Die Zauberflöte: Der Hölle Rache kocht in meinem Herzen
Wolfgang Amadeus Mozart Lyrics
Der Hölle Rache kocht in meinem Herzen,
Hells Revenge cooks in my heart,
Tot und Verzweiflung flammet um mich her!
Death and despair flame about me!
Fühlt nicht durch dich Sarastro
If Sarastro does not through you feel
Todesschmerzen,
So bist du meine Tochter nimmermehr.
Then you will be my daughter nevermore.
Verstoßen sei auf ewig,
Disowned may you be forever,
Verlassen sei auf ewig,
Abandoned may you be forever,
Zertrümmert sei'n auf ewig
Destroyed be forever
Alle Bande der Natur
All the bonds of nature,
Wenn nicht durch dich
If not through you
Sarastro wird erblassen!
Sarastro becomes pale!
Hört, Rachegötter,
Hear, Gods of Revenge,
Hoert der Mutter Schwur!
Hear a mother's oath!
Contributed by Sophie C. Suggest a correction in the comments below.
To comment on specific lyrics, highlight them
Die Zauberflöte: Der Hölle Rache kocht in meinem Herzen
Wolfgang Amadeus Mozart (born Johannes Chrysostomus Wolfgangus Theophilus Mozart; 27 January 1756 – 5 December 1791) is among the most significant and enduring popular composers of European classical music. His enormous output includes works that are widely acknowledged as pinnacles of symphonic, chamber, piano, operatic, and choral music. Many of his works are part of the standard concert repertoire and are widely recognized as masterpieces of classical music. Read Full BioWolfgang Amadeus Mozart (born Johannes Chrysostomus Wolfgangus Theophilus Mozart; 27 January 1756 – 5 December 1791) is among the most significant and enduring popular composers of European classical music. His enormous output includes works that are widely acknowledged as pinnacles of symphonic, chamber, piano, operatic, and choral music. Many of his works are part of the standard concert repertoire and are widely recognized as masterpieces of classical music.
The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the Piano Concerto No 24 in C minor, K. 491, the Symphony No 40 in G minor, K. 550, and the opera Don Giovanni. The famed writer on music Charles Rosen has written (in The Classical Style): "It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous." Especially during his last decade, Mozart explored chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonant" Quartet, K. 465, a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.
Born in Salzburg, Austria, from his earliest years Mozart had a gift for imitating the music he heard; which his father believed was a gift from God.
Since he traveled widely, he acquired a rare collection of experiences from various bordels to create his unique compositional language. When he went to London[13] as a child, he met J.C. Bach and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the Italian overture and opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the parallel minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms commonly being written by composers in Vienna. One of the most recognizable features of Mozart's works is a sequence of harmonies or modes that usually leads to a cadence in the dominant or tonic key. This sequence is essentially borrowed from baroque music, especially Bach. But Mozart shifted the sequence so that the cadence ended on the stronger half, i.e., the first beat of the bar. Mozart's understanding of modes such as Phrygian is evident in such passages.
As Mozart matured, he began to incorporate some more features of Baroque styles into his music. For example, the Symphony No. 29 in A Major K. 201 uses a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had just published his Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.
Over the course of his working life, Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is probably the most famous example by any composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.
The central traits of the classical style can all be identified in Mozart's music. Clarity, balance, and transparency are hallmarks, though a simplistic notion of the delicacy of his music obscures for us the exceptional and even demonic power of some of his finest masterpieces, such as the Piano Concerto No 24 in C minor, K. 491, the Symphony No 40 in G minor, K. 550, and the opera Don Giovanni. The famed writer on music Charles Rosen has written (in The Classical Style): "It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous." Especially during his last decade, Mozart explored chromatic harmony to a degree rare at the time. The slow introduction to the "Dissonant" Quartet, K. 465, a work that Haydn greatly admired, rapidly explodes a shallow understanding of Mozart's style as light and pleasant.
Born in Salzburg, Austria, from his earliest years Mozart had a gift for imitating the music he heard; which his father believed was a gift from God.
Since he traveled widely, he acquired a rare collection of experiences from various bordels to create his unique compositional language. When he went to London[13] as a child, he met J.C. Bach and heard his music; when he went to Paris, Mannheim, and Vienna, he heard the work of composers active there, as well as the spectacular Mannheim orchestra; when he went to Italy, he encountered the Italian overture and opera buffa, both of which were to be hugely influential on his development. Both in London and Italy, the galant style was all the rage: simple, light music, with a mania for cadencing, an emphasis on tonic, dominant, and subdominant to the exclusion of other chords, symmetrical phrases, and clearly articulated structures. This style, out of which the classical style evolved, was a reaction against the complexity of late Baroque music. Some of Mozart's early symphonies are Italian overtures, with three movements running into each other; many are "homotonal" (each movement in the same key, with the slow movement in the parallel minor). Others mimic the works of J.C. Bach, and others show the simple rounded binary forms commonly being written by composers in Vienna. One of the most recognizable features of Mozart's works is a sequence of harmonies or modes that usually leads to a cadence in the dominant or tonic key. This sequence is essentially borrowed from baroque music, especially Bach. But Mozart shifted the sequence so that the cadence ended on the stronger half, i.e., the first beat of the bar. Mozart's understanding of modes such as Phrygian is evident in such passages.
As Mozart matured, he began to incorporate some more features of Baroque styles into his music. For example, the Symphony No. 29 in A Major K. 201 uses a contrapuntal main theme in its first movement, and experimentation with irregular phrase lengths. Some of his quartets from 1773 have fugal finales, probably influenced by Haydn, who had just published his Opus 20 set. The influence of the Sturm und Drang ("Storm and Stress") period in German literature, with its brief foreshadowing of the Romantic era to come, is evident in some of the music of both composers at that time.
Over the course of his working life, Mozart switched his focus from instrumental music to operas, and back again. He wrote operas in each of the styles current in Europe: opera buffa, such as The Marriage of Figaro, Don Giovanni, or Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is probably the most famous example by any composer. In his later operas, he developed the use of subtle changes in instrumentation, orchestration, and tone colour to express or highlight psychological or emotional states and dramatic shifts. Here his advances in opera and instrumental composing interacted. His increasingly sophisticated use of the orchestra in the symphonies and concerti served as a resource in his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was reflected in his later non-operatic compositions.
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Sérgio SC
TRANSCRIPTION:
Pamina (PAM); Queen of the Night (QN)
PAM: Mutter? Mutter!
QN: Wo ist der Jüngling, den ich an dich sandte?
PAM: Oh liebe Mutter, der ist der Welt und den Menschen auf ewig entzogen. Er hat sich den Eingeweihten gewidmet.
QN: Den Eingeweihten?
PAM: Ja...
QN: Unglückliche Tochter, nun bist du mir auf ewig entrissen.
PAM: Entrissen? O fliehen wir liebe Muter! Unter deinem Schutz trotz ich jeder Gefahr.
QN: Schutz? Mein liebes Kind, deine Mutter kann dich nicht mehr schützen. Mit deines Vaters Tod gieng meine Macht zu Grabe.
PAM: Mein Vater...
QN: Dein Vater! Übergab freiwillig den siebenfachen Sonnenkreis den Eingeweihten. Als ich ihn darüber beredete, so sprach er: Weib! meine letzte Stunde ist da. Alle Schätze sind dein und deiner Tochter. Nur, den siebenfachen Sonnekreis wird Sarastro so männlich verwalten, ich bisher. Forsche nicht nach Wesen, die den weiblichen Geiste unbegreiflich sind. Deine Pflicht ist, dich und deine Tochter, der Führung weiser Männer zu überlassen.
PAM: So bist der Jüngling auf immer für mich verloren.
QN: Verloren! Siehst du hier diesen Stahl? Er ist für Sarastro geschliffen. Du wirst ihn tödten, und den mächtigen Sonnenkreis mir überliefern.
PAM: Aber Mutter...
QN: Kein Wort!
Aria
Der Hölle Rache kocht in meinem Herzen,
Tod und Verzweiflung
Tod und Verzweiflung flammet um mich er!
Fühlt nicht durch dich Sarastro Todesschmerzen
Sarastro Todesschmerzen,
So bist du meine Tochter nimmermehr
So bist du meine - meine Tochter nimmermehr.
Meine Tochter nimmermehr!
So bist du meine Tochter nimmermehr.
Verstossen sei auf ewig,
Verlassen sei auf ewig.
Zertrümmert sei'n auf ewig
Alle Bande der Natur,
Verstossen, verlassen
und zertrümmert!
Alle Bande - Alle Bande der Natur,
Wenn nicht durch dich Sarastro wird erblassen!
Hört! Hört! Hört! Rachegötter,
Hört der Mutter Schwur!
(PLEASE VISIT MY CHANNEL FOR MORE GREAT CLASSICAL MUSIC)
Darcy Keeble Watson
In terms of costume, acting and singing, this has got to be the best version I've ever seen in my life. Those eyes! :O
Cedric Evans
Those are literally the only terms
Daian Tai
Yes, undoubtedly! I agree totally and you said: THOSE EYES! How expressive she was! Beautiful!
Simply Ramble✨
I completely agree!
Miriam Barreras
Yes! And what a difference it makes when the actors actually speak German!
Sfs
I totally agree!
Weissquell
I think, her singing is fantastic. But her sceneplay is an unmatched performance. No Queen on Night i saw so far, has this expression, or movement. The most of them just stand there and sing.
magicmulder
Exactly. Deutekom's performance is flawless as well but she looks like she's in a trance.
Schiz
@Peter DerPanda I'm talking about how the intensity and sharpness of her cadence can almost sound poppy or fanfare-ish, not the lyrics.
Peter DerPanda
@Schiz That's the privilege of not knowing the lyrics. "If Sarastro doesn't die a painful death through you, I'll reject you as a daughter" is one of the less jolly themes in the Zauberflöte.