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. 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 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 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 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.
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
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.
XxxanonymxxX133 XxxanonymxxX133
Der Hölle Rache kocht in meinem Herzen,
Tod und Verzweiflung,
Tod und Verzweiflung flammet um mich her!
Fühlt nicht durch dich Sarastro Todesschmerzen,
Sarastro Todesschmerzen,
Sot du meine Tochter nimmermehr.
Sot du mei, meine Tochter nimmermehr.
Aaaaah...
Meine Tochter nimmermehr.
Aaaaah...
Sot meine Tochter nimmermehr.
Verstossen sei auf ewig und verlassen sei auf ewig,
Zertrümmert sei auf ewig alle Bande der Natur,
Verstossen, verlassen, und zertrümmert
Alle Bande der Natur, alle Baaaa...
Aaaaah..., Bande, alle Bande der Natur,
Wenn nicht durch dich Sarastro wird erblassen!
Hört, hört, hört Rache, - Götter! -
Hört der Mutter Schwur.
Princesa Guerrera
Der Hölle Rache kocht in meinem Herzen,
Tod und Verzweiflung flammet um mich her!
Fühlt nicht durch dich Sarastro
Todesschmerzen,
So bist du meine Tochter nimmermehr.
Verstossen sei auf ewig,
Verlassen sei auf ewig,
Zertrümmert sei'n auf ewig
Alle Bande der Natur
Wenn nicht durch dich!
Sarastro wird erblassen!
Hört, Rachegötter,
Hört der Mutter Schwur!
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!"
Princesa Guerrera
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!
fea hhh
Der Hölle Rache kocht in meinem Herzen,
Tod und Verzweiflung flammet um mich her!
Fühlt nicht durch dich Sarastro Todesschmerzen,
so bist du meine Tochter nimmermehr.
Verstoßen sei auf ewig,
verlassen sei auf ewig,
zertrümmert sei'n auf ewig
alle Bande der Natur.
wenn nicht durch dich Sarastro wird erblassen!
Hört, hört, hört, Rachegötter, hört, der Mutter Schwur!
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
Miriam Barreras
Yes! And what a difference it makes when the actors actually speak German!
Sofia G.
I totally agree!
Augustine Cubero
Agree...everything outstanding. Absolutely beautiful.
JuMixBoox
This makes it clear German is not an ugly language, but a beautiful one. Happy that I have the privilege to know it and write texts in it.
Roman Knetsch
@DrachenOdem Aber nein, sieh haben es sogar besser auf den Punkt gebracht. In Deutsch haette ich mich sicher präziser ausdrücken können. Mir ging es hauptsächlich darum, den englischsprachigen Kommentatoren klar zu machen, das Österreichisch keine komplett andere Sprache ist. Ein Dialekt ist ja schließlich keine andere Sprache. Ich hab einige österreichische Freunde, und ich liebe ihren Dialekt, insbesondere das Wienerisch. Nun offensichtlich hat sich Mozart für Hochdeutsch entschieden. Er hat ja auch italienischesprachige sprachige Opern geschrieben, das macht ihn noch lange nicht zum Italiener. Was solls, ist doch vollkommen egal welcher Nationalität er zu welcher Zeit auch immer angehört hat. Mozart war ein Geschenk an die Welt und wir alle sollten sein Werk genießen dürfen. Wenn ich so drüber nachdenke, eine Wienerische Version, der Königin der Nacht, wäre vielleicht ganz lustig 😁. Wäre sicher wesentlich charmanter, aber haette niemals diese Wucht und wilde Leidenschaft, wie sie Damrau auf die Bühne gezaubert hat. Verzeihen Sie, das ich ihren Kommentar "stupid" genannt habe, ist wohl meinem unpräzisen Englisch zu verdanken. Wollte sie mitnichten kraenken, denn eigentlich haben wir fast das gleiche gemeint. Diese göttliche Musik hat es nicht verdient darüber zu argumentieren, denn sie ist wirklich jenseits aller Kritik.
DrachenOdem
@Roman Knetsch Habe ich was anderes behauptet? Please read my english text above ;-)
Roman Knetsch
lkommen andere Sprache ist
Roman Knetsch
@DrachenOdem OH, sie haben sofort erkannt das Englisch nicht meine Muttersprache ist, ist wohl der Tatsache geschuldet das mein Englisch im den letzten Jahrzehnten, mangels Übung, ziemlich eingerostet ist. Sie haben mit ihrer Einschätzung natürlich vollkommen recht. Hochdeutsch ist in Österreich 🇦🇹 Amtssprache. Dialekt und Sprachfaerbung unterscheiden sich. Aber nicht soweit, dass man sich mehr verständigen kann. Aber diese Diversität in Dialekten findet man in jeder Sprache. Was ich eigentlich sagen wollte, das Mozart seine deutschen Opern ausschließlich in Hochdeutsch geschrieben hat, und sie wurden auch nur in Hochdeutsch vorgetragen, das wollte unseren englischsprachigen Freunden klar, die offensichtlich glauben, dass Österreichisch eine vol
DrachenOdem
@Roman Knetsch Österreich und Schweiz haben formal Hochdeutsch als Amtssprache, aber das heißt nicht das ein Norddeutscher einen Menschen aus der Steiermark uneingeschränkt versteht. Genauso wie bei GB und USA, formal die selbe Sprache aber die Akzente sind teilweise so unterschiedlich, dass verbal Kommunikation eingeschränkt ist. Aber wie man hier sieht: die Schrift ist gleich!