Skip to main content



Crocodile (2015)

Part of a series or song cycle:

Nuits d'Afrique


Ce n’est pas facile d’être un crcocodile
Surtout si on n’a pas envie
D’être un crocodile
Celui que vous voyez
N’est pas bien
Dans sa peau
De croco
Il aurait aimé
Etre different
Il aurait aimé
Les enfants
Avec eux
Avec les parents
Se balader
Le village
Mais, mais, mais
Quand il sort
De l’eau
Les pêcheurs
Lancent des sagaies
Les gamins
Les jeunes filles
Abandonnent leurs canaris
Sa vie
Est un vie
De solitude
Et de tristesse
Sans ami
Sans caresse
Nulle part
Où aller
Un crocodile
Et bon à rien
Qui a
Une sainte horreur
Du sang
S’il vous plait
Ecrivez à:
Gentil Crocodile
Baie No 3
Fleuve Niger.


It’s not easy to be a crocodile
Especially if you don’t want
To be a crocodile
The one you see
Is not happy
In his croc’s
He would have liked
To be different
He would hav eliked
To attract
With them
With their parents
Walk around
The village
But, but, but
When he comes out
Of the water
Thrown spears
Take off
Young girls
Abandon their water jugs
His life
Is a life
Of solitude
And sadness
Without a friend
Without affection
To go
A stranger
A crocodile
And good for nothing
Who has
A holy horror
Of blood
Write to:
Nice Crocodile
Bay No 3
Niger River.

If you would like to use our texts and translations, please click here for more information.


Judith Weir was born into a Scottish family in 1954, but grew up near London. She was an oboe player, performing with the National Youth Orchestra of Great Britain, and studied composition with John Tavener during her schooldays. She went on to Cambridge University, where her composition teacher was Robin Holloway; and in 1975 attended summer school at Tanglewood, where she worked with Gunther Schuller. After this she spent several years working in schools and adult education in rural southern England; followed by a period based in Scotland, teaching at Glasgow University and RSAMD.

During this time she began to write a series of operas (including King Harald’s Saga, The Black Spider, A Night at the Chinese Opera, The Vanishing Bridegroom and Blond Eckbert) which have subsequently received many performances in the UK, Germany, Austria, the Netherlands, Belgium and the USA. The most recent opera is Miss Fortune, premiered at Bregenz in 2011, and then staged at the Royal Opera House Covent Garden in 2012.

As resident composer with the City of Birmingham Symphony Orchestra in the 1990s, she wrote several works for orchestra and chorus (including Forest, Storm and We are Shadows) which were premiered by the orchestra’s then Music Director, Simon Rattle. She has been commissioned by the Boston Symphony Orchestra (Music Untangled and Natural History) the Minnesota Orchestra (The Welcome Arrival of Rain) and the London Sinfonietta (Tiger under the Table); and has written concert works for some notable singers, including Jane Manning, Dawn Upshaw, Jessye Norman and Alice Coote. Her latest vocal work is Good Morning, Midnight, premiered by Sarah Connolly and the Aurora Orchestra in May 2015.

She now lives in London, where she has had a long association with Spitalfields Music Festival; and in recent years has taught as a visiting professor at Princeton, Harvard and Cardiff universities. Honours for her work include the Critics’ Circle, South Bank Show, Elise L Stoeger and Ivor Novello awards, a CBE (1995) and the Queen’s Medal for Music (2007). In 2014 she was appointed Master of The Queen’s Music in succession to Sir Peter Maxwell Davies. In January 2015 she became Associate Composer to the BBC Singers.

Much of her music has been recorded, and is available on the NMC, Delphian and Signum labels. In 2014-15 there were releases of The Vanishing Bridegroom  (NMC) and Storm (BBC Singers/Signum).  Judith Weir’s music is published by Chester Music and Novello & Co.  She blogs about her experiences of cultural life in the UK at

See Full Entry

Sorry, no further description available.

Previously performed at:

(As part of a song cycle/series:)

Mailing List