# Unfortunate Libretto Translation



## Theophrastus (Aug 13, 2011)

While studying an online translation of the Ring libretto, came on this unfortunate translation (sung by the Rhine-maidens just before Alberich steals the gold):



> Save yourselves!
> The gnome has gone crazy!


Don't know how it reads in German, mind.


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## rsmithor (Jun 30, 2011)

Here's Andrew Porter's English (singing) translation used in ENO/Chandos/Goodall "Ring"

The Three Rhinemaidens

Rette euch!
Es raset der Alp! 
In den Wassern spruht's
wohin er springt: 
die Minne macht ihn verruckt! 

Save yourselves!
the dwarf has gone mad;
and the water swirls
where he has leapt.
His love has cost him his wits!


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## MAuer (Feb 6, 2011)

I still remember the anecdote about an opera company that translated the supertitle projection of Tosca's instruction to Cavaradossi, "Ma falle gli occhi neri," as "Give her black eyes." The audience howled. :lol:


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## amfortas (Jun 15, 2011)

I have a pet peeve about translations of the final scene of _Don Carlo_ (the Italian version--don't know if the same issue comes up in the French).

When the prince makes his wrenching farewell to the woman he longs for, it typically draws laughs if his "Addio, mio madre" is rendered, "Goodbye, mother." Not much better, really, than "Bye, Mom."

While it's not technically necessary, in this particular context I think it's important to retain the possessive pronoun: "Addio, mio madre"--"Goodbye, my mother." It's a subtle difference, but it better suggests the fraught dynamics of the moment. Even the rather stiff artificiality of that phrasing is significant. Carlo is consciously distancing himself from Elisabetta, reinstating the formality and uncrossable social barrier that from now on will have to dictate their lives. Her reply, "Mio figlio, addio," has the same intent and should be translated similarly.

There still might be a nervous laugh or two, but a better translation at least gives the performers a fighting chance to make the poignancy of the moment come through.


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## Theophrastus (Aug 13, 2011)

rsmithor said:


> Here's Andrew Porter's English (singing) translation used in ENO/Chandos/Goodall "Ring"
> 
> The Three Rhinemaidens
> 
> ...


That certainly reads better



amfortas said:


> I have a pet peeve about translations of the final scene of _Don Carlo_ (the Italian version--don't know if the same issue comes up in the French).
> 
> When the prince makes his wrenching farewell to the woman he longs for, it typically draws laughs if his "Addio, mio madre" is rendered, "Goodbye, mother." Not much better, really, than "Bye, Mom."
> 
> ...


Amfortas - I have to admit that I really know very little about opera and nothing about Don Carlo - but just wanted to say I like your analysis. Translation is not in any way a science, it's the art of interpreting something in another language.


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## Theophrastus (Aug 13, 2011)

MAuer said:


> I still remember the anecdote about an opera company that translated the supertitle projection of Tosca's instruction to Cavaradossi, "Ma falle gli occhi neri," as "Give her black eyes." The audience howled. :lol:


Reminds of the story about the Swiss conductor who shouted in frustration at the BBC Symphony Orchestra "You think I know f### nothing but you are wrong. I know f### all!"


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## amfortas (Jun 15, 2011)

Theophrastus said:


> Amfortas - I have to admit that I really know very little about opera and nothing about Don Carlo - but just wanted to say I like your analysis. Translation is not in any way a science, it's the art of interpreting something in another language.


Why thank you! It seems that once again I've successfully managed to disguise the fact that I don't know a damned thing. 

And I do agree with you about translation as an interpretive art. Too bad it's not better appreciated.


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## Almaviva (Aug 13, 2010)

amfortas said:


> Why thank you! It seems that once again *I've successfully managed to disguise the fact that I don't know a damned thing.*
> 
> And I do agree with you about translation as an interpretive art. Too bad it's not better appreciated.


I'm not sure if you've disguised it that well, buddy. It's _mia madre_, not _mio madre_.:lol:


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## amfortas (Jun 15, 2011)

Almaviva said:


> I'm not sure if you've disguised it that well, buddy. It's _mia madre_, not _mio madre_.:lol:


Actually, that was quite intentional. In some rare editions, Carlo says "Addio, mio madre," which ideally should be translated as, "Goodbye, my man-mother."

This unsettling conflation of gender is a clever reference to Shakespeare's _Hamlet_, where the hero says to his Uncle Claudius, "Farewell, dear mother." When Claudius corrects him with, "Thy loving father, Hamlet," the prince replies, "My mother: father and mother is man and wife; Man and wife is one flesh; and so, my mother" (Act IV, Scene ii, lines 48-52).

Thus Verdi subtly links the Oedipal conflict in his opera to the similar situation in Shakespeare's famous tragedy.

See?


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## sospiro (Apr 3, 2010)

Almaviva said:


> I'm not sure if you've disguised it that well, buddy. It's _mia madre_, not _mio madre_





amfortas said:


> Actually, that was quite intentional. In some rare editions, Carlo says "Addio, mio madre," which ideally should be translated as, "Goodbye, my man-mother."
> 
> This unsettling conflation of gender is a clever reference to Shakespeare's _Hamlet_, where the hero says to his Uncle Claudius, "Farewell, dear mother." When Claudius corrects him with, "Thy loving father, Hamlet," the prince replies, "My mother: father and mother is man and wife; Man and wife is one flesh; and so, my mother" (Act IV, Scene ii, lines 48-52).
> 
> ...


I have a copy of this Don Carlo libretto & have been puzzling over it for ages. Thank you - NOW it makes sense.


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## amfortas (Jun 15, 2011)

amfortas said:


> Actually, that was quite intentional. In some rare editions, Carlo says "Addio, mio madre," which ideally should be translated as, "Goodbye, my man-mother."
> 
> This unsettling conflation of gender is a clever reference to Shakespeare's _Hamlet_, where the hero says to his Uncle Claudius, "Farewell, dear mother." When Claudius corrects him with, "Thy loving father, Hamlet," the prince replies, "My mother: father and mother is man and wife; Man and wife is one flesh; and so, my mother" (Act IV, Scene ii, lines 48-52).
> 
> ...


Um . . . guys . . .

I probably should have added a "wink" emoticon to the above. I figured people would realize . . . it's total BS! 

Well, OK, the Shakespeare quote is real. The rest is just me trying to find a clever way to cover over my mistake.

Sorry . . . just my totally straight-faced form of humor (I confuse people like this in person, too).


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## Almaviva (Aug 13, 2010)

amfortas said:


> Actually, that was quite intentional. In some rare editions, Carlo says "Addio, mio madre," which ideally should be translated as, "Goodbye, my man-mother."
> 
> This unsettling conflation of gender is a clever reference to Shakespeare's _Hamlet_, where the hero says to his Uncle Claudius, "Farewell, dear mother." When Claudius corrects him with, "Thy loving father, Hamlet," the prince replies, "My mother: father and mother is man and wife; Man and wife is one flesh; and so, my mother" (Act IV, Scene ii, lines 48-52).
> 
> ...


Come on, buddy, I'm no gullible spring chicken.

*ELISABETTA E DON CARLO *Ma lassù ci vedremo in un mondo migliore, Dell'avvenire eterno suonan per noi già l'ore; E là noi troverem nel grembo del Signor Il sospirato ben che fugge in terra ognor! In tal di, che per noi non avrà più domani, Tutti i nomi scordiam degli affetti profani. *DON CARLO *Addio, mia madre! *ELISABETTA *Mio figlio, addio! *DON CARLO ED ELISABETTA *Per sempre! Addio!

French version, by the way:

* ELISABETH* Au moment solennel point d'indigne faiblesse, Oublions tous les noms de profane tendresse, Donnons-nous ces noms chers aux plus chastes amants* DON CARLOS* Adieu, ma mère!* ELISABETH* Adieu mon fils!* DON CARLOS* Et pour toujours!


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## amfortas (Jun 15, 2011)

Almaviva said:


> Come on, buddy, I'm no gullible spring chicken.


Thank you for *not* being fooled!

And if anyone *was* misled by my post, again, my apologies. I was just *kidding*, and never meant to deceive. Usually, I think I manage to make it clear when I'm serious and when I'm silly. Maybe this time, I miscalculated. Mea culpa!


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## Couchie (Dec 9, 2010)

amfortas said:


> Thank you for *not* being fooled!
> 
> And if anyone *was* misled by my post, again, my apologies. I was just *kidding*, and never meant to deceive. Usually, I think I manage to make it clear when I'm serious and when I'm silly. Maybe this time, I miscalculated. Mea culpa!


The giveaway was "Verdi subtly..."


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## sospiro (Apr 3, 2010)

amfortas said:


> Um . . . guys . . .
> 
> I probably should have added a "wink" emoticon to the above. I figured people would realize . . . it's total BS!
> 
> ...




Really? Oh damn, I thought I'd finally understood my Donna Carlos libretto. Still my rare edition must be worth something.


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## mamascarlatti (Sep 23, 2009)

sospiro said:


> Really? Oh damn, I thought I'd finally understood my Donna Carlos libretto. Still my rare edition must be worth something.


I think Annie might be very effectively taking the P.... Go girl.


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## amfortas (Jun 15, 2011)

mamascarlatti said:


> I think Annie might be very effectively taking the P.... Go girl.


Yes, and it serves me right!

Perhaps it's not so much that people can't tell when I'm kidding, as that I can't tell when they're kidding me back.


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