• Third Act, first scene

    Third Act - First Scene


    MARIETTA
    Dich such ich, Bild !
    Mit dir hab ich zu reden !

    Schön bist du und gleichst mir –
    Sag, gleichst du mir noch ?
    Sag, wo ist deine Macht ?
    Zum zweitenmal starbst du,
    Du stolze Tote.
    An mir, an mir, der Lebenden
    Liebesnacht! Ihr, die ihr abgeschieden,
    Brecht nicht den Frieden,
    Drängt nicht ins Leben,
    Laßt und holdes Nehmen und Geben!
    Laßt uns, die wir atmen und leben,
    Die wir leiden und streben
    Laßt und die springenden Bronnen,
    Laßt uns die Stürme, die Sonnen und Wonnen.
    Laßt uns das trunkne Getriebe
    Von Lust und von Liebe!

    CHILDREN CHOIR
    O süßer Heiland mein,
    Einst werd ich um dich sein.

    In deiner Liebe Hut
    Werd ruhen ich so gut.

    MARIETTA
    Kinder sinds. Sie sammeln sich
    Zur heiligen Prozession
    Und rufen mit des Lebens Wort
    Mich von der Toten fort.

    CHILDREN CHOIR
    Einst sagst du : Komm zu mir
    Ins selige Revier,
    Zu blühn am Himmelsrain
    Ein leuchtend Blümelein.

    MARIETTA
    Der Kinder Sang – er schwingt und schwillt,
    Bestärkt des Lebens Drang.


    The last Act opens with a brief prelude. We keep hearing the motif "Marietta", in C major, in restless variations, that transmit the passionate nature of the night's embrace. The tempo speeds up and the orchestra, in fortissimo, salutes the appearance of Marietta.

    'Dich such ich, Bild!', the trumpets and the trombones underline the arrogance of the young dancer. Marietta challenges the dead Marie, while the English horn and the clarinets play the motif "Vision". Then Marietta's voice unburdens in a lyrical outburst, 'Lebenden Liebesnacht'. Korngold wanted this monologue to be a kind of mirror image of Paul's monologue in the First Act.

    In a master stroke of irony, while Marietta is ordering the dead to leave alone the living, a choir of children in procession answer her praising Eternal Life, 'O süßer Heiland mein'. We are walking with the children into the heart of Bruges.





    Then in 'Kinder sinds. Sie sammeln sich' the violins introduce a very beautiful melody, that Korngold will use again some years later, in the wonderful aria "Ich ging zu ihm", in his opera Das Wunder der Heliane:



    A chord in D minor and the motif "Doom" are driving us to Paul's entrance and the beginning of the second scene.


    Here is the first scene:



    and the aria "Ich ging zu ihm" if someone would like to check the reference:



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