1. This title is for centering.

3. Sponsor The official sponsor of [your opera]

4. Please unwrap candies and turn off beepers and cell phones prior to the performance. Photography of any kind is prohibited.

6. How wonderful you were, and are!
Cue 6

7. No one could know or suspect it!
Cue 7

8. Cue 8

9. Are you complaining about it, Quinquin?
Cue 9

10. Would you wish that many others knew?
Cue 10

11. No, my angel! I'm happy to be the only one who knows it.
Cue 11

12. No one suspects it, no one knows it. You…
Cue 12

13. Cue 13

14. What does this “you” mean? This “you and I?”
Cue 14

15. What is the point? They're just words, are they not?
Cue 15

16. You tell me. But yet, there's something more to them, a giddiness, an attraction, a yearning and burning.
Cue 16

17. As now my hand reaches for yours, this longing for you, embracing you…
Cue 17

18. It is I, who longs for you, but this “I” is lost in this “you”…
Cue 18

19. Cue 19

20. I am your boy…
Cue 20

21. …but if sight and hearing forsake me, where is your boy then?
Cue 21

22. Cue 22

23. You are my boy, you are my darling. I love you!
Cue 23

24. Cue 24

25. Why is it daytime? I don't want it to be day.
Cue 25

26. What use is the day? Then, everyone has you. I'd prefer the night.
Cue 26

27. Cue 27

28. - Are you laughing at me? - At you?
Cue 28

29. - Angel! - My young darling!
Cue 29

30. - Listen… - I don't want to.
Cue 30

31. - Quiet, pay attention. - I won't listen. What could it be, anyway?
Cue 31

32. Are they messengers with letters and greetings, from Saurau, Hartig, or the Portuguese envoy?
Cue 32

33. No one may enter. I am master here!
Cue 33

34. Hide, quickly. It's breakfast.
Cue 34

35. Cue 35

36. Throw your sword behind the bed.
Cue 36

37. Cue 37

38. You careless scatterbrain!
Cue 38

39. You leave a sword lying around in a lady's bedroom?
Cue 39

40. Have you no manners?
Cue 40

41. If my behavior is too boorish, my manners too unrefined for you, then I don't know what you see in me.
Cue 41

42. Quit philosophizing, dear sir, and come closer.
Cue 42

43. It's time for breakfast. Everything has its time.
Cue 43

44. Cue 44

45. - Mary Theresa! - Octavian!
Cue 45

46. - My pet! Quinquin!
Cue 46

47. Cue 47

48. - My treasure! My boy!
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49. Cue 49

50. The Field Marshall is in the Croatian woods, hunting for bear and lynx.
Cue 50

51. And I am here, lucky young fellow, hunting for what? I have such luck!!
Cue 51

52. Leave the Field Marshall be. I dreamt about him.
Cue 52

53. Did you dream about him last night?
Cue 53

54. I can't order up dreams at will.
Cue 54

55. Last night did you dream about your husband?
Cue 55

56. Don't look so surprised. I can't do a thing about it
Don't look so surprised. I can't do a thing about it. He was suddenly home again.
Cue 56

57. - The Field Marshall? - Horses and people were in the courtyard, and there he was.
Cue 57

58. I woke up suddenly in a fright. Look how childish I am…
Cue 58

59. I can still hear the noises in the courtyard
I can still hear the noises in the courtyard. I can't get it out of my ears.
Cue 59

60. - Do you hear it too? - Of course I heard something, but must it be your husband?
Cue 60

61. Think about where he is: in Raitzenland, beyond Esseg.
Cue 61

62. Is that far away? Then it must be something else. It's all right.
Cue 62

63. - You seem anxious over it
- You seem anxious over it. - It may be far, but the Field Marshall can get home quickly.
Cue 63

64. Once…
Cue 64

65. Once what?
Cue 65

66. Once what, Bichette?
Cue 66

67. Cue 67

68. Ah, you need not know everything.
Cue 68

69. You trifle with me? I'm an unhappy man!
Cue 69

70. Stop sulking. It's true. It is the Field Marshall.
Cue 70

71. If it were a stranger, the noise would have come from outside my anteroom.
Cue 71

72. It must be my husband, who wants to get in through the dressing room and is arguing with the lackeys.
Cue 72

73. Quinquin, it is my husband!
Cue 73

74. Cue 74

75. Not in the anteroom! My tradesmen and half a dozen lackeys are there.
Cue 75

76. Go there!
Cue 76

77. Too late. They're already in the dressing room
Too late! They're already in the dressing room! There's only one thing to do: Hide!
Cue 77

78. - There! - I'll bar his entrance. I'll stay with you!
Cue 78

79. There, behind the bed! In the curtains! Don't move!
Cue 79

80. If he catches me here, what will happen to you?
Cue 80

81. Hide, my darling! Be very still!
Cue 81

82. I'd like to see someone dare to come in, while I stand here.
Cue 82

83. I am no retreating General. Where I stand, I stay!
Cue 83

84. My lackeys are good men. They won't let him in
My lackeys are good men. They won't let him in. They'll tell him I'm asleep.
Cue 84

85. Cue 85

86. That voice… That's not the Field Marshall.
Cue 86

87. They're saying “Baron” to him. That's definitely a stranger.
Cue 87

88. Quinquin, someone is coming to call.
Cue 88

89. Get dressed, quickly, but stay hidden from the lackeys.
Cue 89

90. I should certainly know such a boorish, loud voice.
Cue 90

91. It's… Good Heavens, it's Baron Ochs.
Cue 91

92. That's my cousin Ochs of Lerchenau. What does he want? Jesus and Mary!
Cue 92

93. Are you listening? Don't you remember?
Cue 93

94. Five or six days ago we were sitting in the carriage, and a letter was brought to the door.
Cue 94

95. That was the letter from Ochs, and I have no idea what was inside it.
Cue 95

96. You're to blame for that, Quinquin!
Cue 96

97. Will it please your Lordship to wait in the gallery?
Cue 97

98. Where did you learn your manners
Where did you learn your manners? The Baron does not wait in an antechamber!
Cue 98

99. Quinquin, what are you up to? Where are you hiding?
Cue 99

100. If it please yer 'ighness, I ain't not been long in service to yer 'ighness.
Cue 100

101. Dear boy! No more than one kiss can I give you.
Cue 101

102. Cue 102