Lirik Lagu Don Juan - Phantom Of The Opera
X
TIPS PENCARIAN LIRIK FAVORIT ANDA
ANDA MENGETAHUI JUDUL DAN NAMA PENYANYI
- Ketikkan nama penyanyi dan judul lagu, berikan tanda kutip di judul lagu, misal: Yovie "Menjaga Hati";
- bila tidak berhasil, coba untuk mengilangkan tanda kutip, misal: Yovie Menjaga Hati; atau
- dapat juga dengan mengeklik menu A B C D.., lalu cari berdasarkan nama artis. Yovie dimulai dengan Y, klik Y. Lihat daftar lagu, dan dapatkan yang Anda cari.
ANDA TAK MENGETAHUI JUDUL LAGU, TAPI MENGETAHUI NAMA PENYANYI
- Ketik nama penyanyi, misal: YOVIE, akan muncul banyak halaman, telusuri dan pilih dari halaman-halaman tersebut; atau
- klik menu A B C D E ... berdasarkan nama artis Y, cari Yovie, dan cari lirik yang Anda cari.
ANDA TAK MENGETAHUI JUDUL LAGU, TAPI MENGETAHUI SYAIR
- Ketikkan penggalan syair yang Anda ketahui, misal:
Tanpamu tiada berarti
Tak mampu lagi berdiri
Cahaya kasihmu menuntunku
Kembali dalam dekapan tanganmu - Masukkan kata-kata penting. Misal: tiada berarti berdiri cahaya dekapan.
- Hindari kata-kata yang berkemungkinan memiliki ada dua versi atau lebih. Misal: tanpamu dapat ditulis tanpa mu.
TETAP TIDAK DAPAT MENEMUKAN LIRIK YANG ANDA CARI
- Pilih menu A B C D E ... berdasarkan nama artis atau judul lagu.
- Bila masih tidak dapat menemukan lirik yang Anda cari, mungkin kami bisa membantu Anda. Silakan menghubungi kami.
(The set of the final scene of "Don Juan TRIUMPHANT" A huge hall with an arch.Behind the arch, which has curtains, is a bed.A fine table, laid for two. PASSARINO, DON JUAN'S servant,is directing the STAFF as they make the room ready.They are a crowd of sixteenth century ruffians and hoydens,proud of their master's reputation as a libertine)
CHORUS
Here the sire may serve the dam,here the master takes his meat!Here the sacrificial lambutters one despairing bleat!
CARLOTTA AND CHORUS
Poor young maiden! For the thrillon your tongue of stolen sweetsyou will have to pay the bill -tangled in the winding sheets!
Serve the meal and serve the maid!Serve the master so that, whentables, plans and maids are laid,Don Juan triumphs once again!
(SIGNOR PIANGI, as Don Juan, emerges from behind the arch.MEG, a gypsy dancer pirouettes coquettishly for him.He throws her a purse. She catches it and leaves)
DON JUAN
Passarino, faithful friend,once again recite the plan.
PASSARINO
Your young guest believes I'm you -I, the master, you, the man.
DON JUAN
When you met you wore my cloak,with my scarf you hid your face.She believes she dines with me,in her master's borrowed place!Furtively, we'll scoff and quaff,stealing what, in truth, is mine.When it's late and modestystarts to mellow, with the wine . . .
PASSARINO
You come home! I use your voice -slam the door like crack of doom!
DON JUAN
I shall say: "come - hide with me!Where, oh, where? Of course - my room!"
PASSARINO
Poor thing hasn't got a chance!
DON JUAN
Here's my hat, my cloak and sword.Conquest is assured,if I do not forget myself and laugh . . .
(DON JUAN puts on PASSARINO's cloakand goes into the curtained alcove where the bed awaits.Although we do not yet know it, the Punjab Lasso has done its work,and SIGNOR PIANGI is no more.When next we see DON JUAN, it will be the PHANTOM.Meanwhile, we hear AMINTA (CHRISTINE) singing happily in the distance)
AMINTA (CHRISTINE - offstage, entering)
". . . no thoughtswithin her head,but thoughts of joy!No dreamswithin her heartbut dreams of love!"
PASSARINO (onstage)
Master?
DON JUAN (PHANTOM - behind the curtain)
Passarino - go away!For the trap is set and waits for its prey . . .
(PASSARINO leaves. CHRISTINE (AMINTA) enters.She takes off her cloak and sits down. Looks about her. No one.She starts on an apple.The PHANTOM, disguised as DON JUAN pretending to be PASSARINO,emerges.He now wears PASSARINO's robe, the cowl of which hides his face.His first words startle her)
DON JUAN (PHANTOM)
You have come herein pursuit ofyour deepest urge,in pursuit ofthat wish,which till nowhas been silent,silent . . .
I have brought you,that our passionsmay fuse and merge -in your mindyou've alreadysuccumbed to medropped all defencescompletely succumbed to me -now you are here with me:no second thoughts,you've decided,decided . . .
Past the pointof no return -no backward glances:the games we've playedtill now are atan end . . .Past all thoughtof "if" or "when" -no use resisting:abandon thought,and let the dreamdescend . . .
What raging fireshall flood the soul?What rich desireunlocks its door?What sweet seductionlies beforeus . . .?
Past the pointof no return,the final threshold -what warm,unspoken secretswill we learn?Beyond the pointof no return . . .
AMINTA (CHRISTINE)
You have brought meto that momentwhere words run dry,to that momentwhere speechdisappearsinto silence,silence . . .
I have come here,hardly knowingthe reason why . . .In my mind,I've alreadyimagined ourbodies entwiningdefenceless and silent -and now I amhere with you:no second thoughts,
I've decided,decided . . .
Past the pointof no return -no going back now:our passion-playhas now, at last,begun . . .Past all thoughtof right or wrong -one final question:how long should wetwo wait, beforewe're one . . .?
When will the bloodbegin to racethe sleeping budburst into bloom?When will the flames,at last, consumeus . . .?
BOTH
Past the pointof no returnthe final threshold -the bridgeis crossed, so standand watch it burn . . .We've passed the pointof no return . . .
(By now the audience and the POLICE have realisedthat SIGNOR PIANGI is dead behind the curtain,and it is the PHANTOM who sings in his place.CHRISTINE knows it too. As final confirmation, the PHANTOM sings)
PHANTOM
Say you'll share withme onelove, one lifetime . . .Lead me, save mefrom my solitude . . .
(He takes from his finger a ring and holds it out to her.Slowly she takes it and puts it on her finger.)
Say you want mewith you,here beside you . . .Anywhere you golet me go too -Christinethat's all I ask of . . .
(We never reach the word 'you',for CHRISTINE quite calmly reveals the PHANTOM'S face to the audience.As the FORCES OF LAW close in on the horrifying skull,the PHANTOM sweeps his cloak around her and vanishes.
MEG pulls the curtain upstage, revealing PIANGI'S body garotted,propped against the bed, his head gruesomely tilted to one side.She screams.)
TRANSFORMATION TO:
REVERSE VIEW OF THE STAGE(POLICE, STAGEHANDS, etc. rush onto the stage in confusion.Also: ANDRE, FIRMIN, RAOUL, GIRY, CARLOTTA and MEG)
CARLOTTA
What is it? What has happened? Ubaldo!
ANDRE
Oh, my God . . . my God . . .
FIRMIN
We're ruined, Andre - ruined!
GIRY (to RAOUL)
Monsieur le Vicomte! Come with me!
CARLOTTA (rushing over to PIANGI's body)
Oh, my darling, my darling . . . who has donethis ...?
(Hysterical, attacking ANDRE)
You! Why did you let this happen?
(She breaks down, as PIANGI's body is carried off on a stretcher)
GIRY
Monsieur le Vicomte, I know where they are.
RAOUL
But can I trust you?
GIRY
You must. But remember: your hand at the level ofyour eyes!
RAOUL
But why . . .?
GIRY
Why? The Punjab lasso, monsieur. First Buquet. Now Piangi.
MEG (holding up her hand)
Like this, monsieur. I'll come with you.
GIRY
No, Meg! No, you stay here!
(To RAOUL)
Come with me, monsieur. Hurry, or we shall be toolate . . .
CHORUS
Here the sire may serve the dam,here the master takes his meat!Here the sacrificial lambutters one despairing bleat!
CARLOTTA AND CHORUS
Poor young maiden! For the thrillon your tongue of stolen sweetsyou will have to pay the bill -tangled in the winding sheets!
Serve the meal and serve the maid!Serve the master so that, whentables, plans and maids are laid,Don Juan triumphs once again!
(SIGNOR PIANGI, as Don Juan, emerges from behind the arch.MEG, a gypsy dancer pirouettes coquettishly for him.He throws her a purse. She catches it and leaves)
DON JUAN
Passarino, faithful friend,once again recite the plan.
PASSARINO
Your young guest believes I'm you -I, the master, you, the man.
DON JUAN
When you met you wore my cloak,with my scarf you hid your face.She believes she dines with me,in her master's borrowed place!Furtively, we'll scoff and quaff,stealing what, in truth, is mine.When it's late and modestystarts to mellow, with the wine . . .
PASSARINO
You come home! I use your voice -slam the door like crack of doom!
DON JUAN
I shall say: "come - hide with me!Where, oh, where? Of course - my room!"
PASSARINO
Poor thing hasn't got a chance!
DON JUAN
Here's my hat, my cloak and sword.Conquest is assured,if I do not forget myself and laugh . . .
(DON JUAN puts on PASSARINO's cloakand goes into the curtained alcove where the bed awaits.Although we do not yet know it, the Punjab Lasso has done its work,and SIGNOR PIANGI is no more.When next we see DON JUAN, it will be the PHANTOM.Meanwhile, we hear AMINTA (CHRISTINE) singing happily in the distance)
AMINTA (CHRISTINE - offstage, entering)
". . . no thoughtswithin her head,but thoughts of joy!No dreamswithin her heartbut dreams of love!"
PASSARINO (onstage)
Master?
DON JUAN (PHANTOM - behind the curtain)
Passarino - go away!For the trap is set and waits for its prey . . .
(PASSARINO leaves. CHRISTINE (AMINTA) enters.She takes off her cloak and sits down. Looks about her. No one.She starts on an apple.The PHANTOM, disguised as DON JUAN pretending to be PASSARINO,emerges.He now wears PASSARINO's robe, the cowl of which hides his face.His first words startle her)
DON JUAN (PHANTOM)
You have come herein pursuit ofyour deepest urge,in pursuit ofthat wish,which till nowhas been silent,silent . . .
I have brought you,that our passionsmay fuse and merge -in your mindyou've alreadysuccumbed to medropped all defencescompletely succumbed to me -now you are here with me:no second thoughts,you've decided,decided . . .
Past the pointof no return -no backward glances:the games we've playedtill now are atan end . . .Past all thoughtof "if" or "when" -no use resisting:abandon thought,and let the dreamdescend . . .
What raging fireshall flood the soul?What rich desireunlocks its door?What sweet seductionlies beforeus . . .?
Past the pointof no return,the final threshold -what warm,unspoken secretswill we learn?Beyond the pointof no return . . .
AMINTA (CHRISTINE)
You have brought meto that momentwhere words run dry,to that momentwhere speechdisappearsinto silence,silence . . .
I have come here,hardly knowingthe reason why . . .In my mind,I've alreadyimagined ourbodies entwiningdefenceless and silent -and now I amhere with you:no second thoughts,
I've decided,decided . . .
Past the pointof no return -no going back now:our passion-playhas now, at last,begun . . .Past all thoughtof right or wrong -one final question:how long should wetwo wait, beforewe're one . . .?
When will the bloodbegin to racethe sleeping budburst into bloom?When will the flames,at last, consumeus . . .?
BOTH
Past the pointof no returnthe final threshold -the bridgeis crossed, so standand watch it burn . . .We've passed the pointof no return . . .
(By now the audience and the POLICE have realisedthat SIGNOR PIANGI is dead behind the curtain,and it is the PHANTOM who sings in his place.CHRISTINE knows it too. As final confirmation, the PHANTOM sings)
PHANTOM
Say you'll share withme onelove, one lifetime . . .Lead me, save mefrom my solitude . . .
(He takes from his finger a ring and holds it out to her.Slowly she takes it and puts it on her finger.)
Say you want mewith you,here beside you . . .Anywhere you golet me go too -Christinethat's all I ask of . . .
(We never reach the word 'you',for CHRISTINE quite calmly reveals the PHANTOM'S face to the audience.As the FORCES OF LAW close in on the horrifying skull,the PHANTOM sweeps his cloak around her and vanishes.
MEG pulls the curtain upstage, revealing PIANGI'S body garotted,propped against the bed, his head gruesomely tilted to one side.She screams.)
TRANSFORMATION TO:
REVERSE VIEW OF THE STAGE(POLICE, STAGEHANDS, etc. rush onto the stage in confusion.Also: ANDRE, FIRMIN, RAOUL, GIRY, CARLOTTA and MEG)
CARLOTTA
What is it? What has happened? Ubaldo!
ANDRE
Oh, my God . . . my God . . .
FIRMIN
We're ruined, Andre - ruined!
GIRY (to RAOUL)
Monsieur le Vicomte! Come with me!
CARLOTTA (rushing over to PIANGI's body)
Oh, my darling, my darling . . . who has donethis ...?
(Hysterical, attacking ANDRE)
You! Why did you let this happen?
(She breaks down, as PIANGI's body is carried off on a stretcher)
GIRY
Monsieur le Vicomte, I know where they are.
RAOUL
But can I trust you?
GIRY
You must. But remember: your hand at the level ofyour eyes!
RAOUL
But why . . .?
GIRY
Why? The Punjab lasso, monsieur. First Buquet. Now Piangi.
MEG (holding up her hand)
Like this, monsieur. I'll come with you.
GIRY
No, Meg! No, you stay here!
(To RAOUL)
Come with me, monsieur. Hurry, or we shall be toolate . . .
