All language subtitles for The Climax 1944 1080p BluRay H264 AAC-RARBG 2_English

Good evening, doctor.

= doctor?

Yes.

Dr. hohner.

The theater physician.

He lives just around the corner.

What's he doin' around
here this time of night?

Somebody sick?

Yes.

He is.

Marcellina.

= marcellina.

Oh yes.

Did the police ever find her?

= no.

After 10 years, they've given up trying.

Marcellina, it has come.

At last, it has come.

What, luise?

I couldn't wait, I opened it.

The king invites you, no,
commands you to sing for him.

Luise, I'm going to faint.

Not now, my sweet.

After you sing for the king,
you can faint all you like.

Will you find the maestro?

I want him to hear the good news.

Oh, this is the biggest moment of my life.

J; Ah, tell me why this
doubt should fall to me

j whose tragic power seems to call to me j

friedrich, I asked you
never to come here again.

I had to see you.

Well, I don't want to see you.

I thought you understood that.

But I love you, marcellina.

No, friedrich.

You love your own private, selfish world.

You want to lock me up there
with you, give up my career.

That's what you've got to do.

I can't bear the thought that any man

can hear you sing, feast his eyes on you,

just for the price of a ticket.

I worked hard for my success, friedrich.

Tonight, there were 11 solo curtain calls,

more than any other singer's
ever had in this theater.

The king commands me to sing for him.

Why, I'd be a fool to
give that up for you.

Darling, listen to me.

No, friedrich. I've listened
to you for the last time.

Now please go.

This isn't really you
speaking, marcellina.

You've forgotten how happy
we've been, and will be again.

Now let me hear you say once
more, just as you used to,

"I love you, friedrich.”

I can't say it,
because I don't love you.

I hate you.

I don't hate you.

I only hate the thing that's
come between us, your voice.

Yes, I know.

You were out front tonight.

I felt your eyes on me.

Like you're looking at me now.

Go away.

Get out of here!

I'm afraid of you.

= you needn't be.

I love you, my darling.

You know that.

I'd give my life for you.

This thing that shuts
me out, I won't let it,

I tell you I won't let it.

It's here, now, between my fingers.

I've only to close them
to silence it forever.

Friedrich, you're hurting me.

Friedrich, you're...

We'll always be together now.

Your voice will never
come between us again.

Marcellina.

Dr. hohner, are you all right?

Yes.

Yes.

I'm all right.

Good morning, count seebruck.

Good morning.

Good morning, count seebruck.

Good morning.

- Good morning.
- Good morning, Jean.

Good morning, count seebruck.

What a lovely morning.

The air is like wine.

Chestnut trees are in bloom.

All nature is in Harmony.

Well, even our friends the critics

have been kind to us this morning.

Oh, it's good to be alive.

Everything is serene, peaceful, quiet.

I have never been
so insulted in all my life!

I positively will not stand for it.

I am the prima Donna of the royal theatre,

and I won't be insulted by...

I was not insulting you.

I was merely trying to show you...

You, show me.

Why, the insolence!

Now, children, children, please, please.

What's wrong?

Stop it, stop it!

Now you, brunn.

What is it?

And stop bobbing.

Yes, madame.

Count seebruck, if you please.

We were just rehearsing the
duet between madame jarmila

and signor roselli, when
for no apparent reason,

madame jarmila...

For no apparent reason?

Why, this creature here was handling me

like a pan of unbaked dough.

= it was not.

I merely put my arm around your waist.

Carl, you were in the prompter's box.

You saw it all.

I'm sorry.

You know how it goes, count seebruck.

Ji love you j

j la-la-la-la, la-la-la j

will you take your hands off my stomach?

Perhaps you'd rather I
didn't touch you at all.

Nothing would please me better.

For 20 years, the baritone
embraces the prima Donna

at that particular moment.

Now she's trying to tell...

I defy anyone to sing in
one of your deathlike grips.

My dear, if you are unable to sing,

ti refuse to take the blame.

Unable to sing?

Just what do you mean by that insult?

Oh, stop it, stop it.

Roselli, you're as
temperamental as a prima Donna.

And as for you, jarmila, I'm
getting a little bit tired

of your constant bickering.

So am I, count seebruck.

And if you, as the
impresario of this theater,

don't do something about it, I shall.

All right.

Is madame"s understudy ready?

Yes, count seebruck.

Miss metzger, please.

Miss metzger.

Yes, count seebruck.

Come in, my dear.

Do you know the soprano role?

Oh, yes, sir.

You shall sing it tonight
in madame jarmila's stead.

Tonight?

Oh.

= oh.

If some composer would
only write me an operetta

without any women, I'd make him immortal.

= count seebruck!

Count seebruck!

Well, what is it?

= there's a...

= well?

There's a dead man in
one of the dressing rooms.

= a dead man?

= in which room?

22.

But, jarmila, darling.

Oh, it's you, Dr. hohner.

I must have fallen asleep.

Thank you.

Brunn, continue with the rehearsal,

I'll be there as soon as I can.

= yes sir.

On stage, please.

Are you all right now?

That was silly of me to fall
asleep in the dressing room.

Oh, I understand.

And as a doctor, you
must realize that this

constant brooding over
marcellina is bad for you.

You've had a brilliant career.

Your clientele is most distinguished.

But you must put this
tragedy out of your mind.

Who is that singing?

You hear it too?

J whose tragic power seems to call to me j

Who are you?

She's Angela klatt, a music student.

We are both students.

Do you know what you were singing?

Of course, it's from "the magic voice."

- That music is sacred.
- Sacred?

Sacred to the memory of marcellina.

No one must ever sing it again.

Do you hear?

No one.

Hohner.

And now may I ask what you're
doing in my music library?

Count seebruck, forgive me, please.

I am altogether to blame.

You know these young people?

My nephew, Franz munzer.

And this is Angela klatt.

I've been smuggling them in
here to study these old scores.

I shouldn't have done it
without your permission.

It's quite all right, Carl.

There's no harm been done.

= but Dr. hohnev.

Ti met him in the corridor.

Yes, why was he so angry with me?

He was in love with marcellina.

10 years ago, she disappeared.

But I still don't see why.

You know, it's a strange thing, my dear,

but as I came down the corridor,

I thought I heard
marcellina singing in here.

The doctor was convinced of it.

You mean my voice is anything like hers?

= it's far more beautiful.

Did you ever hear marcellina?

No, she was before my
time, but there's never

been anything like Angela's voice.

It's the most beautiful
voice in the world.

They are engaged to be married.

He could be right, you know.

How long have you been studying?

Eight years.

At the conservatory.

Franz is going to be a great composer.

= indeed?

They have heard every
performance in the theater

for the past three years.

They have season tickets, eh?

I smuggled them under
the prompter's box.

Incorrigible.

There's an Aria in the second
act of the boulevardier.

"Someday I know."

J someday I know [j

j my heart will know j

j the thrill of love j

j supreme j

j and so until j

j I know that thrill j

ji'il dream

j and gladly wait j

j for him whom fate j

j has said will be [j

j for me j

j in some great plan /

j since time began j

j to be j

how are you to find him?

Where are you to go?

Will you recognize him?

How are you to know?

J our eyes will meet”

j our lips will speak

j across some crowded hall &

what's the matter, dear?

Stifling in here, don't you think?

= not for baritones.

J I'll touch his hand j

ah, jarmila, roselli.

Come in, come in.

Madame jarmila, signor roselli.

Miss Angela klatt, Mr...

= munzer. Franz munzer.

I'm sorry you didn't
hear miss klatt sing.

Ah, but we did hear.

May I congratulate you?

Thank you, signor.

And madame jarmila is just
as enthusiastic as I am.

=t am indeed.

You show promise, my dear, great promise.

Your voice is lovely, but don't force it.

Today it would be a folly
to give it to the public.

Believe me.

Don't you agree with me, seebruck?

I do, jarmila.

As you say, today miss klatt is not ready.

Not nearly ready.

But next week, Thursday,
I will present her

in "the boulevardier."

And please don't faint, either of you.

Mama hinzl.

Yes.

What have you got there?

Angela's supper.

Nightingales must have
something solid to eat

if they are to sing.

Solid is right.

Fat sausages, buttered
buns, and rich chocolate.

Take it away.

You mean you are going to let her

go to the theater without eating?

That's no good for Angela.

It'll only make her fat.

Suppose it does.

Whoever heard of a good
prima Donna who wasn't fat?

Soprano and fat are
one and the same thing.

Look at me.

Get her lemon juice and honey.

Lemon juice.

= come in.

- Angela, are you ready?
- Yes.

Where's my muff?

My muff.

Angela, don't be nervous now.

I'm not nervous, I feel fine.

Oh, you must be, 1
can't blame you for it.

You've been working so
hard, and you're excited.

= I'm not excited.

Good, I'm not either.

I'm as calm as can be.

There's one thing I must impress on you.

When you cross in the beginning
of the number, you know,

when you cross to the girls,
and you get the mirror

from the girls and you go over to jarmila

and you hold it in front of her.

Yeah, yeah.

Please, Angela, hold the mirror low.

We want to see your face.

Yes.

Oh, Franz.

Oh, Angela.

Oh, you're going to be wonderful,
and I'll be very proud.

Angela, Franz.

The carriage is here.

Coming.

Carl, a carriage?

Such extravagance.

Certainly.

Whoever heard of a prima
Donna walking to the theater?

Here you are, my little thrush.

Lemon juice and honey, drink it all.

Of course, I wouldn't put
this mess in my stomach,

but the maestro knows best.

Come, come, children.

You can't be late, Angela.

This is an event.

Good luck, darling.

Goodbye.

Lemon juice.

Excuse me, I'm sorry.

Oh.

Sorry.

Angela klatt.

The greatest voice in the world.

Quiet.

All right, girls, all right.

Places, please.

Thank you, thank you.

Jill?

Hello, Jill.

Curtain.

J when madame is getting ready
for her heavenly impression j

j then as models of
discretion, we attend her j

j making madame beautiful j

j making madame sleek j

j there's a final bit of fixing »

j that we have to do with lip Rouge j

j and her lover doesn't
sip Rouge in his ardor j

j madame must be beautiful j

j madame must be chic j

j so we carefully apply it 7

j with a bit of lace, we dry it j

j not too much

j or not.

J too little j

jl'm an artist j

j this is art j

j and, at last, madame is ready

j for the conquest of a heart j

j but, oh, before she goes

j look j

j the tip of madame's nose j

j the tip of madame's nose j

j it's shining, now how could we j

j disgraceful j

j powder for madame j

j yes, powder for madame j

j oh, hurry, he's here, hge's here

j powder for madame j

Joh. J

j make me really beautiful 7

j make me glamorous j

j make him think that I'm divine j

joh. J

j make me irresistible j

j make him mine j

j the hours of waiting seem worthwhile j»

j now I'm here j

joh. J

j take me in your lonely arms j
j I love you only j

j heart of mine j
I make me thine j;

J we were certainly successful j

j yes, madame has made connections j

j but we're left with our reflection j

> to console us

j I'll find consolation j

j in my favorite dream j

j someday I know [j

j my heart will know j

j the thrill of love j

j supreme j

j and so until j

j I know that thrill j

ji'il dream

j and gladly wait j

j for him whom fate j

j has said will be [j

j for me j

j in some great plan /

j since time began j

j to be j

How are you to find him?
J how are you to find him j

where are you to go?
J where are you to go j

how are you to know?
J how are you to know j

j our eyes will meet”

j our lips will speak

j across some crowded hall &

j I'll touch his hand j

j and understand

jitalls

j when he comes near j

ji know I'll hear.

J sweet music j

j from above j

j till then, I'll dream j

j my dream j

joff j

j love j

Miss klatt alone, please.

Goodbye, my dear jarmila.

Oh, are you going away?

No, but you are.

What do you think?

Count seebruck,
I don't think, I know.

A new star is born.

It's unbelievable.

Her voice, I could close my
eyes and swear it's marcellina.

You must feel it too.

I'm seriously
thinking of reviving

"the magic voice" for her.

Wonderful, wonderful.

= come to the office tomorrow.

I need to talk to you about something.

Meanwhile, tonight...

She was magnificent.

Weren't you nervous, excited?

Both, I ate my program.

Oh, Leon, I forgot to buy her a present.

= oh.

A jeweler open till midnight?

Yes.

He sells gifts to the men while they wait

for their sweethearts to come out.

Then, next day, he buys
them back from the girls

at one-half.

Each piece he sells over and over.

Well, he won't sell
my present over again.

= oh.

Is he expensive?

Very.

But men in love don't question prices.

That's right, Leon.

I beg your pardon.

But you're miss klatt, aren't you?

Yes.

=tl'm Dr. hohnev.

Oh, yes, doctor, I'm sorry,
I didn't recognize you.

It's a rule of the theater
to have your throat examined

after each performance.

Now, if you don't mind, my
office is just around the corner.

Franz munzer, my fiance.

He should be waiting for you.

= but if I'm not here...

- He'll wait.
- But, doctor, I...

I'm sorry, my dear, but count seebruck

expects the report tonight.

I won't keep you a moment.

You know, I heard you sing tonight.

I haven't heard a voice
like that in 10 years.

Thank you, doctor.

You have a great career
ahead of you, my dear.

I hadn't thought a throat examination

would be necessary after the performance.

It's a rule of the royal theatre.

You are part of that theater now, my dear,

and you must obey its rules.

From now on, your music
must come before everything.

= but what about Franz?

Oh, Franz, of course.

But that will come later.

It's hard to believe that it's 10 years

since I brought marcellina
here after a great triumph.

Ah, luise, his is miss klatt.

How do you do, luise?

Is that marcellina?

Yes.

Perhaps I shouldn't say it,
and I don't say it boastfully,

but count seebruck told me that my voice

reminded him of hers.

= it's true.

That's why I behaved so rudely
that morning in the library.

T was certain it was marcellina's voice

come back to life again.

That's a wonderful compliment, doctor.

You knew her very well, didn't you?

= no one knew her better.

Now will you come with me?

Excuse me.

= don't mind luise.

She was marcellina's maid and companion.

She worshiped her.

And as a reward for her
devotion, I brought her here

to keep house for me.

You're handy to
the theater, aren't you?

= t have to be.

You songbirds are my
official responsibility.

And if I'm too busy to get away,

I can still hear the opera
through these ventilators.

It's like a
private performance, isn't it?

Oh, this is lovely.

= that's marcellina as isolde.

She sang it beautifully.

She must be
very real to you, doctor.

Yes.

Let me show you.

I have souvenirs here of
every role she ever sang.

What do you think became
of marcellina, doctor?

That is a mystery that
has never been solved.

She used this fan in Romeo and Juliet.

And this slipper is one of a pair

she wore in Mozart's nozze di figaro.

= oh.

What tiny feet she must have had.

Like a child.

= that's true.

A child.

What exquisite pearls.

She always wore them
in "the magic voice."

She had them on the night she disappeared.

How would you like to wear them

when you sing "the magic voice?"

I?

Perhaps I'm talking out of turn.

Seebruck told me tonight he
plans on reviving it with you.

= oh.

Oh, I can't believe it.

Shall we try them on for luck?

She always wound them around
her throat, like this.

Her slender, graceful throat.

Exquisite to the touch.

I shouldn't keep Franz waiting so long.

I'm sorry.

I forgot all about him.

Now let's take a look at your throat.

I won't keep you another moment.

You'll be coming here regularly, you know.

From now on, I'm responsible
for your physical welfare.

Oh, just sit down there, my dear.

Then you're not going to operate on me?

= of course not.

Well, all these things
are rather frightening.

I know exactly what you mean.

I feel the same way when
I go to the dentist's.

Now then, if you'll remove
your hat and loosen your cape.

Now then, sit back in the
chair and be comfortable.

This is only a routine examination.

It won't take long.

The light.

We're ready.

Now watch the light.

No, no, watch it.

I can't, it hurts my eyes.

It'll only be for a minute.

I want to relax you before
I examine your throat.

You don't mind it now, do you?

Rest, my dear.

Restore those tired and broken nerves.

Drive out all fear and weariness.

Chase away the shadows and
forms that exhaust our emotions

and enfeeble us.

That's better.

You're relaxing now.

Body, muscles, nerves, brain.

You don't resist anymore.

Gently slipping into another world,

a world of my design, where you
will be helpless without me.

Can you hear me?

Can you hear me?

Yes.

I hear you, doctor.

You don't
want to sing again, ever.

Tonight you give your
voice and your will to me.

I'm in control.

Your voice will no
longer answer your brain,

it will obey mine instead.

Look at the mirror.

Keep looking at it.

You will never try to sing again.

Say it.

I will never try to sing again.

That voice was never yours.

It belongs to marcellina,
but it's leaving you.

I'm sending it back to her now.

It must be silenced forever.

I forbid you to sing again.

My throat.

= t'll take care of that.

You will take this atomizer with you

and never be without it.

It will remind you of my control.

Shall we get up now?

I must have fallen asleep.

= just what I wanted.

And my throat?

= perfect.

I don't think it's going to
give us a bit of trouble.

Can I help you, doctor?

Yes, luise.

Send miss klatt home in the carriage.

J; Ah, tell me why this
doubt should fall to me

j whose tragic j

j ah, tell me why this doubt should

jah j

j; Ah, tell me why this
doubt should fall to me

j; Ah, tell me why this
doubt should fall to me

j whose tragic power seems to call to me j

jah j

Marcellina, it's come back.

That voice, that voice
to take you away from me.

But I won't let it.

T won't let it.

Carl, how can you sit there

when we don't even know
what's happened to her?

We know what happened.

She made a great success.

That is no reason to
disappear into thin air.

I'm going to the police.

= here she is.

Angela, where have you been?

I'm sorry, Franz, really.

We were worried about you.

Please forgive me.

Of course, but won't
you tell me what happened?

= t don't know.

= you don't know?

Angela, I waited for you
at the theater for hours.

You must have gone someplace.

Let's not talk about it tonight, Franz.

I'm very tired.

Some other time.

Angela, forgive me.

I was so worried about
you, I forgot to tell you

how wonderful you were.

I was in the audience, you know.

You got five curtain calls.

Then when I left and waited
for you, I didn't wait so long.

Leon told me that across the street

there was a little jewelry shop

where men bought their
present, and then they,

well, for you.

To remind you of your first success.

My first success.

Oh, Franz.

Oh, my darling.

Please hold me tight.

Franz, I'm afraid.

Afraid of what?

= t don't know.

They tell me she's young,
beautiful and really can sing.

Good morning, count.

May I have a statement for my newspaper?

Now, gentlemen, please.

But "the magic voice" has
been out of the repertory

for 10 years, hasn't it?

Yes, ever since la marcellina's
strange disappearance.

And then you
found the new soprano.

Then I found miss klatt.

Did you say "klatt?"

Franz.

> Warriors bold j

j we are come to this garden fete j

j marching to love as we march to war j

good morning, my dear jarmila.

Well, our baritone is
positively glowing this morning.

Glowing with new
admiration for you, my dear.

Few prima Donnas would confess so openly

they had anything to learn.

I salute you.

Anything to learn?

It takes character to
understudy a newcomer.

Understudy?

Your new soprano will never
sing "the magic voice."

= no?

= nol!

Seebruck's insane to even
consider letting a young,

inexperienced girl like that...

You forget, my dear,
that once upon a time,

you were young.

J the greatest game of all j

js love is no trifling thing
to a maid in the spring j

j; So best be wary, lad,
or you will be had »

j yes, you'll be had, and
that is bad for men of arms j

j ah, yes, that is bad for men of arms

thank you, gentlemen.

Thank you.

This is followed by the
baritone solo and ballet.

Up there we have the sketches of the set.

Would you like to see them?

Not now.

The ballet is followed
by the soprano Aria.

We'll omit the baritone
solo and the ballet.

I want these gentlemen of
the press to hear miss klatt.

= of course.

Gentlemen.

We take it from the soprano Aria.

Signor roselli on stage, please.

Attention, gentlemen.

The ladder back, please.

Miss klatt!

On stage, please.

J I was all alone

j a blindly groping maid j

j my heart was still my own j

j just hoping, vet afraid j

j of love j

j then I came and found you there j

j I called your name
and breathed a prayer

j I began to live

j the moment that I knew

j the clouds began to give

j the sun came shining through

j above j

j you were mine to have and hold j

j but even then, the sun grew cold j

jah j

I tell me why this doubt
should fall to me j

j whose tragic power j

"Whose tragic power calls for me."

I'm sorry.

May I try that last part again?

Of course, my dear, of course.

Jah j

j tell me why this

Why, darling, what happened?

Angela, what happened?

My voice, it's gone.

= that's ridiculous.

My voi oice, it', it's gone!

Stop saying that and come here.

Franz.

What's the matter with me?

Nothing, people don't
lose their voices like that.

You've got to sing.

I can't, Franz.

For some reason, I don't want to sing.

Angela!

For me, darling.

Now, from the same place.

Jah j

I tell me why this doubt
should fall to me j

j whose tragic power j

Young man, how did you
get in this dressing room?

Do you realize that
by forcing her voice,

you might ruin it forever?

I'm only trying to help.

She lost her confidence, that's all.

Is that true, doctor?

Why do you think her voice broke?

High tension, nerves.

And it could be serious?

It could
be if not taken care of.

What do you advise, doctor?

A few days, at least, of absolute rest.

= but rehearsal.

You can rehearse with the understudy.

But you won't have to.

I tell you she's perfectly all right.

It's quite obvious she's
not perfectly all right.

Her voice did break.

We all heard it.

I would suggest that we
leave it to miss klatt herself.

What with your nerves in this condition,

do you think you ought to sing?

= t don't know.

Ti never felt like this before.

We'd better
send her home, brunn.

Where does she live?

= 15 hahnen street.

= I'm afraid that won't do.

She must have professional care.

The hospital?

How would you like to come
home with me for a few days?

I'll come and see you, Angela.

I'd wait, my boy.

She needs complete rest.

That woman must have
blackmailed seebruck

into giving her the part.

After the papers have
been full of nothing

but "the magic voice," seebruck
will have to produce it.

= but it isn't for her.

She can never sing the Aria.

They can lower the key.

But it's Angela's part.

There was nothing wrong with
her, until she met hohner.

Dr. hohner wants to help Angela.

Then why does he keep her locked up?

Why can't I go and see her?

She hasn't even answered my letters.

I'm going to take her
back where she belongs.

Franz!

Yes?

= t would like to see Dr. hohner.

Dr. hohner never sees
patients at this hour.

But I'm not a patient.

It's a personal matter,
and it's very important.

What is it about?

Angela klatt.

Angela klatt?

I've got to see her.

I'm afraid you'll have
to come another time.

The doctor is just
leaving for the theater.

I've decided not to go to
the theater tonight, luise.

Oh, but that was a
message from count seebruck.

The new tenor has a sore throat.

= oh.

Why don't you go home?

Now, why don't you go to the theater?

You should be there by now.

But, Franz...

Go on, don't worry about me.

I just want to see what happens.

Go on.

She's upstairs.

Hurry.

Angela.

Angela, it's Franz.

Angela, what's the
matter, don't you know me?

Good evening, Dr. hohner.

Good evening, Leon.

Who is that singing?

= that's the new tenor.

Well, there's nothing
wrong with his throat.

= no sir.

Get her out of here
now before it's too late.

Angela, we're getting out of here.

= t mustn't leave.

He doesn't want me to leave.

Let me stay, Franz, please let me stay.

I'll take you home
to mama hinzl and Carl.

Hurry.

Please hurry.

The back door.

Quickly.

To the left, out the door
and through the gate.

Thank you, luise.

= Dr. hohner!

Dr. hohner!

Dr. hohner, she's gone.

How?

Where were you?

After you left, I
went down to the kitchen

to look after some things.

A little later, I came up to see her.

She wasn't here.

I searched everywhere, but she was gone.

They must have been
watching the house for days,

waiting for their chance.

Who brought that
message from the theater?

I don't know, I never saw him before.

Franz, the young fool.

What are you going to do?

Nothing.

That girl will obey me
no matter where she is.

I fixed you some nice hot soup, dear.

No, Franz.

You mustn't touch it.

Angela, it's just an atomizer.

He told me something about it.

Franz, what did he tell me?

Can't you remember?

= t can't.

But I must.

It was very important.

Don't worry about it now.

Mama hinzl is going to give you your soup.

Franz, don't leave me.

All right, darling.

Now close your eyes and try to sleep.

Think of nothing else.

You saw the chemist?

It's water, uncle Carl,
plain everyday water.

Water?

Yes.

You are sure this came
out of the atomizer?

Yes, I took it out
when Angela was asleep.

I was sure there was something in there

that had stopped her
from singing, but now I,

oh, uncle Carl, what
is it, her imagination?

= when did her voice break first?

When she was singing the Aria.

At rehearsal, with hohner watching her.

Yes.

= and the next time?

In her dressing room.

= and hohner walked in.

All this after she had been
to his office for treatment.

He must have frightened the child.

But why?

= marcellina.

The Aria.

Who can tell what goes on in a man's mind?

And who can prove it?

Oh, Carl, what are we going to do?

= t don't know.

In the army, when a man
was thrown from a horse,

we put him right back on
the horse and made him ride.

= and it worked?

Usually.

The longer a man waited, the
more difficult it became.

Something in his mind grew
into a terrible mental hazard.

Men, horses, I know.

But it's different with singers.

Why should it be different with singers?

The same hazard.

Of coursel

that's it.

Franz, where are you going?

Wait for me!

What you ask is not only
impossible, it's fantastic.

But the girl is very ill.

We not only ask you to save her career,

but her life as well.

Dr. hohner tells me she's
lost her voice beyond recovery.

Dr. hohner is wrong.

Let's be reasonable about this thing.

All I demand is a chance to hear her sing.

I've asked you to bring
her here to my office.

But no, you must have my
company, my orchestra, lights,

a full performance for your
experiment before an audience.

It's absolutely out of the question.

That will be all, gentlemen.

But, count seebruck...

Franz.

I told you it was a hopeless task.

Well we gave him his chance.

Now he has only himself to blame.

We're going over his head.

= but who is over his head?

The king.

The king?

Do you mean to say we
should ask the king himself?

Hundreds of us got the same decoration.

And it wasn't him.

It was his father who gave it to me.

Just stick your chest out.

I'm going to lose my job.

Seebruck will discharge me.

You must have been much
braver when you were young.

No one is permitted in this corridor

until his majesty has left the theater.

Oh, but his majesty will
Grant him an audience.

= you should know better.

You will have to make
your petition in writing.

Gentlemen, his majesty the king.

Well, one of the heroes from sadova.

Yes, your majesty.

Second cavalry, blue hussars.

Yes, your majesty.

I am sorry, your majesty.

This corridor should have
been cleared of petitioners.

One of my father's old guard
may talk to me at any time.

Now, what can I do for you?

It's about a singer.

A young lady.

We are in love.

No, the young lady and I are in love.

Oh, I see.

Well, in that case, shall we step in here?

Oh, this performance will be known

as the most dismal fiasco
in the entire history

of the royal theatre.

This will really make me immortal.

Seebruck, I want to talk to you.

This is the last straw, and I don't intend

to stand for it any longer.

There's no clause in my
contract that calls for insults.

Why, my name is on every
billboard, and this,

this nobody is singing in my place.

Do you know what I'm going to do?

I'm going to leave here
and never come back.

I wish to heaven I could go with you.

Oh, you sent for me?

Yes.

Here, read this.

A command performance.

It's unbelievable.

= what shall I do?

What can I do?

I would suggest that you
have madame jarmila stand by.

Stand by, and let her make a fool of me?

= you don't have to bother about that.

It will not be possible
for that girl to sing.

How'd she take it?

= t don't know.

I haven't told her anything except

that we're going to the theater.

Oh, mama hinzl, I don't want to go.

You run along with Franz.

See your friends.

Hear some music.

It will do you good.

You look wonderful, Angela.

Good night, mama hinzl.

Good night.

But how will I get to the theater?

Just walk if you have
to, but leave them alone.

= but mama hinzl.

Good evening, miss klatt.

Good evening, Leon.

Count seebruck wants to see you.

Where is he?

Dressing room 22.

Thank you, Leon.

Good evening, miss klatt.

Please come in.

This is count romborg,
aide-de-camp to his majesty.

= enchanted.

Miss klatt, you are
commanded by his majesty

to sing "the magic voice" tonight.

I?

Sing?

Yes, a command performance.

= but I can't.

But it his his majesty's orders.

My congratulations, miss klatt.

This is a great honor, my dear.

But, count seebruck...

The king.

I'll send a maid to you.

Mr. brunn.

Now, now, your wardrobe is all ready.

I'll see you on the stage.

Good luck.

Franz, I'm afraid.

No, you're not.

You're probably as surprised as I am.

As count seebruck said,
this is a great honor.

The king sends his aide-de-camp
to command you to sing.

But that's why I'm afraid.

I can't sing.

Of course you can.

The minute you're out
there before the audience

and hear that music, you'll sing.

Everybody wants you to.

Look, they're all thinking of you.

They send you their good wishes.

Here.

Here, flowers from seebruck,
from brunn, from roselli.

Flowers even from his majesty.

Franz, what's that?

Another present, I
suppose, we'll soon find out.

That is just like the
one you have at home.

Now I broke your present.

I'm sorry, that was very clumsy of me.

Angela.

Was that very important?

Dr. hohner told me something about it.

My voice.

Oh, that's just broken glass
and a little colored water.

Listen.

Whatever Dr. hohner said is
past and gone, just like that.

Tonight is the night you've
worked and studied for,

the night we dreamed of.

Do you know why "the magic voice"

hasn't been performed for 10 years?

Because there was no one to sing it,

and now the king commands you to sing it.

That's what you've got to do.

So forget Dr. hohner, forget everything.

Everything but me.

Of course, Franz.

And I'll really try.

I know you will.

And you'll be wonderful.

Now get dressed.

I'll call you when I'm changed.

How is she?

= fine.

Everything is going to
work out as we planned.

I have fixed a place
in the wings for you,

where Angela can see you while she sings.

Come, I'll show you.

= just a moment.

Count seebruck sent me to miss klatt.

You may help the ballet girls.

= yes madame.

I came to help you dress.

The last time I saw marcellina,
she was standing right here,

in a dress just like that.

You're as beautiful as she was.

Thank you, luise.

I'll take this.

Would you ask Franz to
come in now, please?

Yes.

I've come to help you, my dear.

It's cruel of them to do this to you.

You don't want to sing, do you?

But I promised Franz I'd try.

Of course you did, my dear.

But Franz doesn't understand.

You're in no condition to sing, are you?

= t don't know.

I only know I promised Franz I'd try.

Dr. hohner, don't look at me like that!

Franz!

= what does Franz know about it?

Why, you're trembling, shaking.

Your nerves have gone to pieces.

I warned Franz what would
happen if he forced you to sing.

You don't want to ruin that voice, do you?

It isn't yours, remember?

Now tell me.

Whose voice is it?

Tell me.

Marcellina's.

> Warriors bold j

j we are come to this fete

j marching to love as we march to war j

j ready for any fate j

j we await duty's call 7

j eager to meet the foe j

j even though we know

j that we may all be
captured by the lovely foe

; We gladly go to meet
in this fairy garden j

j where we pirouette and posture

j here where romance seems to call j

j in the measures of a dance j

j we bow and we smile and we
preen for the ladies we adore j

j and pray that they soon
may heed our pleas of love j

j meanwhile, we know, as
they sigh most romantically j

j they have their minds on
the greatest game of all »

js love is no trifling thing
to a maid in the spring j

j; So best be wary, lad,
or you will be had »

j yes, you'll be had, and
that is bad for men of arms j

j ah, yes, that is bad for men of arms

she ought to be ready by now.

Yes, I want to rehearse
the Aria once more, anyway.

Angela, are you ready?

Angela.

Angela!

Angela!

= where is she?

Hohnev.

Have you seen Dr. hohner?

Not tonight.

= t want to borrow this.

Carll

this time, I'll silence it forever.

= murderer.

I suspected you from the first

and came here as your
servant to make sure.

For 10 years, I've watched and waited.

You kept your secret well
until the first night

you brought Angela here,
when you showed the pearls

marcellina had on when she disappeared.

You took them off her body.

I'm not afraid of you.

I needed more evidence for the police.

I got it tonight when I followed you here

from the dressing room, in
time to save this child.

You killed marcellina.

You'll never say that again.

= Dr. hohner!

Angela, are you all right?

You should be at the theater.

You're singing "the magic voice" tonight.

She can't sing.

Ti won't let her.

She will sing, and you can't stop her.

If this girl sings,
I won't be responsible.

= it will.

Carl, watch him.

Get back, doctor.

This way.

My dear jarmila, what
a great night for you.

Yes, when your little
miss nobody breaks down,

I go on to save your face.

Why no, not at all.

You've always wanted to
sing "the magic voice."

This is your great opportunity.

= and what an audience!

Haven't I always said that hers

is the greatest voice in the country?

In the country, count seebruck?

In the world, in the world.

What about your brilliant new discovery?

Forget about her.

Forget about everything.

Go out there and cover
yourself with glory.

Thrill the king and that
distinguished audience

with the golden voice
of the great jarmila.

All right.

I'll do it.

But not for you, or for the king.

For jarmila.

Brava.

Send the police to Dr. hohner's.

= yes sir.

Where have you been?

We've looked everywhere for you.

This is a command
performance for the king.

You've just time to make your entrance.

There's nothing to be afraid of anymore.

Luise, take care of her.

What about me and my golden voice?

Do you think I'm going to stand
here and let that little...

= shh!

The king.

She ought to be there by now.

Don't go on that stage.

Your voice will break, I warn you.

Don't go on that stage.

I forbid you to sing.

Do you hear?

I forbid you to sing.

= sit down.

Repeat the cue.

J ah, we bid you welcome to this fete

j ah, we're sorry if we made you wait j

j ah, let violins begin the dance j

j ah, let there be joy and gay romancing j

J I was all alone

j a blindly groping maid j

j my heart was still my own j

j just hoping, vet afraid j

j of love j

j then I came and found you there j

j I called your name
and breathed a prayer

j I began to live

j the moment that I knew

j the clouds began to give

j the sun came shining through

j above j

j you were mine to have and hold j

j but even then, the sun grew cold j

jah j

I tell me why this doubt
should fall to me j

j whose tragic power seems to call to me j

= she made it.

Her fear of you is gone.

J this says it all for me j

ji love you j

sing, Angela!

Sing!

J everything is clearing j

j now, at last j

j paradise is nearing j

jicling/? J

j to your love j

j while I sing j

up the stairs.

J of my yearning j

Marcellina, they're here.

They're here.

J now, at last j

j gone is all confusion j

j and the past'

j fades like some illusion j

j and you j

j are my life j

j and my dream j

j come.

J true j

j is youl

Braval