OC, radical thinker that she is, always loved the "Madame Bovary" commietastic translation by Eleanor Marx.
She's not entirely sure the new lean & mean translation by Lydia Davis -- some of the reasons are explained here by Emma freak Julian Barnes -- will replace Eleanor's in OC's heart, but it's well worth a read.
Especially for opera fans, since one of the -- many -- devastating scenes in the novel takes place at the opera.
Here's Eleanor Marx's take, from Part 2, Chapter XV:
Despite Emma's explanations, as soon as the recitative duet began in which Gilbert lays bare his abominable machinations to his master Ashton, Charles, seeing the false troth-ring that is to deceive Lucie, thought it was a love-gift sent by Edgar. He confessed, moreover, that he did not understand the story because of the music, which interfered very much with the words.
"What does it matter?" said Emma. "Do be quiet!"
"Yes, but you know," he went on, leaning against her shoulder, "I like to understand things."
"Be quiet! be quiet!" she cried impatiently.
Lucie advanced, half supported by her women, a wreath of orange blossoms in her hair, and paler than the white satin of her gown. Emma dreamed of her marriage day; she saw herself at home again amid the corn in the little path as they walked to the church. Oh, why had not she, like this woman, resisted, implored? She, on the contrary, had been joyous, without seeing the abyss into which she was throwing herself. Ah! if in the freshness of her beauty, before the soiling of marriage and the disillusions of adultery, she could have anchored her life upon some great, strong heart, then virtue, tenderness, voluptuousness, and duty blending, she would never have fallen from so high a happiness. But that happiness, no doubt, was a lie invented for the despair of all desire. She now knew the smallness of the passions that art exaggerated. So, striving to divert her thoughts, Emma determined now to see in this reproduction of her sorrows only a plastic fantasy, well enough to please the eye, and she even smiled internally with disdainful pity when at the back of the stage under the velvet hangings a man appeared in a black cloak.
His large Spanish hat fell at a gesture he made, and immediately the instruments and the singers began the sextet. Edgar, flashing with fury, dominated all the others with his clearer voice; Ashton hurled homicidal provocations at him in deep notes; Lucie uttered her shrill plaint, Arthur at one side, his modulated tones in the middle register, and the bass of the minister pealed forth like an organ, while the voices of the women repeating his words took them up in chorus delightfully. They were all in a row gesticulating, and anger, vengeance, jealousy, terror, and stupefaction breathed forth at once from their half-opened mouths. The outraged lover brandished his naked sword; his guipure ruffle rose with jerks to the movements of his chest, and he walked from right to left with long strides, clanking against the boards the silver-gilt spurs of his soft boots, widening out at the ankles. He, she thought must have an inexhaustible love to lavish it upon the crowd with such effusion. All her small fault-findings faded before the poetry of the part that absorbed her; and, drawn towards this man by the illusion of the character, she tried to imagine to herself his life—that life resonant, extraordinary, splendid, and that might have been hers if fate had willed it. They would have known one another, loved one another. With him, through all the kingdoms of Europe she would have travelled from capital to capital, sharing his fatigues and his pride, picking up the flowers thrown to him, herself embroidering his costumes. Then each evening, at the back of a box, behind the golden trellis-work she would have drunk in eagerly the expansions of this soul that would have sung for her alone; from the stage, even as he acted, he would have looked at her. But the mad idea seized her that he was looking at her; it was certain. She longed to run to his arms, to take refuge in his strength, as in the incarnation of love itself, and to say to him, to cry out, "Take me away! carry me with you! let us go! Thine, thine! all my ardour and all my dreams!"
The curtain fell.