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Home , Bryn Terfel, Juan Gris, Pierre Bernac, Simon Keenlyside, Thomas Allen (baritone), Trois Chansons (Debussy)

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1. Toréador - 20. iv. Une roulette couverte en tuiles ...... [1.02] Chanson hispano-italienne [CM] .....[6.26] 21. v. À toutes brides ...... [0.41] 22. vi. Une herbe pauvre ...... [1.40] Trois Poèmes de Louise Lalanne [FL] 23. vii. Je n’ai envie que de t’aimer ...... [0.54] 2. i. Le Présent ...... [0.54] 24. viii. Figure de force brûlante 3. ii. Chanson ...... [0.42] et farouche...... [1.29] 4. iii. Hier...... [2.09] 25. ix. Nous avons fait la nuit ...... [3.30] n his notorious little 1918 pamphlet Le Coq et l’Arlequin, Jean Cocteau pronounced Deux poèmes de 26. La tragique histoire du that ‘a composer always has too many notes on his keyboard.’This was a lesson the [RM] petit René [JL] ...... [1.29] young took to heart and observed throughout his career; and nowhere 5. i. Dans le jardin d’Anna...... [3.06] I more tellingly than in the piano parts of his songs – far better written, he thought, than 27. Le petit garçon trop 6. ii. Allons plus vite...... [2.55] his works for piano solo. bien portant [LA]...... [2.04] Trois chansons de Federico Garcia-Lorca [LA] Le travail du peintre [CM] After the First World War, the ethos of French art across the board lay in the direction of 7. i. L’enfant muet ...... [1.41] 28. i. ...... [2.32] clarity and simplicity. Cocteau further cried for ‘an end to clouds, waves, aquariums, water 8. ii. Adelina à la promenade ...... [0.48] 29. ii. Marc Chagall...... [1.12] nymphs, an end to fogs’, and , the cultural godfather of the new French music, 9. iii. Chanson de l’oranger sec...... [2.40] 30. iii. ...... [1.34] warned that fogs had been the death of as many composers as sailors. Another target was 31. iv. Juan Gris...... [2.11] the ‘music one listens to in hands’ – Wagner most notably, but also Schumann. For 10. Paul et Virginie [CM]...... [1.09] Poulenc then, in quest of song texts, the nineteenth century was largely to be avoided and 32. v. ...... [0.47] only one of his texts, Théodore de Banville’s , was published during it, while Jean 33. vi. Joan Miró ...... [1.43] 11. Nuage [LM] ...... [2.24] Moréas’s four poems forming the Airs chantés were printed in the first decade of the twentieth. 34. vii. ...... [2.16] 12. Hymne [JL] ...... [4.01] Otherwise Poulenc sought either distancing through pre-Romantic poetry or immediacy 35. Les chemins de l’amour [FL] ...... [3.52] through poetry of his own time. 13. Ce doux petit visage [LA]...... [1.53] Total timings: ...... [72.17] Deux poèmes de Louis Aragon [LA] In the present volume, only two of the song texts are historically distant. It has been said of the French that, the more revolutions they went through, the more they hankered after the 14. i. C...... [2.55] Lorna Anderson [LA] certainties, real or imagined, of their past. The fifteenth-century poet Charles d’Orléans, 15. ii. Fêtes galantes...... [0.59] Jonathan Lemalu [JL] who provided three texts for songs, was captured by the English at the battle of 16. Priez pour paix [RM]...... [2.41] [FL] Agincourt in 1415 and kept a prisoner in the Tower of London for 25 years. His poem Priez [CM] pour paix therefore has personal resonance, and Poulenc’s setting, in the style of his recent Tel jour telle nuit [FL] Lisa Milne [LM] Litanies à la Vierge noire, is intimate in tone. Although he called it ‘a prayer at a shrine in time 17. i. Bonne journée...... [2.40] Robert Murray [RM] of war’, he wrote it on 29 September 1938; so it could more accurately be heard as a 18. ii. Une ruine coquille vide ...... [2.09] prophecy, casting reasonable doubt on the prospects of ‘peace in our time’. Hymne, written 19. iii. Le front comme un drapeau perdu ...[1.04] piano in New York in November 1948, was written for the bass Doda Conrad, who was one of

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singers in Nadia Boulanger’s famous Monteverdi recordings. Racine’s poem comes from a of his that Poulenc set in the autumn of 1943 see the war from two different perspectives. translation of the Roman breviary he made in 1680. Poulenc underlines its hymnic quality In ‘C’, where every line ends with the French sound of that letter, the composer reacts to by frequent doubling of the vocal line by the piano’s right hand. what he called the poem’s ‘extreme melancholy’, as the Germans overran France; in ‘Fêtes galantes’, to the picture of total disorder in which marquises are reduced to riding bicycles At the other extreme from these two religious offerings lie four examples of the ‘naughty’ – the title a bitterly ironical reference to the ordered life of eighteenth-century France as Poulenc – a side of him that for years had the unfortunate effect of deafening critics to his painted by Watteau, Fragonard and Boucher. more serious intentions. In Toréador, written in 1918 for a Cocteau music-hall evening, Poulenc deliberately mixes genres, producing ‘a Spanish/Italian song…that sends up the The notion of Poulenc as a facile composer died hard. In fact, he often thought about geography of the café concert songs of the time, in which a Japanese girl got bored in pieces for years before completing them, as with the song Paul et Virginie to a poem by Peking or Sappho fired questions at the Sphinx’.The prevailing waltz rhythm is decorated , first attempted in 1920 but not given a final version until 1946.The with Spanish curlicues (notably on the word ‘Toréador’) and broken up at the end of each title refers to the idyllic novel of 1787 by Bernardin de Saint-Pierre that started the French of the three verses in a way that anticipates Poulenc’s later Surrealist style. rage for the exotic. Pierre Bernac says the singer should try to invest the opening line, ‘Ciel! Les colonies’ with the dreamlike atmosphere of ‘long voyages under sail, noble Jean-Marie Legrand, known also as Jaboune and as Jean Nohain, had been a fellow pupil savages, magic islands’. Poulenc, for his part, thought it would make a perfect encore piece. of Poulenc’s at the Lycée Condorcet and remembered the composer as no dunce, but He admitted that the three poems by Federico Garcia Lorca he was working on during simply uninterested in the scholarly curriculum. Since no printed edition of the verses is the summer of 1947 were giving him problems, and was never entirely happy with the known, we may assume they were written specially for Poulenc, who set them in 1934. result – not that composers are always the best judges of their own work! After the spare They are a perfect example of what he called ‘l’adorable mauvaise musique’, reminding us opening song, ‘Adelina à la promenade’ bursts in like a whirlwind. The final song is a of his remark that if he hadn’t been Poulenc, he would like to have been Maurice sarabande. Poulenc accused it of being ‘nobly French’ instead of ‘gravely Spanish’; but as Chevalier – a parallel further underlined by the waltz Les chemins de l’amour, which closes Bernac pointed out, Poulenc could never be anything other than French…He also took this recital in the same style as Toréador opens it. This ‘valse chantée’ formed the leitmotif his time over setting Laurence de Beylié’s poem ‘Nuage’: the poem was on his desk in of Anouilh’s play Léocadia, produced in Paris in November 1940, when it was sung by August 1955, but he didn’t finish setting it until September 1956. With its marking Yvonne Printemps, one of Poulenc’s favourite artists. ‘doucement mélancolique’, its shifting phrase lengths and vocal style somewhere between melody and recitative, it conforms to a Poulenc archetype. The composer joined the French army for just over six weeks in June 1940.After that, he remained in France throughout the war and, while never an active résistant, was in close He was adamant that the two formative poets for his song writing were Apollinaire and touch with clandestine groups that included poets such as Louis Aragon.The two poems Eluard. But once more, these influences took their time to mature. After the tiny

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Apollinaire songs in Le bestiaire of 1919, Poulenc waited 12 years before setting the poet Raymonde Linossier.Thinking of her, and of how much he used to rely on her taste and again. The writer of the Trois poèmes de Louise Lalanne was a fictitious personage, intelligence, he dedicated to her his short song Ce doux petit visage on another poem by comprising Apollinaire for the middle song and his mistress, the painter , Eluard. It is one of his many essays in lyrical nostalgia.According to his belief that a musical for the outer two. According to Bernac, the Apollinaire poem is pure nonsense and no setting should mirror the layout of the poem, in the fourth line, following a space in attempt should be made to instil any sort of meaning into it. ‘Le présent’ clearly echoes Eluard’s text, the piano texture changes to Poulenc’s favourite repeated pairs of chords. Far Verlaine’s ‘Voici les fruits’, set by Debussy and Fauré, in which the most important present more unusual is his repetition of the last line – we don’t know whether Eluard was is the poet’s heart. But Poulenc’s version turns rather, by his own admission, to the consulted about this! Unusual too is the fact that the repetition is mezzo forte after the implacable octave writing in the finale of Chopin’s B flat minor Sonata. For ‘Hier’, he original piano.The effect is almost of Poulenc trying to force out a setting of a line that thought of an interior as painted by Vuillard: it stands as one of the most sheerly beautiful lies too deep even for music, evoking Linossier’s youth that did indeed ‘flee before life’. of all his songs. In the early 1950s Poulenc was mainly engaged on his Dialogues des Carmélites, added By common consent, his Eluard cycle Tel jour telle nuit (As the day so the night), composed to which various commentators were assuring the world that the era of mélodies had now in 1936-7, is one of his outright masterpieces.The emotional and stylistic range of the nine come to an end. Even so, he was thinking of setting poems from Eluard’s 1948 collection songs is immense, from the hypnotic pulsing of the first and last of them, both in C major, Voir, devoted to contemporary artists, and he eventually finished his cycle Le travail du linking day with night, to the vividly surrealist of the fourth and eighth songs, peintre in August 1956. His only regret was that he had been unable, before the poet’s death marked respectively ‘très lent et sinistre’ and ‘presto (très violent)’. Not only cannot any of in 1952, to persuade him to add a poem in praise of Matisse, as Eluard did not share the songs be extracted from its context within the whole, but some are even designated by Poulenc’s enthusiasm for the artist. For the most part, the songs reflect the painters’ Poulenc as mere interludes, preparing for the song that follows. Thus the third song characters: ‘Picasso’ is authoritarian, ‘Chagall’ a scherzo, ‘Braque’, according to Poulenc, prepares for the fourth, the prestissimo fifth song for the almost religious purity and calm ‘perhaps too tasteful’, while in ‘Gris’ he was careful to bring out the rhythmic balancing of of the sixth, which barely moves from its E minor/major tonality.Poulenc was remembering certain phrases, mirroring the painter’s exquisite eye for composition. ‘Klee’ draws the ‘that life-affirming bitterness of a flower picked and chewed long ago near La Grande short straw, as no more than a swift transition to ‘Miro’, marked by tempo fluctuations Chartreuse’. The cycle concludes with a coda for piano in the manner of Schumann: unusual for this composer. Finally, in ‘Villon’ Poulenc is able to indulge his love for the Poulenc mentioned the one in Dichterliebe, but perhaps an even closer comparison is with ‘litanies’ in Eluard’s poetry, and the cycle ends triumphantly with ‘the blood of the crowd’ the one that ends Frauenliebe und -leben. – blood for Eluard being a positive symbol of life and energy. The composer’s final instruction? As always,‘be careful about the pedalling’… In April 1939 Poulenc was about to re-orchestrate his ballet Les biches, the original autograph score of which had been buried in 1930 with his friend from childhood, © Roger Nichols

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1. Toréador – 1. Toreador – Mais tu méprises leurs dentelles but you scorn their beauty Chanson hispano-italienne [CM] Spanish-Italian Song [CM] Tu souffres Toréador. You suffer Toreador. Jean Cocteau (1889–1963) Car ne voyant pas apparaître. For not seeing her appear. Caché derrière un oranger, Hidden behind orange-blossom, Pépita reine de Venise Pepita, queen of Venice, Pépita seule à sa fenêtre, Pepita alone at her window, Quand tu vas sous ton mirador when you appear on your balcony Tu médites de te venger. You brood on revenge. Tous les gondoliers se disent: all the gondoliers say: Sous ton caftan passe ta dague Beneath your kaftan is your dagger Prends garde – Toréador! look out – Toreador! La jalousie au cœur te mord jealousy bites your heart Et seul avec le bruit des vagues and alone with the sound of the waves Sur ton cœur personne ne règne Nobody rules your heart Tu pleures toréador. you weep toreador. Dans le grand palais ou tu dors as you sleep in the great palace Et près de toi la vieille duègne and nearby the old duenna Belle Espagnole … Spanish beauty … Guette le Toréador. keeps watch for the toreador. Toréador brave des braves Toreador, the bravest of the brave Que de cavaliers! que de monde! What gentry! what a crowd! Lorsque sur la place Saint marc when in Saint Mark’s Square Remplit l’arène jusqu’au bord Filling the areana to the brim Le taureau en fureur qui bave the bull foaming with rage On vient de cent lieues à la ronde They’ve come from a hundred miles around Tombe tué par ton poignard. falls dead by your dagger, T’acclamer Toréador! to cheer you,Toreador! Ce n’est pas l’orgueil qui caresse It is not pride which caresses C’est fait il entre dans l’arène It’s begins, he enters the arena Ton cœur sous la baouta d’or your heart beneath your gold cape Avec plus de flegme qu’un lord. With more calm than a lord. Car pour une jeune déesse It is for a young goddess Mais il peut avancer a peine But he can barely move Tu brûles Toréador. that you burn,Toreador. Le pauvre Toréador. The poor Toreador; Il ne reste à son rêve morne All that remains of his sad dream Belle Espagnole Spanish beauty, Que de mourir sous tous les yeux is to die in front of everyone Dans ta gondole in your gondola En sentant pénétrer des cornes feeling the horns penetrate Tu caracoles you twist and turn Dans son triste front soucieux his sad and grieving brow Carmencita Carmencita Car Pépita se montre assise For he sees the seated Pepita Sous ta mantille Beneath your mantle, Offrant son regard et son corps offering her looks and her body Œil qui pétille your eyes sparkle Au plus vieux doge de Venise to the old Doge of Venice, Bouche qui brille your mouth shimmers, Et rit du toréador. and laughing at the toreador. C’est Pépita. it is Pepita! Belle Espagnole … Spanish beauty… C’est demain jour de Saint Escure Tomorrow is the day of Saint Escure Qu’aura lieu le combat à mort A fight to the death will occur Le canal est plein de voitures The canal is full of vessels Fêtant le Toréador! Cheering the toreador! De Venise plus d’une belle More than one beautiful heart Palpite pour savoir ton sort throbs to know your fate

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Trois Poèmes de Louise Lalanne Three Poems by Louise Lalanne 3. ii. Chanson [FL] 3. ii. Song [FL] i. and iii. Marie Laurencin (1885–1956) ii. Guillaume Apollinaire (1880–1918) Les myrtilles sont pour la dame Myrtle is for the lady Qui n’est pas là who is absent 2. i. Le Présent [FL] 2. i. The Present [FL] La marjolaine est pour mon âme marjoram is for my soul Tralala! Tra-la-la! Si tu veux je te donnerai If you wish I will give you Le chèvrefeuille est pour la belle Honeysuckle is for the fair Mon matin, mon matin gai my morning, my gay morning Irrésolue. Irresolute. Avec tous mes clairs cheveux with all my bright hair Quand cueillerons-nous les airelles When do we gather the bilberries Que tu aimes; that you love; Lanturlu. Lan-tur-lu. Mes yeux verts my eyes green Mais laissons pousser sur la tombe But let us plant on the tomb Et dorés and gold O folle! O fou! O crazed! O mazed! Si tu veux. if you wish. Le romarin en touffes sombres Rosemary in dark tufts Je te donnerai tout le bruit I will give you all the sound Laïtou! La-i-tou! Qui se fait which is heard Quand le matin s’éveille when morning awakens Au soleil to the sun 4. iii. Hier [FL] 4. iii. Yesterday [FL] Et l’eau qui coule and the water that flows Dans la fontaine in the Hier, c’est ce chapeau fané Yesterday is this faded hat Tout auprés; nearby; Que j’ai longtemps trainé that I have trailed about so long Et puis encor le soir qui And then again the evening that will Hier, c’est une pauvre robe Yesterday is a shabby dress viendra vite come quickly Qui n’est plus à la mode. no longer in fashion. Le soir de mon âme triste A pleurer the evening of my soul sad enough Hier, c’était le beau couvent Yesterday was the beautiful convent Et mes mains toutes petites to weep, and my hands so small Si vide maintenant so empty now Avec mon cœur qu’il faudra près with my heart that will need to be close Et la rose mélancolie and the rose-tinged melancholy du tien to your own Des cours de jeunes filles of the young girls’ classes Garder. to keep. Hier, c’est mon cœur mal donné Yesterday, is my heart ill-bestowed Une autre, un autre année! in a past, a past year! Hier n’est plus, ce soir, Yesterday is no more, this evening, qu’une ombre than a shadow Près de moi dans ma chambre. close to me in my room.

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Deux poèmes de Guillaume Apollinaire Two Poems by Guillaume Apollinaire J’aurais dégusté lentement et tout seul I would have sipped slowly all by myself Guillaume Apollinaire Pendant de longues soirées during long evenings Le tokay épais ou la malvoisie heavy tokay or malmsey wine 5. i. Dans le jardin d’Anna [RM] 5. i. In Anna’s Garden [RM] J’aurais mis mon habit espagnol I would have donned my Spanish coat Pour aller sur la route par laquelle to go out on the road along which Certes si nous avions vécu en l’an To be sure had we lived in the year Arrive dans son vieux carrosse will arrive in her old fashioned carriage dix-sept cent soixante seventeen hundred and sixty Est-ce bien la date que vous déchiffrez. Is it not the date which you decipher,Anna, Ma grand’mere qui se refuse à my grandmother who refuses to Anna, sur ce banc de pierre on this stone bench comprendre l’allemand understand German J’aurais écrit des vers pleins de mythologie I would have written lines full of mythology Et que par malheur j’eusse été allemand. and if by mischance I had been German, but Sur vos seins la vie champêtre et sur on your breasts on the pastoral life and on the Mais que par bonheur j’eusse été près if by good fortune I had been close les dames ladies de vous to you Des alentours of the neighbourhood Nous aurions parlé d’amour de façon we would have spoken of love in a imprécise vague way J’aurais souvent cassé ma canne I should have often broken my walking stick Presque toujours en francais almost always in French Sur le dos d’un paysan on a peasant’s back Et pendue éperdûment à mon bras and hanging passionately on my arm J’aurais aimé entendre de la musique I should have liked to hear music while Vous m’auriez écouté vous parler de you would have listened to me speaking en mangeant eating Pythagoras to you of Pythagoras Du jambon ham En pensant aussi au café qu’on while also thinking of the coffee we J’aurais juré en allemand je vous I should have sworn in German I prendrait would take le jure assure you Dans une demi-heure. in half-an-hour. Lorsque vous m’auriez surpris when you caught me kissing full on embrassant à pleine bouche the mouth Et l’automne eût été pareil à cet And the autumn would have been Cette servante rousse this red haired serving-wench automne like this autumn Que l’epine-vinette et les pampres crowned with berberis and vine Vous m’auriez pardonné dans le bois you would have forgiven me in the couronnent branches aux myrtilles myrtle wood

Et brusquement parfois j’eusse salué très and I would at times have abruptly J’aurais fredonné un moment I should have hummed for a moment then we bas made a deep bow Puis nous aurions écouté longtemps would have listened long to De nobles dames grasses et to stout languorous ladies of the les bruits du crepuscule the sounds of twilight langoureuses nobility

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6. ii. Allons plus vite [RM] 6. ii. Come along make haste [RM] Trois chansons de Federico Garcia-Lorca Three Songs by Federico Garcia-Lorca Federico Garcia-Lorca (1898-1936) Et le soir vient et les lys meurent And the evening comes and the lilies die Regarde ma douleur beau ciel qui me beautiful sky see my suffering which 7. i. L’enfant muet [LA] 7. i. The Dumb Child [LA] l’envoie you send to me Une nuit de mélancolie a night of melancholy L’enfant cherehe sa voix. The child searches for his voice. C’est le roi des grillons qui l’a. It is the king of the crickets who has it. Enfant souris ô sœur écoute Smile child O sister listen Dans une goutte d’eau, l’enfant In a drop of water, the child looked Pauvres marchez sur la grand’route poor folk walk on the high road cherchait sa voix. for his voice. O menteuse forêt qui surgis à ma O deceptive forest risen at my Je ne la veux pas pour parler, I do not want it to speak with, voix voice j’en ferais une bague I should make a ring of it Les flammes qui brûlent les âmes the flames which burn souls Que mon silence portera à son plus that my silence will carry to his petit doigt. smallest finger. Sur le boulevard de Grenelle On the Boulevard de Grenelle Dans une goutte d’eau l’enfant In a drop of water the child Les ouvriers et les patrons the workers and the employers cherchait sa voix looked for his voice Arbres de mai cette dentelle trees of maytime this lace (La voix captive, loin de là, met un (The captive voice, far from there, Ne fais donc pas le fanfaron do not flaunt it so much costume de grillon). put on a cricket’s costume). Allons plus vite nom de Dieu come along make haste for God’s sake Allons plus vite come along make haste 8. ii. Adelina à la promenade [LA] 8. ii. Adelina Out Walking [LA] Tous les poteaux télégraphiques All the telegraph poles Viennent là-bas le long du quai reach yonder along the quay n’a pas d’oranges et Séville n’a The sea has no oranges and Seville Sur son sein notre République on the breast of our Republic pas d’amour, has no love. A mis ce bouquet de muguet they have put this bouquet of Brune, quelle lumière brûlante! Brunette, what a burning light! lilies of the valley Prête-moi ton parasol. lend me your parasol Qui poussait dru le long du quai which grew densely along the quay Il rendra vert mon visage it makes my face look green Allons plus vite nom de Dieu come along make haste for God’s sake – Jus de citron et de limon – – juice of lemon and of lime – Allons plus vite come along make haste Et tes mots – petits poissons – and your words – little flshes – La bouche en cœur Pauline honteuse Simpering bashful Pauline Nageront tout à l’entour. will swim all round about. Les ouvriers et les patrons the workers and the employers La mer n’a pas d’oranges The sea has no oranges Ay amour Alas love Oui-dà oui-dà belle endormeuse O yes O yes beautiful humbug Et Séville n’a pas d’amour. and Seville has no love. Ton frère your brother Allons plus vite nom de Dieu come along make haste for God’s sake come Allons plus vite along make haste

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9. iii. Chanson de l’oranger sec [LA] 9. iii. Song of the Dried up Orange Tree [LA] 11. Nuage [LM] 11. Cloud [LM] Laurence de Beylié (1893–1968) Bucheron Woodman Abat mon ombre cut down my shadow J’ai vu reluire en un coin de mes âges, I saw shining in a corner of my past life, Délivre-moi du supplice deliver me from the anguish un souvenir qui n’était plus à moi. a memory that was no longer mine. De me voir sans oranges. of seeing myself without oranges Son père était le temps Its father was time sa mère une guitare its mother a guitar Pourquoi suis-je né entre des miroirs? why was I born between mirrors qui jouiat sur des rêves errants. that played on wandering dreams. Le jour me fait tourner day turns me round Leur enfant tomba dans mes mains Their child fell into my hands Et la nuit me copie dans toutes ses étoiles. and night imitates me in all its stars et je le posai sur un chêne. and I put him in an oak tree. Je veux vivre sans me voir I want to live without seeing myself Un oiseau en prit soin, A bird took care of him Les fourmis et les liserons, the ants and the lizards maintenant il chante. now he sings. Je rêverai que ce sont mes feuilles et I will dream that they are my leaves Comment retrouver son père, How to find his father again, mes oiseaux. and my birds voilé de vent, veiled with wind, et comment recueillir les larmes de sa and how to gather the tears of his Bûcheron woodman mère mother Abat mon ombre cut down my shadow pour lui donner un nom. to give him a name. Délivre-moi du supplice deliver me from the anguish Dans le passage d’un nuage In the passing of a cloud De me voir sans oranges. of seeing myself without oranges. nous verrons poindre l’éternité we shall see eternity appear chassant le temps. pursuing time. En ce point tout est écrit. At this point all is written. 10. Paul et Virginie [CM] 10. Paul and Virginia [CM] Raymond Radiguet (1903–1923) 12. Hymne [JL] 12. Hymn [JL] Ciel! les colonies. Heavens! The colonies. Jean Racine (1639–1699) (Traduit du Breviaire Romain) (Translated from the Roman Breviary) Dénicheur de nids, Bird-nester, Un oiseau sans ailes, a bird without wings, Sombre nuit, aveugles ténèbres, Dark night, blind shadow, Que fait Paul sans elle? what is Paul doing without her? Fuyez, le jour s’approche et fly away, day approaches and Olympus Où est Virginie? Where is Virginia? l’Olympe blanchit; pales; Et vous, démons, rentrez dans vos and you, demons, go back to your Elle rajeunit. She grows younger. prisons funèbres; gloomy prisons; De votre empire affreux, un Dieu nous a God releases us from your dreadful Ciel des colonies, Heaven of the colonies affranchit. power. Paul et Virginie: Paul and Virginia Pour lui et pour elle for him and for her Le soleil perce l’ombre obscure, The sun penetrates the obscure shadow, C’était une ombrelle. it was an umbrella. Et les traits éclatants qu’il lance and the glittering arrows that it shoots dans les airs, into the air,

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Rompant le voile épais qui couvrait la breaking through the thick veil that A la sortie de l’hiver At the end of winter nature, covered nature, Quand les nuages commencent à brûler when the clouds begin to burn Redonnent la couleur et l’âme à give colour once again to the soul and Comme toujours as always l’univers. the universe. Quand l’air frais se colore when the fresh air is tinged with colour

O Christ, notre unique lumière, O Christ, our only light, Rien que cette jeunesse qui fuit Nothing but this youth that flies in Nous ne reconnaissons que tes saintes clartés, we acknowledge only your holy clarity, devant la vie. the face of life. Notre esprit t’est soumis, our spirit is in submission to you, entends notre prière, hear our prayer, Et sous ton divin joug, range nos and beneath your divine yoke, subject Deux poèmes de Louis Aragon Two Poems by Louis Aragon volontés. our will. Louis Aragon (1897-1982)

Souvent notre âme criminelle Often our guilty soul 14. i. C [LA] 14. i. C [LA] Sur sa fausse vertu, téméraire, with false courage, recklessly s’endort; sleeps; J’ai traversé les ponts de Cé I have crossed the bridges of Cé Hâte-toi d’éclairer, ô lumière éternelle, hasten to enlighten, O eternal light, C’est là que tout a commencé it is there that it all began Des malheureux assis dans l’ombre de the wretched ones crouched in the Une chanson des temps passés a song of bygone days la mort. shadow of death. Parle d’un chevalier blessé tells of a wounded knight

Gloire à toi,Trinité profonde, Hail to thee, profound Trinity, D’une rose sur la chaussée of a rose on the carriage-way Père, Fils, Esprit Saint: qu’on t’adore toujours, Father, Son, Holy Ghost; let us ever adore you, Et d’un corsage délacé and an unlaced bodice Tant que l’astre des temps éclairera le monde, as long as the sun illuminates the world, Du château d’un duc insensé of the castle of a mad duke Et quand les siècles même auront fini and even when the centuries end Et des cygnes dans les fossés and swans on the moats leur cours. their course. De la prairie où vient danser of the meadow where comes dancing Une éternelle fiancée an eternal betrothed 13. Ce doux petit visage [LA] 13. This Sweet Little Face [LA] Et j’ai bu comme un lait glacé and I drank like iced milk Paul Eluard (1895–1952) Le long lai des gloires faussées the long lay of false glories

Rien que ce doux petit visage Nothing but this sweet little face La Loire emporte mes pensées the Loire carries my thoughts away Rien que ce doux petit oiseau nothing but this sweet little bird Avec les voitures versées with the overturned cars Sur la jetée lointaine où les enfants on the distant jetty where the children Et les armes désamorcées and the unprimed weapons faiblissent wane Et les larmes mal effaces and the ill-dried tears

O ma France ô ma délaissée O my France O my forsaken France J’ai traversé les ponts de Cé. I have crossed the bridges of Cé.

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15. ii. Fêtes galantes [LA] 15. ii. Fêtes galantes* [LA] 16. Priez pour paix [RM] 16. Pray for Peace [RM] Charles d’Orléans (1394–1465) On voit des marquis sur des bicyclettes You see fops on bicycles On voit des marlous en cheval jupon You see pimps in kilts Priez pour paix, douce Vierge Marie, Pray for peace, gentle Virgin Mary, On voit des morveux avec des You see brats with Reine des cieux et du monde maîtresse, Queen of the skies and Mistress of the world, voilettes veils Faites prier, par votre courtoisie, Of your courtesy, ask for the prayers On voit des pompiers brûler les You see firemen burning their Saints et saintes, et prenez votre adresse of all the saints, and make your address pompons Pompons Vers votre Fils, requérant sa Hautesse. to your Son, beseeching his Majesty Qu’il lui plaise son peuple regarder, that he may please to look upon his people, On voit des mots jetés à la voirie You see words thrown on the rubbish heap Que de son sang a voulu racheter, whom he wished to redeem with his blood, On voit des mots élevés au pavois You see words extolled to the skies En déboutant guerre qui tout dévoie. banishing war which disrupts all. On voit les pieds des enfants de Marie You see the feet of Mary’s children De prières ne vous veuillez lasser. Do not cease your prayers. On voit le dos des diseuses à voix You see the backs of cabaret singers Priez pour paix, priez pour paix, Pray for peace, pray for peace, Le vrai trésor de joie. and true treasure of joy. On voit des voitures à gazogène You see motor cars run on gasogene On voit aussi des voitures à bras You see also handcarts On voit des lascars que les longs neez You see wily fellows whose long noses Tel jour telle nuit Such a Day Such a Night gênent hinder them Paul Eluard On voit des coîons de dix huit carats You see fools of the first water 17. i. Bonne journée [FL] 17. i. A good day [FL] On voit ici ce que l’on voit ailleurs You see what you see elsewhere On voit des demoiselles dévoyées You see girls who are led astray Bonne journée j’ai revu qui je A good day I have again seen whom I On voit des voyous on voit des voyeurs You see gutter-snipes you see perverts You see n’oublie pas do not forget On voit sous les ponts passer drowned folk floating under Qui je n’oublierai jamais whom I shall never forget les noyés the bridges Et des femmes fugaces dont les yeux and women fleeting by whose eyes formed for me a Me faisaient une haie d’honneur hedge of honour On voit chômer les marchands You see out of work Elles s’enveloppèrent dans leurs they wrapped themselves in their de chaussures shoemakers Sourires smiles On voit mourir d’ennui les mireurs You see egg candlers bored to d’œufs death Bonne journee j’ai vu mes amis sans soucis a good day I have seen my friends carefree On voit péricliter les valeurs sûres You see true values in jeopardy Les hommes ne pesaient pas lourd the men were light in weight Et fuir la vie à la six quatre deux. And life whirling by in a slap-dash way. Un qui passait one who passed by Son ombre changée en souris his shadow changed into a mouse * This title is here used as a parody of the poetic Fêtes Fuyait dans le ruisseau fled into the gutter galantes of Watteau and Verlaine.This poem consists of many idioms, and words which are occasionally used as much for their sound as for their sense. It is difficult to translate it adequately, but an attempt is made to give an idea of the meaning.

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J’ai vu le ciel très grand I have seen the great wide sky Tout le reste est parfait all the rest is perfect Le beau regard des gens privés de tout the beautiful eyes of those deprived of everything Tout le reste est encore plus inutile all the rest is even more useless Plage distant où personne n’aborde distant shore where no one lands Que la vie than life

Bonne journée qui commença melancolique a good day which began mournfully Creuse la terre sous ton ombre Hollow the earth beneath your shadow Noire sous les arbres verts dark under the green trees Mais qui soudain trempée d’aurore but which suddenly drenched with dawn Une nappe d’eau près des seins A sheet of water reaching the breasts wherein to M’entra dans le cœur par surprise. invaded my heart unawares. Où se noyer drown oneself Comme une pierre. like a stone.

18. ii. Une ruine coquille vide [FL] 18. ii. A ruin an empty shell [FL] 20. iv. Une roulette couverte en tuiles [FL] 20. iv. A gypsy wagon roofed with tiles [FL] Une ruine coquille vide A ruin an empty shell Pleure dans son tablier weeps into its apron Une roulotte couverte en tuiles A gypsy wagon roofed with tiles Les enfants qui jouent autour d’elle the children who play around it Le cheval mort un enfant maître the horse dead a child master Font moins de bruit que des mouches make less sound than flies Pensant le front bleu de haine thinking his brow blue with hatred A deux seins s’abattant sur lui of two breasts beating down upon him La ruine s’en va à tâtons the ruin goes groping Comme deux poings like two fists Chercher ses vaches dans un pré to seek its cows in the meadow J’ai vu le jour vois cela I have seen the day I see that Ce mélodrame nous arrache This melodrama tears away from us Sans en avoir honte without shame La raison du cœur. the sanity of the heart.

Il est minuit comme une flèche It is midnight like an arrow Dans un cœur à la portée in a heart within reach 21. v. À toutes brides [FL] 21. v. Riding full tilt [FL] Des folâtres lueurs of the sprightly nocturnal glimmerings Qui contredisent le sommeil. which gainsay sleep. A toutes brides toi dont le fantôme Riding full tilt you whose phantom Piaffe la nuit sur un violon prances at night on a violin Viens régner dans les bois come to reign in the woods 19. iii. Le front comme un drapeau perdu [FL] 19. iii. The brow like a lost flag [FL] Les verges de l’ouragan the lashings of Le front comme un drapeau perdu The brow like a lost flag Cherchent leur chemin par chez toi seek their path by way of you Je te traîne quand je suis seul I drag you when I am alone Tu n’es pas de celles you are not of those Dans des rues froides through the cold streets Don’t on invente les désirs whose desires one imagines Des chambres noires the dark rooms En criant misère crying in misery Viens boire un baiser par ici come drink a kiss here Céde au feu qui te surrender to the fire which drives Je ne veux pas les lâcher I do not want to let them go désespère. you to despair. Tes mains claires et compliquées your clear and complex hands Nées dans le miroir clos des miennes born in the enclosed mirror of my own 22 23

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22. vi. Une herbe pauvre [FL] 22. vi. Scanty grass [FL] Or englouti étoile impure engulfed gold tainted star Dans un lit jamais partagé in a bed never shared Une herbe pauvre Scanty grass Sauvage wild Aux veines des tempes to the veins of the temples Apparut dans la neige appeared in the snow Comme au bout des seins as to the tips of the breasts C’était la santé it was health La vie se refuse life denies itself Ma bouche fut émerveillée my mouth marvelled Les yeux nul ne peut les crever no one can blind the eyes Du goût d’air pur qu’elle avait at the savour of pure air it had Boire leur éclat ni leurs larmes drink their brilliance or their tears Elle était fanée. it was withered. Le sang au dessus d’eux triomphe the blood above them triumphs for pour lui seul itself alone

23. vii. Je n’ai envie que de t’aimer [FL] 23. vii. I long only to love you [FL] Intraitable démesurée intractable unbounded Inutile useless Je n’ai envie que de t’aimer I long only to love you Cette santé bâtit une prison. this health builds a prison. Un orage emplit la vallée a storm fills the valley Un poisson la rivière a fish the river Je t’ai faite à la taille de ma solitude I have formed you to the pattern of my solitude 25. ix. Nous avons fait la nuit [FL] 25. ix. We have made night [FL] Le monde entier pour se cacher the whole world to hide in Des jours des nuits pour se comprendre days and nights to understand one another Nous avons fait la nuit je tiens ta We have made night* I hold your main je veille hand I watch over you Pour ne plus rien voir dans tes yeux to see nothing more in your eyes Je te soutiens de toutes mes forces I sustain you with all my strength Que ce que je pense de toi but what I think of you Je grave sur un roc l’étoile de tes forces I engrave on a rock the star of your strength Et d’un monde à ton image and of a world in your likeness Sillons profonds où la bonté de ton deep furrows where the goodness of corps germera your body will germinate Et des jours et des nuits réglés par tes and of days and nights ordered by your Je me répète ta voix cachée ta voix I repeat to myself your secret voice paupières. eyelids publique your public voice Je ris encore de l’orgueilleuse I laugh still at the haughty woman Que tu traites comme une mendiante whom you treat like a beggar 24. viii. Figure de force brûlante 24. viii. Image of fiery wild forcefulness [FL] Des fous que tu respectes des simples at the fools whom you respect the et farouche [FL] où tu te baignes simple folk in whom you immerse yourself Et dans ma tête qui se met doucement and in my head which gently begins Figure de force brûlante et farouche Image of fiery wild forcefulness d’accord avec la tienne avec la nuit to harmonize with yours with the night Cheveux noirs où l’or coule black hair wherein the gold flows Je m’émerveille de l’inconnue que tu deviens I marvel at the stranger that you become vers le sud towards the south Une inconnue semblable à toi a stranger resembling you resembling Aux nuits corrompues on corrupt nights semblable à tout ce que j’aime all that I love Qui est toujours nouveau. which is ever new.

*We have turned out the light

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26. La tragique histoire du petit René [JL] 26. The Tragic History of little René [JL] 27. Le petit garçon trop 27. The Little Boy Who Was Jean-Marie Legrand (1900–1981) bien portant [LA] Too Healthy [LA] Jean-Marie Legrand Avec mon face à main With my spyglass to my face Je vois ce qui se passe So much I can see Ah! Mon cher docteur, je vous écris, Dear doctor, this may be unexpected, Chez Madame Germain Of Mrs. Germaine’s place Vous serez un peu surpris, But I’m writing you, dejected Dans la maison d’en face. The house across from me Je n’suis vraiment pas content I am finding it quite loathsome Les deux filles cadettes The two youngest girls busily spin D’être tou jours trop bien portant … Always being healthy and wholesome Préparent le repas Mend the socks with sewing thread Je suis gras … Trois fois trop, I am as large … as a brig Reprisent les chaussett’s Make dad’s bed with a grin J’ai des bras … Beaucoup trop gros. And my arms … are way too big. Et font le lit de leur papa. And set out the dinner spread Et l’on dit, en me voyant: People say, when they see me, Emma s’occupe du balai, Every day Emma sweeps the floor, “Regardez-le, c’est effrayant, “Look at him, how can it be? Paul va chercher le lait, Fetching the milk is Paul’s daily chore, Quelle santé, Quelle santé! So healthy, oh so healthy, Mais le petit René And what of René? Approchez, on peut tâter!.. Is it real? Can we feel?” Quoique étant l’aîné Though he is the oldest Fait rougir la maisonnée It’s embarrassing to say Ah! Mon cher docteur, c’est un enfer, Dear doctor, I am through, D’un bout de l’année What he does best Vraiment je n’sais plus quoi faire, I really don’t know what to do, À l’aut bout d’l’année, From year start till year close, Tous les gens disent à ma mère: To my mom, they say, when they see my mass, Il met les doigts dans son nez. Is stick his fingers in his nose. “Bravo, ma chère, il est en fer…” “Well done, dear, he’s made of brass…”

Les sermons, les discours The lectures, the speeches J’ai René, Mon aîné, My brother René, I must say Dont ses parents le bourrent All the nightly preaches Quand il faut être enrhumé, Seems to really have a way Semblent tomber toujours Plainly appear Ça lui tombe toujours sur le nez… A cold comes by, with him it stays Dans l’oreille d’un sourd. To fall on deaf ears. Les fluxions, And all coughs, Sa mère consternée His poor worried mother Attention!.. They go off A beau le sermonner, Tries one thing after another C’est pour mon frère Adrien! To my brother Adrian, always coughing Le priver de dîner, No suppers, a chiding, Mais moi, j’n’attrappe jamais rien! But me? I catch nothing! Et lui donner le martinet, Even a right hiding, L’enfermer dans les cabinets, She locks him in the closet En pourtant j’ai beau, pendant l’hiver, In wintertime, I try so hard, Il se met les doigts dans le nez But in there still he does it, M’exposer aux courants d’air, To sit in drafts out in the yard D’un bout de l’année From year start to year close, Manger à tort à travers And you can always find me chewing À l’aut’ bout de l’année, He sticks his fingers in his nose Tous les fruits verts Fruit that’s still green C’est sa triste destinée, The sad end of the day, Y’a rien à faire… – nothing doing! Pauvre petit René, For poor little René, Pour en terminer, To help him to stop, Hélas, je sais que lorsqu’on à la rougeole, I know when you get the measles, you’ll On a dû lui couper le nez. His nose had to get the chop. On reste au lit, mais on ne va plus à l’écolle… Stay in bed, and can skip school Vos parents sont près de vous, Your parents nearby, Ils vous cajolent, letting you rule

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Et l’on vous dit des tas de petits mots gentils… Saying nice things, hugging you too Voici le jour d’autrui laisse aux ombres This is the day of others leave their food Votr’ maman, constamment And your mommy, constantly leur chance fortune to the shadows Vous donne des medicaments. Giving you the medicine that you need Et d’un seul mouvement des and with a single movement of the paupières renonce. eyelids renounce. Ah! Mon cher docteur, si vous étiez Oh, dear doctor, if only Gentil vous auriez pitié! You would take pity on me! Je sais bien c’que vous feriez, I know just what you could do 29. ii. Marc Chagall [CM] 29. ii. Marc Chagall [CM] Les pilules que vous m’enverriez!.. And what pills to send me, too! Ane ou vache coq ou cheval Ass or cow cock or horse Etre bien portant Tout l’temps, To always, always be healthy, Jusqu’ à la peau d’un violon even the skin of a violin C’est trop embêtant… Is so annoying, can’t you see? Homme chanteur un seul oiseau a singing man a single bird Je vous en supplie, docteur… I beg you doctor, just this once Danseur agile avec sa femme agile dancer with his wife Pour un’ fois, ayez bon cœur… Give me a special ordinance, Docteur, un’ seule fois, rendez moi Malad’ Have a heart, if you will Couple trempé dans son printemps Couple steeped in their springtime Pendant une heure! For an hour, make me ill! L’or de l’herbe le plomb du ciel The gold of the grass the lead of the sky Séparés par les flammes bleues divided by the blue flames Le travail du peintre The Work of the Painter De la santé de la rosée of health and of dew Paul Eluard Le sang s’irise le cœur tinte the blood grows iridescent the heart rings Un couple le premier reflet A couple the first reflection 28. i. Pablo Picasso [CM] 28. i. Pablo Picasso [CM] Et dans un souterrain de neige And in an underground cavern of snow Entoure ce citron de blanc d’œuf informe Surround this lemon with formless white of egg La vigne opulente dessine the opulent vine delineates Enrobe ce blanc d’œuf d’un azur souple et fin coat this egg white with a malleable delicate blue Un visage aux lèvres de lune a face with moon-like lips La ligne droite et noire a beau venir de toi although the straight black line surely comes from you Qui n’a jamais dormi la nuit. which has never slept at night. L’aube est derrière ton tableau the dawn lies behind your picture

Et des murs innombrables croulent And innumerable walls crumble 30. iii. Georges Braque [CM] 30. iii. Georges Braque [CM] Derrière ton tableau et toi l’œil fixe behind your picture and you your eyes fixed Comme un aveugle comme un fou like a blind man like a madman Un oiseau s’envole, A bird flies away Tu dresses une haut épée dans le vide you put a tall sword in the empty space Il rejette les nues comme un voile inutile, it throws offthe clouds like a useless veil, Il n’a jamais craint la lumière, it has never feared the light, Une main pourquoi pas une seconde main A hand why not a second hand Enfermé dans son vol, enclosed in its flight, Et pourquoi pas la bouche nue comme and why not a denuded mouth like Il n’a jamais eu d’ombre. it has never had a shadow. une plume a quill Pourquoi pas un sourire et pourquoi why not a smile and why not tears Coquilles des moissons brisées par le Husks of harvest grains split by pas des larmes on the very edge of the canvas soleil. the sun. Tout au bord de la toile où jouent les where little nails are fixed Toutes les feuilles dans les bois disent All the leaves of the wood say petits dous 28 29

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Oui, yes, 32. v. Paul Klee [CM] 32. v. Paul Klee [CM] Elles ne savent dire que oui, they can say nothing but yes, Toute question,toute réponse every question, every answer Sur la pente fatale le voyageur profite On the fatal slope the traveller benefits Et la rosée coule au fond de ce and the dew flows in the depth of this De la faveur du jour, verglas et sans cailloux, from the favour of the day, glazed oui. yes. Et les yeux bleus d’amour, découvre with frost and without pebbles, sa saison and his eyes blue with love, discovers his season Un homme aux yeux légers décrit le ciel A man with carefree eyes describes Qui porte à tous les doigts de grands which bears on every finger great d’amour. the heaven of love. astres en bague. stars as rings. Il en rassemble les merveilles He gathers its wonders Comme des feuilles dans un bois, like leaves in a wood, Sur la plage la mer a laissé ses oreilles On the shore the sea has left its ears Comme des oiseaux dans leurs ailes like birds in their wings Et le sable creusé la place d’un beau crime. and the hollowed sand site of a noble crime. Et des hommes dans le sommeil. and men in sleep. Le supplice est plus dur aux bourreaux The agony is worse for the qu’aux victimes executioners than for the victims Les couteaux sont des signes et les knives are omens and 31. iv. Juan Gris [CM] 31. iv. Juan Gris [CM] balles des larmes. bullets are tears.

De jour merci de nuit prends garde By day give thanks by night beware sweetness De douceur la moitié du monde one half of the world 33. vi. Joan Miró [CM] 33. vi. Joan Miró [CM] L’autre montrait rigueur aveugle the other showed blind harshness Soleil de proie prisonnier de ma tête, Sun of prey prisoner of my head, Aux veines se lisait un présent sans merci In the veins a merciless present was read Enlève la colline, enlève la forêt. remove the hill, remove the forest. Aux beautés des contours l’espace limité in the beauties of the contours limited space Le ciel est plus beau que jamais. The sky is more beautiful than ever. Cimentait tous les joints des objets familiers cemented all the joinings of familiar objects Les libellules des raisins The dragonflies of the grapes Table guitar et verre vide Table guitar and empty glass Lui donnent des formes précises give precise forms to it Sur un arpent de terre pleine on an acre of solid earth Que je dissipe d’un geste. that I dispel with a gesture. De toile blanche d’air nocturne of white canvas of nocturnal air Nuages du premier jour, Clouds of primeval day, Table devait se soutenir Table had to support itself Nuages insensibles et que rien n’autorise, insensitive clouds sanctioned by nothing, Lampe rester pépin de l’ombre lamp to remain a pip of the shadow newspaper Leurs graines brûlent their seeds burn Journal délaissait sa moitié abandoning half of itself Dans les feux de paille de mes regards. in the straw fires of my glances.

Deux fois le jour deux fois la nuit Twice the day twice the night A la fin, pour se couvrir d’une saube At the end, to cloak itself with dawn De deux objets un double objet of two objects a double object Il faudra que le ciel soit aussi pur the sky must needs be as pure as the Un seul ensemble à tout jamais. a single whole for ever and ever. que la nuit. night.

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34. vii. Jacques Villon [CM] 34. vii. Jacques Villon [CM] 35. Les chemins de l’amour [FL] 35. The Paths of Love [FL] Jean Anouilh (1910–1987) Irrémédiable vie Irremediable life Vie à toujours chérir life ever to be cherished Les chemins qui vont à la mer The paths that lead to the sea Ont gardé de notre passage, have kept from our passing, En dépit des fléaux Despite scourges Des fleurs effeuillées flowers with fallen petals Et des morales basses and base morals Et l’écho sous leurs arbres, and the echo beneath their trees En dépit des étoiles fausses despite false stars De nos deux rires clairs. of our clear laughter. Et des cendres envahissantes and encroaching ashes Hélas! des jours de bonheur, Alas! of our days of happiness, Radieuses joies envolées, radiant joys now flown, En dépit des fièvres grinçantes Despite grinding fevers Je vais sans retrouver traces no trace can be found again Des crimes à hauteur du ventre crimes belly-high Dans mon cœur. in my heart. Des seins taris des fronts idiots dried up breasts foolish faces En dépit des soleils mortels despite the mortal suns Chemins de mon amour, Paths of my love, Je vous cherche toujours, I seek you for ever, En dépit des dieux morts Despite the dead gods Chemins perdus, vous n’êtes plus lost paths, you are there no more En dépit des mensonges despite the lies Et vos échos sont sourds. and your echoes are mute. L’aube l’horizon l’eau dawn horizon water Chemins du désespoir, Paths of despair, L’oiseau l’homme l’amour bird man love Chemins du souvenir, paths of memory, Chemins du premier jour, paths of the first day, L’homme leger et bon man light-hearted and good Divins chemins d’amour. divine paths of love. Adoucissant la terre smoothing the earth Eclaircissant les bois clearing the woods Si je dois l’oublier un jour, If one day I must forget, Illuminant la pierre illuminating the stone La vie effaçant toute chose, life effacing all remembrance Je veux, dans mon cœur, qu’un souvenir I would, in my heart, that one memory Et la rose nocturne And the nocturnal rose repose, remains, Et le sang de la foule. and the blood of the crowd. Plus fort que l’autre amour. stronger than the former love. Le souvenir du chemin, The memory of the path, Où tremblante et toute éperdue, where trembling and utterly bewildered,

Un jour j’ai senti sur moi one day I felt upon me Brûler tes mains. your burning hands.

Chemins de mon amour, Paths of my love, (etc…) (etc…)

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LORNA ANDERSON JONATHAN LEMALU

Lorna Anderson has appeared in opera, concert and recital with major Jonathan Lemalu, a New Zealand born Samoan, is already at the very orchestras and festivals throughout Europe and elsewhere. As a renowned forefront of today’s young generation of singers. He graduated from a performer of the baroque repertoire she has sung with the Orchestra of the Postgraduate Diploma Course in Advanced Performance on the London Age of Enlightenment, Les Arts Florissants, The Sixteen, The English Royal Schools Opera Course at the and was Concert, St. James Baroque, London Baroque, Collegium Musicum 90, awarded the prestigious Tagore Gold Medal. He is a joint winner of the The King’s Consort, London Classical Players, La Chapelle Royale and the 2002 award and the recipient of the 2002 Royal Academy of Ancient Music under conductors which include William Philharmonic Society’s Award for Young Artist of the Year. Christie, Harry Christophers, Richard Egarr, , Richard Jonathan’s debut recital disc was awarded the Gramophone Magazine Hickox, Nicholas McGegan, Robert King, and Sir . Debut Artist of the Year award. He subsequently released his first solo recording, with the New In opera she has sung Morgana (Alcina) at the Halle Handel Festival, Sevilla (La Clemenza di Tito) Zealand Symphony Orchestra, and then a recital disc with Malcolm Martineau, featuring the with the Flanders Philharmonic Orchestra, Handel (Theodora) with Touring Belcea Quartet. Opera, Handel (Riccardo Primo) at the Göttingen Festival with Nicholas McGegan, Purcell (The He has performed at the Tanglewood Festival with the Boston Symphony Orchestra and at the Fairy Queen) with the English Concert and Monteverdi’s Il combattimento di Tancredi e Clorinda with the Chicago Symphony Orchestra under Conlon.At the Edinburgh Festival with Netherlands Opera which was also filmed. he has appeared under Runnicles and Mackerras.At the BBC Proms he has performed with the Lorna Anderson has also established an important reputation in the standard concert repertoire, Hallé Orchestra and with the New Zealand Symphony Orchestra. Other concert engagements having sung with the BBC Orchestras, the Bach Choir, London Mozart Players, Royal Liverpool include The Flowering Tree with the Tokyo Symphony Orchestra, The Damnation of with the Philharmonic, Israel Camerata, RAI Turin (Les Noces), New World Symphony in Miami, Toronto Symphony Orchestra under Dutoit, the Chicago Symphony Orchestra, the London Houston Symphony Orchestra,Washington Symphony Orchestra, Scottish Chamber Orchestra, Symphony Orchestra under Sir and with the Philharmonic Orchestra under Ensemble Intercontemporain under , London Sinfonietta under Sir Dutoit, Mendelssohn’s Elijah with the Netherlands Philharmonic Orchestra, Mozart arias with and at the , Edinburgh and Aldeburgh Festivals among others. She has recently toured in the Salzburg Camerata, Handel’s Messiah with the New York Philharmonic and the world Libya and China with the Academy of Ancient Music. premiere of Harbison’s with the Boston Symphony Orchestra under in Boston and New York. Her numerous recordings include; The Fairy Queen under Harry Christophers, Haydn Masses under Richard Hickox, a disc of Portuguese love songs and for Hyperion she has recorded Britten Equally at home on the recital platform, he has given recitals throughout Europe and North folksong settings with Malcolm Martineau, Handel’s L’Allegro with Robert King and is an artist America, taking him to Cologne, Athens, Birmingham, Amsterdam, Salzburg, , Baden- on Graham Johnson’s complete Schubert Edition. Recent releases include part of a long term Baden, Vienna, Montreal, Vancouver, Atlanta, San Francisco, Washington, New York’s Carnegie project to perform and record all of Haydn’s Scottish song arrangements for voice and Hall, London’s and the Munich and Edinburgh Festivals. with Haydn Trio Eisenstadt.The fifth and final set of discs were released in October 2008 as a His operatic engagements in the UK have included Figaro (Le Nozze di Figaro) and Don Basilio prelude to the bicentenary celebrations of both Haydn and Robert Burns in 2009 when () for , Papageno () for the performances were given throughout the year in Europe as well as New York and Washington. Glyndebourne Festival and Zoroastro (Orlando) and Colline (La Boheme) at Lorna Anderson also features in a recording of ‘Lament for Mary Queen of Scots’ which was House, . In Europe, he has sung the title roles in and Le Nozze di Figaro, commissioned from James MacMillan. 34 35

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Argante (Rinaldo) and Leporello () for the Bayerische Staatsoper, Leporello for under Armin Jordan, the Boston Symphony under Previn, the New York Philharmonic under Hamburg Opera, Rodomonte (Orlando Palladino) and Papageno for the Theater an der Wien, Previn and Masur, the BBC Symphony Orchestra with Sir Andrew Davis in London, Sydney and Bottom for the Opera de Lyon and in Bari and Rocco () under Gergiev at the Gergiev New York,and the Cleveland Orchestra under Welser-Moest in Cleveland and . In Festival in Rotterdam. He also recently sang his first Porgy for the Styriarte Festival with Berlin she has sung with the Berlin Philharmonic under Solti and Rattle and the Deutsche Harnoncourt. For Opera Australia he has sung Leporello (Don Giovanni) and Mozart’s Figaro.In Staatskapelle under Philippe Jordan. the United States, he made his debuts for the Company as Masetto (Don A founder member of The Songmakers’ Almanac, Felicity has appeared on the major recital Giovanni), for the as Papageno, the title role in Le Nozze di Figaro for platforms of the world, including the Salzburg, Prague, Bergen, Aldeburgh, Edinburgh and the Cincinnati Opera and Queegueg in ’s world premiere based on Moby Dick for Munich Festivals, the Musikverein and Konzerthaus in Vienna and the Salle Gaveau, Musée Dallas Opera. d’Orsay,Opera Comique, Chatelet and Theatre des Champs Elysees in Paris. She has a particularly FELICITY LOTT close association with the Wigmore Hall and received the Wigmore Hall Medal in February 2010 for her significant contribution to the hall. Felicity Lott was born and educated in Cheltenham, read French at Royal Her many awards include honorary doctorates at the Universities of Oxford, Loughborough, Holloway College, of which she is now an Honorary Fellow,and singing at Leicester, London and Sussex and the and Drama in Glasgow. She was the Royal Academy of Music, of which she is a Fellow and a Visiting made a CBE in the 1990 New Year Honours and in 1996 was created a Dame Commander of Professor. Her operatic repertoire ranges from Handel to Stravinsky,but she the British Empire. In February 2003 she was awarded the title of Bayerische Kammersängerin. has above all built up her formidable international reputation as an She has also been awarded the titles Officier de l’Ordre des Arts et des Lettres and Chevalier de interpreter of the great roles of Mozart and Strauss. At the Royal Opera l’Ordre National de la Légion d’Honneur by the French Government. House she has sung Anne Trulove, Blanche, Ellen Orford, Eva, Countess Almaviva and under Mackerras,Tate, Davis and Haitink, the Marschallin. At the Glyndebourne Festival her roles include Anne Trulove, Pamina, Donna Elvira, Oktavian, Christine (Intermezzo), Countess Madeleine () and the title role in Arabella. Her roles at the , Munich include Christine, Countess Almaviva, Countess Madeleine and the Marschallin. For the her roles include the Marschallin under Kleiber which she has sung both in Vienna and Japan. In Paris, at the Opera Bastille, Opera Comique, Chatelet and she has sung Cleopatra, Fiordiligi, Countess Madeleine, the Marschallin and the title roles in La Belle Helene and La Grande Duchesse de Gerolstein. At the Metropolitan Opera, New York, she sang the Marschallin under and Countess Almaviva under . She also sang Poulenc’s heroine in staged performances of La Voix Humaine at the Teatro de La Zarzuela, , the Maison de la Culture de Grenoble and the Opera National de Lyon. She has sung with the and Chicago Symphony Orchestras under Solti, the Munich Philharmonic under Mehta, the London Philharmonic under Haitink,Welser-Moest and Masur, the Concertgebouworkest under Masur, the Suisse Romande and Tonhalle orchestras 36 37

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LISA MILNE CHRISTOPHER MALTMAN

Scottish soprano Lisa Milne studied at the Royal Scottish Academy of Music Winner of the Lieder Prize at the 1997 Cardiff Singer of the World and Drama. Competition, Christopher Maltman read biochemistry at Warwick University and studied singing at the Royal Academy of Music. In opera, her appearances have included Pamina (Die Zauberflöte) and Susanna (Le nozze di Figaro) at the Metropolitan Opera, New York and On the opera stage, his recent appearances include the title role of Don Pamina, Marzelline (Fidelio), Micäela () and the title roles in Giovanni at the , at the Bayerische Staatsoper, Munich and Rodelinda and Theodora at the Glyndebourne Festival. Her many roles at in Cologne; and Papageno (Die Zauberflöte), Guglielmo (Così fan tutte), the English National Opera have included Countess Almaviva (Le nozze di Forester (), Marcello (La bohème) and Ramiro Figaro), the title role in Alcina and Anne Trulove (The Rake’s Progress). At (L’heure espagnole) at the Covent Garden. His roles at the she has sung Servilia (La clemenza di Tito) and she created the role of the Glyndebourne Festival have included Papageno, Figaro (Le nozze di Figaro) and Sid (Albert Sian in the world premiere of James MacMillan’s opera The Sacrifice. For she has Herring). At the Bayerische Staatsoper, Munich, he has sung Tarquinius (), sung the title role in Semele, Adèle (), Adina (L’Elisir d’Amore), Zerlina (Don Guglielmo, Marcello and Albert (). Other opera appearances in Europe include Il Conte Giovanni), Susanna, Ilia (Idomeno) and Despina (Così fan tutte). She has also appeared with the (Le nozze di Figaro) and Aeneas (Dido and Aeneas) in Vienna; Figaro (Il barbiere di Siviglia) at the Dallas Opera, Stuttgart Opera, Royal Danish Opera, at the Göttingen Handel Festival and on tour Deutsche Staatsoper, Berlin and Tarquinius at the and at the English National with the Salzburg Festival. Opera.An acclaimed , he has sung the role at Welsh National Opera,Teatro Regio in Turin, Seattle, Frankfurt and in Munich. A frequent guest at the major festivals, her many concert engagements have included appearances with the Boston Symphony Orchestra and Levine, the Berlin Philharmonic with Rattle, the In the U.S. he has appeared at the Metropolitan Opera, New York as Papageno, Harlekin (Ariadne Rotterdam Philharmonic Orchestra with Gergiev, the Dresden Staatskapelle with Ticciati, the auf Naxos) and Silvio (I ); in San Francisco as Papageno; in Seattle as Guglielmo and in Budapest Festival Orchestra with Fischer and the New York and Vienna Philharmonic Orchestras San Diego as Figaro (Il barbiere di Siviglia) and Laurent (Therese Raquin). with Harding. He appears regularly in concert with the world’s great orchestras and conductors. A renowned A renowned recitalist, she has appeared at the Aix-en-Provence, Edinburgh and City of London recitalist, he has appeared in Edinburgh, Vienna, Amsterdam, Salzburg, Frankfurt, Cologne, Festivals; the Oxford Lieder Festival; the Palais des Beaux Arts in Brussels and at the Milan, and New York. He is a regular guest at the Wigmore Hall in London and at the Schumannfeste in Dusseldorf. She is a regular guest at London’s Wigmore Hall. Schwarzenberg Schubertiade. Her many recordings include Ilia and Servilia with Mackerras, Atalanta (Serse) with McGegan, He has recorded the Vaughan Williams for Decca;Warlock,Holst and Somervell The Governess (The Turn of the Screw) with Hickox and Mahler’s Symphony No. 2 with Fischer songs for Collins Classics; and he took part in ’s complete Beethoven – winner of a Gramophone Award. Folk Song project. His recording of Schumann’s Dichterliebe for Hyperion was released to tremendous critical acclaim and he has recently recorded Schumann’s Liederkreis Op.24 with She was awarded an MBE in the Queen’s Birthday Honours in 2005. Graham Johnson, a Debussy album with Malcolm Martineau and a disc of English songs with .On film, he has appeared in John Adams’ award-winning The Death of Klinghoffer, and as the title role in Juan, a new film production of Don Giovanni which premiered at the FilmFest Hamburg in October 2010.

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ROBERT MURRAY MALCOLM MARTINEAU

Robert Murray studied at the Royal College of Music and the National Malcolm Martineau was born in Edinburgh, read Music at St Catharine's Opera Studio. He won second prize in the Kathleen Ferrier awards 2003 College, Cambridge and studied at the Royal College of Music. and was a Jette Parker Young Artist at the Royal Opera House Covent Recognised as one of the leading accompanists of his generation, he has Garden. Operatic roles at the Royal Opera House include Tamino (Die worked with many of the world’s greatest singers including Sir Thomas Zauberflote), Borsa (), Gastone (La Traviata), Harry (La Fanciulla del Allen, Dame , Olaf Bär, Barbara Bonney, Ian Bostridge,Angela West), Lysander (A Midsummer Night’s Dream), Agenore (Il re Pastore), Gheorghiu, ,, Della Jones, , Belfiore (La Finta Giardiniera), Jacquino (Fidelio) and Don Ottavio (Don , Frederica von Stade, and Sarah Walker. Giovanni). He recently sang the title role in for Glyndebourne On Tour, Tom Rakewell (The Rake’s Progress) for Garsington Opera, He has presented his own series at St Johns Smith Square (the complete songs of The Simpleton (),Tamino,Toni Reischmann (Henze’s Elegy For Young Lovers) and Debussy and Poulenc), the Wigmore Hall (a Britten and a Poulenc series broadcast by the BBC) Idamante (Idomeneo) for ENO; Benvolio (Romeo et Juliette) at the Salzburg Festival and Ferrando and at the Edinburgh Festival (the complete lieder of ). He has appeared throughout (Cosi fan Tutte) for Opera North. Europe (including London’s Wigmore Hall, Barbican, Queen Elizabeth Hall and Royal Opera House; , Milan; the Chatelet, Paris; the Liceu, Barcelona; Berlin’s Philharmonie and He has sung in concert with many of the leading early music specialists, including Sir John Eliot Konzerthaus; Amsterdam’s Concertgebouw and the Vienna Konzerthaus and Musikverein), Gardiner for the BBC Proms, Sir Charles Mackerras, Emanuelle Haim and Harry Christophers. North America (including in New York both Alice Tully Hall and Carnegie Hall), Australia At the Aldeburgh Festival, he has performed Britten’s with Simone Young, and (including the Sydney Opera House) and at the Aix-en-Provence, Vienna, Edinburgh, Britten’s Our Hunting Fathers with the CBSO and Thomas Adès.At the Edinburgh Festival he has Schubertiade, Munich and Salzburg Festivals. performed Strauss’s Elektra with the Royal Scottish National Orchestra and Edward Gardner, Vaughan Williams’s Serenade to Music with the Scottish Chamber Orchestra and David Jones, Recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel Schumann’s Manfred with the BBC Scottish Symphony Orchestra and Ilan Volkov and Haydn’s (for Deutsche Grammophon); Schubert and Strauss recitals with Simon Keenlyside (for EMI); Die sieben letzten Worte des Erlösers am Kreuze with the SCO. In Europe he appeared with the recital recordings with and Barbara Bonney (for Decca), Magdalena Kozena Rotterdam Philharmonic under Valery Gergiev and Yannick Nezet-Seguin;at the Gstaad Festival (for DG), Della Jones (for Chandos), Susan Bullock (for Crear Classics), Solveig Kringelborn (for with the Gabrieli Consort under Paul McCreesh; in Paris under Esa-Pekka Salonen and in NMA); Amanda Roocroft (for Onyx); the complete Fauré songs with Sarah Walker and Tom Madrid with the Orquesta y Coro Nacionales de Espana. Krause; the complete Britten Folk Songs for Hyperion; and the complete Beethoven Folk Songs for Deutsche Grammophon. In recital he has performed at the Newbury,Two Moors, Brighton and Aldeburgh Festivals and at London’s Wigmore Hall. He has toured Die Schöne Müllerin extensively with Malcolm Recent engagements include appearances with Sir , Susan Graham, Simon Martineau, and recorded a recital of Brahms, Poulenc and Barber with Simon Lepper for Voices Keenlyside, , Magdalena Kozena, Dame Felicity Lott, Christopher on BBC Radio 3. Maltman, Kate Royal, Michael Schade, and Bryn Terfel. He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in 2004, and appointed International Fellow of Accompaniment in 2009.

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This recording was made with generous support from Simon Yates and Kevin Roon. Song texts are reproduced by kind permission of Kahn & Averill, from Pierre Bernac’s Francis Poulenc: The man and his songs, with English translations by Winifred Radford. The Steinway concert piano chosen and hired by Signum Records for this recording is supplied and maintained by Steinway & Sons, London

Recorded at St Michael and All Angels in Summertown, Oxford, from 14-20 February and 6-10 September 2010. Producer – John West Engineer & Editor – Andrew Mellor

Design - Darren Rumney

P2011 The copyright in this recording is owned by Signum Records Ltd. C2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd.All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com 42

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