WILLIAM ALWYN MISS JULIE opera in two acts JILL GOMEZ • BENJAMIN LUXON • DELLA JONES • JOHN MITCHINSON PHILHARMONIA ORCHESTRA • VILEM TAUSKY

48 1 Then tell me, tell me, SRCD.2218 2 CD I’ll do what you say. Miss JULIE STEREO ADD SET The razor!

JEAN Not here, but out in the park. I’m so tired – so tired – 19 I be dreaming – Miss JULIE everything is hazy – Oh, thank you, thank you – I only see your face … now I’ll find peace at last. And your eyes are glowing like coals in the fire! A fire that’s dying, dying – all blurred and white like ashes. 20 Kiss me! Just one last kiss!

It’s so warm and lovely – so light and so peaceful! JEAN ‘Je vous en prie, mademoiselle.’

JEAN There’s one thing you can do – there’s one way out for both of us – the way your mother took.

P 1983 The copyright in this recording is owned by Lyrita Recorded Edition, England. Digital remastering P 1992 Lyrita Recorded Edition, England WARNING © 1992 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the U.K. LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita by Wyastone Estate Limited, PO Box 87, Monmouth, NP25 3WX, UK

2 47 KRISTIN JEAN Thief, thief! You can go, but I can’t. WILLIAM ALWYN You wouldn’t dare! It’s that bell – Thief! Thief! Thief! Thief! it saps my strength. (1905 - 1985) It rings and rings ‘til I’ve answered its call. JEAN I’m sorry, Miss Julie, truly I am. Shut up you devil, You can call me a coward, or I’ll cut out your tongue! but I can’t help it. Opera in Two Acts That bell rules my life! Libretto by the Composer

Miss JULIE (After the play by August Strindberg) JEAN But our hotel in Switzerland – 18 The Count’s back! in Lugano? The opera was first performed for a BBC recording on February 17th 1977, which was first broadcast on July 16th 1977. KRISTIN JEAN It’s the master! Just a dream – a dream on Midsummer Night. CD1 Miss JULIE I was mad then – Act I 62’34” My father! Oh God! we were both of us mad. Scene 1 26’05” Scene 2 36’29” JEAN Miss JULIE He’ll be wanting his boots. CD2 But the money – the money? Act II 55’22” KRISTIN He’ll be wanting his breakfast. JEAN Put it back, put it back. Miss Julie ...... Miss JULIE Jean! What shall I do? What I do? Miss JULIE Jean I can’t, I can’t! KRISTIN Why did I take it? Kristin ...... Where’s that Clara – I must have been mad, the lazy slut! I have been mad. Ulrik You are right – I was dreaming. Miss JULIE And now I feel so tired, so tired – so tired. Philharmonia Orchestra Kristin! Kristin! Help me now, Jean. conducted by Don’t leave me, don’t leave me! Order me, order me and I’ll obey you. Do one last thing for me: save my honour, save my name. Jean! What are you doing? You must know what I ought to do. Repetiteur: Mary Nash We can’t stay here – we can’t, we can’t.

46 3 Miss JULIE JEAN CD 1 Act I (62'34") I don’t know – Be careful! I don’t believe anything, any longer … KRISTIN 1 Beginning of Scene 1 1'12" I know my station, if doesn’t. 2 Miss Julie is crazy 1'17" … nothing – nothing at all – 3 But the Count - 2'07" JEAN station! 4 Music and dancing go to my head 1'33" KRISTIN 5 What’s that you’re cooking? 1'34" 17 Well, well! KRISTIN So you’re going to elope! I’ve never messed around 6 By God, I’m thirsty! 3'18" JEAN with the stable lads – 7 Kristin! Kristin, Kristin! 1'37" I wouldn’t say that. JEAN 8 Are you talking secrets? 3'07" But it’s a good scheme and it might work. No, you hooked yourself 9 Kristin, is it ready? 2'11" to a nice steady chap – KRISTIN 10 There’s a new dance starting 2'08" Now listen to me! KRISTIN 11 You know why I came here tonight? 1'39" If you think I’m going So steady you steal to work for that bitch! the Count’s wine! 12 Midsummer Night, O, night of magic 4'22" Yes, JEAN Watch your tongue 13 Beginning of Scene 2 2'48" when you speak of our mistress. JEAN KRISTIN 14 Kristin, Kristin . . . Kristin! 3'40" Steal! Who takes a cut Mistress indeed! 15 Now you can kiss my hand 2'31" from the grocery bills, JEAN and bribes from the butcher! 16 That wouldn't do either 4'01" Yes, your mistress. From the butcher! From the butcher! 17 I have no time for dreams 2'51" KRISTIN KRISTIN 18 Did you mean that? 1'51" Well, well, listen to him! You thief! You’ve got no shame! 19 If you must know - it was you! 2'20" First steal from the Count, JEAN then steal your mistress! 20 But you can rise, Jean 3'02" Yes, listen to me for a change! Where is she? 4'04" Miss Julie’s your mistress. JEAN 21 Who are to turn up your nose? 22 You can come out now. 2'16" Keep your foul mouth shut KRISTIN or I’ll – 23 I know, I know . . . 7'05" She behaved like a slut, a common slut!

4 45 Oh, say you’ll come, But isn’t the master back? and we’ll all be happy. CD 2 Act II (55'22") Oh, say you’ll come, dear Kristin! JEAN Not yet, not yet – a false alarm. 1 Beginning of Act II 2'34" Miss JULIE KRISTIN 2 Never again! 3'07" Kristin, listen, listen – You’re mad! You’re mad! 3 What have you done? 2'02" KRISTIN Miss JULIE I don’t want to hear. You’ve not been abroad. 4 I made that all up. 2'13" If going away It’s fun going by train – 5 Scum on the surface of water - 4'19" That’s the best thing for you, to Switzerland – but if you think you’re taking my Jean, to Lugano! 6 My mother got drunk, 3'35" I’ll soon put paid to that! It’s always summer there and the lake’s as blue as heaven, 7 If I only had enough money. 4'11" Miss JULIE and the oranges are balls of fire Oh, what shall I do? in Lugano, in Lugano! 8 (Scene: Miss Julie turns away,) 1'01" You’re a woman, Kristin, 16 We’ll start a hotel – you are my friend, Jean’s hotel – 9 Has she gone? 2'49" you must try to help me. I shall be hostess 10 Class is class, and don’t you forget it. 2'17" I can’t stay here, and you head cook neither can Jean. with lots of servants. 11 You’ve got a nerve, after last night! 1'05" We must go abroad! And we’ll all grow rich, and take a house on the lake; 12 I knew I was right! 3'46" KRISTIN and the sun will always shine – You’re mad! not often, of course – 13 I’m ready now, Jean. 2'27" You’re both mad! sometimes it will rain – 14 What the devil is that? 2'17" Is it true, Jean? and then – and then – JEAN we’ll come home – 15 What’s all this mean - 4'05" again … We’ve got enough money 16 We'll start a hotel - 2'22" to start a hotel –

KRISTIN KRISTIN 17 Well, Well! So you're going to elope! 1'21" Start a hotel! Do you really believe that? 18 The Count's back! 4'57" You’re mad, you’re crazy! Miss JULIE 19 I be dreaming - 2'56" Miss JULIE Do I – believe – all that – But you can come too, Kristin, 20 Kiss me! Just one last kiss! 1'57" and take over the kitchen. KRISTIN That would be lovely. Yes, all that rigmarole!

44 5 Miss JULIE I can’t leave her here with no one to love her. I’d rather you killed her! Kill me! Kill me! Kill me too! I hate you, I hate you! JEAN I wish to God I’d never seen you! Right! Then give her to me! I wish I’d never been born!

ULRIK Steady now, steady!

Miss JULIE He’s killed her, killed her! I can’t, I won’t, I won’t!

JEAN Kristin, Kristin! But I can and I will! Help me, help me!

Here – take this. Take this vermin away KRISTIN and shoot it! 15 What’s all this mean – Or wring its neck! shouting and screaming? A pretty sight, I must say! Miss JULIE Jean, what have you been up to? No, no! No, no! Miss JULIE Kristin, Kristin, listen to me. I’ll tell you everything. ULRIK © My kind of job! JEAN That’s what I’m paid for. © 1983 Lyrita Recorded Edition, England Don’t listen to her, she’s off her head! The Writings of William Alwyn © The Estate of William Alwyn Miss JULIE Listen, Kristin, you Design by KEITH HENSBY Goodbye and good luck! and you will understand. Copyright Lyrita photo of Vilem Tausky and William Alwyn by Reg Wilson I can’t wait to see the Count’s face when he knows! Recording Location: Kingsway Hall, London KRISTIN Recording Dates: January 23, 24, 25, 26 1979 You’re dressed for a journey – Recording Producer: ANDREW CORNALL and packed your bags. Balance Engineer: KENNETH WILKINSON Miss JULIE Where are you off to? Digital Remastering Engineer: SIMON GIBSON Ulrik, Ulrik, come back, come back!

6 43 Miss JULIE Miss JULIE Yes. Enough for a start. He mustn’t know, he mustn’t know! ALWYN AND ‘MISS JULIE’ ( Oh, my God!

JEAN ULRIK illiam Alwyn was born in Northampton in 1905 and studied at the Royal Academy of Music, Good girl! I knew you’d have the spirit That’s all right, little missy, when it came to the point. I shan’t give you away, I shan’t give where he was subsequently appointed professor of composition. His flourishing career as a you away. composer in the 1930s - the Piano Concerto and the secular oratorio Miss JULIE a setting of Blake’s ‘prophetic book’, were among the major works of this period - was interrupted in 1939 But why aren’t you dressed? You can go to the devil when, like Sir Clifford Curzon who first played his Piano Concerto, he embarked on a period of re-study for all I care! and put all his previous compositions aside. This coincided with an involvement in films, starting, like JEAN But first – put your dog down Britten, with the legendary Documentary Film Unit and moving into feature films in the 1940s. Amongst Kristin’s awake, and – and give me a kiss! his film scores, now recognised as classics, are (1943), (1944), (1945) and, most famous of all, Sir Carol Reed's (1947). Although Alwyn himself Miss JULIE tended perhaps to underestimate his film music, he admitted that it taught him much about “the Kristin? Does she suspect? dramatic use of music in relation to the spoken word”, the subject of a penetrating analysis by Hans JEAN JEAN Keller in 1955, and about music, drama and the orchestra in general. No, not a thing. 14 What the devil is that? Alwyn was perhaps best known as a composer of absolute music. His five symphonies and three But we must be off What’s that dog doing here? which span styles from neo-classical to a free, tonal twelve-note technique derived from before she comes back. Indian music, all come from the post-war period. Yet he was always involved with opera. His first stage My bag’s in the bedroom. Miss JULIE work, dates from 1917. For family and financial reasons, the period between leaving My darling own pet, the RAM and taking up his teaching appointment there, was spent playing the flute in the orchestra pits I can’t leave you behind. of opera houses and learning the standard repertory of the time. He also conducted opera, notably the first British performance of Rimsky-Korsakov’s and at the behest of Barbirolli he JEAN scored the missing sections of Wolf's for its British premiere. ULRIK You’re off your head! But it was not until after the war that he was able to turn to opera again. In 1955, the year that he So you’re going to leave us; We can’t take a blasted dog around. run off with our Jean. Give it to me! retired from the RAM professorship, his radio opera was performed on the Third Well, I don’t think much of your taste. Programme; it was based on the life of the Irish patriot Robert Emmett and broadcast in Eire on the Miss JULIE 50th anniversary of the Easter Rising. In 1961 Alwyn retired to Suffolk and opera absorbed more and No, no! Don’t be so cruel. more of his creative energy. First fruit was (1973), based on the play by James I must take her with me. Elroy Flecker, and followed, given its first performance on Radio 3 in 1977. JEAN had a long gestation period. Alwyn first considered Strindberg’s play in the 1930s, and Damn you! Clear off, JEAN started work on an operatic adaptation in 1954 with Christopher Hassall, librettist to Walton and and leave us alone! Give it to me, give it to me! Novello. This foundered on Hassell’s insistence on fidelity to the source and on his wordiness of approach; Alwyn in turn insisted on condensation. “Opera needs the bare minimum of words,” he wrote, ULRIK “for words demand much more time to sing than to speak, and a glut of words holds up the action” - a ULRIK Steady now, steady! And where would you be going? sentence that should be emblazoned above every opera-composer’s work-table. In the end, he wrote his And wouldn’t the Count like to know! own libretto, and some of the principles on which he worked are printed in his own words below.

42 7 Strindberg’s play is a natural for operatic adaptation - indeed, Alwyn’s is one of three recent Get out! Clear off Do you think it’s the Count settings. It is one of those dramatic narratives in which the words themselves are but the tip of the or I’ll throw you out. come home already? iceberg: in virtually every sentence the characters say only about a quarter of what they mean. In the JEAN play, Strindbergian verbal symbolism provides the depth and resonance, something that music is even If it is he’ll be ringing. better equipped to do once it replaces that symbolism. In his libretto, Alwyn conflates two symbols into ULRIK You’d better buck up one: play and opera open with the cook Kristin preparing at Miss Julie's orders an anti-mate potion for Steady now, steady! and get dressed. her lap-dog, which is on heat; towards the end of the opera Alwyn substitutes the dog for the finch that Steady! Steady! in the play is the pet Miss Julie wants to take with her on her imaginary journey of escape and which Jean KRISTIN God help us! What a morning! kills gruesomely on stage. In the opera the dog is shot off-stage by the gamekeeper. Oh what a plum Music is also supremely well equipped to depict character and motivation, that which lies behind so ripe and juicy! JEAN mere words, especially music that is written in what might be described as an idiom of heightened Our darling Miss Julie! Now clear off! tonality. In Alwyn, tonality is the rock from which and towards which the ripples of musico-dramatic You’ve done enough damage already. meaning flow. His musical language is fully in the European tradition: many names spring to mind as JEAN Clear off, and leave me alone. influences thoroughly subsumed into a personal idiom: Janacek, both in the way the score is directly Get out! Clear off! Get out, get out, ULRIK inspired by the shape of the words and in some insistent ostinatos; Walton in the eroticism; get out! Get out! I’m sorry, I’m sorry, old man. Szymanowski in some of the orchestration; Ravel in one of the first musical symbols, the waltz heard I’ll kill you for that! It was only a lark. soon after the opening and immediately associated with the Midsummer Night's fertility revels JEAN (“Midsummer Night, when everyone's free to do as they please”) and with the peasants, a waltz that is ULRIK Only a lark! harmonically distorted both at the height of Miss Julie's seduction of Jean and in the mouth of the Steady now, steady! drunken gamekeeper whose obscene songs point the reality of Miss Julie's imaginary romance. The waltz No harm meant, permeates the score. no harm meant! ULRIK Music underpins the action as well as governing it, both in fairly conventional ways, such as the use Well, I must get on my way, of syncopation to suggest unease or dislocation, in recurring musico-verbal motifs like the three-note I’ve my rounds to do. “Miss Julie” prominent in the seduction scene, and more subliminally. Jean's vocal line, marvelously And a shot at a rabbit’ll do me good! written for high heroic baritone, in itself suggests self-confidence and assertiveness; his accompaniment KRISTIN figures though, based on nervy dotted quaver and semiquaver figures often on bassoon and clarinet, Stop it! Stop it! suggest the volatility and essential weakness of the man behind the masculine bluster. Miss Julie’s vocal Be quiet! line creeps questingly around chromatic intervals as though trying to find a tonal centre - a perfect There’s someone upstairs – musical representation of her character - and her accompaniment is string-based, with frequent use of I heard someone moving. solo violin. The illusion of the dream-escape to Switzerland is encapsulated in straight tonality - the sudden common chord of G major on “Lugano” is a little masterstroke - with celeste supplying the JEAN dreamy unreality. Four-square, hymn-like tonal phrases are used semi-humorously when Kristin It’s only Clara – drawing the curtains. Miss JULIE vigorously defends the status quo of the class system, the bed-rock of her existence, supported by 13 I’m ready now, Jean. Everything’s packed, pompous brass chords. KRISTIN Clara? It can’t be. I’ve got all I need. These are recognisable musical gestures, used with uncommon skill to draw the audience into the She’s still asleep. heart of the drama. Alwyn’s use of intervals is more complex and may, as he says, pass unnoticed in That girl’s bone lazy. JEAN performance, but it is central to his dramatic craft. There are two that should be noted. First, the Have you got the money? seventh, the musical symbol for yearning and desire used by composers ranging from Britten back into

8 41 ULRIK ULRIK the 19th century, which informs so much of the love music in Alwyn’s score and first makes itself felt I admit I wasn’t quite sober – Or you’ll what? when Jean and Kristin are discussing their mistress in the first scene before her entrance. Second, that You’d better keep quiet most unsettling of intervals, the augmented fourth, heard (B F) in the brief introduction before the JEAN or I’ll spread it about waltz and in practically every bar from then on. It could be taken to represent the difference in class, both Sober! You were drunk as a lord! that Jean spent the night with Miss Julie! Blundering in here – in fact and attitude, that dooms the relationship of Jean and Miss Julie and which is central to Strindberg’s play. It is the interval associated with the Count, with Jean's longing for his young mistress, ULRIK KRISTIN I told you so! with Ulrik's mockery of them, with everything that goes awry, especially in the second act: “What devil Everyone drinks on Midsummer Night. made me think you loved (B) me (F)”; “That’s right, hit (B) me (F)”; and so on and so on. So calm down, old man. News gets around. Orchestral colour, harmony, rhythm, intervallic structure, these are just some of the weapons in I came with the best of intentions – How can I bear it – all the girls laughing! the opera-composer’s armoury, and Alwyn wields them with great resourcefulness. One passage is JEAN How can I bear it? especially skilful operatically. Quite late in the action Miss Julie tells Jean (and the audience) what Damn you! Be quiet, be quiet! All the girls laughing! happened to her mother: the Count deprived her of the money for which he married her, humiliated her and drove her to suicide. In this narration the association of solo violin with the mother and bassoon with ULRIK JEAN the Count plainly points the parallel to the relationship between Jean and Miss Julie herself and the way The dance was barely half over Don’t think of yourself, it will end. when I found I had run out think of me. That’d be of partners. quite a change! While such details may not strike listeners at once, what will impress them is theatrical When you’ve sampled the best directness and unforced lyricism: Alwyn was not afraid of tunes - they are, as he had written more than no other will do. So I came here ULRIK once, at the centre of his artistic being - or of the big dramatic outburst. is a very operatic to see what I could find. Steady, now, steady! Steady now! opera. “Naturally,” the composer wrote at the time of the BBC premiere, “I hope for a stage Miss Julie, the darling! production.” Two years after that premiere Benjamin Luxon, the Jean both then and in the present KRISTIN What a plum to fall into your arms! performance, wrote to magazine remarking on the work's neglect and describing it as “a You were looking for me? Some men have all the luck. opera written by someone who fully understands the capability of the human voice.” The fact that ULRIK Some men have all the luck! has not been staged by any one of the five companies well equipped to do so remains one of those Well – not exactly. inexplicable oddities of our operatic way of life. Let’s say a certain lady. KRISTIN What shall I do? What shall I do? KRISTIN You’re nothing but brutes! ALWYN AND OPERA 12 I knew I was right! Taking advantage. Poor Miss Julie! She was here all the time – Poor Miss Julie! Miss Julie, Miss Julie! You’re nothing but brutes. Brutes! “Melodic line and its concentration into immediately recognizable thematic material is basic to the art Your mistress! Brutes! Brutes! of symphonic construction as well as to opera, where failure to write effectively for singers is as Brutes! You’re nothing but brutes! disastrous as failure to appreciate the fundamental fact that opera is designed for the stage.” ULRIK “A few cardinal points: invent a libretto which does not require long explanations in the Miss Julie, JEAN programme notes the curtain rises; the action must be self-explanatory and informative in itself; our charming mistress! Stop it, for God’s sake! Or should I say Jean’s! avoid soliloquies and monologues (solos) and asides which only the audience are meant to hear — this Keep your mouth shut! means that there must be a legitimate reason for any aria or arietta, and they must play an integral part Stop it for God’s sake! in the musical score; avoid as far as possible all ensembles, for, however technically accomplished they JEAN Stop it for God’s sake! Keep your mouth shut, or I’ll – Stop it! Stop it! Get out! Clear off! may be, it is impossible when a trio, quartet, quintet or sextet are all singing different words to comprehend the individual parts, so, if vocal ensembles are essential to the action and unavoidable, then

40 9 clarity and brevity of the sung words are of paramount importance; above all, the words themselves You don’t know what you’re saying! must be set to music in such a way that they adhere to the rhythm and inflections of human speech - 10 Class is class, and don’t you forget it. again, lucidity is the primary concern. Class is class, and the gentry the gentry. JEAN “English is a glorious language to sing if one is careful to avoid its plethora of sibilants and the There’s some to give orders and some to obey. Get married! composer is content to restrict himself to using one note to each syllable, only varying this rule when more than one note to the syllable can intensify the emotional impact of the vocal line. I regard this rule KRISTIN God made me a cook, Yes, as you promised. as essential for clarity of diction; too often I have listened to modern opera in English when I have hardly and a cook I’ll stay. understood a single word of what was being sung. Poor Miss Julie, Poor Miss Julie! JEAN “Finally, nothing approaching recitative must be allowed to interfere with the natural symphonic To think she’d fall Married to you! flow of the music.” to a man like you! I’ve got more ambition than that. “In my musical score for I put all my theories to the test, including several devices new It was wicked – to opera and, I believe, new to music. The music springs naturally from the words, and I frequently use downright wicked! the rhythm of a significant phrase or sentence it is actually sung, to give extra stress to the words JEAN by anticipating them in the music. And again, I use the same device the words have been sung (e.g. Don’t blame me, when Miss Julie’s voice trails away despairingly having failed to persuade Kristin to leave with them for she led me on – Lugano, Kristin says coldly, ‘Do you really believe that?’, and the oboes, in seconds, drive home the spiteful thrust with the rhythm of her words. This rhythm again and again punctuates the ensuing at the dance I mean, at the dance. KRISTIN dialogue, each time like a stab at poor Julie’s overwrought heart). You can keep your ambition. KRISTIN “Also important to me is the use of two germinal motifs, each consisting of three notes, the first We’ll see about that. Well, I’m not staying here based on the rhythm of the name ‘Miss Julie’, the second a sinister bell-like triad at each mention of the You’ve your duty to do, whatever you say. and don’t you forget it. Count, the real villain of the piece, and the kitchen bell that personifies him. I shall hand in my notice. “Such subtleties may pass unnoticed, but my belief is that subconsciously they impinge on the ears JEAN and sensibilities of the listener, and in any case they were essential to me in composing the score and a JEAN I know what’s my duty substantial addition to the dramatic effect of the opera. For above all, an opera is composed for the And then? without you nagging, theatre and must be good ‘theatre’ as well as good music.” KRISTIN nagging, nagging! took me three years to complete, and I finished the final pages in a state of physical I’m not staying here. KRISTIN and mental exhaustion, drained dry by my total involvement in the pitiful tragedy of Miss Julie herself JEAN Don’t forget it! and the sheer intensity of the music I’d written. Don’t forget it! “The opera emphasizes and adheres strictly to Strindberg’s basic plot - necessarily so: it would And then – and then? have been arrogance on my part to interfere with an author's original conception. Even so, I did find that KRISTIN some of Strindberg’s symbolism was too contrived and inconsistent when the play was condensed to I shall hand in my notice. operatic proportions. This explains my reason for introducing an entirely new character into the cast - ULRIK Ulrik, the gamekeeper. Though not mentioned by name, Strindberg calls attention to him immediately JEAN A pretty domestic scene! And then – and then? Sweet as a couple of love-birds! the play begins. Jean, the Count’s man-servant, is describing the scene in the barn where the Midsummer Night’s dance is in full swing. ‘I looked in the barn,’ he says, ‘and there was Miss Julie KRISTIN JEAN leading the dance - in the gamekeeper’s arms - the of all people.’ … We’ll get married! 11 You’ve got a nerve, “Ulrik serves a dual purpose; he acts as foil to Kristin, the cook, who has long been having her own after last night! clandestine affair with Jean, and he’s the unwelcome intruder from the outside world who blunders into

10 39 KRISTIN KRISTIN the already highly-charged atmosphere of the kitchen where Jean and Julie are lost in a passionate Lies, lies! You were always a liar! Dancing! Dancing! embrace. In my opera I’ve substituted Ulrik for the chorus of villagers, heard approaching in Miss Julie was here. A pretty dance led her! Strindberg’s original stage direction singing a folk song. Ulrik’s drunken bawdy voice is heard off-stage, I know when you’re lying. just giving Jean time to conceal Miss Julie in the adjoining bedroom before he lurches in.” JEAN “If purists think I've taken too many liberties with Strindberg’s original, they must remember that JEAN Jealous – that’s what you are! an opera is a play; music conditions both words and action, and such liberties I taken are trivial It was Ulrik, I tell you. But believe what you like – KRISTIN compared with the ruthless alterations that some of the greatest opera composers inflicted on it’s no matter to me. Jealous! unfortunate authors through the medium of their librettists!”

JEAN ALWYN AND STRINDBERG Give me my razor. That’s what you are! It’s time I got shaved. Jealous! Jealous! In 1888 Strindberg completed his play and sent it to his Swedish publisher. He said it was KRISTIN KRISTIN Sweden’s first naturalistic tragedy and it would go down in history. Whatever you say, I know Jealous of No! No! Whether the play actually was naturalistic according to Zola’s strict principles has been open to you were here with the mistress. If it had been Clara question, but Strindberg’s long-term prophecy has certainly held good. proved to be a A woman always knows or one of the chambermaids, landmark in the development of the theatre, even if the publisher rejected it and it could not be staged when another’s concerned. I’d have scratched your eyes out! in Sweden until 16 year later. It was its success in Paris at Antoine’s – “une enorme But here with the mistress – How could you fall so low, sensation” - which drew world attention to it, and Sweden itself only appreciated the unique merits of behaving like that? JEAN its talented son when Reinhardt brought his German production of some of his plays to Stockholm after How could you? What’s wrong with that? the First World War. Look me in the face if you can. What’s wrong with that! What was remarkable and novel about the tragedy was its concentration, compactness and KRISTIN economy. Incidents which are spread over a time-span of only five hours are presented in an hour and a Wrong! It was downright wicked! half. The characters are limited to three, although the presence of others are marked by symbols - the Look me in the face if you can! I’m not staying here another day – all-important Count by his boots and the bell, and the servants on the estate by the brief interludes of a Miss Julie! I’m not staying here, chorus behind the scenes and a ballet. I’d never have thought it, not in a house where there’s no respect In his very perceptive operatic version of the play William Alwyn concentrated on its message and that I wouldn’t! for your betters. Miss Julie, of all people! matches the dramatist's economy by trimming down the musical score: “No lengthy soliloquies, no asides, no boring recitatives, no necessity for preliminary explanations or programme notes . . . Above JEAN JEAN Betters! all, the vocal line must always reproduce the inflections and rhythms of the spoken word”. These are his Nag, nag, nag! You’re just being jealous. They’re no better than us, own words. I can prove it. He cuts out the ballet and transfers the chorus to the gamekeeper, whom he brings on the stage in KRISTIN person, although Strindberg only lets his characters refer to him. He succeeds not only in transferring to Jealous! the opera stage all the excitement of the play but even in intensifying it. Altogether it is a brilliant work of adaptation - not surprisingly, since Alwyn was a poet and artist JEAN as well as a musician. How often have we found composers ruthlessly sacrificing the precious qualities Just because I went dancing – KRISTIN No better than us! of a book or play to the demands of their music? Alwyn has not only adhered strictly to Strindberg’s basic plot; he has matched the writer's genius with his own musical mastery.

38 11 I’ve been a fool – ‘MISS JULIE’ - out of my mind. But isn’t there some way out? There be some way out. Miss JULIE The entire action of the opera takes place in the kitchen of the Count’s country house in Sweden in 1895 You sound so cruel, Jean. - a large old-fashioned kitchen with a steep narrow staircase leading up to the residential quarters. At JEAN Speak to me gently. the foot of the stairs is the entrance to the maidservants’ rooms; on the opposite side is the door to Jean’s Yes. yes, with the money! JEAN bedroom. Through an open glass door at the rear of the kitchen can be seen a vista of the park. It is Miss JULIE An order always sounds cruel. Midsummer Night and a dance is in progress at the nearby barn - a dance for the servants and the I can’t, I can’t. Now you know what it feels like! workers on the estate. 8 It is late in the evening, but still light, and Kristin, the cook, though itching to join in the revelry, is JEAN still busy at the kitchen stove, stirring the contents of a saucepan. She is waiting impatiently for Jean to You must! come back to escort her to the barn. It is the coachman's day off and Jean, the Count's valet, has been You hate the Count … commandeered to drive the Count to his sister's estate where he is staying the night, leaving his daughter, Miss Julie, in sole charge of the house. Miss JULIE A sinister orchestral flourish announces the opening scene of Act I, then, as the curtain rises, the I can’t, I can’t – strains of a waltz can be heard drifting through the open doorway. JEAN KRISTIN Jean enters from the servants’ hall. He is carrying the Count's boots. He had looked in at the dance Don’t say you can’t. 9 Has she gone? and is full of enthusiasm for Miss Julie's dancing and describes her behaviour as ‘crazy!’ Kristin is angry You’ve lost your nerve. as she thought Jean had been acting as coachman for the evening. Jean attempts to explain, mimicking Just do as I tell you. Go upstairs. JEAN the Count’s voice, looking up at the kitchen bell which dominates his life. Go upstairs for the money. Who – who do you mean? Kristin goes back to the stove and Jean asks what she is cooking. It is for Miss Julie’s pet dog We’ve got to have it. KRISTIN - ‘the poor little bitch’. Jean is annoyed by the word ‘bitch’. ‘A dog is a dog in this kitchen!’ Kristin says The Count keeps the keys of his safe You know very well who I mean. she will get him a drink of beer but Jean produces a bottle of the Count's special wine. Excited by the in the drawer by his bed. dance and the drink he pulls Kristin on to his lap and starts to make love to her. They are interrupted by Get dressed, and pack a few clothes, Miss Julie's entrance. She is looking for Jean to partner her at the dance and has made the dog’s potion then come back here. And you’ve been drinking together! an excuse for entering the kitchen. Miss JULIE JEAN Jean speaks to Miss Julie in French and explains how he came to know the language and how he Come with me then, come with me, Yes, we did have a drink together, had learned to dance so well and how he has now come back to get married. The atmosphere is tense come with me. me and Ulrik. with hints of seduction. Miss Julie tells Kristin to go and get dressed for the dance. Kristin hurries off. In the distance the band starts to play another dance. Miss Julie persuades Jean to accompany her JEAN KRISTIN although he had promised to wait for Kristin. She walks to the garden door and sings of Midsummer What! Go above stairs? Ulrik! I don’t believe you. Night, a night of magic. They join in an ecstatic duet and go out into the park to the dance. You must be crazy! You know you can’t stand him, Kristin comes running in. ‘I’m ready, Jean!’ she cries. But the kitchen is empty. She flings her shawl I can’t go upstairs and you told me yourself he was still at the barn. on the chair and spits out one word - ‘Bitch!’ as the curtain falls. unless the Count rings. Now! Do as you’re told A short prelude introduces Scene 2. It begins moodily with snatches of the waltz tune gradually JEAN and be quick about it. resolving into an orchestral version of Miss Julie’s aria at the end of the previous scene when she All the same, it was Ulrik. succeeds in enticing Jean out into the park. The music is descriptive of their growing involvement.

12 37 it’s all so sordid; JEAN It is past midnight when the curtain rises, and the kitchen is in darkness except for the moonlight why should I tell you? I don’t want to die. that floods in through the open door. Jean and Miss Julie enter stealthily (are they already feeling a He took it all from her Better to start a hotel. dawning sense of guilt?). Jean tiptoes across to the entrance to the maidservants’ quarters and softly calls then treated her Kristin by name. There is no answer, and gradually the ill-assorted pair gain confidence. Miss Julie is like dirt. Miss JULIE At Lugano, capricious and provoking, alternately taunting Jean with his peasant-upbringing or blatantly egging him on to indulge his sensuality and abandon himself to her passion. At last they fall into each other's arms, JEAN where the sun is always shining, So that is why … and the oranges hang on the trees, but at that moment they are interrupted by the approach of Ulrik, the gamekeeper, himself in search of and the water is always blue … Miss Julie, roaring drunk and singing a bawdy ballad. Jean just has time to hide Miss Julie in his bedroom before Ulrik enters the kitchen. Miss JULIE JEAN A brawl follows, but at last Jean persuades him to go, only half convinced that Miss Julie is not Yes – she took poison. And it’s crowded with tourists! Good for hotels! there. He lurches out, singing the last verse of his vulgar song. His voice dies away in the distance and JEAN 7 If I only had enough money. ends in a burst of coarse laughter. Suicide! We have the money. Jean knocks at the bedroom door. ‘You can come out now’. Miss Julie is horrified. She has heard Ulrik’s insinuations and his taunt: ‘When the Count's away the cat will play’. All the servants are Miss JULIE Miss JULIE laughing at her and sooner or later her father is bound to find out. She can’t stay here. She must go away. I’ll never forgive him. Money? Money? Jean sees his opportunity to put a long-cherished plan into action. They must go away together and start Never, never! But how can we get it? I hate him! a hotel - in Switzerland - Lugano, where ‘it’s always summer, orange trees and a deep blue lake’. They I hate all men! JEAN must leave the very next morning as soon as it is daylight. In the meantime Miss Julie can spend the night From the Count! with him. He bolts the garden door, turns out the lights and goes into his bedroom. He calls to Miss Julie. JEAN He robbed your mother; Slowly she goes to join him. Their shadows are seen outlined as they embrace. The door closes, and the Do you hate me too? now your can get your own back. kitchen is left in darkness as the curtain falls. You said you loved me. It’s your only chance. Miss JULIE Miss JULIE No, I can’t do that! Act 2 begins with a passionate orchestral introduction, then the curtain rises on an empty kitchen I hate you too! I’m not a thief. dimly lighted by the red glow of dawn. Jean and Miss Julie come out of the bedroom. Jean is blustering I’d shoot you like a dog! with confidence. He has spent the night in Miss Julie's arms, and now he is eager to put his plan into JEAN action. All they need is the money for the journey and enough to start the hotel in Lugano. Miss Julie is Remember your mother! JEAN already bitterly regretting her escapade, but she knows that somehow she get away from the house. But you haven’t a gun, Miss JULIE Finally Jean persuades her to go upstairs and steal the Count's money. ‘You will only be getting your own so what can you do? No, no, no, I can’t do it. back’, he says, ‘after all, the Count spent every penny of your mother’s money and drove her to suicide’. ‘Come down when you're dressed and packed’. Reluctantly Miss Julie goes up the stairs, and Jean gives JEAN Miss JULIE a triumphant sigh of relief. I don’t know, I don’t know. Then the deal is off, and I stay here. Kristin enters, half dressed. She is suspicious of Jean and convinced that Miss Julie had spent the Oh, take me away, Jean, night with him. She points to the two dirty glasses on the table, and although Jean tries to persuade her just a few days, or a week – Miss JULIE that he has only been drinking with Ulrik, she does not believe him. All her principles are offended. ‘Class as long as we can Oh, you’re as hard as stone! with the money we have – is class’, she says, ‘and don't you forget it’. She too can’t stay there. She will hand in her notice, and then Talk to me kindly. they will get married. Jean is aghast, and retorts ‘Married to you! I’ve got more ambition than that’. But and then – we can die! Help me, tell me what to do. old habits die hard and when Jean puts on his stiff collar, Kristin automatically ties his bow tie for him,

36 13 as Ulrik, with gun and gamekeeper’s bag, enters unobserved. He has come to apologize for last night’s JEAN Miss JULIE brawl. No – I can’t – Not here, not here! A stormy argument develops and Jean grapples with Ulrik and tries to hustle him out of the I can’t hit a man when he’s down. If you want me again kitchen. Suddenly Kristin cries out ‘Stop it! Be quiet! There's someone moving upstairs’. She thinks the I’m sorry, you must take me away. I shouldn’t have said what I did. We still have time Count has come back and runs off to get dressed. Ulrik is already at the garden door when Miss Julie I don’t like to see you like this – to catch our train. starts to come down the stairs. She is dressed for travel, with a suitcase in one hand and her pet lap-dog at my feet. But I need a drink under her arm. she has the money. She is horror-stricken when she sees Ulrik, who strolls back into You, a lady! You, so proud! to give me strength. the kitchen and insolently demands a kiss before she elopes with Jean. Jean suddenly catches sight of the dog. He refuses to let Miss Julie keep it, and, tearing it away from her, hands it to Ulrik. ‘Take this vermin Miss JULIE away and shoot it!’ Ulrik stuffs it in his bag and goes out. Miss Julie tries to run after him but Jean brutally holds her back. ‘Kill me! Kill me too’ she screams. ‘I hate you! I wish to God I’d never seen you. I wish 5 Scum on the surface of water – JEAN sinking, sinking – I’d never been born!’ It’ll go to your head. down, down, always down. A gun-shot is heard outside. Ulrik has killed the dog. Kristin hurries in and Miss Julie runs to her But I love you – I love you still. for protection, but Kristin coldly rejects her. Miss Julie’s dream of escape to Lugano has vanished. Miss JULIE Does it matter? Does it matter? Utterly crushed she sinks into a chair, while Jean and Kristin hurl accusations at each other, regardless JEAN of her presence. Love! You were swept off your feet for a game on Midsummer Night! JEAN Suddenly the bell on the kitchen wall rings out with an urgent clamour. The Count is back. It’s vulgar to get drunk. Kristin hurries off to finish dressing, and Jean puts on his uniform striped waistcoat. To the despairing Miss JULIE Miss Julie he confesses: ‘That bell saps my strength’. ‘You can go away, but I can’t’. It was all a dream No, no! Miss JULIE on Midsummer Night. The half-crazed Miss Julie begs him to tell her what to do. She will do anything to I love you, I love you. 6 My mother got drunk, save her honour. Jean looks significantly at the open razor on the table. She can do as her mother did - but she wasn’t vulgar. suicide! JEAN She kept it so secret Do you mean what you say? The bell rings again. Miss Julie bars his way as he starts to make for the stairs. Brutally, he brushes that nobody guessed. You certainly meant it in bed her aside, and poor Julie, left alone, picks up the razor. Then, slowly, with a firm step, she walks out But how she suffered! when you lay in my arms, So good and so kind. through the garden door out into the park. naked and mad with desire. She wasn’t pretty, How lovely you were! but thought her lovely, so lovely.

JEAN How lovely you A lady! Do you mean what you say? Do you love me still? Miss JULIE She wasn’t a lady – Miss JULIE I mean – the nobility. I do, I do! Her grandfather died JEAN and left her a fortune. Then kiss me! My father the Count, married beneath him, married for money –

14 35 I’m not like other girls. Oh God, what shall I do? CD 1 2 JEAN Oh God. Oh God! And you said you’d die for me – Miss Julie is crazy, What devil made me think for a princess, a vision . . . ! ACT I utterly crazy! you loved me? JEAN 1 Scene I KRISTIN JEAN 4 I made that all up. The kitchen of the Count’s country house. Where have you been? Love’s no use without the money. You wanted romance and you got it! Miss JULIE Oh, you’re sordid and horrible! Miss JULIE JEAN You brute, you brute, Crazy! She was leading the dance JEAN to trade on my feelings! in the gamekeeper’s arms. You must take me as I am. You’re heartless, you’re heartless! Utterly crazy! Don’t come the lady with me! You led me on. KRISTIN ( JEAN You’ve been to the barn, Now don’t lose your head. Led you on? and I thought you were I’m not quite as bad as you think. You were quick enough taking the master. to let down your drawers Have a drink of this, when it suited your fancy! JEAN and you’ll feel far better. The moment she saw me Miss JULIE she dropped her partner, Miss JULIE How dare you, how dare you! rushed over to meet me That’s my father’s wine! Get up when you’re spoken to! and asked me to dance – You’re still a servant – JEAN with the vulgar mind KRISTIN Straight from the cellar! of a servant! So that’s where you were! Miss JULIE JEAN c JEAN You stole it! Get out of here. And how she could dance! JEAN Get out, get out of here! Her waltzing’s divine! Of course, I’m not your servant! why not? Tra–la, tra–la–la–la, tra–la–la–la–la. Miss JULIE Miss JULIE That’s right! Hit me! KRISTIN You’re a thief! Thief! Thief! It’s all I deserve. Let me be! Leave me alone! To think that I’ve thrown in my lot Hit me! Hit me! with a thief! I must have been mad! Oh, Jean, how could you?

34 15 KRISTIN JEAN Miss JULIE JEAN 3 But the Count – On the way back Not ever again, never again. That’s where come in. I looked in at the barn. Tell me you still love me. JEAN I couldn’t resist it. Miss JULIE I took him all right. 4 Music and dancing JEAN What do you mean? A job’s a job; go to my head! Yes. of course. I’ve none of my own – I know my place. only enough to pay for our fares. And there was Miss Julie Miss JULIE When that bell rings leading the dance. Say you mean it. JEAN I’m up like a shot. Crazy! utterly crazy! Nothing can be the same You’ve no money? ‘Yes, my lord, after tonight. Neither have I, no money – what are your orders?’ KRISTIN so we’re back where we started. She’s always been crazy, JEAN ‘Polish these boots.’ that’s nothing new – No need for sentiment now. Miss JULIE ‘As you please, my lord.’ but since the Countess died – It’s getting light But I must go away. And down I came. and there’s much to be done. I can’t remain here – Then that bell rings again; JEAN as your lover, your mistress – and back up the stairs! Took poison – you mean – Sit down there and everyone talking ‘Your orders, my lord?’ suicide. and listen to me, behind my back ‘It’s the coachman’s day off.’ and don’t interrupt. and pointing at me ‘Oh yes, my lord.’ KRISTIN I couldn’t bear it, ‘You must drive me instead.’ Since the Countess died, Miss JULIE I couldn’t bear it! ‘Where to, my lord?’ she’s gone quite mad. How cold you sound! ‘To my sister’s place.’ And only a moment ago You’ve got to take me away – ‘Very good, my lord; JEAN you were kissing me! away from the scandal, the scandal! when you’re ready, my lord.’ Crazy – utterly crazy! JEAN Sooner or later it’s bound to come out; To hell with that bell! We’ve other things sooner or later my father will know. On Midsummer Night KRISTIN to think of now. My father … ! of all times! She shouldn’t he here alone; The Count will return in an hour or so, Midsummer Night she ought to have gone with the Count. and we must be off before then. when everyone’s free Now. as to our plan … Oh God, what have I done? to do as they please! JEAN Oh God, Oh God! But I know my place, She hates the old man. Miss JULIE and a job’s a job. What plan? I took him all right, KRISTIN JEAN I’m not surprised. JEAN 3 What have you done? The hotel in Lugano. No more than plenty of other girls. KRISTIN Miss JULIE It’s not all that far Miss JULIE But to start a hotel but you took a long time. JEAN I’m not just one of your sluts! one needs a lot of money. 5 What’s that you’re cooking?

16 33 Miss JULIE Miss JULIE KRISTIN KRISTIN ‘Miss Julie’ no longer. Nothing to fear – nothing, nothing. I promised Miss Julie – Promise? You can call me ‘Julie’. I have no one left it’s for her dog, except you. the poor little bitch – JEAN JEAN When I say a thing it’s as good as done. Julie? – Julie? – no, no! JEAN I can’t – Watch your tongue! KRISTIN not while we’re still in this house. A dog is a dog in this kitchen! When you say a thing Your father, the Count – it’s as good as done! that bell will ring – JEAN KRISTIN and I’ll lose my nerve. Come, Miss Julie. Miss Julie says ‘bitch’. We must get away Miss JULIE before it is light. I’m coming, Jean. JEAN JEAN They can say what they like 6 By God, I’m thirsty! Miss JULIE above stairs. But tonight? But it’s not refined. KRISTIN Neither is she, come to that. I’ll get you a drink JEAN Out in the barn You’ll be safe with me. End of ACT I with that gamekeeper lout, all stinking of sweat! Miss JULIE CD 2 But how she could dance! JEAN I could sleep with Kristin. Light as a feather, Beer on Midsummer Night! ACT II The same – some hours later. and pretty. I can do better than that. JEAN 1 What a figure, what arms You can sleep with me. and what breasts!

KRISTIN KRISTIN Miss JULIE Jean! Jean! That’s the Count’s special! I’ll be safe with you . . . ? JEAN JEAN JEAN And how she can waltz! The master won’t miss it! I can promise you that. JEAN 2 Never again! KRISTIN Miss JULIE No better than me. But that drunken beast Miss JULIE KRISTIN may come back. Why did you do that – Will you dance with me, Jean, You’re worse than a thief, what do you mean? when I’ve finished this brew? but I have to admire you! JEAN You do what you want, I’ll bolt the door. JEAN JEAN and take what you want. You have nothing to fear. Never again polish his boots Oh yes, if you like. But when we are married – and bow and scrape!

32 17 JEAN JEAN Miss JULIE Married! Easy now! Easy now! Oh God . . . ! My father! In Lugano? You know what I’m like I couldn’t face that! KRISTIN when you get me excited! I can’t stay here. JEAN – you’ll have to behave, What can I do? You’ll love Lugano. or I’ll know the reason why! KRISTIN Where can I go? I like a man that’s a man! Miss JULIE JEAN What can I do? Is it beautiful? When we are married? JEAN But everyone’s crazy tonight – JEAN JEAN KRISTIN Miss Julie’s crazy, You must go away. It’s always summer, You promised! you’re crazy orange trees and a dark blue lake. and so am I! M1ss JULIE JEAN But you? Miss JULIE When I say a thing … It sounds wonderful. JEAN KRISTIN KRISTIN JEAN If the Count gets to know … it’s as good as done! Behave yourself! Behave yourself! We can start as soon as it’s daylight, I shall lose my job. before anyone’s stirring; JEAN So we’ll both have to go. JEAN in Malmo for breakfast, … it’s as good as done! Why should I? Why should I? We’ve done it before. and in three days time – KRISTIN You’ve no secrets from me. JEAN and Miss JULIE So you say – but I’m not sure ( 23 I know, I know … Lugano! that I trust you. All the same I’m fond of you. You must come away with me. JEAN KRISTIN We’ll go together. Lugano! You’re not like the others, Stop it, Jean, behave yourself! like the groom or the coachman, Miss JULIE Miss JULIE No, no, not now, or that Ulrik, the gamekeeper. But where? Where it’s always summer … You’re not like them. wait till later! No, Jean! JEAN You’re quite a gentleman! JEAN … and the sun is always shining … No wonder Miss Julie singles you out. JEAN Abroad! To Switzerland! But I’m not jealous. Oh yes, oh yes! Miss JULIE You know your place. Miss JULIE … orange trees and a deep blue lake. And a cook’s as good as a lady To Switzerland! It sounds wonderful! if it’s love you want! Miss JULIE But you must give me courage. 7 Kristin! Kristin, Kristin! JEAN Put your arms around me And when we’re there and say you love me. How handsome you are – KRISTIN we’ll start a hotel so handsome and so strong! Let me go, let me go! in Lugano. JEAN Handsome and strong! It’s Miss Julie. It’s a plan I’ve always had. I love you – Handsome and strong! you believe that, Miss Julie?

18 31 JEAN JEAN Miss JULIE Get out! Get out! Miss Julie! So you’re fond of scent When the Count’s away as well as dancing? the cat will play! You certainly know how to dance. ULRIK Where did you learn? JEAN ‘O roses lose their petals I don’t believe you. And my lady’s soon undone, JEAN In Switzerland. ULRIK If she takes off her knickers Miss JULIE ( Cat and mouse with our Jean! For a poaching lad Oh, there you are. Miss JULIE They are laughing their heads off! And plays with his poaching gun.’ Is it ready? In Switzerland? Can I take it with me? JEAN JEAN Laughing at me? KRISTIN At the best hotels. In a moment, Miss Julie. ULRIK JEAN Miss JULIE Cat and mouse! 22 You can come out now. ’s Where you learned to speak French? JEAN Miss JULIE JEAN Laughing at me! You heard what he said? Do you think it will work? Mais oui, Mademoiselle Julie. ULRIK Cat and mouse! Miss JULIE KRISTIN Miss JULIE The drunken beast! I’m sure of it, Vous êtes bien facile. JEAN it always works. You’re quite cosmopolitan. I don’t believe it! JEAN And that dirty song about you and me? Miss JULIE JEAN ULRIK Good! How clever you are. Well, I’ve travelled around Miss Julie has fallen for Jean! Miss JULIE from one job to another, What a lesson you’ll teach her in French! The coward! Lausanne, London and Rome, JEAN a waiter at one time, JEAN 8 Are you talking secrets? or a gentleman’s gentleman, JEAN And all of them talking … and now I’ve come home Get out, you devil, get out! to settle down. The Count shall hear of this! Miss JULIE It was all good experience, Behind my back! Miss JULIE I learnt the way of the world. ULRIK It’s no business of yours. Aw–right, aw–right, They’re all cowards, cowards! How to keep my end up, no need to take on. What shall I do? What shall I do? and how to attract the girls! My father is bound to hear. Oh, I’ve travelled around and learnt a few things, Cat and mouse with our Jean! JEAN billiards and cards and such like What a beautiful scent! in my spare time.

30 19 Miss JULIE Miss JULIE ULRIK JEAN Billiards and cards, Go away, you’re not to peep! But you’ve had your fling. Be careful what you’re saying! and dancing and French! Mr. High-and-mighty Jean. Don’t goad me too far! JEAN Next dance she has with me! Careful! Careful! JEAN What have you got there? Come on, where is she? Mind what you’re saying. Yes, I’ve travelled around Some witch’s brew for Midsummer Night That’s enough, that’s enough, from city to city. to tell your fortune and choose you JEAN you’ve said enough … Lugano, Geneva and Paris, a husband? What do you mean? What are you talking about? and now I’ve come home Miss JULIE to settle down Don’t be impertinent! JEAN and get married. You filthy devil, get out! KRISTIN ULRIK Miss Julie’s not here. Behave yourself! Where is she? Clear off and get back Miss JULIE You know very well what it is – to your ferrets and stoats. Kristin’s a lucky girl for Miss Julie’s bitch – I mean, dog – I bet I know! to marry a man to keep the other dogs off. ULRIK of so many talents! JEAN And leave you to creep in her bed! What else did you learn Miss JULIE You drunken sot! You’re a sly one, Jean, on your travels? Just what want. The dance is over. but you can’t fool me! Everyone’s gone to bed. JEAN Get out! Go home, you fool! How to deal with young ladies Thank you, Kristin. JEAN and, and – how to make love! Leave it to cool; ULRIK A joke’s a joke! I’ll come back for it later. Hard words can’t hurt. Don’t try me too far. Miss JULIE You can go and get dressed now. Be careful, be careful! Tiens, Monsieur! You don’t want to miss all the fun. JEAN Remember your place! But blows can! KRISTIN ULRIK Thank you, my lady. ULRIK Here’s to our darling mistress! I want my little lady! 9 Kristin, is it ready? What a girl she is, soft as a rabbit! JEAN KRISTIN JEAN And can’t she dance! Get out, or I’ll throw you out! Nearly, Miss Julie. I’ll wait for you. Next time I shan’t be so careful; I’ll hold her tight, KRISTIN and tickle her waist ULRIK I shan’t be long. and maybe I’ll pinch her bum! She’s the queen of the dance, and the talk of the barn. Do you know what everyone’s saying?

20 29 Miss JULIE But in a glade she met a lad Miss JULIE though he’s sweaty and smells – On Midsummer Night, So handsome, tall and fair, 10 There’s a new dance starting; or the coachman, on Midsummer Night, and leave me alone? With gun in hand and poaching bag, come with me, Jean, come and or one of your grooms, He caught her in his snare. dance with me. or – But roses lose their petals, JEAN And a lady’s soon undone JEAN Miss JULIE With a servant? But I said I would wait How dare you! Take my advice and go. JEAN for Kristin. I shall dance with whoever I like! Quickly – into the bedroom! Miss JULIE You are all of you servants! No, I shall stay. Miss JULIE None of you fit to kiss my shoe! No, not that way! Kristin won’t mind. You will do as you’re told JEAN In here! and dance with me. Leave me! ULRIK JEAN If she makes her bed But I promised. JEAN Miss JULIE Whatever you say, my lady. No! With a poaching lad And plays with a poacher’s gun’. Miss JULIE An order’s an order. Promised? JEAN Miss JULIE Leave me! JEAN It’s not an order. Miss JULIE I promised the next dance No, I shall stay! ULRIK to Kristin. Come with me, Jean; 21 Where is she? please, Jean. JEAN Miss JULIE Take my advice. JEAN Kristin! Why Kristin? JEAN Who do you mean? You’ll have plenty of time Very well, just to please you, Miss JULIE to dance with her I’ll come. Perhaps I can make your dreams come true. ULRIK when you’re married. Our darling, darling, mistress, Come along, Jean, JEAN Miss Julie! don’t waste time! Miss Julie – Miss Julie! JEAN JEAN Miss JULIE You’re drunk! But people will talk – Miss JULIE Jean! 11 You know why I came here tonight? ULRIK Miss JULIE Not so drunk I didn’t see you both Talk! why should they talk? JEAN sneaking, sneaking out of the barn. Yes, you came to fetch Kristin’s medicine. JEAN ULRIK They might think Miss JULIE ‘A lady went a-roaming, you were favouring me. You’re very provoking! All in the woods one day, JEAN It your ladyship wants a partner You know very well To look for rambling roses Put that bottle down, try Ulrik again. that was just an excuse … To make a fine bouquet. you’ve had too much already! You seemed happy enough in his arms

28 21 JEAN JEAN and Miss JULIE JEAN I meant to keep quiet, but now … now … ... to come and fetch me? A night for love, Perhaps. Yes I know. a night for laughter, Miss JULIE But you’d no end of partners no thought for tomorrow Yes, yes, go on! to choose from at the barn. or what may come after. Miss JULIE JEAN Miss JULIE Miss JULIE Have you ever been in love? You don’t know what it is But none like you, Jean, Ah! No servant – to be poor. You dance so well, JEAN Your world is above, you take the lead. JEAN What’s that to you? and you seldom look down. You know how to master me. No master, But I gazed from below And I need a master – Miss JULIE Miss JULIE at the eagles soaring I need one badly. No maid – Tell me. high over my head … I need you, Jean. and I saw you – JEAN JEAN a princess, a vision. JEAN and no mistress. Hundreds of times. And I thought Do you really mean what you say? I could die for you. JEAN and Miss JULIE Miss JULIE Miss JULIE And no one to say ‘No’ Really in love? Miss JULIE Come and see. on Midsummer Night. I think I understand … JEAN No – except once. JEAN 12 Midsummer Night, You can’t understand! O, night of magic Miss JULIE A dog may lie on a lady’s couch; when the world can forget Who was she? a horse can be stroked by her hand, its cares and sorrow, KRISTIN but a servant … with no thought for tomorrow. I’m ready, Jean! A night for love Tell me who she was. and a night for gladness; no servant, no master, no maid and no mistress, Miss JULIE and no one to say ‘No’ Jean! JEAN 20 But you can rise, Jean, to our heart’s desire 19 If you must know – it was you! you can climb … A dog can be petted, Midsummer Night, a horse can be stroked, O, night of stars Miss JULIE and a poor farm lad … and silver moonlight, Bitch! You’re mad – you can’t mean it. when the lilac is heavy with scent, JEAN and the dew shines bright on the grass, CURTAIN JEAN I’ve said too much, and the music is heady as wine – It’s true all the same. I’m going to bed. and you will be mine, and you can be mine! I wouldn’t have told you –

22 27 Miss JULIE JEAN ACT 1 Miss JULIE First kiss me. You’re crazy, crazy! Why don’t you sit down? Scene II The same, a few hours later. JEAN 13 JEAN All right – you’ve only yourself Miss JULIE The CURTAIN rises on an empty stage. What? Sit down in presence, to blame. No, no – ! my Lady! You’re playing with fire! How dare you! Miss JULIE Miss JULIE Supposing I order you to? How conceited you are! JEAN A real Don Juan … 18 Did you mean that? JEAN Then of course I’d obey. JEAN Miss JULIE Don’t try me too far! Yes, I meant it. JEAN Miss JULIE Miss JULIE 14 Kristin, Kristin . . . Kristin! Sit down then – ... or Joseph! JEAN Playing with fire, She’s either asleep, but first get me a drink. JEAN but the game was too risky. or won’t answer. Miss Julie! Well, a game’s a game, She’s angry because JEAN Miss JULIE and I’ve had enough. I went without her. There’s only beer. Do you see me as Potiphar’s wife? Not that I care! If you don’t mind, Miss JULIE JEAN I’ve some work to do. Miss JULIE I’ve simple tastes, Miss Julie! A fine sort of wife I prefer it to wine. she’d make you Miss JULIE Miss JULIE if she gets annoyed ... or Salome? Put those boots down! about nothing at all! JEAN JEAN JEAN So she’s gone to bed – Allow me. Miss Julie, for God’s sake! No! she’s as fat as butter, Miss JULIE When the Count comes back, and she probably snores! Would you like me to dance and that bell rings, and shed my seven veils he’ll expect them done. JEAN ‘til I’m naked before you? No, she doesn’t! Miss JULIE A job’s a job, You forget your manners, Monsieur Jean! JEAN and it’s not my job Miss JULIE A always drinks with a lady. You’re crazy! to act playmate to you. How do know? JEAN Miss JULIE JEAN Je ne suis pas un gentilhomme – Salome! That’s who I am – Miss JULIE Shall I tell you? but all the same – Salome! You’re proud, aren’t you? Salome!

26 23 Miss JULIE Miss JULIE JEAN Miss JULIE Now drink my health. Alone! Why Kristin’s in there! They’ll say you fell! If you want to climb now’s your chance! Don’t tell me you’re shy. JEAN Miss JULIE Come with me in the moonlight, But asleep. I don’t believe you. wander with me in the park, People are nicer than you think. while the air still echoes with music JEAN Miss JULIE and the dew is fresh on the grass. To my lady’s health! Then I’ll go and wake her. Time is too precious for dreaming, And it’s Midsummer Night, our moment soon will be gone. Miss JULIE if you want an excuse. Tonight is the night for our dream Bravo! Perhaps you’re right; to come true. 15 Now you can kiss my hand. I should not be here. Come and see if I’m right – Oh, Jean! alone in the moonlight, out in the park. Well done! Let’s go out in the park – How strong you are! No wonder they call you ‘Jean’! I love the moonlight, JEAN And such strong arms! it’s so romantic! You’re crazy – utterly crazy! JEAN Come with me, Jean! I believe you’re trembling! We shouldn’t do this. Miss JULIE JEAN Crazy? Everything’s crazy – JEAN Miss JULIE 16 That wouldn’t do either. life, humanity, love and laughter, Take care, Miss Julie! Why not? scum on the surface of water Miss JULIE ‘til everything sinks – Miss JULIE JEAN Why ever not? down, down, always down, Pourquoi, Jean? Supposing we were seen. You don’t imagine … sinking, sinking, for ever sinking … It’s a dream I have, JEAN Miss JULIE JEAN always recurring. Je ne suis qu’un homme. What of it? No, not me, Do you ever dream like that? but others might think … Ever like that? Miss JULIE JEAN Do you, Oh, do you? Only a man? Tongues start wagging – Miss JULIE A real man would kiss me! it soon gets around. That I’m falling in love with my father’s valet! JEAN 17 I have no time for dreams. JEAN Miss JULIE JEAN Besides, I don’t want to sink. Listen, Miss Julie, What do you mean? It’s been known to happen! I want to rise and climb listen to me … It’s been known to happen! ‘til I reach the top – JEAN and never come down. Miss JULIE They were staring at us in the barn. Miss JULIE Kiss me Jean! You weren’t exactly discreet. What do I care what people think, And drinking alone here at night – least of all servants! JEAN alone with a man! If I choose to step down … Listen …

24 25 SRCD.2218 2 CD STEREO ADD SET

WILLIAM ALWYN (1905 - 1985)

Opera in Two Acts

Libretto by the Composer (After the play by August Strindberg) CD 1 CD 2 Act I 62’34” Act II 55’22” Scene 1 26’05” Scene 2 36’29”

Miss Julie ...... Jean Kristin ...... Ulrik Philharmonia Orchestra conducted by

Repetiteur: Mary Nash

The above individual timings will normally include two pauses, one before the beginning and one after the end of each Scene or Act P 1983 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England. Digital remastering 1992 Lyrita Recorded Edition, England. C 1992 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the U.K. LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita by Wyastone Estate Limited, PO Box 87, Monmouth, NP25 3WX, UK