTONIA
hurrying in
Hoffmann! ...

HOFFMANN
getting up and receiving Antonia in his arms
Antonia! ...

NICKLAUSSE
apart
I am too much. Good evening.

He slips away.




SCENE VII
Hoffmann, Antonia.

ANTONIA
Ah! I knew that you still loved me!

HOFFMANN
My heart told me I was sorry!
But why were we separated?

ANTONIA
I do not know.

Together

HOFFMANN
Ah! I have happiness in my soul!
Tomorrow you will be my wife.
Happy husband
The future is ours!
To love, let us be faithful!
That his eternal chains
Keep our hearts
At the same time winners!

ANTONIA
Ah! I have happiness in my soul!
Tomorrow, I'll be your wife!
Happy husband,
The future is ours!
Every day, new songs!
Your genius opens its wings!
My winning song
Is the echo of your heart!

HOFFMANN
smiling
Yet, O my fiancee,
Shall I tell you a thought
Who troubles me despite myself?
The music inspires me a little jealousy,
You love him too much!

ANTONIA
smiling
See the strange fantasy!
Do you love me for her, or do I love her for you?
Because you're not going to defend me
To sing, as did my father?

HOFFMANN
What are you saying?

ANTONIA
Yes, my father now, imposes on me the virtue
Silence.
deeply
Do you want to hear me?

HOFFMANN
apart
It's strange! ... Is it ...

ANTONIA
leading him to the harpsichord
Come here, as before.
Listen and you'll see if I lost my voice.

HOFFMANN
As your eye comes alive and your hand trembles!

ANTONIA
making him sit in front of the harpsichord and leaning on his shoulder.
Here, that sweet song of love that we sang together.
She sings, accompanied by Hoffmann.
It's a love song
Who flies away
Sad or crazy
Alternately;
It's a love song.
The new rose
Smiles in the spring.
Las! ... How long
She live?

Together
It's a love song
Who flies away,
Sad or crazy
Alternately.
It's a love song.

HOFFMANN
A ray of flame
Take care of your beauty
Do you see summer,
Flower of the soul?

Together
It's a love song
Who flies away
Sad or crazy
Alternately.
It's a love song.

Antonia raises her hand to her heart and seems ready to faint.

HOFFMANN
What do you have?

ANTONIA
putting his hand to his heart.
Nothing.

HOFFMANN
listening
Hush!

ANTONIA
Sky! my father!
Come! ... come! ...

She goes out.

HOFFMANN
No! I will know the word of this mystery.

He hides in the sinking of the window, Crespel
seems.




SCENE VIII
Crespel, Hoffmann hidden, then Frantz.

CRESPEL
looking around him
No nothing! I thought Hoffmann was here.
May he be devil!

HOFFMANN
apart
Big thanks!

FRANTZ
entering, in Crespel
Sir!

CRESPEL
What?

FRANTZ
Dr. Miracle.

CRESPEL
Funny! ... infamous!
Close the door quickly!

FRANTZ
Yes, sir, doctor ...

CRESPEL
Him! doctor? No, on my soul,
A gravedigger, an assassin!
Who would kill me my daughter after my wife.
I hear the clatter of his bottles in the air.
Far from me, let him be hunted.

Miracle appears suddenly. Frantz runs away.




SCENE IX
The same, Miracle.

MIRACLE
Ha! Ha! Ha! Ha!

CRESPEL
Finally!

MIRACLE
Well! here I am! it is me.
That good Monsieur Crespel, I love him!
Where is he?

CRESPEL
stopping
Zounds!

MIRACLE
Ha! Ha! Ha! Ha!
I was looking for your Antonia!
Well! this evil that she inherited
From his mother? Always in progress? dear beautiful
We will heal it. Lead me near her.

CRESPEL
For the murder! ... If you take a step,
I throw you out the window.

MIRACLE
Eh! the! Soft! I do not want
You displease.

He advances an armchair.

CRESPEL
What are you doing, traitor?

MIRACLE
To ward off the danger,
You have to know him.
Let me question him.

CRESPEL AND HOFFMANN
The dread penetrates me.

Together

MIRACLE
hand extended to Antonia's room
To my winning power
Give way with good grace! ...
Near me, without terror,
Come here to take a seat,
Come!

CRESPEL AND HOFFMANN
Horror and horror
All my being is freezing.
A strange terror
Follow me to this place,
I'm afraid.

CRESPEL
sitting on the harpsichord stool
Come, speak, and be brief!

Miracle continues his magnetic passes. The door of Antonia's room opens slowly. 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.

MIRACLE
indicating one of the chairs and sitting on the other.
Please sit there!

CRESPEL
I am sitting!

MIRACLE
without answering Crespel
How old are you, please?

CRESPEL
Who? me?

MIRACLE
I'm talking to your child

HOFFMANN
Apart
Antonia?

MIRACLE
How old? ...
He listens
Twenty years!

CRESPEL
Huh?

MIRACLE
The spring of life! ...
He makes the gesture of a man who feels his pulse.
Let's see the hand! ...

CRESPEL
The hand? ...

MIRACLE
pulling his watch
Hush! Let me count.

HOFFMANN
apart
God! ... am I the toy of a dream? ... Is it a ghost?

MIRACLE
The pulse is uneven and lively, bad symptom!
Sing! ..

CRESPEL
elevating
No, no, shut up! ... do not make her sing! ..

Antonia's voice is heard in the air.

MIRACLE
See, his forehead is alive and his eyes are flaming;
Elis raises her hand to her restless heart.

He seems to follow Antonia's gesture, the door of the room closes abruptly.

CRESPEL
What's he saying?

MIRACLE
standing up and putting one of the chairs back in place.
It would be a shame, in truth,
To leave to death such a beautiful prey!

CRESPEL
Shut up! ...

He pushes the other armchair violently.

MIRACLE
If you want to accept my help,
If you want to save his life,
I have some bottles that I hold in reserve.

He pulls several flasks out of his pocket and makes them sound like castanets.

CRESPEL
Shut up! ...

MIRACLE
Which one would have to ...

CRESPEL
Shut up! God preserve me
To listen to your advice, miserable assassin! ...

MIRACLE
Which should be, every morning ...

Together

MIRACLE
Eh yes! I hear you!
See you later! a moment!
Bottles! poor father,
You will be, I hope
Happy!

CRESPEL
Go away! go away! go away!
Outside of my home, Satan!
Redeem anger
And the pain of a father!
Go away!

HOFFMANN
apart
At the death waiting for you,
I will know, poor child,
Tear it away, I hope so!
You laugh in vain at a father,
Satan!

MIRACLE
always continuing with the same phlegm
Which one would have to ...

CRESPEL
Go away!

MIRACLE
Each morning ...

CRESPEL
Go away! ...
He pushes Miracle out, through the back door and reforms it on him.
Ah! here he is outside and my door is closed
We are alone at last,
My beloved daughter!

MIRACLE
returning by the wall
Which it would take every morning ...

CRESPEL
Ah! wretched!
Come! ... come! ... The waves can they swallow you
We will see if the devil
You'll get out! ...

Together

Go away! Go away! Go away!
Outside of my home, Satan!
Redeem anger
And the pain of a father,
Go away!

HOFFMANN
apart
At the death waiting for you,
I will know, poor child,
Tear it away, I hope so!
You laugh in vain at a father,
Satan!

MIRACLE
Which one would have to ...

CRESPEL
Go away!

MIRACLE
Each morning ...

CRESPEL
Go away!

He follows Miracle, who goes backwards, sounding his bottles. They disappear together.




SCENE X
Hoffmann alone, then Antonia.

HOFFMANN
go down on stage
Do not sing anymore! Alas! How to get from her
Such a sacrifice?

ANTONIA
seems
Well?
My father, what did he say?

HOFFMANN
Do not ask me anything,
Later you will know everything; a new road
Open to us, my Antonia! ...
To follow my steps, hunt for your memory
These dreams of future, success and glory
That your heart to mine confided.

ANTONIA
But yourself?

HOFFMANN
Love both invites us,
All that is not you is nothing in my life.

ANTONIA
Here then! here is my hand!

HOFFMANN
Ah! dear Antonia! Will I be able to recognize
What are you doing for me?
He kisses her hands.
Your father may be
Come back, I leave you ... see you tomorrow!

ANTONIA
See you tomorrow!

Hoffmann goes out. Antonia watches him go away. After a while, she goes down again.




SCENE XI
Antonia, then Miracle.

ANTONIA
going to open one of the side doors
From my father easily he became an accomplice!
Come on, crying is superfluous,
I promised it, I will not sing anymore.

She falls on a chair.

MIRACLE
suddenly popping up behind her and leaning to her ear
You will not sing anymore? Do you know what sacrifice
Is your youth imposed, and have you measured it?
Grace, beauty, talent, sacred gift,
All these goods that heaven has given you in share,
Should we bury them in the shadow of a household?
Did not you hear, in a proud dream,
As well as a forest by the balanced wind,
This gentle thrill of the crowd pressed
Who murmurs your name and who follows you with your eyes?
This is the ardent joy and the eternal celebration
That your twenty years in bloom are about to give up,
For the bourgeois pleasures where we want you chained
And brats of children who will make you less beautiful!

ANTONIA
without turning around
Ah! what is this voice that disturbs my mind?
Is it hell speaking or God warning me?
No, no, that's not happiness, accursed voice,
And against my pride my love is armed;
The glory is not worth the happy shadow where invites me
The house of my beloved.

MIRACLE
What loves are yours?
Hoffmann sacrifices you to his brutality;
He loves only your beauty,
And for him, as for others,
Soon will come the time of infidelity! ...
He disappears.

ANTONIA
elevating
No, do not tempt me! ... Go away,
Daemon! ... I do not want to hear you anymore.
I swore to be his, my beloved is waiting for me,
I no longer belong to myself and can not take back myself;
And just now, on her beloved heart,
What eternal love has he not sworn me; ! ...
Ah! who will save me from the devil, from myself? ...
My mother! O my mother! ... I love it! ...

She will fall crying near the harpsichord.

MIRACLE
reappears behind Antonia
Your mother? ... Do you dare to invoke it? ...
Your mother? But is not it
Who speaks by my voice, ungrateful, and reminds you
The splendor of his name that you want to abdicate?
The portrait lights up and seems to come alive. It is the ghost of the mother who appears in the place of painting.
Listening! ...

THE VOICE
Antonia!

ANTONIA
God! ... my mother! my mother.

Together

THE GHOST
Dear child I call
As before,
It's your mother, it's her,
Hear his voice!

ANTONIA
My mother!

MIRACLE
Yes! Yes! it's his voice, do you hear it?
Her voice, best counselor,
Who leaves you a talent that the world has lost!

THE GHOST
Antonia!

MIRACLE
Listening! She seems to relive
And the distant public of his bravos intoxicates him!

ANTONIA
elevating
My mother!

THE GHOST
Antonia!

MIRACLE
Take back with her! ...

He grabs a violin and accompanies with a kind of fury.

Together

ANTONIA
Yes, his soul is calling me
As before!
It's my mother, it's her,
I hear his voice!

THE GHOST
Dear child I call
As before,
It's your mother, it's her!
Hear his voice!

ANTONIA
No! enough! ... I succumb!

MIRACLE
Again!

ANTONIA
I do not want to sing anymore.

MIRACLE
Again!

ANTONIA
What ardor drives me and devours me?

MIRACLE
Again! Why stop?

ANTONIA
breathless
I give in to the transport that dreads me!
What flame dazzles my eyes! ...
Only one moment yet to live,
And my soul flies to heaven!

Together

THE GHOST.
Dear child I call etc.

ANTONIA
It's my mother, it's her, etc.
ANTONIA
Ah!

She falls dying on the couch. Miracle sank into the earth, bursting into laughter. The ghost disappears and the portrait resumes its first appearance.




SCENE XII
Antonia, Crespel, then Hoffmann, Nicklausse, Miracle and Frantz.

CRESPEL
hastening
My child! ... my daughter! ... Antonia! ...

ANTONIA
expiring
My father! ...
Listen! it is my mother
Who's calling me! ... and him ... back ...
It's a love song ...
Who flies away ...
Sad or crazy ...
She dies.

CRESPEL
No! ... only one word! ... only one! ... my daughter ... talk to me.
But speak so! ... execrable death! ...
No! ... pity! ... thanks! ... Go away!

HOFFMANN
entering hurriedly
Why these screams?

CRESPEL
Hoffmann! ... ah! wretched!
It was you who killed her! ...

HOFFMANN
running to Antonia
Antonia! ...

CRESPEL
current with bewilderment
Some blood!
To color his cheek! ... A weapon,
A knife! ...

He grabs a knife on a table and goes to rush on Hoffmann.

NICKLAUSSE
entering the scene and arresting Crespel
Unfortunate! ...

HOFFMANN
at Nicklausse
Quick! ... give the alarm! ...
Doctor! ... doctor! ...

MIRACLE
appearing
Present!
He approaches Antonia and feels his pulse.
Dead!

CRESPEL
distraught
Ah! God, my child! my daughter!

HOFFMANN
with despair
Antonia!

Frantz came in last and knelt near Antonia.



EPILOGUE




STELLA
Same decoration as in the first act.


SCENE FIRST
Hoffmann, Nicklausse, Lindorf, Nathanael, Hermann, Wilhelm, Wolframm, Luther. Students.
We find all the characters in the situation where we left them at the end of the first act.

HOFFMANN
That's the story
Of my loves
Whose memory
In my heart will always remain.

LUTHER
incoming
Great success, we acclaim
Our prima donna.

LINDORF
apart
There is more to fear ... to me the diva!
He slips away.
Nathanael.
What does Stella have in common?

NICKLAUSSE
elevating
Ah! I understand! three dramas in a drama
Olympia ... Antonia ... Giulietta ...
Are only one woman:
The Stella!

THE CHOIR
The Stella!

NICKLAUSSE
Let's drink to this honest lady!

HOFFMANN
furious, breaking his glass
One more word and on my soul
I break you like this! ...

NICKLAUSSE
Me, your mentor? Thank you! ...

HOFFMANN
Ah! I'm crazy! ... to us the divine vertigo
Spirits of alcohol, beer and wine!
To us drunkenness and madness,
The nothingness by which one forgets.

THE CHOIR
Let's turn on the punch! ... let's go crazy!
And that the craziest
Roll under the table.
Luther is a good man,
Pull lan lanire, pull lan la!
It's tomorrow that we knock him out
Pull lan lanire, pull lan la!
His cellar is a good one,
Pull lan lanire, pull lan la!
It's tomorrow that we're looting it!
Pull lan lanire, pull lan la!
Until morning
Fill my glass,
Until morning
Fill the tin pots!

Students tumble into the next room. Hoffmann remains astonished.




SCENE II
Hoffmann, The Muse.

THE MUSE
appearing
And me? Me, the faithful friend
Whose hand wiped your eyes?
By whom sleepy pain
Exhale in dreams in the heavens?
Am I nothing? That the storm
Passions subside in you!
Man is no more; reborn poet!
I love you, Hoffmann! belong to me!
Ashes of your heart warms your genius,
In serenity mice to your pains,
The Muse will soften your blessed suffering,
We are great by love and greater by tears!

She disappears.

HOFFMANN
Only
O God! what drunkenness do you embrace my soul,
As a divine concert your voice penetrated me,
From a sweet and burning fire my being is devoured,
Your eyes in mine have breathed their flame Like radiant stars,
And I feel, O beloved Muse,
Spend your balmy breath
On my lips and on my eyes!

He falls, his face on a table.




SCENE III
Hoffmann, Stella, Lindorf, Nicklausse, The Students.

STELLA
going to Hoffmann
Hoffmann asleep! ...

NICKLAUSSE
No! ... dead drunk! ... Too late, ma'am!

LINDORF
Corbleu!

NICKLAUSSE
Here is Lindorf, the counselor waiting for you.

Stella takes her cloak from Andres and throws it on his shoulders; then she leans on Lindorf's arm, stops at the end of a few steps to look at Hoffmann, detaches a flower from her bouquet and throws it at her feet. Hoffmann follows her with a sort of stupor. During this silent scene, the students sing while noisily banging goblets on the tables.

THE CHOIR
Until morning
Fill my glass!
Until morning
Fill the tin pots!