• First Act, third and fourth scenes

    PAUL
    Nur deiner harr ich, niemals Verlorne!
    Wer kann ihn denn verstehen,
    Unsrer Seelen tief geheimnisvollen Bund?

    Du Überlebendes von ihrer Schönheit,
    So wirst du wieder hold erstehn?
    So werd ich wieder
    Schimmernd auf weißer Stirn
    Das Goldgelocke leuchten sehn?

    PAUL
    Rosen, so ists recht!

    BRIGITTA
    Gnädger Herr, verschleiert, eine Dame.

    PAUL
    Und du sagst es nicht?
    Führ sie herein.

    BRIGITTA
    Herr Paul, bedenken Sie, die Welt...

    PAUL
    Wenn du mich liebst, schweig und gehorche!

    PAUL
    Marie!
    Noch einmal saug ich deine Züge, In mich ein.
    Ich sehe dich ... ich fühle dich...
    Jetzt, Gott, jetzt gib sie mir zurück!



    After Frank's exit we hear again "Return to Life" while Korngold crush mercilessly the top notes of his tenor, and he request him to sing 'with emotion, impassioned'. The orchestra dilutes itself and the singer must undress before us Paul's soul. The tonality is Gflat major but the end is a disonance, at the top of the tessiture, and sung in piano.

    Tempo is speeded up with the arrival of Brigitta and the roses, supported by the strings in forte. Marietta is at the door, and Paul orders his servant to bring her to the room. Brigitta's small rebellion show is she is jealous, but Paul manipulates the poor woman into obedience.

    Once alone, and with the motif "Love", Paul stretched his vocality to the limit. Under motif "Marie" he escalates from Fsharp to A and to Bflat3. The orchestra takes a seemingly infinite time to solve a chord and then the motif of "Marietta" explodes.

    This is a very demanding fragment for Paul, and there are usually some cuts in performance.

    Here we can watch the scene from 5:45, with the extremely difficult lines

    Du Überlebendes von ihrer Schönheit,
    So wirst du wieder hold erstehn?
    So werd ich wieder
    Schimmernd auf weißer Stirn
    Das Goldgelocke leuchten sehn?


    cut:



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