The Travelling Companion SOMMCD 274-2 Charles Villiers Stanford (1852-1924) STANFORD Céleste Series (Live Recording) The Travelling Companion After a story by Hans Christian Andersen Henry Newbolt libretto

John David Horton, tenor

The Travelling Companion Julien Van Mellaerts, baritone The Princess Kate Valentine, soprano The King Pauls Putnins, bass-baritone The Wizard/Ruffian Ian Beadle, baritone The Herald/Ruffian Felix Kemp, baritone Two Girls Tamzin Barnett, soprano Lucy Urquhart, soprano David Horton New Sussex Opera Orchestra and Chorus/Toby Purser NSO Artistic Director: David James Julien Van Mellaerts First Recording Kate Valentine CD 1: Acts I & II = 66:47 · CD 2: Acts III & IV = 57:12 New Sussex Opera Recorded live at Saffron Hall, Saffron Walden on December 2, 2018 Orchestra and Chorus Producer: Siva Oke Recording Engineer: Ben Connellan Editors: Ben Knowles and Ben Connellan Front cover: David James Toby Purser Design: Andrew Giles Booklet Editor: Michael Quinn

© &  2019 SOMM RECORDINGS · THAMES DITTON · · ENGLAND World Premiere Recording DDD Made in Europe Track Singers Time Page Track Singers Time Page CD 1 CD 2 1 Pr elude 5:41 ACT 3 1 ’Tis a still night John, The Travelling Companion 6:42 31 ACT I 2 ’Tis a still night The Princess, 5:08 32 2 Ah! What a storm John 6:02 14 The Travelling Companion 3 This is the place First and Second Ruffians, John 4:35 14 3 Ballet Music: Goblins’ dance 9:02 34 4 Goodnight Companion John 4:03. 16 4 Gather round The Wizard, Goblins, The Princess 3:53 34 5 Who’s for a kingdom, Chorus, John, Two Girls 6:53 17 5 I pray you let me rest The Princess, The Wizard 4:13 35 who’s for a Queen? 6 The Princess dances 2:59 36 6 What do they mean? John, The Travelling Companion 3:41 19 7 I cannot dance tonight The Princess, The Wizard, 4:32. 36 7 So ’tis!’ Chorus, John, 2:49. 20 The Travelling Companion The Travelling Companion ACT 4 8 I have my chance? John, The Travelling Companion 5:28 21 8 Sunlight at last! The Princess, 3:29 37 The Travelling Companion ACT 2 9 Suitor, suitor Chorus, The Herald, First Girl 2:47 38 9 How shall I understand? The Princess, The King 8:18 22 bl bl John! By permission The Herald, John, The Princess, 2:45 38 Suitors? Suitors? Chorus, John 4:13 24 The King, Chorus bm Only his bones Second Girl, Chorus, John 2:52 26 bm Now I am most unhappy The Princess, John, The King, 5:48 40 The Travelling Companion Chrorus,The Herald bn Oyez! Oyez! If any here desires The Herald, Chorus, John, 3:41 27 bn Come in with us! John, The Princess, Chorus, 5:51 41 The King The Travelling Companion bo Oyez! Oyez! Sir, you that have desire The Herald, The Princess, John, 6:30 29 Chorus CD 1 Total duration = 66:47 · CD 2 Total duration = 57:12

2 3 Stanford and The Travelling Companion 1798. It was hugely successful under Henry Wood in London in 1896, toured the whole of the United Kingdom, including Ireland, in 1896 and enjoyed a second season in London before moving to New York and Sydney, Australia. (It was later Stanford and Opera translated into German for performances in Breslau.) In 1901 he enjoyed modest Charles Villiers Stanford always retained a special place in his heart for the idiom success with a setting of Julian Sturgis’s adaptation of Shakespeare’s Much Ado of opera. As a teenager in Dublin during the 1860s, the visits of the Royal Italian About Nothing at Covent Garden and in Leipzig the following year. Opera Company, Italian Opera Company and the Pyne Harrison Company (who In the years leading up to the production of Much Ado, Stanford had campaigned sang in English) were high points in his musical calendar, whether it was sitting tirelessly for the establishment of a national opera house in London. In part, his in the audience at the Theatre Royal, standing in the wings or obtaining the conviction was based on the notion that a national opera house was a symbol of autographs of the great singers of the day. prestige; however, he also believed that London, and Britain in general, required After he became established as the organist of Trinity College, Cambridge (in such a professional institution to strengthen the nation’s musical infrastructure for 1877) and his musical education in Leipzig and Berlin, Stanford soon embarked the musicians it was producing in its conservatories. At the Royal College of Music, on his first operatic project,The Veiled Prophet of Khorassan (1878). Written where he taught composition, he promoted the Opera Class to such a degree of originally in English, it was first staged in German in Hannover in 1881. A second professionalism that its annual productions became a fixture of the London season. opera, Savonarola, also written in English, received its first hearing in Hamburg in What is more, classics of the repertoire, Le nozze di Figaro, Così fan tutte, Fidelio, 1884 before it was disastrously staged in London. The 1880s witnessed a unique The Merry Wives of Windsor, Der Freischütz, and Hänsel und Gretel, together production of English operas under the aegis of Carl Rosa for whom Stanford with more unusual items such as Schumann’s Genoveva, Goetz’s The Taming of produced The Canterbury Pilgrims, a more Mozartian style of work, in 1885. the Shrew and Cornelius’s The Barber of Baghdad were staged by the College in After abandoning an opera on Hoffmann’sThe Miner of Falun in 1888, he did not English, a vital component in Stanford’s campaign to bring opera before a new complete another work in the idiom until 1894 when he produced Lorenza, his public. This combination of aims fuelled his ambition to attract municipal and one and only dramma lirico, which he hoped might be performed at La Scala and state subvention, particularly after the London County Council was founded in published by Ricordi. Neither hope materialised. 1898. In spite of broad artistic support, the LCC demurred, and while the debate His greatest success was the opéra comique, Shamus O’Brien (1895), a brilliant two- about funding reached the House of Commons in 1902, the question of state act opera with spoken dialogue, based on a character from the Irish rebellion of subvention was shelved.

4 5 Nevertheless, Stanford was undeterred and continued to crusade for a national The enterprising Falmouth Operatic Society also performed it in 1934, but it was opera house until his death in 1924. He also continued to compose opera. with the innovative drive of the conductor Lawrence Collingwood at the Sadler’s His adaptation of Richard Brinsley Sheridan’s The Critic (1915), a wonderfully Wells Theatre, recently opened in January 1931, that The Travelling Companion entertaining piece for singers and actors, was staged in London in 1916. That same received its first London performances during the 1935 season (and for several year he completed his last opera, The Travelling Companion. seasons thereafter). The critic of was incredulous that such lyrical and aptly conceived music could have been neglected for so long. William McNaught, The Travelling Companion – Stanford’s Operatic Masterpiece of The Musical Times, commented “that no British opera of the 19th century [sic] It was after reading Hans Christian Andersen’s tale sometime in 1911 that the is more musical”. Such comments should give us pause for thought. How often Irish baritone Harry Plunket Greene telephoned Stanford to suggest that it might have we been asked to accept the maxim that no British opera of merit exists be the subject of a new opera. This resulted in a joint letter to Henry Newbolt, between Dido and Aeneas and Peter Grimes? If Stanford’s last opera was given the poet Stanford had already set in his popular Songs of the Sea (1904) and its time to establish itself in the repertoire, not only would it provide an entirely new sequel Songs of the Fleet (1910). Newbolt took his time to finish the 600 lines of his perspective of this highly versatile and imaginative composer, but it might also libretto, but had evidently completed it by the beginning of 1916 since during the change our view of our operatic history. months of April, May and June of the year Stanford completed what was to be his Andersen’s story, both touching and violent, had many possibilities. Its characters, last operatic score. John, the Travelling Companion and the Princess, were malleable archetypes. An The following year it won a Carnegie Trust Award (having impressed the panel of Everyman figure, John, poor, innocent, yet unquenchable in aspiration, was an Donald Francis Tovey, William Henry Hadow and Hugh Allen) but was not printed ideal character for the heroic tenor paradigm; sage-like, avuncular, the Travelling until after the war. The Trust did, however, sanction the copying of the orchestral Companion has something of Humperdinck’s Sandman in his protective parts so it could be tried out by the student orchestra at the RCM. The Prelude to the disposition, perfectly suited to the tessitura of the supporting baritone; while the opera was performed once at the Royal Philharmonic Society under Albert Coates turmoil of the anti-heroine of the Princess, unhappy, tortured by her spellbound predicament, and purveyor of impenetrable riddles (and in this Stanford on November 4, 1920, but the entire opera was not given until after Stanford’s foreshadowed Puccini’s posthumously performed Turandot of 1926), is perfectly death in 1924. The first hearing was at the David Lewis Theatre in Liverpool on portrayed by the higher range of soprano. April 30, 1925. That same year Adrian Boult directed it at the Theatre Royal, Bristol and the young Michael Tippett, ever a great admirer of Stanford’s treatise, Musical The four acts of the opera are presented as symphonic continuities yet they have Composition (1911), produced an adapted version of the work at Oxted in 1930. a greater sense of simplicity and artlessness which, with their diaphanous texture

6 7 and economy of representative themes, seem like an antidote to the heavier Their dispassionate encouragement of eligible young men to put themselves Teutonic textures of Wagner and Richard Strauss and rival the fairy-tale operas of forward as possible suitors, in the knowledge that their failure to guess the the Russians. Stanford heavily borrowed from the homophonic ‘In modo dorico’, riddle will end up in execution, seems disturbingly macabre, as is the ghoulish the first of his Six Characteristic Pieces, Op.132, for piano which we hear in the chorus ‘Bones, bones, bones, Once they were jolly young gentlemen, Now they orchestral prelude to Act I as the ‘death’ motive (he also adapted it as a prelude for are skeletons’. The chorus, moreover, adds much to the gruesome moment of organ). Evocative of the church where John commits his good deed, the modal idea consternation when John, in producing the head of the wizard in Act IV, guesses pervades much of the opera as a whole (its Dorian colour giving it a particularly the riddle. In fact Stanford’s innovative use of the chorus as a lively, inventive and distinctive character), and its inextricable link with the enigmatic Companion is important protagonist in the opera seems to anticipate the importance Benjamin skilfully complemented by the nostalgic phrases of the Companion’s own music in Britten gave to his own chorus in Peter Grimes over two decades later. C major which we hear towards the end of the prelude. This idea is closely bound up with the notion of ‘friendship’. These two thematic elements blend with the Stanford clearly felt at ease with the language and world of Newbolt’s libretto and recurring ‘storm’ material, which underpins John’s first monologue (‘Ah! What this can be felt not only in the spontaneity of the vocal delivery but also in the deft a storm!’), and the infectious choral idea ‘All in a morning glory!’, a memorable harmonic and thematic language which he was moved to invent. This is particularly melodic fragment akin to nursery rhyme, which also runs through the opera true of the magical harmony of the nocturnal scene at the beginning of Act III and with subtle variations on its texts. Indeed, the chorus remains one of the most the effortless manner in which the dialogue of John and the Companion yields distinctive elements of the opera for it is the literal, uncomplicated responses of to the Princess’s extended monologue (‘’Tis a still night’). Furthermore, Stanford’s the turba (crowd) which accentuate the naïve ambience of the work’s fairy-tale incorporation of the ‘death’ motive and the storm music from Act I as the Princess character and serve both to punctuate, and give relief to, the more symphonic and Companion are borne away to the Wizard’s cave in Act III is a most telling piece sections for the soloists. of musical recapitulation. Much of the vividness of these individual scenes lies in the adroit nature of Stanford’s musical ideas, but it should also be acknowledged At other times the chorus very effectively interacts with the soloists. Those with that the orchestra’s part in the operatic fabric is masterly not only for its fluency John for female and male chorus in Act I are splendid examples, but the ensemble but also for its variety of colour and transparency of timbres. for the Princess, John, the Companion and Chorus in Act II (‘He is too young, Send him away!’) is not only a contrapuntal tour de force but also a deeply affecting The opening Prelude to Act I and the nocturnal music of Act III have already been conglomeration of conflicting responses to John’s reckless desire to put himself mentioned, but it is in the vibrant sweep of the ballet music in Act III, a colourful forward to guess the riddle. In several instances the chorus can seem menacing. array of contrasting dances (including a stylish waltz for the Princess) where

8 9 Stanford’s brilliance as an orchestrator is most acutely revealed. He reserved, however, the closing bars of Act IV for his most articulate exploitation of the Synopsis orchestra. Amid the sounds of celebration, John and the Companion encounter each other for the last time, only for our hero to learn that his friend cannot join ACT I him in the festivities. The invocation of the solemn ‘death’ music in the orchestra Following the death of his father, John sets off with his small inheritance to start a new signals a marked contrast in mood as the Companion announces his departure, life. Now orphaned, the pious John is alone in the world. As he embarks on his journey, but his mysterious origin is finally made known in the orchestral postlude, a fierce storm forces him to take refuge in a village church, where he comes across a hauntingly enshrouded in a luminous C major. dead man lying in an open coffin. While John shelters from the storm, two robbers As Stanford instructed in the stage directions: “The Travelling Companion looks enter the church and start to defile the dead body for the unpaid debt he owes them. lovingly at them [John and the Princess], turns away and goes slowly through the John protects the corpse and sees off the robbers by giving all his inheritance to pay off gate into the distance. The stage darkens somewhat, and the Church Scene, as in the dead man’s debt. Alone again, John prays that he might find a friend. Act I Scene I becomes visible at the back, with the bier and the dead man lying The next day, John comes across some villagers singing a song about a Princess and on it”. Not only does this magnificent moment of dramaturgical subtlety afford her search for a husband. A mysterious stranger calls out to John, who warns him of the a threefold anagnorisis (in that the Companion’s true identity is revealed both dangers of this Princess and her search for a suitor. However, John is determined to take to John, the Princess and the audience), but the searingly beautiful passages for his chance and runs off to follow the villagers to the find the Princess. The mysterious orchestra, reiterating the motive of ‘friendship’, offer one of those truly romantic stranger decides to offer himself as a friend and travelling companion to John, and instances in opera where music alone is able to express more than words. heads off to follow the villagers and John. Jeremy Dibble © 2019 ACT II In the Palace, we find the Princess remembering a song which was sung to her when she was young. Her father, the King, comes to inform her that the day has come again to meet the latest suitor. The King is perplexed as to why his daughter finds it so hard to choose a husband.

10 11 As the villagers gather for the latest suitor ceremony, John is amongst the crowd and In the Wizard’s cave, the Wizard invites the Princess to dance, but her mind is still with sees the Princess for the first time. She is more beautiful than he imagined and he John. She is unable to dance tonight. The Wizard realizes that something has changed falls head over heels in love with her. On discovering John amongst them, the crowd for the Princess. She has found mortal love. The Princess asks the Wizard to give her become impatient with him and warn him that any suitor that fails to answer the courage and to come up with a really strong answer to the riddle. The Wizard tells her Princess’s riddle correctly loses his life and joins the field of skeletons of previous failed that the answer for the riddle this time is to “think of me”. The Wizard is sure that no-one suitors. At this moment the Travelling Companion arrives to accompany John. could possibly come up with that answer. However, hidden in the cave watching and listening is the Travelling Companion. When the Princess leaves, the Travelling As John steps forward to offer himself as suitor to the Princess, the King advises Companion kills the Wizard by cutting off his head, thus breaking the spell the Wizard that John should return again in ten years’ time, when he is older. However, John is has over the Princess. determined to take his chance. When the Princess looks in John’s eyes, she sees his courage and his love for her. She too tries to persuade John that he is too young, to ACT IV forget about the riddle and go, but John insists on staying. Reluctantly, the Princess asks John to answer the seemingly impossible riddle “What is my thought?” The following day in the Palace. The crowd returns for the suitor ritual. The Princess tries to avoid asking John to answer the riddle. She doesn’t want him to die. However, John claims his right to answer and so, fearing the worst, the Princess reluctantly puts John ACT III on the spot. John answers the riddle by showing the Princess the head of the Wizard, Night-time in the Palace. John is restless. He can’t sleep. He does not know how to given to him by The Travelling Companion. The man has finally come who is the rightful answer the riddle set by the Princess and the next day he must face her again. If he suitor for the Princess. The King declares the marriage between John and his daughter fails, he loses his head. The Travelling Companion reassures John that he should rest and the crowd head into the Palace for the wedding celebrations. and leave the riddle to him. John asks his friend the Travelling Companion to join him in his new kingdom. The Princess appears at her balcony. She too is restless following her encounter with However, the Travelling Companion declines and returns whence he came. John. She tries to ignore her feelings for John by summoning up her dark side, the powers which have been given to her by the Wizard. Unseen by the Princess and overhearing what she says, the Travelling Companion follows the Princess as she goes to the Wizard’s cave.

12 13 CD 1 Ah! What is this? Is death then everywhere? 2nd Ruffian 1st & 2nd Ruffians Why not? Another wanderer laid to rest! ’Tis a bier. This way or that, he’ll pay! ACT I Scene 1 [He moves to the altar steps…] Yes, like a sleep the moonlight touches him. 1st Ruffian John [The interior of a church at night, very dimly lighted: O friend I never knew! Ay! A bier, and what’s upon it? How can he pay? before an altar, a dead man, lying on a bier, awaiting O painless sleeper! [He goes up to look at the face.] He is not here, you cannot even plunder burial. A storm is raging outside. John enters.] You too are lonely, but your need is past! Come, man? Come, man! Come, man! Come! This empty semblance of the man that’s gone! [John comes from behind the pillar.] 2 John [He goes slowly behind the pillar. Enter He’s ours at last! 2nd Ruffian Ah! What a storm! What a storm! Two Ruffians. They peer round the church He may be gone, but not yet empty handed. My luck goes all one way. behind the opposite pillar.] John Storm and disaster – what a life’s beginning! Hold off! You there, hold off! 1st Ruffian My father, my father dead, dead, dead! 3 1st Ruffian What work is this you’re after? Rich men go richly even to their graves. The little home that nursed me This is the place, but where’s the plunder? 1st & 2nd Ruffians Shattered as if by lightning. I’ll not go before I find him. 1st Ruffian No work of yours – Ay! And there’s the ransom. And today, when I creep out This same worn-out garment, To build the world anew, 2nd Ruffian Begone, and leave us to it! Sh – not so loud! We’ll take in pawn. The very skies are black: John My only shelter a village church, 1st Ruffian What! Here for stealing? John My only friend – Why not so loud, man? This poor worn-out garment I say you shall not touch him. My father, my father, my father, gone, gone, gone! Who’s to hear us? Cast by a soul that’s gone beyond your reach! I’ll be his ransom! I have no friend. 2nd Ruffian 1st & 2nd Ruffians 1st & 2nd Ruffians [He throws himself on a bench. The thunder becomes Can’t you see? There’s the moonlight – This man deceived us Why! He’s none of yours? more distant. Moonlight begins: a ray moves slowly That’s unlucky – Died before he paid. John towards the bier. John raises his head and listens.] And the shadows seem to move. We are asking him for what he owed us. I am his friend, and I am friendless too! Courage! There comes a change, 1st Ruffian John [The Two Ruffians confer.] The thunder mutters far off and far less fierce. Curse your moonlight, and your shadows. Who told you that the dead can pay the living? The storm is passing: Curse your silly trembling tongue! 1st & 2nd Ruffians Moonlight returns, like sleep, when pain is over. [Peering] What’s that yonder? Well, if you like then, What’s your price? [The moonlight shines on the bier.] 14 15 John Maybe someday he’ll repay you, ACT I Scene 2 Chorus [Draws a purse from his wallet and gives it to them.] When you find the way to wake him! All in a morning glory. Take what I have, and leave the dead with me. Take him, take him, take him. [When the darkness passes away, the scene is [They go to the door.] changed to a winding road, with a church at 1st Girl [They go to the altar steps, pour out the coins on back; John is sleeping on the steps.] Face more beautiful never was seen, them, and ring them.] 1st Ruffians Heart more masterful never has been 5 [Outside.] Good for more than one day’s Chorus 1st Ruffian drinking! [Behind the scenes…] 1st Girl and Chorus Twenty, thirty, see them leap, Who’s for a kingdom, who’s for a Queen? And that’s a very old story! Golden beauties clean and clinking, [Both laugh.] And that’s a very old story! That’s a very old story! Who’s for a kingdom, who’s for a Queen? 4 2nd Ruffian John And that’s a very old story! 1st Girl Thirty, forty, here’s a heap, [Turning to the dead man:] All in a morning glory! Many a gay lad comes to town Good for more than one day’s drinking Goodnight Companion: Our affair is done, [The chorus enter by the road.] Chorus 1st & 2nd Ruffians And I am once more lonely. All in a morning glory! Good for more than one day’s drinking! I will pray. John [Springs to his feet.] 1st Girl 1st Ruffian [He kneels down before the altar: the Oh tell me, tell me, His heart goes up, and his heart goes down [To the dead man:] moonlight is on him.] What was the song you sang? And the Princess strikes him dead with a frown, You that used to be so great, See us pocket up the gold, you! Brother of men, I ask of thee today 1st Girl 1st Girl and Chorus No easy fortune, no continuing city: Stay, here’s a young one. And that’s the same old story! 2nd Ruffian I am young and strong, Shall we try him, girls? 1st Girl Long enough you made us wait. I chose the wandering way, Chorus But some fine day, as I’ve heard said, 1st & 2nd Ruffians I kneel not yet for pity: Only I pray, whether I halt or speed, Yes! Yes! Give him a chance! Chorus Now at last we’ve bought and sold you! Give him a chance! Give him a chance! [They rise to go. To John, with a scornful gesture To tread the road of life without an end: All in a morning glory towards the bier.] To help the helpless, and to find at need [The girls gather in a group.] 1st Girl There’s your bargain, we’ll obey you. Some stronger soul for friend! 1st Girl The lover will come that keeps his head, Ay! And welcome: [The moonlight falls strongly on the crucifix.] And madam will lose her own instead, Take him, take him, take him! Who’s for a kingdom, who’s for a Queen?

16 17 1st Girl and Chorus 1st Girl, 2nd Girl and Chorus (Is it true?) The Travelling Companion And that’s the end of the story! You don’t see such a princess every day. Yes, yes, yes, yes! No, John, you never looked into my eyes, Nor such a garden! True enough! True enough! Nor ever heard my voice until this moment. John Hung all round about with skeletons, Some day or other it must be true, [As if possessed by the song.] Skeletons! Skeletons! True for the one who wins! John Face more beautiful never was seen, Enough to make you shiver. All in a morning glory! It must be so – and you – you are not strange, Never was seen, Your eyes are like a memory out of childhood, All in a morning glory. 1st Girl [The Girls begin to go off over the road.] And my heart echoes when I hear you speak. And every one of them was once a man You knew my name? Chorus That died for love of her. But some fine day, as I’ve heard said, All in a morning glory! The lover will come that keeps his head, The Travelling Companion 2nd Girl and Chorus And that’s the end of the story. Ay, that was easy guessing! [They gather round John, laughing.] And glad to do it! John is a pilgrim’s name, [The Travelling Companion has appeared And you’re a pilgrim. 1st Girl Chorus unnoticed, and stands behind John.] Now then, young man, you seem to like the music, That’s a right sort for me! John 6 Why don’t you come with us and try your luck? John No, no, a pilgrim journeys to a shrine. 1st Girl [Looking after the crowd…] And when he finds it, turns again for home. Chorus [Approaching John…] What do they mean? Come along! Come along! I have no home, no shrine, and no returning, And someday soon there’ll come a lad What shall I answer? No life, no life, but what I find by the roadside. That’s the right sort for her. 2nd Girl The Travelling Companion Yes, come along, you may be wanted yonder. The Travelling Companion John No need to answer, John! By the roadside are homes to sell in plenty: What shall I say? Chorus John Have you no gold? No small inheritance? You’re wanted! My heart is beating. Is it true? Is it true? True? [Startled] Good Sir, forgive me, John 2nd Girl Is this my fortune? You call me by my name I had a purse – why should I tell you this? You neck or nothing lads are getting scarce. I think I know you – Chorus [Peering at him] The Travelling Companion 1st Girl Ha, ha, ha, ha, ha But I’m a wanderer now, You had a purse, I’ll promise you the game is worth the candle, (Is it true?) I have forgotten But yesterday you lost it, Ha, ha, ha, ha, ha

18 19 Fell among thieves, Well you’re a hard one! John [altogether] Or paid another’s debt. And you’re a soft, Only to see her beauty – Chorus To want your story ended. Staking his life! Ay! Let us go! John Stay with the wise man, you! Who told you? John Chorus Goodbye, Faint heart! [To the chorus:] Ay! That’s the joke! The Travelling Companion What do they mean? Play acting’s nothing to it! John Nay! I have a gift of dreaming, Tell me the truth of the story! ’Tis life or death! How could they sing of her, Last night in a deep sleep Mind you, he has his chance! If she were only a beautiful tale? I dreamed of you. Chorus I say that he’s a hard one! [The Travelling Companion, who has been Chorus John Those good lads that chuck their lives away watching John, takes him by the arm and leads You’ll never win fair lady! Last night, I too was dreaming. For the Princess yonder – him aside.] You’ve had your chance, That is past – today I tramp it. You’ve had your chance! I must find my fortune. John John Ha, ha, ha, ha, ha, ha, ha, ha! Ah! For the Princess yonder – [Looking over his shoulder at the peasants, who You’ve had your chance! The Travelling Companion group together and talk.] Fortune? Chorus What do they mean? [They go off down the road.] Those good lads – What shall I answer? [The men come along the road.] He hears their bare bones chattering, 8 John Chorus And he likes it. The Travelling Companion I have my chance? [In the distance] La, la, la, la, la, la, la, la! No need to answer, John. [Looking after the peasants] Ay! That I do, I’m not ashamed to say so. A Princess, and a kingdom! The Travelling Companion I like to see a proper fine young woman John That was no mockery of foolish girls, Fortune or fate, be careful! Holding her own a bit – Ah! But the Princess – That was a man’s word! John John The Travelling Companion I must take my chance! “And that’s the end of the story!” What do they mean? She is a mortal danger. The Travelling Companion They want a show to gape at: Let them go. 7 Chorus Chorus Think twice of it – So ’tis! So ’tis! I like to see a proper young man standing up to her, The world has many kingdoms, Ay, that’s the end of the story! Staring his eyes out just to see her beauty, many Princesses! Not yet a while, I hope! Staking his life and losing every time.

20 21 John [The Travelling Companion, standing awhile as So was I born. The King I must take my chance! if transfigured, turns, and follows John down While life’s a game, mother, The heart of woman is past finding out – the road.] And love’s a name, mother, Too deep, too full of hard and crooked ways, The Travelling Companion All men I scorn.” Too dark to see through – Think yet again – This chance is life or death. That too was long ago, long ago! The Princess ACT 2 All’s tangled now, tangled. Father, I am sorry, John That is my trouble too! The best of all good reasons – 9 [The Palace Square. Enter the Princess on “Some day, when love comes, daughter, my My Princess must be my life or death. the Terrace.] daughter, The King [He breaks away, and follows the crowd down Some day when love comes, I know, I know, I know, The Princess the road] Scorn shall be dumb. And here’s this folly, here’s the day again. How shall I understand? Goodbye! Goodbye! Goodbye! With a man’s right, daughter, How shall a maid unwind With a man’s right, daughter, The Princess With her own trembling hand [The Travelling Companion looks gravely after [Enter the King] My day. The tangled thread of her mind? him as he goes.] With a man’s might, daughter, There was a song I laughed at long ago, The King The man will come!” The Travelling Companion I heard my old nurse sing it, long ago. Yes, yes, yes, yes, No gold! No guide! No swinging steel, The King Your day and my day too, and all fool’s day! “What makes your eyes so proud, daughter, my Only a dream and a song to win the world! [Imitating] Pray Heaven, the man will come! We well may be perplext! Go forth! Go forth! daughter? Folly of youth – wooing a phantom Princess – O gallant heart! What makes your eyes so proud, The Princess Folly of woman – holding herself too high – O heart of youth that will not count the cost! Your heart so brave? My Father! Are you then so weary of me? Folly of age, folly of age – A flash of morning sunlight, Little you care, daughter, Trying to rule the wild. A call of the wandering wind, If those who dare, daughter, The King What does it mean? And alone, alone, Go to their grave.” No, no. I am not weary, What shall I say? Alone thou art gone, I am perplext! I am perplext! What shall I do? So brave was I and proud? Alone thou art gone to dare the death! I am perplext, I am perplext, I am perplext! Ah, long ago, long ago. The Princess No! Not alone! Oh, what perplexes you? The Princess Dare what you will, “Truly I cannot tell, mother, my mother, Spirit of Youth – wooing he knows not what – Dare what you will, Truly I cannot tell, You still shall find a friend! Spirit of woman holding the truth so high. 22 23 Spirit of Love coming to rule his own – The King John Chorus What does it mean? What does it mean? Why should a man, wooing as men will woo, These folk are gay enough: but I am lonely. Young man, young man, Peril of loss, peril of gain, Pay such a price, win but the death of despair? Lonely and lost – You take a deal of room, When is the hour? How shall I tell? Not one among them all so much as sees me – And make a deal of noise too, [altogether] I am restless, restless. What’s your trouble? The King Now is the hour! The Princess [The King and The Princess re-enter behind the John That is the law, that is the law, crowd, and pass towards the palace steps.] [To the nearest man] The Princess Life is the stake for us both! Sir, if you will be kind, If but the man would come! Life is the stake! Peril of loss, peril of gain, A stir in the crowd. I pray you tell me – Love when he comes reconciles all. I wonder who comes now, The King Who passes yonder, towards the Palace steps, Chorus Many have come, many have come. The King A lady – [The girls recognize John.] That is the law – See! See! The Princess What is the sense of it all? [She turns and waves her hand to the people. [Bitterly] Look at him! Look at him! What does it mean? Woman’s a witch, John sees her face.] Here’s the fellow that heard our song, Many have come for a crown. Woman’s a witch! Man is a fool! None of them loved, none of them loved, Ah! What is this? The word is changed, Heard our song and could not follow. Man is a fool! Faint heart, faint heart, None of them knew my thought. I am perplext, I am perplext, The dawn has arisen, The shadows are fleeing away, Why are you here? The King Perplext, perplext. All is a morning glory, John How could they know? [Both exit. A crowd begins to gather.] [The King and Princess go into the Palace.] Mock if you must, but tell me The Princess bl Chorus Who was this that went away – Ah, there are ways! Suitors? Suitors? Suitors? Any merry suitors? Oh! Can it be the Princess? The lady passing yonder? What care I? Peasant or Princess, The King Any merry suitors a-bidding for a bride? Chorus A kingdom for the best of you, There’s my share of the sunlight, How could they know? Heart of me, life of me, death of me, Hear him! Hear him! A rope for all the rest of you. Hear his question! Hear his question! The Princess [John has entered among the crowd, coming What care I? Wonderful ways! All our singing, all we told him, through the gate] [The crowd turn upon him.] All’s forgotten every word! Love when he comes, when he comes, The lad that loves a lottery Love guesses all! Will never stand aside!

24 25 John John John And half this royal kingdom, Why should you wonder? What may a man not risk – Shame! Shame! You go beyond a jest! Let him stand forth! All my life’s forgotten, What is the price that he must pay for failure? Chorus All I have thought or hoped or seen until this Chorus bm What’s that to trouble you? hour – Until I saw her eyes! 2nd Girl Hurrah! Hurrah! Hurrah! Only his bones! Holidays! Holidays! [The Travelling Companion enters by the gate. Chorus Hurrah! John goes up to him and takes him by the hand.] Ha! Ha! Ha! Chorus Who’s for a wedding? Who’s for a wedding? Bones! Bones! Bones! Until he saw her eyes! John Suitors? Suitors? [Pointing at the skeletons] Ha! Ha! Ha! The man’s my friend! Suitors, any merry suitors? Look at them dancing there! Faint heart has seen the Princess! [To The Travelling Companion:] Ha, ha, ha, ha, ha, ha! Once they were jolly young gentlemen, Say it is true, tell them, [The crowd has made a wide circle before the steps.] Now they are skeletons bare! We two are friends, The Herald John And one who tries one tries both! When shall I see her again? John Let him stand forth! Will she return? Will she return? Skeletons! But they had their chance! The Travelling Companion They lost! But they had their chance! Chorus Yes! We are friends, Suitors? Suitors? Suitors, any merry suitors? Suitors? Chorus And who tries one tries both! Presently, presently, she’ll return, Chorus [John enters] She’ll return to meet her suitors – Let him alone – he’s caught! [All turn to the Palace. The King, The Princess Hurrah! Here’s one! Hurrah! Here’s one! Then the fun of the fair begins! [Moving to the gate] and Attendants enter on the Terrace, preceded by Oh what a scarecrow! But who comes next? a Herald with Trumpeters.] What a coat for a King! John Who’s that upon the road? Poor Johnny Scarecrow! Suitors? Her suitors? How fast he travels! Chorus Jack o’ the Green! Who dares call himself her suitor? He’s here in no time! The Princess! The Princess! What a pair of legs! [altogether] Chorus [The Herald steps forward with his Trumpeters.] And what a head-piece! The King Who dares? Where can he come from? bn The Herald Any good lad whose heart is high, He is too young, too young for this; Out of the Seven Sleepers’ den, may be! O-yez! O-yez! [To the Princess:] Any good lad who runs his risk, Or off a monument! If any here desires to comes as a suitor Any who’s ready to pay the price! Send him away with a laugh and a kiss, No, no, I tell you, he’s just got up To our Lord the King Bid him return in ten years’ time! Out of a good green grave! For the Princess 26 27 Chorus The Travelling Companion bo The Herald The Princess He is too young! Too sentimental! She scorns, but she admires him too. O-yez! O-yez! Sir, you are young, too young to die. Too sublime! Send him away! He dares too much, [To John:] Sir, you that have desired John Send him away! But yet he dares: To come as suitor to our Lord the King [Bowing gravely] Yet, Madam, not so young With a laugh and a kiss, He is a man; For the Princess and half this royal kingdom, As you that sentence me. Bid him return in ten years’ time! His face is true, Mark you the terms. And finer than the coat he wears, If you accept them, well; [altogether] The Princess He is a man and I foresee the end. But if there be one article among them, [Earnestly] I do not wish it – Whereof you do repent, John The Princess You are not bound – Then are you free without word spoken [He holds out his hand to The Travelling Of kings and crowds he makes but light; Take back your word and go. Companion but always looks at The Princess.] To begone from hence. He keeps his courage and trusts his friend. John Of Kings and crowds I make but light; His eyes are filled with heart’s delight, [John does not move but gazes at The Princess.] What is your riddle Madam? I’ll keep my courage, and trust my friend. He loves and I forebode the end, Mark then, today Her Grace sets forth her riddle. My eyes are filled with heart’s delight; The Princess Chorus Tomorrow, at this self-same hour you answer I love, and I foresee the end. [More earnestly] Go, I entreat you, Too sentimental! Too sublime! According to your skill. You vex my peace. The King He is too young for this! [John does not move.] [To himself:] Send him away with a laugh and a kiss, John What is your riddle, Madam? I am perplext! Bid him return in ten years’ time. Answer you right, the Princess crowns you here. [To the Princess:] The Princess Answer you wrong, you take your place with The Princess Send him away! I forebode the end. those I will not tell you. Send him away with a laugh and a kiss, [Pointing at the skeletons] who failed before. Why have you no fear? Bid him return in ten years’ time. Chorus Why will you not obey me? I am perplext. Send him away! [John does not move. The Princess goes He is too young for this, forward upon the steps. She is grave and looks John Send him away! The King straight at John.] The riddle, Madam! The riddle, Madam! [Spoken] I am perplext! He is too young for this! O-yez! O-yez! Her Grace will speak. Chorus [The Herald steps forward.] The riddle! The riddle! The riddle! The riddle! The riddle!

28 29 John John CD 2 The Travelling Companion The riddle! I will come and answer here tomorrow! So then to sleep. Act 3 Scene 1 Chorus [The Herald and the Court go into the Palace. John The riddle! John stands in the middle, gazing after them.] [The Palace Square. Night. John and The I cannot sleep – half of her heart is mine Travelling Companion are at the Inn. They watch And half elsewhere – The Princess Chorus while the lights go out one by one. At last, only Where then? Have your will! Well said, young un. the centre window – the Princess’s – remains That is the riddle, which I must solve or die, A woman’s heart’s her own till it be known – Ay he faced her well! lighted.] That which she follows, Tell me my thought! Well said, young un, I like his courage! 1 That which has power on her. Look deeply and declare What if he did? He’ll sing a different tune John What’s hidden there – This time tomorrow! ’Tis a still night. The Travelling Companion Tell me my thought! My friend, go sleep! Tomorrow, tomorrow! A guess for tomorrow! The Travelling Companion If you have true love’s sight, Ay, if the stillness last. Read me aright, I hope it’s a wedding! John Tell me my thought! I fear it’s a funeral! John I cannot sleep! Bones! Bones! I think it will not – How can I pierce the dark, and fight with shadows? Chorus Bones, bones, bones, Even as you speak I feel a change, a warning: Riddle-me, Riddle-me-ree! Look at them dancing there, The Travelling Companion Now the air is tense and full of fear – [Mysteriously and darkly] Riddle-me, Riddle-me-ree! Once they were jolly young gentlemen, What have I done? So she is the riddle herself! Now they are skeletons bare! You too have a shadow that walks in darkness, Oh my heart! What a masterpiece! The Travelling Companion Like the powers of night! [The men join the ring] It’s blind-man’s buff! That’s what it is for him! What have you done, John? John Blind-man! Blind-man! Bones, bones, bones, look at them dancing John A shadow? Catch her if you can! Catch her if you can! there! I have given my word to answer her – The Travelling Companion The Herald Once they were jolly young gentlemen, To guess a woman’s thought – Now they are skeletons bare! Ay, a shadow, once a man, now your Companion – Sir, for the last time now you make your choice. That is to find my way in darkest night Sleep, my friend, go sleep, go sleep! You have heard Her Grace’s riddle, [They all dance round John who still gazes at Across an unknown country. Will you come and answer here tomorrow? the Castle.] No, not unknown, not unknown, Not unknown: half of her heart is mine.

30 31 John John The Princess The Travelling Companion I cannot sleep tonight – Yes, now to sleep! Once more that mocking echo, like a doubt Deaden earth’s ears, This way or that, tomorrow ends me. Far down within me. And let none living hear me! [The Travelling Companion moves left and I will not hear it, I will not hear it. The Travelling Companion stands under the shadow of the balcony. The The Princess This way or that, tomorrow ends me too. Princess comes out on the balcony, but does [She makes gestures of incantation] Again that voice! not see The Travelling Companion beneath.] Who is it echoes me? John Wind of the night, be thou my soul’s companion! Who is it brings a magic stronger than mine? 2 What are you saying? The Princess Bring cloudy darkness, I will escape him yet! ’Tis a still night. Muffle up the moon, The Travelling Companion Blot the bright stars and blind the watching earth! Wind of the night! Spread out thy whirling Tomorrow we must part. The Travelling Companion Let no eye see me! wings, You to your kingdom… Ay, if the stillness last. And fill the region of the wide wild dark The Travelling Companion John The Princess With power untamed and irresistible Blind the watching earth! As woman’s will! No! If I win my kingdom… I seem to hear an echo, like a doubt – Let no eye see me! Changing my thought within me. Bear me away! The Travelling Companion Now I think the silence will not last: The Princess Sleep in peace! The thing I do will bring the storm: There’s the voice again mocking me. The Travelling Companion Dream of the woman, leave the riddle to me. Almost. I dread to do it. I’ll not hear it, I’ll not hear it! Bear me away! Yet many a time before I have found joy John Wind of the night! Summon the storm, The Princess I dare not, I dare not. In the very darkness and the danger of it – Joy in my secret power, joy in the wings Whistle thy hurricane shrill, Bear me away! The Travelling Companion That save me from the bonds of man. Clash with thy cymbals, High above all the little homes of men [Commanding] Tomorrow I shall be sad, Beat thy rolling drums, Whither thou only knowest, away! Away! Take my hand. You dare all that I dare for you. But I shall still be free. Confound all human sense, Confound all human sense, The Travelling Companion Look in my eyes. All that I seek, Whither thou only knowest, away! All that I find is yours tomorrow. The Travelling Companion Deaden earth’s ears, Now to sleep. Tomorrow, I shall be glad, but I shall not be free. And let none living hear me! [In a gust of wind, she rides away in the air, followed by The Travelling Companion.]

32 33 ACT 3 Scene 2 The Goblins The Goblins The Princess Triumphing in wanton wild defiance! Welcome, goblin, welcome joy be with you! Oh! I cannot, I cannot, 3 [The Wizard’s Cave, empty save for one Joy of freedom, masterless and timeless, Tonight my tongue can hardly speak your or two Goblin guards at back. A flight of rough The Wizard Joy be with all wild and wilful, wilful goblins! language, steps leads to an entrance at the back. A Hearken! Your goblin language. procession of Goblins enter. The Wizard enters. Now by wizard sight and wizard hearing, [The Goblins rush down, leaving a few to escort He takes his seat and makes a signal for the I perceive my foster child, my Princess, The Princess. The Princess descends the steps The Wizard dance to begin. One by one, the Goblins join Leaping boldly from her childhood’s chamber, slowly.] Now I know your secret! Mounting high above her father’s palace, Mortal love has claimed you! the dance.] 5 Wild and wilful strong and stormy hearted, The Princess Goblins’ Dance – Allegro Moderato Hither on the wind undaunted riding. I pray you let me rest, The Princess I cannot revel, my heart is sad, No! Not love, only a lover, The Wizard The Goblins My feet are faint and weary. One more, like the rest. Stay your dancing, Goblins, stay your dancing! Wild and wilful, strong and stormy hearted, Hither on the wind undaunted riding. The Wizard The Wizard [The dancing suddenly stops.] Tell me, daughter, what has made you weary? Like the rest? The rest you mocked and flouted! The Wizard Why then fear him? 4 Gather round – Now to greet her, now to do her honour! The Princess Attend my high commandment. Haste, haste to give her entrance to our mountain! I cannot tell; The Princess The storm-wind broke my spirit, This one hath a magic – [They gather round the Wizard.] The Goblins The hail was sharp – like many rods it lashed me. He is terrible – The Goblins Haste, haste to give her entrance to our mountain! He has no fear of me! The Wizard Master! We attend your high commandment! [They rush up the steps. Enter the Princess at the What are wind and hail to you, my daughter? The Wizard The Wizard top of the steps. She is followed by The Travelling Something yet more sharp has touched your sprit. Magic? Can his magic read your riddles? Hearken! Hearken! Companion, who remains above hidden by a rock. Tell me! The Princess Hear ye not the storm-wind The Wizard advances to meet her.] The Princess I am myself the riddle – Howling loud above our goblin mountain? The Wizard I cannot. When he gazed I felt him search – How it seems to spurn the earth beneath it Welcome, daughter, welcome! Joy be with you! Search my inmost heart. Fiercely free, rejoicing in confusion, Joy of freedom, masterless and timeless, The Wizard You only can teach me Triumphing in wanton wild defiance! Joy of revel, joy of pride and passion! Tell me! How to hide my thought from him.

34 35 The Wizard [He takes her hand and leads her up the steps with a drawn sword and the sword descends. The Princess Courage, daughter, courage! to the entrance. She turns on the threshold. The The Wizard’s head rolls on the ground. The What voice is that? I will give you thoughts wind begins to whistle.] Travelling Companion seizes it, wraps it in The voice of someone singing Beyond the reach of all men living, his cloak, comes to the top of the steps and A snatch of the old song they made to mock One dark thought that you alone could The Princess stretches out his sword over the cave.] me. summon. Here then. Well they may sing – Now forget and join our goblin revel! The Travelling Companion I am not mastered yet! [She looks out of the entrance. The lightning God save us all from goblins! 6 [One dancer comes to The Princess and flashes in her face.] The Travelling Companion [The cave falls in with a crash.] draws her into the centre. A second dancer Oh, the storm! But one fine day as I heard said, joins. General slow dance. The Princess wanders Here then we part – we are alone All in a morning glory! wearily among the dancers. Tell me that one dark thought! ACT 4 The Princess Goblins’ Dance – Andante moderato e grazioso The Wizard I too have heard that saying,

[The Princess returns to her throne.] Listen! When your lover comes to judgement, 8 [The Scene and Palace as before, in broad But the day is long in coming; When he stands there eager to divine you, daylight. The Princess is on her balcony. The No! He will not guess it. 7 The Princess This of that which baffles all his insight – Travelling Companion below with The Wizard’s He cannot guess that one dark thought of mine! I cannot dance tonight; head wrapped in his cloak. The Princess does The Travelling Companion [The dance ceases] The Princess not see him.] I cannot make my heart forget my danger. Tell me! That which baffles all his insight? But one fine day as I’ve heard said – Let me go! Let me go! The Princess All in a morning glory, The Wizard Sunlight at last! The lover will come that keeps his head, The Wizard That which mortal wit may not imagine – And all the sky washed clean And Madam will lose her own instead. Go then, go! But not without my counsel! Of last night’s madness. The Princess The Princess How I shudder now at what I’ve dared! The Princess That which mortal wit may not imagine? It cannot be! I have my one dark thought. I think I always feared some sudden overthrow, No! Not without your counsel! It is not I must lose my head. The Wizard Some chance disaster. That dark thought that I alone can summon. And yet – one of us two – today… Think of ME! O fair fresh light of day, I hate myself. The Wizard I have escaped for the last time! Come away then. [The Princess waves her hand and exits. The I hate that song! Wizard looks after her and waves his hand. The The Travelling Companion None must overhear it, [She goes into the Palace.] Man nor goblin! Travelling Companion comes out behind him All, all in a morning glory! 36 37 The Travelling Companion 1st Girl The Princess Ask to adventure with a less danger – And that’s the end of the story. Where is John? My father! My father! Claim your right! Let me be heard a moment! [He crosses over to the Inn, carrying the head in Chorus I have seen too many suitors by their rashness John his cloak. A crowd begins to gather.] O where? O where? Bound to answer me, Ah! Lady, what is my right? O where and O where is little John the Great, I know, by lovers’ law 9 Chorus I have seen too many pay their fortune Little John the bold and bonny? With their lives; Failure is always death. Suitor, suitor, where’s the merry, merry suitor? The King is come in state You are my danger – I claim to dare my danger, Suitor, suitor, where’s the merry, merry suitor? My mood is changed: And we dare not make him wait, I have grown to hate this pageant – Not to shun it. Where’s the merry suitor a-bidding for a bride? Has anybody here seen Johnny? A kingdom if he kisses her, I am weary of jesting with the dreams Chorus A halter if he misses her, The Herald Of gallant men. Well said John! The lad that loves a lottery Silence! Silence! The King Grapple her! Will never stand aside. What is your wish, my daughter? The riddle! The riddle! The riddle! [Enter The King, The Princess and Court on the The riddle! The riddle! The Princess! The Princess! Terrace. At the same moment, John and The The Princess Is the Princess coming? Travelling Companion cross the square from the I entreat you, take back your word, The Princess I wonder what she’ll say, Inn and pass through the crowd to the bottom Ordain for him who fails some slighter penalty. The riddle! I wonder what she’ll do? of the steps. The Princess and John look at How will she be dressed? each other and no-one else: she moves down The King Chorus Let’s give her a tune! Let’s give her a tune! one step as if to meet him unconsciously. The We are glad to hear you The riddle! The riddle! Mary, Mary quite contrary, Travelling Companion stands close by John with Pleading so good a cause – The Princess How does your garden grow? The Wizard’s head wrapped in his cloak.] We will consider – we will take counsel How then if I will not ask it? With true-love sighs and pretty maid’s eyes, presently, bl And skeletons, skeletons, skeletons! John! By permission of our Lord the King, Meanwhile today remains, Chorus Skeletons all in a row. And by your own act a suitor bound Your suitor stands before you, The riddle! The riddle! The riddle! The riddle! To read her Grace’s riddle – To hear and answer. [Enter Herald with Trumpeters on the Terrace.] And abide the event – John Appear and answer! The Princess Then you wrong me. The Herald [To John] Oh Sir! The riddle is my right – Silence! Silence! John Will not you join your request to mine – I claim my right! His Majesty the King! I am here!

38 39 Chorus [The Princess comes slowly down, looking at The Herald You are my friend, my Travelling Companion, The riddle! The riddle! The riddle! the head with horror.] Silence! Silence! The true winner of all my fortune. The riddle! The riddle! His Majesty the King invites you all to feast Come! Come! The Princess within the Palace! bm The Princess O monstrous! Horrible! The Travelling Companion Now I am most unhappy. Cover my eyes! Chorus I cannot come! Now I come to the cross-parting A wedding! A wedding! [She falls into John’s arms.] Of two hateful ways: Hurrah! Hurrah! Hurrah! John You cannot? Hateful it is that I should lose my freedom – The King [The Princess and John are alone on the steps. That he should lose his life! Thank heaven! The man has come! The Travelling Companion alone in the centre.] The Travelling Companion I must leave you! [To John, earnestly.] The Travelling Companion bn John Oh you, my lover, The man has come! The Princess You with clear eyes and undivided will, [To The Travelling Companion:] Chorus [Clinging to John] Can you not save me? Can you not save me? Come in with us! The man has come! Oh his voice is strange If you have in truth a stronger magic, The man has come that keeps his head – The Princess With hidden meaning! Now put forth thy power, And madam has lost her own instead! Will you not come with us? If you have true love’s sight, read me aright, The Travelling Companion And that’s the end of the story! Tell me my thought! [The Travelling Companion does not move. Whence I came, And that’s the end of the story! Festive noises, clinking of glasses are heard Thither I must return. John A wedding! A wedding! within the palace.] Your secret thought is dead, Hurrah! Hurrah! John It died last night. Chorus Return? Oh whither? [The skeletons fall with a rattling noise.] [Within] [The Travelling Companion looks lovingly at [John, who is standing next to The Travelling Look at the bones! Oh where and oh where is little John the Great? Companion, puts his hand to the cloak, takes Little John the bold and bonny? them, turns away and goes slowly through Bones! Bones! the gate into the distance. The stage darkens out the head and throws it on the steps at The Bones, bones, bones, Oh where and oh where is little John the Great? somewhat, and the Church Scene, as in Act 1 Princess’ feet.] Look at them dancing there, Has anybody here seen Johnny? Scene 1, becomes visible at the back, with the Now they are jolly young gentlemen Bid it farewell! John bier and the dead man lying on it.] Once they were skeletons bare. Chorus Oh come! This feast, this palace, Ah! [The crowd all talk, laugh and dance.] All this kingdom is yours no less than mine. 40 41 Julien Van Mellaerts The Travelling Companion

Biographies Awarded the Maureen Forrester Prize and German Lied Award at the 2018 Concours musical international de Montréal David Horton John and Winner of the 2017 Wigmore Hall/Kohn Foundation David hails from Devon and is a graduate of the Alexander International Song Competition and 2017 Kathleen Ferrier Gibson Opera School at the Royal Conservatoire of Scotland. Awards, British-New Zealand baritone Julien Van Mellaerts He studied with Scott Johnson with a scholarship from was awarded the Tagore Gold Medal on graduation from the the RCS Trust. Previous training includes a BMus Hons from Royal College of Music. the RNCM and a year spent in Sydney studying under Dr Rowena Cowley. Highlights of his 2017-18 season included performances with Julius Drake for the BBC Lunchtime Series at the Wigmore Hall, the Enniskillen In 2018, David received critical acclaim for his portrayal of International Beckett Festival and the Juan March Foundation, The Referee (Mozart vs the title role in Candide with Iford Arts/Opera della Luna. Machine, Mahogany Opera Group), Harlequin (Ariadne auf Naxos, Longborough Festival Other recent roles include Vanderdendur/King Theodore (Candide, West Green House), Opera), the title role in Eugene Onegin (Cambridge Philharmonic Society), Mr Fezziwig in Moon/King of the East (The Enchanted Pig, Hampstead Garden Opera), The Lover/The the premiere of Will Todd’s A Christmas Carol (Opera Holland Park), and Elizabeth with the Friend/The Preacher (The Vanishing Bridegroom, BYO), Eisenstein (Die Fledermaus, RCS Royal Ballet at the Barbican Hall. Opera), Tristan (Le Vin Herbé, RCS Opera), a number of roles in English (Eccentrics, BYO) and Henry Crawford in Dove’s Mansfield Park (Waterperry Opera). During 2018-19, he toured with James Baillieu for Chamber Music New Zealand. Current engagements include recitals with Julius Drake at the Pierre Boulez Saal, Berlin and David has performed in a number of British and world premières, most notably of Kurt Temple Music, London, Schaunard (La bohème, New Zealand Opera), Britten War Requiem Schwertzik’s Shal-i-mar with the RNCM Symphony Orchestra. He also played Magician in Lincoln and Salisbury Cathedrals, Mahler Lieder eines fahrenden Gesellen on tour with 1 in Henry McPherson’s Ūhte, recorded and filmed in conjunctionwith the BBC Scottish the Israel Camerata and recitals at the Lied Festival Victoria de los Ángeles (LIFE Victoria), Symphony Orchestra under the direction of Martyn Brabbins and premiered at the 2016 Barcelona, and Oxford Lieder. RCS Plug Festival. Earlier this year, Julien represented New Zealand in the BBC Cardiff Singer of the World competition, and will make his debuts at the Salzburg MozartWoche and Concertgebouw, Amsterdam in 2020

42 43 Kate Valentine The Princess Pauls Putnins The King Trained at the RSAMD and National Opera Studio and a Latvian-born Pauls was a member of Riga Dom Cathedral Samling Foundation alumna, her many awards include Boys Choir. He studied conducting in Riga and Jerusalem, the Glyndebourne Anne Wood/Joanna Peters Award, Sybil and singing at TCM. Appearances in operas include La Tutton Award, Susan Chilcott Scholarship, and Scottish bohème (ENO and Opéra de Nancy), Lucia di Lammermoor Opera’s John Scott Award. (Opera Colorado, Denver and Moscow), Carmen (New Zealand Opera), Don Giovanni (Latvian National Opera), Operatic roles include Ortlinde (Die Walküre) as part of Opera Boulevard Solitude (Genoa and Barcelona), The Rape of North’s award-winning Ring Cycle, Marenka (The Bartered Lucretia (St Petersburg and Riga), Tannhäuser (Barcelona), Bride, Opera North), Female Chorus (The Rape of Lucretia, I Capuleti e i Montecchi (Moscow). Glyndebourne on Tour), Musetta (La bohème, Welsh National Opera), Countess Almaviva (The Marriage of Figaro), Rosalinde (Die Fledermaus) and Karolina (The Two Widows) for UK opera engagements have included Le nozze di Figaro, Don Giovanni, Fidelio, Peter Scottish Opera, Donna Anna (Samling Opera) Armgard (Offenbach’sThe Rhine Fairies, Grimes, Idomeneo, Pelléas et Mélisande, Otello, Die Zauberflöteand Flight (Glyndebourne NSO) and Tatyana (Eugene Onegin, Blackheath Opera). Festival Opera), Fidelio (Garsington), Madama Butterflyand Aida (Raymond Gubbay/ RAH), Flavio (Early Opera Company) and La traviata (Birmingham). As one of English National Opera’s first ‘Harewood Artists’, she sang Fiordiligi, Countess Almaviva, Mimì, Cathleen (Riders to the Sea), First Lady (The Magic Flute), Elisabeth Pauls regularly appears in Latvia and the Baltic States as an oratorio soloist. He sang Zimmer (Henze’s Elegy for Young Lovers, co-produced with the Young Vic), and Helena (A Gloucester in the première recording of Meyerbeer’s Margherita d’Anjou, Ferrondo in Midsummer Night’s Dream). Mercadante’s Maria Stuarda for Opera Rara and Walford Davies’ Everyman for Dutton. Other engagements include Petite Messe Solennelle (Germany, France, Bregenz Festival), Recent concert platform highlights include a Radio 3 broadcast of Villa Lobos’ Bachianas Angelotti Tosca (ENO), Frank Puccini’s Edgar (NSO), the title role in excerpts from Eugene Brasileiras No.5 as part of Glasgow’s Cottiers Festival, a concert performance of Così fan Onegin (Barbican) and Die Schöpfung in Kanazawa, Japan. tutte (Chopin Festival, Warsaw), Brahms Requiem with the RSNO under Lawrence Renes, Britten’s War Requiem in The Sage, Gateshead, and Britten’s Spring Symphony under Garry 2017 saw him sing an acclaimed Arthur in Peter Maxwell Davies’ The Lighthouse Walker. In music-theatre and cabaret Kate has performed Mrs Nordstrom (A Little Night (Shadwell Opera) and in 2018 he sang Colline (La bohème, Dorset Opera). 2019 sees his Music) at the Théâtre du Châtelet, recorded BBC Radio’s Friday Night is Music Night and debut at Longborough Opera with Fasolt (Das Rheingold) where he will also return for appeared at the BBC Proms in the Park, Glasgow Green. their full Ring Cycle.

44 45 Ian Beadle The Wizard/Ruffian Felix Kemp The Herald/Ruffian Born in Hertfordshire, he obtained a BMus (Hons) degree at A Britten-Pears Young Artist praised by for his the GSMD. In 2012-13, he took part in ENO’s Opera Works “appealing baritone” and awarded an Audition Oracle Singers’ programme, a highlight of which was The Big Barber Bash Preparation Scholarship, Felix Kemp’s recent engagements (London Coliseum). At GSMD he was part of Lads in their included St Matthew Passion (New London Orchestra, Hundreds, performed in London and Ludlow. This led to his Southwark Cathedral), A Bernstein Celebration (London singing on BBC Radio 3’s In Tune. Ian also performed with Song Festival), Vaughan Williams’ Dona nobis pacem (Truro Graham Johnson in an evening Lecture Recital of Winterreise Cathedral) and a recording with Odaline de la Martinez and as part of his Series Cycles in Tandem at the Guildhall School. the Lontano ensemble as Pierrot in Ethel Smyth’s Fête Galante (Retrospect Opera). Operatic experience includes Des Grieux (Le portrait de Manon), Belcore and William Dale (Silent Night, Wexford), Marco (Gianni Schicchi), Quinault (Adriana Lecouvreur), Jake He has sung for British Youth Opera, English Touring Opera, Grange Park Opera, Opera Wallace (La fanciulla del West) for Opera Holland Park, as well as Imperial Commissioner Holland Park Young Artists, OperaUpClose, at the Wexford Festival and for Jerwood (Madama Butterfly) and Guccio (Gianni Schicchi, Young Artist Programme at Holland Park), Opera at Snape Maltings. His repertoire includes Spencer Coyle (Owen Wingrave), title role (Le nozze di Figaro, Opera Brava), Valentin (Winterbourne Opera), Crébillon (La Masetto (Don Giovanni), the title role in Eugene Onegin, Marchese d’Obigny (La traviata) rondine, Go Opera), Leporello (Sinfonia D’amici), Morales (Co-Opera), Pish-Tush (Charles and Melot (Tristan und Isolde). His broadcasts include BBC Radio 3’s In Tune. Court Opera) and Aminta (Euridice) for British Youth Opera. He performed the title role of Following private studies in London, Felix continued his studies at Trinity Laban, Billy Budd, Publio (La clemenza di Tito) and Monsieur de Brétigny (Manon) (GSMD opera supported by the Kathleen Roberts Vocal Scholarship. His awards include First Prize associate scenes). He sang Dark Fiddler for NSO in 2017. at the Elisabeth Schumann Lieder Competition, Second Prize at the London Song Engagements in 2018 have included Pinellino (Gianni Schicchi) and Shackleton Festival’s British Art Song Competition and the Audience Prize at the John Kerr Award (Shackleton’s Cat, ETO), Cecil (Maria Stuarda, OperaUpClose) and Lawrence (Ethel Smyth’s for English Song. The Wreckers, Arcadian Opera Group).

46 47 Toby Purser conductor NSO Orchestra Founder and Principal Conductor of the ground-breaking Violin 1 James Widden Leader Flute Michael Liu Horn Oliver Johnson Orion Orchestra, his inspirational music-making has Russell Gilbert Tom Sergeaunt Derryck Nasib prompted guest invitations from ENO (where he just Siobhan Clough Olivia Gandee Stefano Zompi Piccolo Tom Sergeaunt Arriane Rooney completed two seasons as ENO Mackerras Conducting Laura Bryer Oboe Magdalena Carbow Trumpet Elliot Phelps Fellow conducting The Turn of the Screw, The Marriage of David Price Figaro and La traviata), Bampton Classical Opera, Chelsea Violin 2 Andrea Timpanaro Malcolm Warnes Aura Fazio Cor anglais David Price Opera Group, Grange Park Opera, Iford Arts and Pimlico Matt Waters Timpani/ Edward Scull Opera, as well as many leading British orchestras including Lucy Haggerwood-Bullen Clarinet Rosie Taylor Percussion Ryan Hepburn Henry Melbourne the RPO and RLPO, which he conducted in Jesús León’s Viola James Cullen Harp Isabel Harries debut CD Bel Canto for Opus Arte CD. Lily Rogers Bass clarinet Henry Melbourne Katie Perrin Bassoon Matt Kitteringham Cello Daryl Giuilano Alanna Macfarlane Jade Woodhouse Saran Davies Contra Alanna Macfarlane bassoon Bass Sue Denyer James Gosling

NSO Chorus Sopranos Liz Archer, Tamzin Barnett, Heather Bigg, Pamela Cross, Jackie Honey, Francesca Keenan, Jane Larsen, Kitty Mair, Fran Mortimer, Mary Parker, Fiona Ritchie, Charlotte Roberts, Lucy Urquhart Altos Cate Couch, Jo Doezema, Janet Downes, Marie Goulding, Julie Griffiths, Jane Larsen, Anne Locke, Ruth Loughton, Alison Read, Margaret Woskett, Anne Wycherley Tenors David Cocks, Harry Heaven, David James, John Newman, Jonathan Statter, John Wood Basses Jeremy Adams, Neil Fraser-Smith, Tim Locke, Ciaran O’Donovan, Richard Pulham, Mike Rollings, Vincent Tacon, Norman Wood

48 49 Partsongs by Sir Charles Villers Stanford Acknowledgements SOMMCD 0128 Birmingham Conservatoire Chamber Choir, Paul Spicer SOMM Recordings wishes to thank the Stanford Society, John Covell and Constance Frydenlund, Dr. David Frankel, Charles Covell and Professor and Mrs. Jeremy Dibble for “Essential listening for all lovers of Stanford their generous support, which has made this recording possible. and of British choral music” MusicWeb International New Sussex Opera acknowledges the support of The Behrens Foundation and John Lewis & Partners for the stage production of The Travelling Companion. Charles Villers Stanford: String Quartets Nos 5 & 8 SOMMCD 0160 The Stanford Society was formed in 2007 to promote Dante Quartet greater interest in Stanford’s life and music and to encourage and support performances and recordings “In its understated way, this music gets under your skin… of his music. The Society holds an annual Stanford a really worthwhile release” Festival Weekend in a Cathedral City in the UK or Ireland. These Weekends have Gramophone included performances of music by Stanford (including premiers of the Second Violin Concerto and Variations for Violin and Orchestra in orchestrations by Jeremy Dibble) and his students and contemporaries as well as talks, social Charles Villers Stanford: String Quartets Nos 3, 4 & 7 events and Cathedral services. (First Recordings) Society members also receive regular newsletters with news and information SOMMCD 0185 about performances of Stanford’s music and new recordings. Dante Quartet

Further information about the Stanford Society may be found at the Society’s “Essential listening… SOMM and the Dantes have broken website at www.thestanfordsociety.org or by contacting Daniel Wilkinson, the important new ground with impressive commitment” Society’s Honorary Secretary. His email address is [email protected] . Gramophone

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