London Workshop (3): Nouns Play Roles, Too

At my recent UK workshop “German for Opera Singers” at the Rich Mix cultural center in London, we discussed the Fidelio quartet. Marzelline falls in love with Fidelio; Fidelio – or better: Leonore – fears complications; Marzelline’s father Rocco gives his blessings to a possible liaison; and because of that Jaquino feels desperate. Four characters, just four lines for each, but a barrage of pronouns. Ich, mich, es, dir, mir, ihn, sie – what is that all about?

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On each side of the River Thames, different needs are served.

It has to do with the role nouns, thus things, people, animals, everything that can do something, play in the sentence, in our case, these four characters. In grammar, these roles are called “case”. In the German language, we know four cases. In this quartet we are concerned only with three. One of them is called “accusative.” According to their roles, the pronouns change, too.

Er liebt mich. Two people are involved in this statement, er and the first person narrator, mich. In the middle, we find the verb lieben. Er is active and affiliated with the verb while mich is passive and on the receiving end of the action.

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Now, let’s turn it around and reverse their roles. Then we must say, Ich liebe ihn. Er, now on the receiving end of the action turns into ihn, and mich, now active, into ich.

Another role (case) is called dative. Nouns turns into a dative when it becomes the location of an action, or when something is transfered to them, e.g. a present, an opinion, an answer etc, or when something happens to them.

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In the latter case, what requires in English two words – to me – needs in German only one, but a new word: Er gibt Blumen. (He gives flowers.)
Er gibt mir Blumen. (He gives flowers to me.)
To me it is strange, miraculous = Mir ist so wunderbar

Please fill in the pronouns.

(2x) mich   (2x) mir   es   ich   er

MARZELLINE
_____ ist so wunderbar,
_____ engt das Herz _____ ein;
_____ liebt _____, _____ ist klar,
_____ werde glücklich sein.

sie   es   mich

LEONORE
Wie groß ist die Gefahr,
Wie schwach der Hoffnung Schein!
_____ liebt mich, _____ ist klar,
O namenlose Pein!

er   es   sie   ihn   sie

ROCCO
_____ liebt _____, _____ ist klar;
Ja, Mädchen, _____ wird dein.
Ein gutes, junges Paar,
_____ werden glücklich sein.

Three times – which pronoun do we have to use?
mich  or  ich  or  mir?

JAQUINO
_____ sträubt sich schon das Haar,
Der Vater willigt ein;
_____ wird so wunderbar,
_____ fällt kein Mittel ein.

Here are the correct answers:

MARZELLINE
Mir ist so wunderbar,
Es engt das Herz mir ein;
Er liebt mich, es ist klar,
Ich werde glücklich sein.

LEONORE
Wie groß ist die Gefahr,
Wie schwach der Hoffnung Schein!
Sie liebt mich, es ist klar,
O namenlose Pein!

ROCCO
Sie liebt ihn, es ist klar;
Ja, Mädchen, er wird dein.
Ein gutes, junges Paar,
Sie werden glücklich sein.

JAQUINO
Mir sträubt sich schon das Haar,
Der Vater willigt ein;
Mir wird so wunderbar,
Mir fällt kein Mittel ein.

Watch and listen to this magnificient recording from 1978 at the Wiener Staatsoper. Marzelline was sung by Lucia Popp, Leonore by Gundula Janowitz, Rocco by Manfred Jungwirth, and Jaquino by Adolf Dallapozza. Leonard Bernstein conducted the orchestra.

 

 

 

London Workshop (Part 2): Blondchen’s Warning

At my UK workshop “German for Opera Singers” at the Rich Mix cultural center in London in early September, we discussed how to write an audition request in German as well as the linguistics of various arias, one of them Blondchen’s aria Durch Zärtlichkeit from Mozart’s Entführung aus dem Serail. Blondchen lectures her captor’s servant Osmin how to win a young lady’s heart and issues a warning not to lose it, too. The participants of the workshop, singers from Australia, Cyprus, Ireland, the UK, and the US, were eager, based on the method how to approach a German text, to understand the aria – and Blondchen’s reprimand.

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London, five past five

Vocabulary

die Zärtlichkeit = tenderness
das Schmeicheln = flattery
die Gefälligkeit = (here) courtesy
das Scherzen = joking, joke
mürrisch = grumpily, grumpy
das Befehlen = commanding
das Poltern = rumbling
das Zanken = quarreling
das Plagen = pestering
die Treue = faithfulness
entweichen = (here) to disappear, to ooze

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Instruction:

1. Mark all nouns.
2. Identify the verbs (activity words) and look how they are conjugated (changed in spelling according to
ich, du, er, wir etc.).
3. Look at the meaning of the verb (activity) and find the thing, person (name, function) or pronoun that is doing this activity.
4. Find the thing, person (name, function) or pronoun to whom the activity is directed.

BLONDE

Durch Zärtlichkeit und Schmeicheln,
Gefälligkeit und Scherzen,
erobert man die Herzen
der guten Mädchen leicht:
Doch mürrisches Befehlen
und Poltern, Zanken, Plagen
macht, dass in wenig Tagen
so Lieb’ als Treu entweicht.

Nouns are always capitalized. There are many of them in this text, most of them nominalized verbs, meaning verbs, turned into nouns, e.g. Scherzen, Zanken etc.
There are three verbs: erobert, macht, entweicht – all of them conjugated for third person singular (er, sie, es) or second person plural (ihr).

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Who is doing erobert?

It is man, the indefinite pronoun, someone not specific which implies that Blondchen sets a general rule. One conquers “the hearts of the good girls” (die Herzen der guten Mädchen) easily by (durch – the first word) all these things she mentions in the beginning.

Who is doing macht?

The better question would be, “Whats is doing macht?” It’s grumpily commanding, quarreling and pestering.

What is the object of macht?

Who or what receives this action macht (to do, to make)? It is a process, here presented in a relative clause that includes our third verb: entweicht. Liebe als (here: as well as) Treue entweicht – in a few days (in wenigen Tagen)!

Listen to a recording of Durch Zärtlichkeit with Diana Damrau, available on Youtube:

 

 

 

 

 

 

 

London Workshop (1): How to Approach a Text

At my recent UK workshop “German for Opera Singers” at the Rich Mix cultural center in London, we discussed the linguistics of arias from Entführung aus dem Serail and Fidelio, as well as the poetry of a Schumann Lied. To the participants, altogether 17 singers from Australia, Cyprus, Ireland, the UK, and the US, I introduced the following approach to a German text, a way to identify the basic meaning, at least the core statement, and the mood of the language.

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London Bridge, City Hall, twilight

Before you start, keep in mind:

Old words, hard to find
Many words in classical operas and Lieder are old words and not used anymore (e.g. das Weib, hold, wunderlich). It might be difficult to find them in a dictionary.

Weird word order
The way sentences are build in German can be different from your language, depend on the context, i.e. words show up in places you did not expect. (See below.)

Capitalized nouns
In German, all nouns (proper names, things, ideas) are capitalized as well as verbs and adjectives that were made a noun (e.g. das Singen = the singing, das Schöne = beauty). All other words are written in lower case. A noun is a word that can do something. If in doubt, add the verb haben (to have) and look if it makes sense.

Facing a text, employ the following method:

1. Mark all nouns.
2. Identify the verbs (activity words) and look how they are conjugated, meaning changed in spelling according to
ich, du, er, wir etc.

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3. Look at the meaning of the verb (activity) and find the thing, person (name, function) or pronoun that is doing this activity. Keep in mind, the thing that is doing this activity, called “subject” does not have to precede the verb. Depend on the context, it even can be the last word of the sentence. (See below)
4. Find the thing, person (name, function) or pronoun to whom the activity is directed. This thing, called object, is not affiliated to a verb, it is passive, but it’s possible that it is the first word of the sentence. (See below)

Now, you might get a general sense what the text is about.

If you still have trouble understanding the meaning or cannot find the meaning of the verb look at these three questions:

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A. Is the sentence written in future or past tense?
Then it has probably a second verb that helps to create the future or the past tense. For future, it is
wollen, for past tense (or the perfect tense) it is haben or sein.

B. What are the “little words”, e.g. negative pronouns (kein, nicht), particles (intensifier, words that carry emotions), etc.? If you remove them, does the sentence make more sense to you?

C. What is the word order?
The iron rule in building a sentence is: The conjugated verb appears always in the second position. It does not matter what you put first, even if a singer like Maria Callas is involved.
Maria Callas singt heute in der Berliner Staatsoper.
You can mention the time, for example
heute (today), or the place, for example Berliner Staatsoper, it must be followed by the verb, for example singt.
Heute singt Maria Callas.
In der Berliner Staatsoper singt Maria Callas.

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Rich Mix – The location of the workshop in London-Hackney