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)
Nicole Santarini
Okay for anybody who want's to know the English translation to this here it is, press "Read More"
The vengeance of Hell boils in my heart,
Death and despair flame about me!
If Sarastro does not through you feel
The pain of death,
Then you will be my daughter nevermore.
Disowned may you be forever,
Abandoned may you be forever,
Destroyed be forever
All the bonds of nature,
If not through you
Sarastro becomes pale! (as death)
Hear, Gods of Revenge,
Hear a mother's oath!
Basically she wants her daughter to kill Sarastro, and if she doesn't. Then her mother will disown her as a daughter. Sad but true.
PavementPaperclip
Asia C Level And Who else wants a translation of what they are saying before the song?
"Mother? Mother!"
"WHERE IS THE SAPLING I SENT TO YOU?"
"Oh dear mother, he is withdrawn from the world and people for eternity. He devoted himself to the Initiates."
"THE INITIATES?!"
"Yes..."
"UNLUCKY DAUGHTER, NOW YOU ARE WRESTED FROM ME FOREVER!"
"Wrested? Let's flee, dear mother! Under your protection I face any danger."
"PROTECTION?! MY DEAR CHILD, YOUR MOTHER CANNOT PROTECT YOU ANYMORE! ALONG WITH YOUR FATHER'S DEATH MY POWER WENT TO THE GRAVE."
"My father -"
"YOUR FATHER HANDED THE SEVENFOLD SUNSPHERE VOLUNTARILY TO THE INITIATES! WHEN I ADDRESSED HIM HE SPOKE: 'WOMAN, MY LAST HOUR HAS COME, ALL TREASURES ARE YOURS - AND YOUR DAUGHTER'S, ONLY THE SEVENFOLD SUNSHPERE SARASTRO WILL MANAGE AS MANLY AS I DID UNTIL NOW. DO NOT SEARCH FOR SOME NATURE THAT IS INCOMPREHENSIBLE FOR THE FEMALE MIND. YOUR DUTY IS TO SUCCUMB YOURSELF AND YOUR DAUGHTER TO THE LEADERSHIP OF WISE MEN.' "
"So, the sapling is lost for me forever?"
"LOST! DO YOU SEE THE STEEL? IT WAS SHARPENED FOR SARASTRO. YOU WILL KILL HIM! AND DELIVER THE MIGHTY SUNSPHERE TO ME."
"But mother!"
"NOT A WORD!"
Oliver Gröning
The first 2 min. (German -> English)
Mother!
Where is the youth which I sent for you?
Oh dear mother! He is removed from the world and men forever as he consecrated himself to the initiated.
To the initiated?!!
Yes!
Unlucky daughter, now you are lost to me forever.
Lost forever? Oh, let us flee dear mother. With your protection I will face every odd.
Protection? My dear child, your mother can no longer protect you! With the death of your father my power went to the grave with him.
1’00
My father…
Thy father handed over freely the 7-fold circle of the sun to the initiated.
When I confronted him on this he said ”Woman! My last hour has come. All treasures are thine and your daughter’s. But, the 7-fold circle of the sun Sarastro will govern with manly measure as I did. Do not ponder matters that a female mind cannot understand! Your duty and the one of your daughter is to be ruled by wise men.”
So the youth is lost to me forever?
Lost forever!
Do you see this dagger? It is sharpened for Sarastro. You will kill him! And deliver the 7-fold circle of the sun to me!
Mother!
No more words!
2’12
Hells revenge boils in my heart… (Aria)
Oliver Gröning
@Sean Silence It is very powerful indeed
From 2'12 on...
Hell's revenge is boiling in my heart
Death and desperation, death and desperation are flaming all around me.
If Sarastro will not feel deadly pains from you, you will be my daughter no more.
You will be my daughter no more... (Arpeggios to the high C)
My daughter no more...(Arpeggios to the high C)
So you will be my daughter no more.
Cast out be forever...
Abandoned be forever...
Destroyed be forever all bonds of nature.
Cast out be forever...
Abandoned be forever...
Destroyed be forever all bonds of nature. (Arpeggios)
All bands of nature... if not by thy Sarastro will pale...
Hear, hear, HEAR all Gods of vengeance.
Hear the mother's oath.
MadLad
This is how it goes down when I don't clean my room and my mom and I get into a dispute.
Bethany Reads
My mom would be singing higher
CommandanteRamon
Death and despair around me? :-D
DerPianist
This is officially the best comment on youtube
Naya Sparrow
Steam Punkster And tells you if you don‘t kill him, you won‘t be her daughter anymore?
Steam Punkster
Oh so mom sings an aria? And instructs you to commit murder on a grand wizard?
That's cool.
Rosinante
Those who disliked this video probably don't know how DIFFICULT is to do
that "whoah-ah-ah-ah-ah-ah-ah-ah-ah-aaaah! ...
whoah-ah-ah-ah-ah-ah-ah-ah-ah-aaaah!... whoah-ah-ah-ah-ah-ah-ah-ah-ah-aaaah!"
nimedhel09
Yeah, that staccato is... HARD. And Diana Damrau does it with such ease and attitude! And let's not even talk about the trill she does in the last "alle bande der natur"
Danny Timms
Maybe it just doesn't sound nice to them.
Maybe they're not as good as you.
Twilights Visiual Stars
Ist impossible to do it your own but ist much better to be trained by professional opera singer.