1. Translate the following sentences from the text:
1. Mozart saw the opera as the tragedy of the Don who had to follow his nature to its destruction. 2. Da Ponte felt the plot should come first, but Wolfgang stressed the characters and their emotions. 3. Gradually he convinced Da Ponte that they should create flesh-and-blood people rather than the stock figures of melodrama. 4. The more he became involved with the drama of the Don, the more it fired his imagination. 5. Yet while the surface of the music appeared gay, there was somberness underneath. 6. Bondini cast Don. Giovanni without considering the composer or poet, and when they questioned several of his decisions, the impresario stated ... .7. After the dress rehearsal he informed the composer that the opening would have to be cancelled. 8. ... the strain of nodding and dozing, then abruptly awakening at the sound oi her voice was exhausting. 9. He made it sound like a great compliment, but he was not that positive. 10. At the final curtain there was an ovation. 11. Composing doesn't become easier with time, but harder. I want more from it, I have to have more.
II. Give English equivalents for the following sentences:
1. Наконец текст оперы начал принимать определенную форму. 2. Опера представлялась Моцарту как трагедия Дон Жуана. 3. Да Понте был полон решимости (твердо решил) написать веселую комедию интриг. 4. Главным для либреттиста был сюжет. 5. Он увлекся этой мыслью и создал яркие (впечатляющие) сцены. 6. Прекрасный текст еще больше заставлял работать его воображение (разжигал его воображение). 7. Трагические мотивы сами собой проникали в музыку оперы. 8. Его не беспокоило, какой по жанру
выйдет опера. 9. Он уже записал половину партитуры оперы. 10. Он хотел присутствовать при распределении ролей в "Дон Жуане" и подогнать текст и музыку к голосам певцов. 11. Он был не в состоянии нанимать других певцов. 12. Он сказал, что увертюра должна содержать (в ней должны найти отражение) все главные темы оперы. 13. "Сомневаюсь, что вы успеете написать увертюру, даже если проработаете целую ночь (не будете ложиться спать целую ночь)". 14. "Прикажите переписчикам прийти в гостиницу в семь часов утра". 15. Мысли о предстоящем спектакле не давали ему уснуть. 16. От пунша его клонило в сон. 17. Он не мог сосредоточиться. 18. "Вздремни немного, я подниму тебя через час". 19. У нее не хватило духа разбудить его. 20. Бондини был вне себя от гнева. 21. Переполненный зал волновался. 22. Он уверял их, что они способны сыграть увертюру без репетиции. 23. Оркестр превзошел себя. 24. Первый акт прошел успешно.
III. Reproduce situations from the text using the following words and word combinations:
1. to take shape, to convince smb that, to create flesh-and-blood people, now that; 2. to be involved with, to fire one's imagination, to be concerned about; 3. to attend the casting of Don Giovanni, to adjust the text to; 4. to question smth, to afford smth, a great risk; 5. the dress rehearsal, to be cancelled, the essential themes, to stay up all night, to be apprehensive, to be calm and unexcited; 6. to keep smb (oneself) awake, to stay awake, drowsy, to nod, to doze, to blot the score, to take a nap, not to have the heart to dp; 7. to rehearse the overture, to be restive, to be capable of, that positive, to be 'distributed, to go off smoothly; 8. to conduct (the orchestra), to overdo oneself, an ovation, applause; 9. to be unable to sleep, to sit up (on the couch), to hear the entire score, to be proud of
IV. Answer the following questions:
1. Where did Da Ponte derive the plot for the new opera? 2. What was the point of difference between the composer and librettist in treating the theme? 3. Why couldn't Wolfgang arrive at a definite decision as to what kind of opera it should be? What kind of music dud Wolfgang compose for the opera? Was it a comedy or a tragedy? 4. Why did Bondini say that Don Giovanni was a great risk? 5. Why did Bondini consider it necessary to cancel the opening of the opera? 6."How did Mozart manage to calm him? 7. How did Wolfgang get the overture down on paper that night? 8. Was the overture copied for the orchestra in time? How was it done? 9. Was Mozart pleased with the performance of the unrehearsed overture? 10. Was the first night a success? 11. What were Constan'ze's thoughts as she looked at Wolfgang standing on the stage greeted by thundering applause? 12. What did she remember hearing Wolfgang say in the afternoon before the first performance of the opera? Why was he so nervous? 13. What did Mozart mean when he said, "Composing doesn't become easier with time, but harder, I want more from it, I have to have more"?
V. Find evidence in the text to support tfie following statements:
1. Mozart's interpretation of Don Giovanni's character was more realistic than that of Da Ponte. 2. The creation of the overture to Don Giovanni proved to be very strenuous work for Mozart. 3. Mozart always perfected his music.
VI. Make an outline of the text and retell it following your points.
VII. Read the sentences with while-clauses. State the meaning of while and the time relations of the actions:
1. It was Louisa Mebbin who drew attention to the fact that the goat seemed to have died of a mortal bullet-wound, while no trace of the rifle's deadly work could be found on the tiger. 2. I sat in the comfortable kitchen, while she heated the water on the shining range and we talked as she moved to and fro. 3. The Senior Lieutenant had been holding forth on the merits of the girl he was engaged to, and the ladies were purring approval, while the men yawned. 4. That night while his mother wasn't looking, he slipped his toy-bear under the pillow. 5. "We can't get atong in the store without you, Enid, while Gordon is away," old Day said. 6. Mrs. Clowes pressed her handkerchief to her mouth with one hand while with the other she was fanning the face of Mr. Cowlishaw with her bonnet. 7. The next day a reporter and photographer arrived at our house while I was off selling my oil burners, and Betsy did the honours. 8. Satisfied with the stage of the project, the chief engineer left the construction site while his assistants were still dismantling the mechanisms. 9. During those, long minutes, while Less was trying to discover what was happening there, Jules did his best to keep awake. 10. The photographs were brought while they were talking.
VIII. Translate the following sentences using the structural patterns:
1. Поговорив с Харлингом, корреспондент поехал на ферму Анни Дайкерс. 2. Проведя несколько дней у Тайеров, Бен объявил, что ему надо вернуться в Нью-Йорк. 3. Увидев отца, молодой человек повернулся к Грейс и сказал: "Уйдем отсюда. Здесь нечем дышать". 4. Прежде чем идти спать, Джон обычно заходил в комнату родителей и рассказывал им, как он провел день. 5. Оглядев мальчика с ног до головы, мистер Дик сказал: "Он убежал из дома, не так ли?" 6. Войдя в комнату, Эрнест заметил, что среди гостей было несколько человек, которых он уже встречал. 7. Прочитав ваше письмо с начала до конца несколько раз, я понял, что в нем нет ни слова правды. 8. Эрик рассказал профессору Фоксу, как он ходил из города в город в поисках работы.
IX. Make up short situations using the following gerundial phrases?
on hearing the news; before reaching the city; on arriving at the cottage; after consulting with smb; before starting on a journey; on boarding the train; after making inquiries; on resuming one's work
X.Think of Russian sentences with деепричастный оборот that can be translated into English with the help of the structural patterns - before, after, on + gerund. Ask your fellow-students to translate them.
XI. Make up situations suggested by the following sentences paying careful attention to the word combinations in bold type:
1. John felt ashamed. He had told his father a hundred times that he ought to wear his good clothes when he went out. 2. Grace put down their quarrel to the hot weather. 3. Betsy didn't take heart even when her mother suggested a party. She knew she would feel miserable with Merry Ann around. 4. Mrs. Clowes was so determined to have her tooth out that she would not listen to the dentist's reasoning. 5. Mrs. Thayer was greatly concerned about their guests' comfort. 6. "How can you have the heart to leave so abruptly?" Mrs. Drake said to her husband. "Our hostess will be o'ffended." 7. The Worm didn't want to put up with the Senior Lieutenant's jokes any longer. 8. John Perkins felt put out when he discovered that his wife was not at home. 9. Enid's thoughts were on-the coming holiday and she couldn't concentrate on the work in the shop. 10. As the consul listened to the Kid's story, a scheme was taking shape in his mind.
XII. Read the following sentences and suggest Russian equivalents for the parts in bold type:
1. Fired with this, spirit, he went down to an early breakfast, then got down to work. 2. How long he waited beside the car, Roger never knew. He avoided consulting his watch and simply concentrated his mind on keeping warm. 3. Regular old skinflint he is. What she has to put up with! 4. "I saw it," she said. "I was as wide awake as you are!" 5. Since Bob had died and Nancy had got married, Mum and Dad didn't seem to have the heart to leave the farm. 6. He flushed and looked distressed, but I was determined to know the truth. 7. "It is a mystery which has not yet been solved. Perhaps you will solve it." I was surprised to hear myself say: "I hope so." "You will if you are determined to." 8. Father looked worried and I knew that he was wishing that Uncle Dick were at home so that he could consult him ... After a while Father said that as I seemed determined, he supposed I must have my way. 9. "Come, lie down ... It was only your dream." "But I know when I am awake and when I'm asleep. There was something in my room. Itcame and stood at thebottomofmy bed.""You have had a nightmare." "I was awake, I tell you. I was awake. I woke up and saw it. It must have awakened me." 10. Even now I cannot think I was altogether unreasonable in jumping to the conclusion that Norton had seen through those glasses of his something that he was determined to prevent my seeing. 11. "You think, madam, that you may have had a little nap and -er-" the doctor broke off tactfully. "I have had a nap, but if you think this was a dream, you're quite wrong - I saw it, I tell you." 12. Sergeant Weatherall remarked meaningly: "He didn't like those questions - didn't like them at all. Put out he was." 13. He loves me. I simply shouldn't have the heart to leave him. He'd be lost without me. 14. I began to read my papers
again, but I found it difficult to concentrate on them. 15. I lay in bed, getting hotter and hotter, and more wide awake, till I didn't know what to do with myself. 16. Though the heat was oppressive, it wasn't the heat that kept him awake. 17. ... he was unpopular with his party, ... and yet his management of affairs was so brilliant that they had to put up with him. 18. When you come back we'll go out together and see a show or two, shall we? 19. "You haven't been to see your people yet, have you?" he asked. She let go of his hand. It was for the first time that Lionel suggested that she should see her family. 20. Almost immediately Lori'sensed that her sweet mother, usually so concerned about frilly dresses and hair ribbons and Lori's every comfort, had abandoned her for the smiles of her new husband. 21. Supposing she should come seriously to lose her heart to him? Allerton, I knew, was a real bad lot. 22. Afterwards, thinking it over, I was inclined to put everything down to the atmosphere of the house. 23. My hands shaking a little, I adjusted the glasses to my eyes. 24. He made a joke or two and seemed far more cheerful and wide-awake than usual. 25. When Jim didn't come back, she was a little concerned. 26. "It is my house - and I am more concerned about the problems it holds than I am about the boards and the chandeliers!"
XIII. Render into English:
1. "Свадьба Фигаро" произвела сенсацию в Праге. Все горели желанием познакомиться с господином Моцартом (Herr Mozart). Граф Тун (Count Thun), гордившийся своим музыкальным вкусом, сказал Вольфгангу:. "Это самое примечательное событие в жизни Праги, с тех пор как я приехал сюда". Он оказал Моцартам радушный прием и предоставил в их распоряжение несколько комнат во дворце. Отведенные им апартаменты были просторны, и им хотелось отдохнуть и насладиться покоем; но у хозяина была большая программа для почетных гостей.
2. На балу в тот же вечер Вольфганг был центром внимания. Он вошел в зал под гром аплодисментов. Многие молодые красавицы горели желанием потанцевать с прославленным композитором. Разговор вертелся исключительно вокруг "Фигаро", другие темы никого не интересовали. Граф Тун познакомил его с синьором Бондини, антрепренёром пражского театра, который поставил "Фигаро" на пражской сцене. Бондини воскликнул: "Господин Моцарт! Во всем мире нет оперы, равной "Фигаро"! Спектакль спас наш театр! И при этом опера написана немцем. Невероятно!" Вольфганг поклонился. Ему было приятно, хотя эти слова показались ему немного забавными.
3. Где бы Вольфганг ни появлялся в Праге, повсюду говорили только о "Фигаро". Ничего другого не исполняли, не пели и не насвистывали, кроме мотивов из его оперы. Он узнал, что "Фигаро" шел в Праге беспрерывно весь зимний сезон и спас Национальный театр от разорения.
Однажды Вольфганг сидел в городском парке и долго слушал, ,как слепой арфист играл мелодии из "Фигаро". Вольфганг подал
бродячему арфисту гульден, а ему сказали: "Зачем так много! Бедняга не оценит Вашу щедрость". Но Вольфганг лишь горько улыбнулся про себя. Он знал, что это значило, когда твой труд оценивали слишком низко. Успех "Фигаро" в Праге пока что не принес ему ни единого крейцера.
XIV. Read the following excerpt and retell it in brief:
The funeral took place the afternoon after Wolfgang died. The small coffin was carried out of the house on the Rauhensteingasse, and borne on a small cart to St. Stephen's. There were only a few mourners. Constanze was unable to come, she was still in bed suffering from shock.
It was a quiet day and there were the usual monks and nuns from the provinces visiting the wonder of Christendom, the most famous church in the Empire, and none of them turned a head as the coffin was borne inside. Funerals were commonplace and this was that of a poor, unimportant person, that was obvious from the bare wooden box and the lack of mourners.
After the corpse was blessed, the coffin was put back on the little open cart and the driver and his horse turned towards the cemetery.
St. Marx's was just five years old, an insignificant cemetery that had been created by the parish of St. Stephen's for those who could not afford a churchyard for the mourners - that would have been an extra expense - and, by the-time the cart reached the cemetery there was no one with it. The sky had grown dark, there was the threat of snow in the air, and it was far to walk.
There was only one grave-digger in the cemetery. It was a slow day, he explained to the driver, and he was finishing the common grave.
The grave-digger was elderly, hard of hearing, and he had a number of coffins stacked in the long, narrow, straight pit. He was proud that he was neat and orderly. He didn't hear the name, but he knew it was a little man, he could tell by the smallness of the coffin, and that it was a third-class funeral. Only such a funeral would have no mourners. No one wanted to pay for anything. Not a gulden.
The driver dumped the coffin onto the ground alongside a number of other coffins, and hurried away. He detested this kind of funeral, it barely paid for the cost of the horse and the cart.
Wolfgang's body went into the common grave, stacked three deep with a hundred other corpses.
(From "Sacred and Profane" by David Weiss)