Act 1

Scene 1: The Coronation Hall

The royal Danish court is celebrating the coronation of Queen Gertrude who has married
Claudius, brother of the late King Hamlet. Claudius places the crown on Gertrude's head. All
leave, and Prince Hamlet, son of the late King and Gertrude, enters. He is upset that his mother
has remarried so soon. Ophélie enters, and they sing a love duet. Laërte, Ophélie's brother,
enters. He is being sent to Norway and gives his farewells. He entrusts Ophélie to the care of
Hamlet. Hamlet refuses to join Laërte and Ophélie as they leave to join the banquet, and goes off
in another direction. Courtiers and soldiers, on their way to the banquet, enter the hall. Horatio
and Marcellus tell the soldiers that they have seen the ghost of Hamlet's father on the ramparts of
the castle the previous night and go off to tell Hamlet.

Scene 2: The Ramparts

Horatio and Marcellus meet Hamlet on the ramparts. The Ghost appears, Horatio and Marcellus
leave, and the Ghost tells his son that Claudius murdered him with poison. The Ghost commands
Hamlet to take vengeance on Claudius, but Gertrude must be spared. The Ghost withdraws.
Hamlet draws his sword and swears to avenge his father.

Act 2

Scene 1: The Gardens

Ophélie, reading a book, is concerned at Hamlet's new indifference. Hamlet appears in the
distance, but leaves without speaking. The Queen enters. Ophélie says she would like to leave
the court, but the Queen insists she should stay. Ophélie leaves the garden and King Claudius
enters. Gertrude suspects that Hamlet now knows about the murder of his father, but Claudius
says he does not. Hamlet enters and feigns madness. He rejects all overtures of friendship from
Claudius, then announces he has engaged a troupe of actors to perform a play that evening.
Claudius and Gertrude leave, and the players enter. Hamlet asks them to mime the play The
Murder of Gonzago and then sings a drinking song, playing the fool, so as not to arouse
suspicion.

Scene 2: The Play

The King and Queen and the other guests assemble in the castle hall where the stage has been set
up. The play begins, and Hamlet narrates. The play tells a story similar to the murder of Hamlet's
father. After the "poison" is administered, the "assassin" places the "crown" on his head.
Claudius turns pale, rises abruptly, and commands the play to stop and the actors to leave.
Hamlet accuses Claudius of the murder of his father, and snatches Claudius' crown from his
head. The entire assembly reacts in a grand septet with chorus.

Act 3
Closet Scene

In the Queen's chambers Hamlet delivers the monologue "To be or not to be", then hides behind
a tapestry. Claudius enters and prays aloud of his remorse. Hamlet, deciding Claudius' soul may
be saved, if he is killed while praying, delays yet again. Polonius enters and in his conversation
with Claudius reveals his own complicity. The King and Polonius leave, Hamlet emerges, and
Gertrude enters with Ophélie. The Queen tries to persuade Hamlet to marry Ophélie, but Hamlet,
realizing he can no longer marry the daughter of the guilty Polonius, refuses. Ophélie returns her
ring to Hamlet and leaves. Hamlet tries to force Gertrude to confront her guilt, but she resists. As
Hamlet threatens her, he sees the Ghost, who reminds him he must spare his mother.

Act 4

The Mad Scene

After Hamlet's rejection, Ophélie has gone mad and drowns herself in the lake.

Act 5

Gravediggers Scene

Hamlet comes upon two gravediggers digging a new grave. He asks who has died, but they do
not know. He sings of remorse for his ill treatment of Ophélie. Laërte, who has returned from
Norway and learned of his sister's death and Hamlet's role in it, enters and challenges Hamlet to
a duel. They fight, and Hamlet is wounded, but Ophélie's funeral procession interrupts the duel.
Hamlet finally realizes she is dead. The Ghost appears again and exhorts Hamlet to kill Claudius,
which Hamlet does, avenging his father's death. The Ghost affirms Claudius' guilt and Hamlet's
innocence. Hamlet, still in despair, is proclaimed King to cries of "Long live Hamlet! Long live
the King!".

[In the much shorter "Covent Garden" ending the ghost does not appear, and, after
Hamlet finally attacks and kills Claudius, he embraces Ophélie's body and dies. This
version had apparently never been used until recently]

Prelude. The opera begins with a brief prelude approximately three and a half minutes in length.
The music commences with soft timpani rolls, proceeds to string tremolandi, horn calls, and
anguished string motifs, and "evokes the hero's tormented mind as well as the cold ramparts of
Elsinore."[38]

Act 1

Scene 1
A hall in the castle of Elsinore

1. Introduction, march and chorus. The court celebrates the Coronation of Gertrude, widow of
King Hamlet; and her marriage to his brother, Claudius (Courtiers: Que nos chants montent
jusqu'aux cieux – "Let our songs rise to the skies"). The new king, Claudius, stands before his
throne on a dais, surrounded by the nobles of the court. His court chancellor, Polonius, is nearby.
Queen Gertrude enters, approaches the dais, and bows to the King (Courtiers: Salut, ô Reine
bien-aimée! – "Greetings, O beloved Queen!"). Polonius hands the King a crown, which he takes
and places on her head (The King: Ô toi, qui fus la femme de mon frère – "O you who were my
brother's wife"). Gertrude comments in an aside to Claudius that she does not see her son
Hamlet. Claudius admonishes her to bear herself as a queen. The courtiers sing of their joy as
they celebrate the King and Queen's glorious marriage (Courtiers: Le deuil fait place aux chants
joyeux – "Mourning gives way to joyful songs"). The King and Queen leave the hall followed by
the courtiers.

2. Recitative and duet. Prince Hamlet, son of the late King and Gertrude, enters the empty hall.
As Hamlet enters, before he begins singing, the low strings in the orchestra play Hamlet's
Theme

He laments that his mother has remarried scarcely two months since his father's death (Hamlet:
Vains regrets! Tendresse éphémère! – "Futile regrets! Ephemeral tenderness!").

Ophélie enters. Her entrance is accompanied by Ophélie's Theme. Ophélie's music contrasts
with Hamlet's and accentuates her nervous character by the use of dotted-note rhythms, a
chromatic melody line, and high-range woodwind instruments. The excerpt below ends with solo
flute music which foreshadows Ophélie's coloratura singing later in the opera.

She is worried that Hamlet's grief will blight their happiness (Ophélie: Hélas! votre âme – "Alas!
your soul") and is concerned that, since Claudius has given Hamlet permission to leave, Hamlet
will flee the court. Hamlet protests he cannot make promises of love one day, only to forget them
the next. His heart is not that of a woman. Ophélie is distraught at the insult, and Hamlet begs
forgiveness.

The duet affirms their love (Hamlet, Ophélie: Doute de la lumière – "Doubt that the light"). The
text of the duet is based on Shakespeare's "Doubt thou the stars are fire", which is part of a letter
from Hamlet to Ophelia which Polonius reads to Gertrude and Claudius. The melody of the vocal
line in Hamlet's first phrases has been called the Theme of Hamlet's Love for Ophélie and
appears several more times in the opera, with particular poignancy near the end of the Mad
Scene The three themes which have been introduced in this number are the most important
elements which Thomas uses for creating compositional and dramatic unity in the opera. They
reoccur, usually in modified form, whenever significant situations relevant to the ideas they
represent present themselves.

3. Recitative and cavatina of Laërte. Ophélie's brother, Laërte, enters. He tells Hamlet and
Ophélie that the King is sending him to the court of Norway, and he must leave that very night
.In his cavatina, Laërte asks Hamlet to watch over his sister while he is gone (Laërte: Pour mon
pays, en serviteur fidèle – "For my country, in faithful service"). (In the play Laertes warns
Ophelia to be wary of Hamlet's intentions.) Fanfares are heard as servants and pages pass at the
back. Laërte asks Hamlet and Ophélie to come with him to the banquet, but Hamlet declines. The
couple separates, as Laërte and Ophélie leave for the banquet, and Hamlet goes off in the other
direction. More fanfares are heard as lords and ladies enter on their way to the banquet (Lords
and Ladies: Honneur, honneur au Roi! – "Honor, honor to the King!"). They are followed by a
group of young officers.

4. Chorus of Officers and Pages. The officers sing of their hope that the call of pleasure will
dispel their current ennui (Officers: Nargue de la tristesse! – "Scoff at sorrow"). Horatio and
Marcellus enter in haste, looking for Hamlet. They tell of having seen the ghost of the late King
upon the ramparts the previous night. The skeptical officers respond: "An absurd illusion! Lies
and sorcery!" Undeterred, Horatio and Marcellus leave to find and warn the young prince. The
officers, with the lords and ladies, finish the chorus and depart for the banquet. (Again, this scene
is unlike the play in which Horatio, who has not seen the ghost himself but has merely heard of it
from the sentinels, reports the news of the ghost's appearance to Hamlet directly, and not to a
group of soldiers.: "Horatio and a sidekick blab the dread news of the Ghost's appearance to a
squadron of frolicking young officers, who are totally unimpressed.")

Scene 2

The ramparts. At the back, the illuminated castle. – It is night. The moon is partially obscured by
dense clouds

Prelude. The five-minute prelude sets the sinister atmosphere of the scene.

5. Scene at the ramparts. Horatio and Marcellus enter (Horatio: Viendra-t-il? – "Will he
come?") and are soon followed by Hamlet (Hamlet: Horatio! n'est-ce point vous? – "Horatio! is
that you?"). Horatio and Marcellus tell Hamlet that they have seen his father's ghost on the
previous night at the stroke of twelve. Fanfares are heard emanating from the banquet hall within
the castle, and soon thereafter the bells begin to toll midnight. The ghost appears, and they
express their fear.

Invocation. Hamlet addresses the Ghost (Hamlet: Spectre infernal! Image venerée! – "Infernal
apparition! Venerated image!"). The ghost gives a sign indicating that Horatio and Marcellus
should withdraw, and Hamlet orders them to do so. The ghost speaks: Écoute-moi! – "Listen to
me!". He identifies himself and commands Hamlet to avenge him. Hamlet asks what is the crime
he must avenge, and who has committed it? Sounds of music from within the castle, fanfares,
and distant cannon are heard, and the Ghost responds: "Hark: it is he they are honoring, he who
they have proclaimed King! ... The adulterer has defiled my royal residence: and he, to make his
treason more complete, spying upon my sleep and taking advantage of the hour, poured poison
on my sleeping lips. ... Avenge me, my son! Avenge your father! ... From your mother, though,
turn your anger away, we must leave punishment in the care of heaven." The ghost withdraws,
his parting words: Souviens-toi! – "Remember me!" Hamlet draws his sword and proclaims his
intention to obey the ghost's command (Hamlet: Ombre chére, ombre vengeresse, j'exaucerai ton
vœu! ... je me souviendrai! – "Beloved shade, avenging shade, I shall fulfill your command! ... I
shall remember!"). Thomas' music for this scene is masterly; he catches the chilling, gloomy
atmosphere perfectly...." The orchestral music which accompanies his vow to avenge his father's
murder is another example of a theme which reoccurs multiple times at key points in the drama.

Act 2

Entr'acte. The second act begins with a musical interlude of about two minutes, which sets the
scene in the garden. After some emphatic introductory orchestral chords and horn calls, harp
arpeggios lead into the main section which employs the Theme of Hamlet's Love, initially
played by horn and strings, followed by solo horn accompanied with clarinet and flute figures
reminiscent of bird calls.

Scene 1

The castle gardens

6. Aria of Ophélie. Ophélie is in the garden with a book in her hand. She laments Hamlet's
distance, feeling his look is something like reproach (Ophélie: Sa main depuis hier n'a pas
touché ma main! – "His hand has not touched mine since yesterday"). She reads from her book,
at first silently, then aloud (Ophélie: "Adieu, dit-il, ayez-foi!" – "'Adieu, he said, trust me!'").
Hamlet appears on the other side of the garden. (An English horn plays the Theme of Hamlet's
Love.) Hamlet sees Ophélie and tarries. Again she reads aloud from her book (Ophélie: "En
vous, cruel, j'avais foi! Je vous aimais, aimez moi!" – "'In you, O cruel one, I believed. I loved
you! Love me too!'"), then looks at Hamlet. However, he remains silent, then rushes away.
Ophélie says ruefully: Ah! ce livre a dit vrai! – "Ah! This book spoke the truth!" and continues
her aria (Ophélie: Les serments on des ailes! – "Promises have wings!").

7. Recitative and arioso. The Queen comes into the garden hoping to find Hamlet. She sees
Ophélie's distress and presses her for information as to its cause (The Queen: Je croyais près de
vous trouver mon fils – "I thought to find my son with you"). Ophélie says Hamlet no longer
loves her and begs permission to leave the court. In the Queen's arioso, one of the finest numbers
in the score, she rejects Ophélie's request, saying that the barrier between Ophélie and Hamlet
comes from another source (The Queen: Dans sons regards plus sombre – "In his sombre
expression"). She argues that Ophélie's presence may help cure Hamlet of his madness. Ophélie
says she shall obey and leaves.

8. Duet. The King now comes into the garden (The King: L'âme de votre fils est à jamais
troublée, Madame – "Your son's soul is ever troubled, Madame"). The Queen suggests Hamlet
may have discovered the truth, but Claudius believes he suspects nothing.

An extended version of this very short duet appears in the piano-vocal score. Only the initial
phrases of this passage are found in the original full score, and the section which begins with the
Queen's phrase Hélas! Dieu m'épargne la honte – "Alas! may God spare me the shame" is
marked as a possible cut. The uncut duet is performed in the video recording with Simon
Keenlyside as Hamlet.
Recitative. At the conclusion of the duet Hamlet enters, and the orchestra plays Hamlet's
Theme. When the 8-bar theme has concluded, the King calls to Hamlet (The King: Cher Hamlet
– "Dear Hamlet"), and Hamlet responds "Sire!". Claudius asks Hamlet to refer to him as Father,
but Hamlet responds that his father is dead. Claudius offers his hand, in Hamlet's father's name.
There is a pause as the orchestra begins again to play Hamlet's Theme, and Hamlet responds:
"His is cold and lifeless." When the theme has finished, Claudius calls Hamlet "My son...", but
Hamlet angrily responds: "My name is Hamlet!", and starts to walk away. The orchestra begins
Hamlet's Theme again, and Gertrude asks whether Hamlet seeks the young and beautiful
Ophélie, but Hamlet responds that youth and beauty will vanish in a single day. When the
orchestra has finished playing Hamlet's Theme, Claudius suggests that Hamlet may wish to
travel abroad, to France and Italy, but Hamlet responds he'd rather travel, like the clouds, among
the stars, amid bolts of lightning.

There is a distant sound of festive music. The theme employed is that of the Danish March
(which accompanies the entrance of the royal court in the following Play Scene). The King tells
Hamlet to listen to the sound of the festivities and admonishes him to hold up his head. Hamlet
announces he has summoned an itinerant troupe of actors to provide entertainment. Claudius
agrees to this, and then says to Gertrude, "He knows nothing!", but she replies "I am afraid!" as
they turn to leave. The orchestra begins to play the theme of Hamlet's Promise, and Hamlet
sings: Mon pére! Patience! Patience! – "My father! Patience! Patience!".

9. Recitative and chorus of comedians. Marcellus and Horatio enter with the Players (tenors
and basses). Marcellus announces: Voici les histrions mandés par vous, Seigneur. – "Here are the
actors you sent for, my lord." The players sing a chorus (Players: Princes sans apanages –
"Princes without privilege"). In an aside Hamlet reveals his true purpose (Hamlet: C'est en
croyant revoir se dresser sa victime que plus d'un meurtrier a confessé son crime – "In believing
he sees his victim rise up, more than one murderer has confessed his crime"). He asks the players
to enact the play The Murder of Gonzago, saying he shall tell them when to pour the poison. He
then asks the pages to bring in wine for all.

10. Chanson Bacchique. Seizing a goblet, Hamlet sings a song in praise of wine (Hamlet: Ô vin,
dissipe la tristesse qui pése sur mon cœur! À moi les rêves de l'ivresse et le rire moqueur! – "O
wine, dispel the sorrow which weighs on my heart! Give me dreams of euphoria and the
mocking laugh!"). This drinking song, which is not found in Shakespeare, has been the object of
much negative criticism.

Scene 2

The Great Hall of the castle, festively lit. The royal throne is on the right, a platform for the
courtiers on the left; at the back, a small theatre, curtains closed

11. Danish march. The entrance of the royal court is accompanied by a four-and-a-half minute
march in which is introduced with a fanfare. The theme of the A section was first heard near the
end of the trio recitative with Claudius, Hamlet, and Gertrude in the first scene of act 2. The
King and Queen enter first, followed by Polonius, Ophélie, Hamlet, Horatio, Marcellus, and the
court.
Recitative and prologue. Hamlet asks Ophélie if he may sit at her feet (Hamlet: Belle,
permettez-nous – "Lady, permit me"). She responds that his expression frightens and chills her.
Hamlet sits, his eyes fixed on the King and Queen. Everyone takes their places, and the curtains
of the small theatre are opened. The play is introduced with a short orchestral passage featuring a
saxophone solo. (this is the first instance of the use of a saxophone in an opera.) In an aside
Hamlet asks Marcellus to watch the King (Hamlet: Voici l'instant! fixez vos regards sur le Roi,
et, si vous le voyez pâlir, dites-le moi! – "Now! Fix your gaze on upon the King, and, if he should
turn pale, tell me!").

12. Pantomime and finale. On the small stage an aged king wearing a crown enters slowly on
the arm of a queen whose features and costume are similar to those of Queen Gertrude. Hamlet,
whose eyes never leave the face of King Claudius, narrates the action of the mimed play
(Hamlet: C'est le vieux Roi Gonzague et la Reine Genièvre – "This is the aged King Gonzago
and Queen Guinevere"). The play proceeds as follows: With protestations of love Guinevere
leads Gonzago to a lonely spot. The drowsy king soon falls asleep in her arms. The villain enters.
She holds out a cup, he seizes it, and pours the fatal potion, then takes the crown and places it on
his head.

At this point Hamlet interrupts his narrative and addresses Claudius directly (Hamlet: Sire, vous
pâlissez – "Sire, you grow pale!"). Angered and fearful, the King rises (The King: Chassez,
chassez d'ici ces vils histrions! – "Expel, expel these vile minstrels!"). Hamlet, feigning madness,
accuses Claudius of the murder of his father (Hamlet: C'est lui qui versait le poison! – "He's the
one who poured the poison!"). Hamlet approaches the King, pushing aside the courtiers who
surround him, and snatches the crown from Claudius' head (Hamlet: A bas, masque menteur!
vaine couronne, à bas! – "Down with the lying mask! Down with the empty crown!").

The King, pulling himself together, solemnly declares: Ô mortelle offense! Aveugle démence, qui
glace tous les cœurs d'effroi! – "O fatal insult! Blind lunacy, which chills every heart with
dread!" The melody of the vocal line is a variant of the theme of Hamlet's Promise. Ophélie
cries out, and the Queen declares her outrage (The Queen: Dans sa folle rage, il brave, il outrage
– "In his mad rage, he defies, he offends"). These utterances of the King and the Queen begin a
grand ensemble passage, which builds to a climax in which Hamlet bursts out in "mad Berlioz-
like excitement"with snatches of the Chanson Bacchique. At the end, Hamlet totally collapses.
The King rushes out, followed by the Queen, and the entire court.

Act 3

"Closet Scene"

A chamber in the Queen's apartments. At the back are two full-length portraits of the two kings.

Entr'acte. The act begins with a short but powerful introduction. Fortissimo French horns play
the variant of Hamlet's Promise (the King's Ô mortelle offense!) which began the septet that
closed act 2. The music becomes more agitated, reflecting Hamlet's highly conflicted state of
mind. The trumpets sound mutated snippets of the royal court's Danish march.
13. Monologue. Hamlet is alone and seated on a couch. He chastises himself for his failure to act
(Hamlet: J'ai pu frapper le misérable – "I could have killed the scoundrel.") This leads to a
calmer, more introspective section (Hamlet: Être ou ne pas être – "To be or not to be"), which
follows the Shakespeare original closely, although greatly shortened. He hears someone
approaching (Hamlet: Mais qui donc ose ici me suivre? Le Roi!... – "But who then dares to
follow me here? The King!..."). He hides behind a tapestry (arras).

14. Recitative and bass aria. The King enters. He muses to himself (The King: C'est en vain
que j'ai cru me soustraire aux remords. – "In vain have I thought to escape my remorse."). The
King kneels at the prie-Dieu and prays aloud (The King: Je t'implore, ô mon frère! – "I implore
you, O my brother!"). Hamlet overhears and fears Claudius' remorse could yet save his soul. He
therefore delays yet again, deciding that Claudius must be dispatched in drunken revels at the
court. The King rises. Thinking he has seen a ghost, he calls out for Polonius. Polonius comes
rushing in. The King tells him he has seen the ghost of the dead king. Polonius tries to calm the
King and warns him to beware lest a word betray them both. The King rushes out followed by
Polonius. Hamlet emerges from behind the tapestry (Hamlet: Polonius est son complice! le père
d'Ophélie! – "Polonius is his accomplice. Ophelia's father!"). He regrets having overheard this
terrible revelation.

15. Trio. Ophélie enters with the Queen. (The Queen: Le voilà! Je veux lire enfin dans sa pensée
– "There he is! I must know what is on his mind"). The Queen tells Hamlet, the altar awaits him,
here is his betrothed. Hamlet looks away, without replying. The Queen persists. Hamlet thinks of
Polonius' perfidy (Hamlet: Sur moi tombent les cieux avant que cet hymen funeste s'accomplisse!
– "May the heavens fall upon me before such an ill-fated marriage can be solemnized!"). Ophélie
asks what he means. He responds: Non! Allez dans un cloître, allez, Ophélie. – "No! Go to a
nunnery, go, Ophélie."). The Queen asks whether he has forgotten all Ophélie's virtues. He
replies he now feels nothing in his heart. Ophélie despairs (Ophélie: Cet amor promis à genoux –
"The love that on your knees you swore"). She returns her ring to him (Theme of Hamlet's
Love), and Hamlet weeps. The Queen turns to Ophélie saying he weeps, he remembers, he loves
you. Hamlet cries out again (Hamlet: Non! Allez dans un cloître, allez, Ophélie – "No! Go to a
nunnery, go, Ophélie"). Each continues to express conflicting feelings in an extended ensemble.
Ophélie leaves, hiding her tears.

16. Duet. The Queen warns Hamlet that he has offended his father, and she may be powerless to
save his life (The Queen: Hamlet, ma douleur est immense! – "Hamlet, my grief is great!").
Hamlet asks, who has offended his father? She denies any understanding of his meaning. Hamlet
blocks her attempt to leave, tries to force her to confront her guilt (Hamlet: Ah! que votre âme
sans refuge pleure sur les devoirs trahis – "Ah! Let your defenseless heart weep over duties
betrayed"). Hamlet leads his mother to the two portraits and points to the portrait of his father
(Hamlet: Ici la grâce et la beauté sereines – "Here are grace and serene beauty"), then to the
other portrait (Là, tous les crimes de la terre! – "There, all crimes of the earth!"). The Queen
begs for mercy, kneeling before Hamlet (The Queen: Pardonne, hélas! ta voix m'accable! –
Forgive me, alas! Your voice devastates me!"). The Queen collapses on a couch. The light dims,
and the Ghost appears behind the couch, one arm extended toward Hamlet (Ghost: Mon fils! –
"My son!"). Hamlet pulls back in confusion. The Ghost warns Hamlet (Ghost: Souviens-toi...
mais épargne ta mère! – "Do not forget... but spare your mother!"). As the Ghost vanishes, the
orchestra plays the theme of Hamlet's Promise, and the doors close themselves. Hamlet asks his
mother not to think he is mad; his rage has calmed. He tells her to repent and sleep in peace, then
leaves. She collapses. The final duet of act 3 represents the climax of the act and the pivotal
scene of the entire opera.

Act 4

A pastoral spot surrounded by trees. At the back, a lake dotted with verdant islets and bordered
with willows and rushes. The day breaks and floods the scene with cheerful light

17. Entr'acte. A short musical interlude of about two minutes, which features a soft, legato
clarinet solo, introduces the fourth act.

Ballet: La Fête du printemps (Celebration of Spring). Divertissement.

A. Country dance. A party of young Danish peasants enters, and a spring country
festival ensues (Peasants: Voici la riante saison – "The fun season is here").
B–F. The ballet proper, which lasts about 18 minutes, consists of the following sections:
B. Pas des chasseurs
C. Pantomime
D. Valse-Mazurka
E. Scène du bouquet – La Freya
F. Strette finale

18. Ophélie's Scene and Aria ("Mad Scene").

Recitative. The music begins with Ophélie's Theme. The peasants see a young girl approaching
(Peasants: Mais quelle est cette belle et jeune demoiselle – "But who is this fair young maiden").

Ophélie enters, dressed in a long white gown and with her hair bizarrely adorned with flowers
and creepers (Ophélie: A vos jeux, mes amis, permettez-moi de grâce de prendre part! – "My
friends, please allow me to join in your games!"). Ophélie's opening recitative is interrupted by a
florid cadenza.

Andante. Ophélie tells the peasants that, should they hear that Hamlet has forgotten her, they
should not believe it (Ophélie: Un doux serment nous lie – "A tender promise binds us to each
other"). The orchestral part features a string quartet accompaniment marked "espressivo".

Waltz. This section, marked "Allegretto mouvement de Valse", begins with a short orchestral
introduction. Ophélie offers a sprig of wild rosemary to a young girl and a periwinkle to another
(Ophélie: Partegez-vous mes fleurs – "Share my flowers").

Ballade. In the mournful Ballade, Ophélie sings about the Willis (water sprite) who lures lovers
to their death, dragging them under the water until they drown (Ophélie: Et maintenant écoutez
ma chanson. Pâle et blonde, dort sous l'onde profonde – "And now listen to my song. Pale and
fair, sleeping under the deep waves"). (The Ballade replaces Shakespeare's "Tomorrow is St.
Valentine's Day", the bawdy words of which were probably considered inappropriate at the
Opéra.) It includes a quantity of coloratura singing, and is "interwoven with a wordless wisp of a
refrain, spun out over the nervous pulse of a drum, like birdsong from some undiscovered
country."

19. Waltz-Ballet. A short choral passage (Peasants: Sa raison a fui sans retour – "Her reason
has fled, never to return") introduces an orchestral reprise of the waltz music first heard before
the Ballade.

20. Finale. The final section begins with a soft woodwind chord followed by harp arpeggios with
a wordless choral accompaniment à bouches fermées (similar to the "Humming Chorus" from
Puccini's later opera, Madama Butterfly) which repeats the theme from Pâle et blonde. Ophélie
sings: Le voilà! Je crois l'entendre! – "There he is! I think I hear him!". As she leans over the
water, holding onto the branches of a willow with one hand, and brushing aside the rushes with
the other, she repeats some of the words and the melody (Theme of Hamlet's Love) from her
love duet with Hamlet in act 1 (Ophélie: Doute de la lumière – "Doubt that the light illumines").
One sees her momentarily floating in her white gown, as the current carries her away. (The
action follows Gertrude's description of Ophelia's death in Shakespeare's act 4, scene 7.)

Act 5

The graveyard near Elsinore.

21. Song of the Gravediggers. Two gravediggers are digging a grave (First Gravedigger: Dame
ou prince, homme ou femme – "Lady or prince, man or woman"). Hamlet's Theme is heard in
the orchestra, and he appears in the distance and slowly approaches (both Gravediggers: Jeune
ou vieux, brune ou blonde – "Young or old, dark or fair"). They drink and sing of the pleasures
of wine. Hamlet asks for whom the grave is intended. The gravediggers do not remember. (After
this shortened version of the gravediggers scene, the action diverges radically from that of the
Shakespeare play.)

22. Recitative and arioso. Hamlet, realizing that Ophélie has gone mad, but still unaware that
she is dead, begs forgiveness for his ill treatment of her (Hamlet: Comme une pâle fleur – "Like a
delicate flower").

Scene and recitative. Laërte appears in the distance, enveloped in a cape (Hamlet: Mais qui
marche dans l'ombre? Horatio? – "Who walks in the shadows? Horatio?"). Hamlet calls out to
him, and Laërte answers and comes nearer (Laërte: Vous avez frémi, Prince? ... Oui, je suis de
retour; c'est moi! – "Were you afraid, Prince? ... Yes, I have returned; it is I!"). Knowing of
Ophélie's death, Laërte seeks revenge, and challenges Hamlet to a duel. They fight, and Hamlet
is wounded.

23. Funeral march and chorus. A funeral march is heard (Hamlet: Écoute! Quel est ce bruit de
pas? – "Listen! What noise is that?"). He asks Laërte: "Who has died?" Laërte, in an aside, is
amazed that Hamlet still does not know. The funeral procession appears, led by a choir of men
and women (Choir: Comme la fleur, comme la fleur nouvelle – "Like a flower, like a fresh
flower"). Ophélie's body is carried in; the King and Queen, Polonius, Marcellus, Horatio and the
courtiers follow behind.

24. Finale. Hamlet finally realizes who has died (Hamlet: Ophélie! ... Morte! glacée! Ô crime!
Oh! de leurs noirs complots déplorable victime! – "Ophélie! ... Dead! Cold! A crime! Oh!
Lamentable victim of their black conspiracy!"). He kneels beside the body of Ophélie: "I have
lost you!" As the grieving Hamlet prepares to kill himself, his father's Ghost appears, visible to
everyone. The King cries out "Mercy!", and the Ghost responds: "The hour has passed! You, my
son, finish what you have begun!" Hamlet cries: "Ah! Strengthen my arm to run him through.
Guide my strike!" He hurls himself upon the King. The King falls. The Queen cries out "Dieu!"
as the others exclaim: "The King!" Hamlet responds: "No! The murderer! The murderer of my
father!" The Ghost affirms: "The crime is avenged! The cloister awaits your mother!" The King
dies with the words: Je meur maudit! – "I die accursed!" The Queen begs God for forgiveness, as
the Ghost declares: "Live for your people, Hamlet! God has made you King." Hamlet, in despair,
sings: Mon âme est dans la tombe, hélas! Et je suis Roi! – "My spirit is in the grave, alas! And I
am King!" Everyone else proclaims: "Long live Hamlet! Long live the King!" and the opera
ends.

Alternative endings

There is a shorter version of the Finale, in which Hamlet dies, and the Ghost does not appear.
Thomas may have written it in the belief that the English would not accept an adaptation in
which Hamlet lives.