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Hannibal |
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CARLOTTA: |
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This trophy from our saviours, from our saviours! |
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From the enslaving force of Rome! |
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GIRL'S CHORUS: |
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With feasting and dancing and song, tonight in celebration, we greet the victorious |
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throng, returned to bring salvation! |
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MEN'S CHORUS: |
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The trumpets of Carth age resound! Hear, Romans, now and tremble! Hark to our step |
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on the ground! |
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ALL: |
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Hear the drums -- Hannibal comes! |
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PIANGI: |
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Sad to return to find the land |
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we love threatened once more by Roma's far-reaching grasp, |
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REYER: |
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Signor . . . if you please: "Rome ". |
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We say "Rome' not "Roma" |
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PIANGI: |
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Si, si, Rome, not Roma. Is very hard for me. |
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LEFEVRE: |
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This way, gentlemen, this way. |
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Rehearsals, as you see, are under way, for a new production of Chalumeau's |
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"Hannibal". |
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Ladies and gentlemen, some of you may already, perhaps, have met M. Andre and M. |
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Firmin ... |
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REYER: |
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I'm sorry, M. Lefevre, we are rehearsing. |
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If you wouldn't mind waiting a moment? |
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LEFEVRE: |
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My apologies, M. Reyer. Proceed, proceed ... |
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REYER: |
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Thank you, monsieur. |
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"Sad to return..." Signor ... |
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LEFEVR E: |
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M. Reyer, our chief repetiteur. Rather a tyrant, I'm afraid. |
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PIANGI: |
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Sad to return to find the land we love |
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threatened once more by Rome's far-reaching grasp. |
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Tomorrow, we shall break the chains of Rome. |
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Tonight, rejoice - your army has come home. |
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LEFEVRE: |
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Signor Piangi, our principal tenor. |
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He does play so opposite La Carlotta. |
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GIRY: |
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Gentlemen, please! If you would kindly move to one side? |
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LEFEVRE: |
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My apologies, Mme. Giry. |
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Mme. Giry, our ballet mistress. |
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I don't mind confessing, M. Firmin, I sha n't be sorry to be rid of the whole blessed |
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business. |
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FIRMIN: |
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I keep asking you, monsieur, why exactly are you retiring? |
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LEFEVRE: |
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We take a particular pride here in the excellence of our ballets. |
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ANDRE: |
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Who's that girl, Lefevre? |
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LEFEVRE: |
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Her? Meg Giry, Madame Giry's daughter. |
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Promising dancer, M. Andre, most promising. |
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GIRY: |
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You! Christine Daa? Concentrate, girl! |
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MEG: |
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Christine . . . What's the matter? |
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FIRMIN: |
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Daa? Curious name |
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LEFEVRE: |
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Swedish. |
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ANDRE: |
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Any relation to the violinist? |
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LEFEVRE; |
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His daughter, I believe. |
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Always has her head in the clouds, I'm afraid. |
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CHORUS: |
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Bid welcome to Hannibal's guests -the elephants of Carthage! |
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As guides on our conquering quests, Dido sends Hannibal's friends! |
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CARLOTTA: |
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Once more to my welcoming arms my love returns in splendour! |
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PIANGI: |
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Once more to those sweetest of charms my heart and soul surrender! |
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CHORUS: |
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The trumpeting elephants sound -- hear, Romans, now and tremble! Hark to their step |
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on the ground -- hear the drums! Hannibal drums! |
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LEFEVRE: |
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Ladies and gentlemen - Madame Giry, thank you - may I have your attention, please? |
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As you know, for some weeks there have been rumours of my Imminent retirement. |
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I can now tell you that these were all true and it is my pleasure to introduce to you |
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the two gentlemen who now own the Opera Populaire, M. Richard Firmin and M. Gilles |
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Andre. |
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Gentlemen, Signora Carlotta Giudicelli, our leading soprano for five seasons now. |
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ANDRE: |
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Of course, of course. I have experienced all your greatest roles, Signora. |
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LEFEVRE: |
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And Signor Ubaldo Piangi. |
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FIRMIN: |
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An honour, Signor. |
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ANDRE: |
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If I remember rightly, Elissa has a rather fine aria in Act Three of "Hannibal". |
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I wonder, Signora, if, as a personal favour, you would oblige us with a private rendition? |
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Unless, of course, M. Reyer objects . . . |
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CARLOTTA: |
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My manager commands . . . M. Reyer? |
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REYER: |
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My diva commands. Will two bars be sufficient introduction? |
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FIRMIN: |
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Two bars will be quite sufficient |
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REYER: |
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Signora? |
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CARLOTTA: |
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Maestro. |
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CARLOTTA: |
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Think of me, think of me fondly |
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when we've said goodbye ... |
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Remember me, Every so often, |
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Please promise me you'll try ... |
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On that day, that not so distant day, |
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when you are far away and free, |
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if you ever find a moment, spare a thought for me ... |
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Think of me, think of me... |
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CHORUS: |
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The Phantom of the Opera! He's with us, he's a ghost ... |
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He's here! The Phantom of the Opera! |
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LEFEVRE: |
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Signora! Are you all right? Buquet! Where is Buquet? Get that man down here! Chief |
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of the flies. He's responsible for this. |
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Buquet! For God's sake, man, what's going on up there? |
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BUQUET: |
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Please monsieur don't look at me: |
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as God's my witness,I was not at my post. |
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Please monsieur, there's no one there: |
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and if there is, well then, it must be a ghost . . . |
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MEG: |
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He's there; the Phantom of the Opera ... |
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ANDRE: |
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Good heavens! Will you show a little courtesy? |
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FIRMIN: |
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Mademoiselle, please ... |
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ANDRE: |
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These things do happen! |
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CARLOTTA: |
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Si! These things do happen! Well, until you stop these things happening, this thing |
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does not happen! |
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Ubaldo! Andiamo! |
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PIANGI: |
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Amateurs! |
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LEFEVRE: |
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I don't think there's much more to assist you, gentlemen. Good luck. |
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If you need me, I shall be in Frankfurt . |
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ANDRE: |
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La Carlotta will be back. |
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GIRY: |
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You think so, messieurs? I have a message, sir, from the Opera Ghost. |
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FIRMIN: |
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God in Heaven, you're all obsessed! |
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GIRY: |
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He merely welcomes you to his opera house |
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and commands you to continue to leave Box Five empty for his use |
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and reminds you that his salary is due. |
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FIRMIN: |
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His salary? |
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GIRY: |
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Monsieur Lefevre paid him twenty thousand francs a month. |
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Perhaps you can afford more, with the Vicomte de Chagny as your patron. |
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ANDRE: |
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Madame, I had hoped to have made that announcement myself. |
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GIRY: |
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Will the Vicomte be at the performance tonight, monsieur? |
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FIRMIN: |
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Yes, in our box. |
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ANDRE: |
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Madame, who is the understudy for this role? |
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REYER: |
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There is no understudy, monsieur - the production is new. |
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MEG: |
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Christine Daae could sing it, sir. |
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FIRMIN: |
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The chorus girl? |
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MEG: |
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She's been taking lessons from a great teacher |
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ANDRE: |
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From whom? |
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CHRISTINE: |
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I don't know, sir . . . |
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FIRMIN: |
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Oh, not you as well! Can you believe it? |
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A full house - and we have to cancel! |
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GIRY: |
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Let her sing for you monsieur. She has been well taught! |
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REYER: |
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From the beginning of the aria then, mam'selle. |
