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CHAN 3022 CHANDOS O PERA IN ENGLISH

PETE MOOES FOUNDATION CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 2

Richard Strauss (1864–1949)

Der Rosenkavalier (The Knight of the Rose) (Highlights)

Libretto by Hugo von Hofmannsthal

AKG English version by Alfred Kalisch The Feldmarschallin, Princess of Werdenberg ...... Yvonne Kenny soprano Baron Ochs of Lerchenau ...... John Tomlinson bass Octavian, a young gentleman of noble family ...... Diana Montague mezzo-soprano Herr von Faninal, a rich merchant...... Andrew Shore Sophie, his daughter ...... Rosemary Joshua soprano Marianne, her duenna ...... Jennifer Rhys-Davies soprano Annina ...... Elizabeth Vaughan contralto Major-Domo/Landlord ...... Eugene Ginty tenor Valzacchi...... Gareth Roberts tenor Boots ...... Paul Parfitt bass-baritone Running Footmen Gareth Roberts tenor • Eugene Ginty tenor • Stuart MacIntyre baritone Neil Bellingham baritone • Paul Parfitt bass-baritone • Mark Campbell-Griffiths baritone Servants Paul Parfitt bass-baritone • Neil Bellingham baritone • Mark Campbell-Griffiths baritone Geoffrey Shaw bass-baritone • Nicholas Gedge baritone • Anthony Scales baritone The Peter Kay Children’s Choir Geoffrey Mitchell Choir London Philharmonic Orchestra Paul McGrath assistant conductor David Parry conductor 2 3 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 4

Act I (opening) 8:28 [p. 00] Act II (conclusion) 13:05 [p. 00] 1 Introduction – 3:10 [p. 54] 11 ‘Here I am’ 7:23 [p. 61] 2 ‘How you were! How you are!’ 5:17 [p. 54] Ochs, Servants, Annina Octavian, Marschallin 12 ‘Here.’ 5:42 [p. 62] Ochs, Annina Act I (conclusion) 21:24 [p. 00] 3 ‘Ah, there he goes…’ 5:08 [p. 54] Act III (conclusion) 23:08 [p. 00] 4 ‘Ah! You are back again?’ 5:59 [p. 55] 13 ‘Leupold, let’s go’ 2:26 [p. 63] 5 ‘For time is a mysterious thing’ 2:23 [p. 56] Ochs, Annina, Children, Waiters, Landlord, Valzacchi, 6 ‘My dearest love, why do you torture yourself…’ 4:46 [p. 57] Musicians, Coachmen, Boots 7 ‘I’ll go now, go to church, and pray’ 3:08 [p. 58] 14 ‘Oh God! The story was a masquerade and no more’ 2:40 [p. 64] Marschallin, Octavian Sophie, Octavian, Marschallin 15 ‘Now or tomorrow; if not tomorrow, very soon’ 5:12 [p. 66] Act II (opening) 13:01 [p. 00] Marschallin, Sophie, Octavian 8 Introduction – 16 ‘Marie Theres’, how good you are’ 5:14 [p. 67] ‘A solemn day, a wondrous day’ 2:00 [p. 58] Octavian, Marschallin, Sophie Faninal, Marianne, Major-Domo 17 ‘Bliss is too deep to understand’ 4:19 [p. 68] 9 ‘In this most wonderful and serious moment’ 3:40 [p. 58] Octavian, Sophie, Faninal, Marschallin Sophie, Marianne, Footmen 18 ‘Bliss is too deep to understand’ 3:17 [p. 68] 10 ‘It is an honour, an enchantment’ 7:21 [p. 60] Octavian, Sophie Octavian, Sophie TT 79:40 [p. 00]

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project. The ideas in the libretto let loose a the situations and characters may be thoroughly Strauss: flood of inspiration in his music and provided assimilated. Only then do I let the musical a setting that has held audiences from that day thought enter my brain. At that time the sub- to this. His enthusiasm for the project can be sketches become sketches. They are copied out, Conventional wisdom has it that after the English to British audiences pays such high judged by his completing the first act in elaborated, arranged for piano, and re-arranged revolutionary, avant-garde scores of Salome and dividends. December 1909 and the second by the as often as four times. That is the hard part of the Elektra, Richard Strauss gave up the innovatory Hofmannsthal had seen his fruitful beginning of April 1910. He had even written work; the part-scores [short score?], the struggle and took an easier road to success with collaboration with Strauss on Elektra as an the main melody for the final duet in Act III symphonic colouring, which follow are my Der Rosenkavalier. Nothing could be further opportunity to revive the status of the libretto before Hofmannsthal had written a text for it. creation. The score I write in my study straight from the truth. While the new work was in German opera, setting standards of As was to become the custom in his away, without trouble, working at it for twelve certainly not as aggressive or, for its day, as imagination and literary excellence never relationship with his illustrious collaborator, hours on end. Thus I make the work a dissonant as its two predecessors, it was equally before achieved. He first had the idea of Strauss made many suggestions of his own in homogeneous whole, and that is the main thing. ground-breaking in its own, more immediately presenting his librettos as straight plays before forging the final libretto. For instance he Mann points out that at this stage, 2 May appealing way. In no operatic work that adapting them for the opera house, but that expressed doubts – quite rightly – with the 1910, the work was still called Ochs auf preceded it had composer and librettist written plan was soon set aside as unworkable. Instead, middle part of Act III, from the arrival of the Lerchenau but had, just over three weeks later, such an obviously conversational piece in he began to formulate an idea for a comedy of Police Commissioner and, even with the found its ultimate title of Der Rosenkavalier. which the text, perhaps Hofmannsthal’s manners and went for inspiration to works by amendments agreed, this forms the weakest That suggests in the author’s mind a doubt masterpiece in the genre, is absolutely on a par Molière and Beaumarchais’s contemporary part of the work. Eventually the score was concerning the opera’s main character, with the music, so that the twin creators had Louvet de Couvray, culling a story from these completed by 16 September, a mere seventeen foretelling a discussion that has continued ever invented virtually a new genre of musical play. sources with French characters. The original months since Strauss had begun work on it – since. You could say that the Kavalier himself To an extent Puccini had attempted that in his locale was to be French but soon the plot was an extraordinary achievement for such a in the shape of Octavian is absolutely the three great masterpieces, but in none of them transferred to Vienna and the names suitably complex, heavily orchestrated opera. central character. He is on stage almost did he have a libretto of anything like the changed to those we know today. The text was As William Mann tells us in his study, The throughout the opera, except in the levée in subtlety and poetic illumination that written in an imaginary parlance based on Operas of Richard Strauss (Cassell, 1964), the Act I; he learns a big lesson of life as he he Hofmannsthal achieved for Strauss in Viennese and other dialects appropriate to the composer was interviewed by the Daily Mail develops from the Marschallin’s toy-boy into a Rosenkavalier, one in which it is important to social levels of the characters, something while he was working on Act III, and gave youthful lover of a girl his own age; his catch almost every word if we are to inevitably lost in translation, but the way in some hints about his working methods: conflicting moods are perfectly expressed in his understand the nuances of the text. That’s which text is married to music remains self- Before I improvise even the smallest sketch for an music – as in the opening, erotic scene of Act I why it is of the utmost importance to evident. opera I allow the text to permeate my thoughts and his petulant, teenage moodiness at the end understand the words and why giving it in Strauss was delighted with the whole and mature in me for at least six months, so that of the act. Then we hear him as the oaf Ochs’s 6 7 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 8

emissary falling in love with Sophie almost at before his forced departure in Act III, should Perron, the original Ochs, was a baritone, Act I first sight, and finally discover him in a remain an aristocrat even if a boorish, rather than bass, and the wrong shape, tall and The Marschallin’s Bedroom confused state, unable to cope with his very libidinous one. Entirely through his own fault, thin, for the part. It was soon given to Richard It is morning and the Marschallin is with her different feelings towards his two women until he is made to seem ridiculous, yet Strauss Mayr, the Viennese bass, for whom Strauss lover, the seventeen-year-old Octavian. They the Marschallin relieves him of his dilemma. makes us like the fellow; at least he doesn’t intended the role. He made it his own for the hear a noise at the door and, fearing that the The Marschallin herself is seen in the first stand for hypocrisy or Viennese double next twenty years and recorded extracts from Marschallin’s husband may be returning, scene as still an eager, teasing lover, then in her standards. So a whole world of human the work in 1933 with Lehmann as the Octavian disguises himself as a chambermaid. great monologue, she changes into a dignified behaviour is depicted here, one that still has Marschallin. But it is only the Marschallin’s cousin, Baron woman, feeling her age (though only thirty- relevance today, and however often we hear the Max Reinhardt had much to do with the Ochs von Lerchenau, who wishes to see her. three in the opera, that was then thought of as score, it still seems as fresh and as rich-hued as style of the premiere, though he was not The servants protest that it is too early, but he middle-aged). In the final scene of Act I, the when it was created ninety years ago. officially listed as producer, so it can be forces his way in. very core of the work, she – and Strauss – tell Reading the scenario for the first act, Strauss presumed it was dramatically truthful. Though True to form, he is immediately attracted by us and Octavian what all older lovers know, immediately saw that parts as carefully written local critics found the whole thing unsavoury the ‘chambermaid’, and the Marschallin that they will inevitably lose the younger as Octavian, the Marschallin and Baron Ochs that did not prevent it being an immediate presents her as her maid, Mariandel. Ochs person to someone their own age. ‘Now or would need very good actors as much as very success throughout Germany, and soon in explains that he is in Vienna to marry Sophie tomorrow’ is how Hofmannsthal puts it – and good singers. The first interpreters were rather Vienna, Prague and London. The Times critic von Faninal and that he wishes to send his the way Strauss has her express that change of different kinds of singers to those with which at the Dresden premiere wrote: ‘If this work fiancée a silver rose as a betrothal gift. He asks mood in his glorious music is emotionally we now cast the main parts. At the premiere in does not achieve universal acclaim, one surely the Marschallin to recommend a suitable overwhelming. Absent from Act II, she returns Dresden, the Marschallin was sung by must despair at the audience’s taste.’ He need nobleman to be his ‘Rosenkavalier’. She in the midst of the turmoil in Act III and by Margarethe Siems, famous in roles such as not have had any doubts – the work has won recommends Octavian, and shows Ochs a her tactful yet open and true behaviour, leaves Lucia, while at the first Berlin performance, and kept audiences’ attention ever since. miniature of him, from which he notes with the scene to the young ones, having spoken her Frieda Hempel, the Sutherland of her day, took pleasure his resemblance to Mariandel! words of experience to both Sophie and the part. Eva von der Osten was the first © 1999 Alan Blyth Ochs also wishes to ask his cousin to Octavian in turn. Octavian, an Elsa and Isolde, not the high recommend a lawyer and she suggests that he Sophie herself is no cipher, though she is mezzos now considered right for the part. Synopsis (excerpts recorded are shown in bold wait until her morning levée, when her own sometimes played as such, but a girl very much Lotte Lehmann, who was to become the most type) lawyer will be present. The levée begins and in aware of her position in life and aware finally noted of Marschallins, moved to that part after The opera is set in Vienna in the late 1700s. turn we meet the notary, the chef, an Italian of the hurt she has unwittingly caused to the singing Sophie and then Octavian. It was she Teresa, Princess of Werdenberg, is married to the singer and sundry others. Ochs consults the Marschallin’s feelings. Ochs, whom we hear in who set the type of voice we now usually hear Feldmarschall von Werdenberg and accordingly is lawyer about the marriage contract, but loses these extracts only at the end of Act II and just as the Marschallin, a warm lyric soprano. Carl titled the Feldmarschallin. his temper. 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hairdresser for making her look old, and then Faninal returns and presents Sophie to her conspiritors and eventually Annina enters, Competition she joined The Royal Opera, dismisses everyone. Before he goes, Ochs gives husband-to-be. Ochs’s boorish behaviour repels dressed as a widow with several children in where her roles have included Pamina (Die the Marschallin the silver rose, and asks two her, though he does not notice this and tow, and claims to be Ochs’s wife. Great Zauberflöte), Ilia (Idomemeo), Oscar (Un ballo in dubious Italians, Valzacchi and Annina, to withdraws with the lawyer to finalize the terms confusion follows and Ochs finally calls the maschera), Adina (L’elisir d’amore), Liù gather information about Mariandel. of the marriage contract. Sophie and Octavian police, but the commissioner does not believe (Turandot) and Donna Anna (Don Giovanni). Left alone, the Marschallin recalls how confess their love for each other, and she begs him when he says that Mariandel is his fiancée, She has also been a regular guest at English she was once a young bride, forced into an for his help in freeing herself from the Sophie von Faninal. No sooner has he said this National Opera, and at the opera houses of arranged marriage. Octavian returns and marriage. Annina and Valzacchi spy on the two than Faninal appears, already summoned by Glyndebourne, Venice, Vienna, Milan, Munich, senses that she is unhappy. She warns him of them and summon Ochs. Valzacchi and Octavian. Naturally, Ochs’s story Berlin, Paris and Zurich. She has appeared with that sooner or later he will leave her for Octavian explains to Ochs that Sophie will is proved to be false, and Octavian reveals the great orchestras throughout the world and someone younger. Octavian is confused and not marry him and the two fight a duel. Ochs Mariandel’s true identity to the police. at the Edinburgh, Aix-en-Provence and does not accept this, again declaring his love is lightly wounded and makes a great fuss. At this point the Marschallin appears, Salzburg Festivals. She also returns frequently to for the Marschallin. When she realizes that he Faninal is horrified, ordering Sophie to marry summoned by Ochs’s servants. She manages her native Australia. Her portrayal of the has left without a kiss she asks the servants to or go to a convent. Octavian is dismissed and to persuade the commissioner that the whole Marschallin for has call him back. But it is too late, and she asks enlists the help of the two Italians, persuading thing has just been a joke and the police been highly acclaimed, and she has repeated this her page to deliver the silver rose to Octavian. them to work for him rather than for Ochs. leave. Ochs realizes that his continued pursuit role in North America. Yvonne Kenny was Ochs rapidly recovers from his wound of Sophie is useless and leaves, followed by made a Member of the Order of Australia for Act II when it has been dressed and he has drunk waiters, coachmen, and others waiting to be Services to Music in 1989. Faninal’s Palace some more of Faninal’s good wine. After the paid. Yvonne Kenny’s many recordings include Herr von Faninal and his household are in a crowd has dispersed and Ochs is alone The Marschallin is left alone with Octavian Le nozze di Figaro, Die Entführung aus dem state of great excitement at the imminent Annina brings a message from the pretended and Sophie, and she realizes that the two are Serail, Elgar’s The Kingdom, Britten’s The arrival of the Rosenkavalier. He has been Mariandel, asking for a rendezvous. Ochs is already in love. She says to herself that she Beggar’s Opera and Gloriana, Handel’s Deborah, advised that etiquette demands he should be delighted and promises to send a reply. promised to love him decently, and in a Dyson’s The Canterbury Pilgrims (for absent when the bearer of the rose arrives, tender trio expresses her feelings. She goes to Chandos), and for Opera Rara Donizetti’s and leaves the house. Sophie is with her Act III console Faninal after the events of the day, Emilia di Liverpool, L’eremitaggio di Liverpool duenna, Marianne, who is at the window, A private room in an inn and leaves Octavian and Sophie together. and Ugo, Conte di Parigi, and Meyerbeer’s Il commenting excitedly on the events in the Valzacchi prepares the scene for the crociato in Egitto. street below. Octavian and his servants enter rendezvous, as Octavian, once again disguised, Born in Sydney, Yvonne Kenny is one of the and he presents Sophie with the silver rose. arrives to have supper with Ochs. There are most distinguished sopranos of her generation. John Tomlinson was born in Lancashire and They immediately feel attracted to each other. strange interruptions from Valzacchi’s After winning the Kathleen Ferrier studied Civil Engineering at Manchester 10 11 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 12

University before winning a scholarship to the with Glyndebourne Touring Opera she has roles there have included , Dieg (Philip (The Rake’s Progress) at the Glyndebourne Royal Manchester College of Music. He has appeared in the world’s leading opera houses Glass’s The Making of the Representative for Festival, Cleopatra (Julius Caesar) at the sung regularly with English National Opera and concert halls including: the Royal Opera Planet 8), Papageno (The Magic Flute), Florida Grand Opera, Poppea (Agrippina) at since 1974 and with The Royal Opera since House, Covent Garden; the Metropolitan Monsieur Calcul (La belle Vivette), Don La Monnaie, and the title role in The Cunning 1976, and has also appeared with Opera Opera, New York; the Monnaie, Brussels; the Pasquale and . He has worked Little Vixen at the Flanders Opera. Concert North, Scottish Opera, Glyndebourne Festival Paris Bastille; Teatro Colon, Buenos Aires; and for all the major British Opera Companies, engagements include appearances with Sir and Touring Operas and . John the Bayreuth and Salzburg Festivals. including The Royal Opera, , Simon Rattle, Mark Elder, Frans Brüggen, Tomlinson has a large concert repertoire and Her repertoire includes the major mezzo- Scottish Opera, Glyndebourne Festival Opera, René Jacobs and Nicholas McGegan. has sung with all the leading British soprano roles by Mozart, Gluck, Strauss, Kent Opera and Welsh National Opera, as well Rosemary Joshua’s recordings include Handel’s Orchestras, and in Germany, Italy, Belgium, Rossini, Bellini and Berlioz. Her frequent as appearing abroad with New Israeli Opera, Orlando and Humperdinck’s Hänsel und Gretel. Holland, France, Spain, Denmark and the concert engagements have included many San Diego Opera, the Opéra comique, Paris, USA, working with such conductors as performances with leading conductors. and in Lyon, Nantes, Montpellier, Amsterdam, Jennifer Rhys-Davies has sung in all the major Barenboim and Haitink. Engagements have included Junon (Platée with Vancouver and Hamburg. His recordings opera houses of Great Britain as Lady He has sung at the every The Royal Opera), Marguerite (La damnation include The Makropulos Affair, and for Macbeth, Donna Elvira, Miss Jessel, Lucia, year since 1988, where he has been heard as de Faust in Geneva), Iphigénie en Tauride in Chandos/Peter Moores Foundation The Barber Donna Anna and the Queen of the Night. She Wotan (Das Rheingold and Die Walküre), the Buenos Aires, Madrid and with Welsh National of Seville, , La bohème and . has sung in Germany and Switzerland as Wanderer (Siegfried), Titurel and Gurnemanz Opera, Ermione (Glyndebourne), Le comte Ory Semiramide, Sieglinde, the Queen of the Night (Parsifal) and King Mark (). (in Lausanne, Rome and Glyndebourne), La Born in Cardiff, Rosemary Joshua’s many and Hilda (Elegy for Young Lovers). At the Other roles include Hans Sachs (Die clemenza di Tito and Gluck’s Orfeo operatic roles include Susanna, Adele, (Die she has sung Berta, Meistersinger), Landgraf (Tannhäuser), Hagen (Glyndebourne), and in Fledermaus), the title roles in Semele and Amaltea (Mosè in Egitto), Clorinda (Götterdämmerung) and Baron Ochs (Der Lisbon. Diana Montague’s many recordings Princess Ida, Norina (Don Pasquale) and Sophie (La Cenerentola) and Marianne. Rosenkavalier). Recordings include the Ring include I Capuleti e I Montecchi, Norma, Lucia (Der Rosenkavalier) for English National In 1998 she made her debut at the cycle, Verdi’s La forza del destino, Handel’s Julius di Lammermoor, Iphigénie en Tauride, Il crociato Opera, Susanna at the Glyndebourne Festival, Glyndebourne Festival as the Italian Soprano Caesar, Donizetti’s Mary Stuart, and La traviata in Egitto (for Opera Rara) as well as Cavalleria Olga (Fedora) at Covent Garden, the title role (Capriccio), sang at the Grand théâtre de (for the Peter Moores Foundation), and rusticana and a disc of operatic arias (for in La Calisto and Pamina (Die Zauberflöte) at Limoges as Olympia, and at the Theater Basel. highlights from Mussorgsky’s Boris Godunov (for Chandos/Peter Moores Foundation). La Monnaie, Brussels, Semele in Aix-en- Future plans include Rosalinde (Die Chandos/Peter Moores Foundation). Provence, the Innsbruck Festival and at the Fledermaus) in Nürnberg, and Arminda Andrew Shore is now acknowledged as Flanders Opera, and Juliette (Roméo et Juliette) (La finta giardiniera) and Elettra (Idomeneo) at Diana Montague studied at the Royal Northern Britain’s premier buffo baritone. Since making for San Diego Opera. the Theater Basel. Recordings include Orazi e College of Music. Since her debut as Zerlina his English National Opera debut in 1988, Future engagements include Anne Trulove Curiazi (for Opera Rara) and The Barber of 12 13 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 14

Seville (for Chandos/Peter Moores performance at English National Opera where Since 1964, it has been resident symphony companies and symphony orchestras. He gave Foundation). Peter Kay is Children’s Adviser, the Finchley orchestra at Glyndebourne Festival Opera and, the Spanish premiere of Peter Grimes in Children’s Music Group, New London in 1992, the orchestra became resident Madrid, and in 1996 he conducted the first Elizabeth Vaughan made her debut with Welsh Children’s Choir, The Jennifer Lilleystone symphony orchestra at the Royal Festival Hall. Spanish production of The Rake’s Progress, National Opera as Abigaille (Nabucco), and she Singers and schools all over London and the It also tours extensively, being the first British inaugurated two new concert halls with subsequently sang many roles with The Royal south of England. orchestra to visit the USSR and China, and its Beethoven’s Ninth Symphony and a new opera Opera including Butterfly, Liù, Violetta, recordings have won many major awards. house with Carmen. He has also appeared in Leonora (Il trovatore), Donna Elvira and Geoffrey Mitchell’s singing career encompassed Italy, where he conducted Ricciardo e Zoraide Elettra. She has appeared frequently with a remarkably wide repertoire from early to David Parry studied with Sergiu Celibidache in the Rossini Opera Festival at Pesaro, in English National Opera, Welsh National contemporary music. This resulted in and began his career as Sir John Pritchard’s France, Germany, Belgium, Holland, and in Opera, Opera North and Scottish Opera. Her conducting invitations from the BBC and assistant. He made his debut with English Sweden where he conducted an acclaimed many overseas appearances include the subsequently to a wider involvement with his Music Theatre and went on to become a staff production of Britten’s A Midsummer Night’s , Vienna, Berlin, Hamburg own singers and this led to the establishment conductor at Städtische Bühnen Dortmund Dream. and Paris. Since transferring to the mezzo- of the Geoffrey Mitchell Choir. Early and at Opera North. He was Music Director Outside Europe David Parry has appeared at soprano repertoire in 1990 roles have included recordings resulted in the choir’s long-term of Opera 80 from 1983 to 1987, and since the Hong Kong International Festival, with the Herodias, the Witch (Hänsel und Gretel), involvement with Opera Rara for whom they 1992 has been the founding Music Director UNAM Symphony Orchestra at Mexico City, Auntie (Peter Grimes), and Annina. Future have recorded fifteen operas, and it is currently of the contemporary opera festival Almeida with a tour of Carmen in Japan and, in 1996, plans include Madame de Croissy (Dialogues enjoying a growing reputation with further Opera. conducting a new production of Katya des carmélites) and Herodias. Recordings work from the BBC and international He pursues a busy career both in opera and Kabanova for the New Zealand Festival. include Vivaldi’s Gloria and Maxwell Davies’s recording companies. in concert. His repertoire extends from Mozart He has recorded extensively for the Opera Doctor of Myddfai. and early nineteenth-century Italian opera to Rara label, the most recent issue being The London Philharmonic Orchestra was Janácˇek, Britten and contemporary music. In Donizetti’s Rosmonda d’Inghilterra, which won The Peter Kay Children’s Choir provides formed in 1932 by Sir Thomas Beecham. Over England he has appeared regularly at English the Prix Cecilia in Belgium and for Chandos young singers with opportunities in opera, the years it has attracted an unmatchable series National Opera and in concert with the he has conducted the award-winning recording concerts, commercials (TV and Radio), charity of Principal Conductors, including Sir Adrian Philharmonia. In 1996 he made his debut at of Tosca, three recordings of operatic arias events, festivals and theatre productions in Boult, Sir John Pritchard, Bernard Haitink, Sir the Glyndebourne Festival with Così fan tutte. (with Bruce Ford, Diana Montague and UK, France, Belgium, Holland, Germany, Georg Solti and Klaus Tennstedt. Its current He is a frequent visitor to Spain where he Dennis O’Neill), Don Pasquale, Faust, La Spain and the USA. Its membership is by regular conductors include Music Director has appeared with most of the opera bohème, Cavalleria rusticana and Pagliacci. invitation and audition, drawing participants Franz Welser-Möst, and President Bernard from those already experienced in singing Haitink. 14 15 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 16

to various young artists, several of whom – such as Geraint Evans, Joan Sutherland and Colin PETER MOORES, CBE, DL Davis – have since become world-famous. Moores has always been astute in his recognition Peter Moores was born in Lancashire in 1932, son of Sir John Moores, founder of the giant of potential quality. In 1964 he set aside a large slice of his inheritance to found the Peter Littlewoods mail order, chain store and football pools group. He was educated at Eton and Moores Foundation, a charity designed to support those causes dear to his heart: to make Christ Church, Oxford, where he read Modern Languages. He was already fluent in music and the arts more accessible to more people; to give encouragement to the young; to German and Italian. It was opera which was his great love, however. He had worked at fight discrimination and to improve race relations. 99% of the Foundation’s money has come Glyndebourne before going up to university, and at the end of his second year he left from Peter Moores’s own pocket – so far about £33 million in today’s money. Oxford to become a production student at the Vienna State Opera. He was required to attend morning rehearsals and evening performances, but the afternoons were free, so he enrolled as well for a four-year course at the Viennese Academy of Music and Dramatic Art. PETER MOORES FOUNDATION By the end of his third year Moores had produced the Viennese premiere of Britten’s In the field of music, the Peter Moores Foundation awards scholarships to promising young The Rape of Lucretia, had worked as Assistant Producer at the opera singers through the Royal Northern College of Music. Financial help may be given also San Carlo Opera House, Naples, the Geneva Festival and the to enable a singer to study abroad, or to work on a new role with an acknowledged expert in Rome Opera, and seemed set for a successful operatic career. the repertoire. At this point he received a letter from his father asking him In the last twenty years the Foundation has supported the recording of forty operas. Many to come home as he was needed in the firm. Family loyalty are sung in English, in translation, because Moores believes that in the popular repertoire, ‘what people want is to be able to follow the plot of an opera and understand what is going

was paramount and he returned to Liverpool immediately. Christina Burton/PMF By 1977 he was Chairman of Littlewoods. Three years on’. Others are of interesting but unperformed Italian operas from the early nineteenth later he stepped down from the post, although still century (the age of bel canto), which are otherwise only accessible to scholars. Accessibility is remaining on the Board, and was director of a merchant the key word. bank. From 1981 to 1983 he was a Governor of the BBC, The same criterion holds where live opera is concerned. So the Foundation may sponsor and a Trustee of the Tate Gallery from 1978 until 1985. In Welsh National Opera, performing for a week at the Liverpool Empire and charging only May 1992 he became a Deputy Lieutenant of Lancashire. £2.50 per ticket – the provision being that each ticket holder must be a first-time opera And in the New Year’s Honours List for 1991 he was made a visitor – or it may fund the production at Glyndebourne of Ermione, a bel canto opera never CBE for his charitable services to the Arts. before performed in England. He had started his early twenties giving financial support Peter Moores, CBE, DL The aim is always the same: availability. ‘Share and enjoy’ is his philosophy.

16 17 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 18 Bill Rafferty Bill Rafferty Bill

Yvonne Kenny as the Marschallin and John Tomlinson as Baron Ochs in the English National Opera Yvonne Kenny as the Marschallin production of Der Rosenkavalier

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jene umgewandelt wurden, die wir heute wurde am 16. September vollendet, ganze Strauss: Der Rosenkavalier kennen. Der Text ist in einer aus wienerischer siebzehn Monate, nachdem Strauss die Arbeit Mundart und anderen Dialekten daran begonnen hatte – eine außerordentliche zusammengestzten, dem gesellschaftlichen Leistung für eine so komplexe, wuchtig Man geht allgemein davon aus, daß Strauss im dem man auf fast jedes Wort aufpassen muß, Stand der Figuren angepaßten Kunstsprache orchestrierte Oper. Anschluß an die revolutionären, avant- um die Feinheiten des Textes mitzubekommen. abgefaßt, was bei der Übersetzung ins Wie uns William Mann in seiner gardistischen Kompositionen Salome und Es ist also von äußerster Wichtigkeit, den Text Englische zwangsläufig verlorengeht. Untersuchung The Operas of Richard Strauss Elektra den Kampf um Innovation aufgegeben zu verstehen, und darum macht es sich auch so Immerhin aber bleibt die Art, wie der Text mit (Cassell, 1964) berichtet, gewährte der und mit dem Rosenkavalier einen einfacheren sehr bezahlt, einem britischen Publikum die der Musik verknüpft ist, offenkundig. Komponist, während er am dritten Akt Weg zum Erfolg gewählt habe. Doch weit Oper in englischer Sprache nahezubringen. Strauss war von dem ganzen Projekt arbeitete, der britischen Tageszeitung Daily gefehlt: Das neue Werk war zwar gewiß nicht Hofmannsthal hatte seine erfolgreiche begeistert. Die im Libretto enthaltenen Ideen Mail ein Interview und gab darin einige so aggressiv und für seine Zeit nicht so Zusammenarbeit mit Strauss an Elektra als lösten eine Flut der Inspiration in seiner Musik Hinweise auf seine Arbeitsmethode: dissonant wie beide Vorgänger, doch war es auf Gelegenheit gesehen, das Ansehen des aus und ermöglichten eine Vertonung, die das Bevor ich auch nur die kleinste Skizze für eine seine eigene, direkter ansprechende Art Librettos in der deutschsprachigen Oper neu Publikum von damals bis heute gefesselt hat. Oper improvisiere, lasse ich den Text auf mein gleichermaßen bahnbrechend. Für keine zu beleben und Maßstäbe der Inspiration und Sein Enthusiasmus für das Projekt läßt sich Denken einwirken und mindestens sechs Monate andere Oper hatten Komponist und Librettist literarischen Qualität zu setzen, die nie zuvor daran ermessen, daß er den I. Akt schon im heranreifen, um die Situationen und Figuren bis dahin ein so offenkundig zwangloses Stück erreicht worden waren. Er hatte zunächst die Dezember 1909 und den Zweiten Anfang April gründlich zu assimilieren. Erst dann lasse ich den geschaffen, dessen Text, wahrscheinlich Absicht, seine Libretti als reine Theaterstücke 1910 fertiggestellt hatte. Sogar die Haupt- Gedanken an Musik in mein Gehirn einziehen. Hofmannsthals Meisterwerk in diesem anzulegen und erst danach für die melodie für das Schlußduett im III. Akt hatte Um diese Zeit werden aus den Vorskizzen Bereich, sich auf genau dem gleichem Niveau Opernbühne zu bearbeiten, doch dieses er bereits notiert, noch ehe Hofmannsthal den Skizzen. Sie werden kopiert, ausgebaut, für wie die Musik bewegt: Die beiden Verfasser Vorgehen wurde bald als unpraktisch Text dafür geschrieben hatte. Klavier arrangiert und bis zu viermal neu haben praktisch eine neue Form des aufgegeben. Statt dessen begann er eine Idee Wie es in der Beziehung zu seinem illustren bearbeitet. Das ist der schwere Teil der Arbeit; die musikalischen Schauspiels erfunden. Puccini für eine Sittenkomödie auszuformulieren, Mitarbeiter zur Gewohnheit werden sollte, Einzelstimmen, die sinfonische Tongebung, die hat in seinen drei großen Meisterwerken suchte Inspiration in Werken von Molière und steuerte Strauss zur Erstellung des endgültigen darauf folgen, sind meine Schöpfung. Die gewissermaßen das gleiche versucht, doch hatte Beaumarchais’ Zeitgenossen Louvet de Librettos zahlreiche eigene Vorschläge bei. Partitur schreibe ich in meinem Arbeitszimmer er für keines ein Libretto, das es an Raffinesse Couvray und entnahm diesen Quellen eine Zum Beispiel äußerte er – durchaus berechtigte auf Anhieb, ohne Schwierigkeiten und arbeite und dichterischer Erleuchtung auch nur Geschichte mit französischen Figuren. Der – Zweifel am Mittelteil des dritten Akts ab zwölf Stunden an einem Stück daran. So mache annähernd mit dem aufnehmen konnte, was Originalschauplatz sollte Frankreich sein, doch dem Eintreffen des Polizeikommissars, der ich aus dem Werk ein homogenes Ganzes, und Hofmannsthal für Strauss mit dem es dauerte nicht lange, bis die Handlung nach selbst mit den vereinbarten Änderungen der das ist die Hauptsache. Rosenkavalier geleistet hat – ein Libretto, bei Wien verlegt und die Namen entsprechend in schwächste Teil des Werks ist. Die Partitur Mann weist darauf hin, daß das Werk in 20 21 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 22

diesem Stadium, nämlich am 2. Mai 1910, in ihrem großen Monolog verwandelt sie sich wenn auch ein flegelhafter und lüsterner. Er berühmteste Marschallin werden sollte, ging zu noch Ochs auf Lerchenau hieß, aber bereits in eine würdevolle Frau, die ihre Jahre spürt macht sich durch eigene Schuld gründlich dieser Rolle über, nachdem sie bereits Sophie etwas über drei Wochen später den endgültigen (sie ist in der Oper zwar erst dreiunddreißig, lächerlich, aber Strauss sorgt dafür, daß wir den und dann Oktavian gesungen hatte. Sie war es, Titel Der Rosenkavalier gefunden hatte. Das aber damit war man seinerzeit schon im Burschen gern haben: Wenigstens hat er für die den Stimmtypus bestimmen half, den wir läßt auf Zweifel des Autors im Hinblick auf die mittleren Alter). Im Schlußbild des I. Akts, Heuchelei oder die wienerische Doppelmoral heute gewöhnlich als Marschallin hören, einen Hauptfiguren der Oper schließen und eine dem eigentlichen Kern der Oper, teilen sie und nichts übrig. Es wird hier also eine ganze Welt warmen, lyrischen Sopran. Carl Perron, der Diskussion vorhersehen, die bis heute anhält. Strauss uns und Oktavian mit, was alle älteren menschlicher Verhaltensweisen vor Augen erste Ochs, war ein Bariton, kein Baß, und war Man könnte behaupten, daß der Kavalier Liebenden wissen: daß sie den Jüngeren geführt, die auch für die heutige Zeit noch obendrein zu groß und zu dünn für die Rolle. selbst, verkörpert durch Oktavian, absolut die zwangsläufig an jemanden verlieren werden, relevant sind, und wie oft wir die Musik auch Sie wurde bald an Richard Mayr Zentralfigur sei. Er ist mit Ausnahme des der vom Alter her zu ihm paßt. “Now or hören mägen, wird sie doch immer so frisch weitergereicht, einen Wiener Baß, für den Morgenempfangs im I. Akt fast die ganze Oper tomorrow”, heißt es bei Hofmannsthal – und und üppig bunt erscheinen wie damals vor Strauss eigentlich die Partie vorgesehen hatte. hindurch auf der Bühne; er erhält eine Lektion die Art, wie Strauss sie diesen Stimmungsum- neunzig Jahren, als sie geschaffen wurde. Mayr machte sie sich in den nächsten zwanzig fürs Leben, als er sich vom Gespielen der schwung mit Hilfe seiner herrlichen Musik Als er das Szenarium für den I. Akt zu lesen Jahren zueigen und hat 1933 zusammen mit Marschallin zum jugendlichen Liebhaber eines ausdrücken läßt, ist emotional überwältigend. bekam, erkannte Strauss sogleich, daß Partien, Lotte Lehmann als Marschallin Auszüge aus Mädchens in seinem eigenen Alter entwickelt; Nachdem sie im II. Akt abwesend war, kehrt die mit soviel Sorgfalt geschrieben sind wie dem Werk auf Schallplatte aufgenommen. seine diversen Stimmungen finden in der sie im Tumult des III. Akts zurück und Oktavian, die Marschallin und Baron Ochs, Max Reinhardt hatte viel mit dem Stil der Musik vollkommenen Ausdruck – so zum überläßt mit ihrem taktvollen, aber offenen nicht nur sehr guter Sänger, sondern auch sehr Uraufführung zu tun, auch wenn er nicht Beispiel in der einleitenden erotischen Szene und wahrhaftigen Gebaren die Szene den guter Schauspieler bedurften. Die ersten offiziell als Regisseur genannt wurde, so daß im I. Akt oder am Ende des Akts, wo seine jungen Leuten, nachdem sie nacheinander Interpreten waren Sänger einer ganz anderen man annehmen darf, daß sie von der Dramatik Bockigkeit und knabenhafte Launenhaftigkeit sowohl Sophie als auch Oktavian Worte der Art als die, mit denen wir die Hauptrollen her realistisch angelegt war. Die örtliche Kritik dargestellt werden. Wir hören, wie er sich als Erfahrung mit auf den Weg gegeben hat. heute besetzen. Bei der Dresdener fand die ganze Sache unerfreulich, aber das Abgesandter des plumpen Ochs beinahe auf Sophie ist ebenfalls keine Klischeefigur, auch Uraufführung wurde die Marschallin von hinderte die Oper nicht daran, in ganz den ersten Blick in Sophie verliebt, und wenn sie manchmal so dargestellt wird, Margarethe Siems gesungen, die für Rollen wie Deutschland und bald darauf in Wien, Prag schließlich entdecken wir ihn im Zustand der sondern ein Mädchen, das sich seiner Stellung Lucia berühmt war, während bei der Berliner und London ein sofortiger Erfolg zu werden. Verwirrung, unfähig, mit den unterschied- im Leben klar bewußt ist und am Ende die Erstaufführung Frieda Hempel, die Joan Der von der Times zur Uraufführung nach lichen Gefühlen für die zwei Frauen in seinem Kränkung erkennt, die es der Marschallin Sutherland ihrer Zeit, die Rolle übernahm. Eva Dresden entsandte Kritiker schrieb: “Wenn Leben fertigzuwerden, bis die Marschallin ihm ungewollt zugefügt hat. Ochs, den wir in van der Osten war der erste Oktavian, dieses Werk nicht allgemeine Zustimmung aus seinem Dilemma heraushilft. diesen Auszügen nur am Ende des II. Akts und ansonsten eine Elsa und Isolde und nicht der findet, muß man gewiß am Geschmack des Die Marschallin selbst erleben wir im ersten kurz vor seinem erzwungenen Abgang im hohe Mezzosopran, der heute in der Rolle Publikums verzweifeln.” Seine Zweifel waren Bild als lustvolle, neckende Liebhaberin, aber III. Akt hören, sollte ein Aristokrat bleiben, besetzt wird. Lotte Lehmann, die die unnötig – das Werk hat die Aufmerksamkeit 22 23 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 24

des Publikums auf sich gezogen und sie sich bis Verlobten als Brautgeschenk eine silberne Rose streitet alles ab und beteuert erneut seine Eheversprechen zu entziehen. Annina und auf den heutigen Tag bewahrt. übersenden wolle. Er bittet die Marschallin, Liebe zur Marschallin. Als sie merkt, daß er Valzacchi belauschen das Paar und rufen Ochs einen adligen Herren zu nennen, der geeignet ohne einen Kuß gegangen ist, bittet sie die herbei. © 1999 Alan Blyth sei, ihm als “Rosenkavalier” zu dienen. Sie Dienerschaft, ihn zurückzurufen. Doch es ist Oktavian erklärt, daß Sophie Ochs nicht empfiehlt Oktavian und zeigt Ochs ein Porträt, zu spät, und sie befiehlt ihrem Pagen, Oktavian heiraten werde, und die zwei Männer fechten Inhaltsangabe (die eingespielten Ausschnitte in dem er mit sichtlichem Vergnügen die silberne Rose zu bringen. ein Duell aus. Ochs wird leicht verwundet und sind fett gedruckt) Ähnlichkeiten mit Mariandel erkennt! erhebt ein großes Geschrei. Faninal ist entsetzt Die Oper spielt Ende des 18. Jahrhunderts in Ochs möchte seine Base außerdem bitten, II. Akt und verfügt, daß Sophie entweder heiraten Wien. Teresa, die Fürstin Werdenberg, ist mit ihm einen Notar zu empfehlen, und sie schlägt Im Palais Faninal oder ins Kloster gehen soll. Oktavian wird Feldmarschall von Werdenberg verheiratet und vor, er möge bis zum morgendlichen Lever Herr von Faninal und sein gesamter Haushalt fortgeschickt und versichert sich der Hilfe der trägt darum den Titel Feldmarschallin. warten, bei dem ihr eigener Notar zugegen sein befinden sich wegen der bevorstehenden beiden Italiener, indem er sie überredet, für ihn werde. Der Morgenempfang beginnt, und wir Ankunft des Rosenkavaliers in heller anstatt für Ochs zu arbeiten. I. Akt begegnen nacheinander dem Notar, dem Aufregung. Man hat ihm mitgeteilt, die Ochs erholt sich rasch von seiner Im Schlafgemach der Marschallin Haushofmeister, einem italienischen Sänger Etikette verlange seine Abwesenheit, wenn Verletzung, sobald diese verbunden ist und er Es ist Morgen, und die Marschallin ist mit und diversen anderen. Ochs zieht den Notar der Überbringer der Rose erscheint, und er noch von Faninals gutem Wein getrunken ihrem Liebhaber zusammen, dem wegen des Ehevertrags zu Rate, verliert jedoch verläßt das Haus. Sophie ist bei ihrer Duenna hat. Als sich die Menge verlaufen hat und siebzehnjährigen Oktavian. Sie hören ein die Geduld und bekommt einen Wutanfall. Marianne, die am Fenster steht und aufgeregt Ochs allein zurückbleibt, überbringt Annina Geräusch an der Tür, worauf Oktavian, der Die Marschallin wirft dem Friseur vor, daß er berichtet, was sich unten auf der Straße tut. ihm die Bitte der angeblichen Mariandel um befürchtet, der Gemahl der Marschallin sei sie alt aussehen lasse, und schickt dann alle Oktavian und seine Lakaien treten ein, und er ein Stelldichein. Ochs ist beglückt und zurückgekehrt, sich als Kammerzofe verkleidet. hinaus. Ehe er geht, übergibt Ochs der überreicht Sophie die silberne Rose. Die verspricht, ein Antwortschreiben zu schicken. Es ist jedoch nur Baron Ochs von Lerchenau, Marschallin die silberne Rose und beauftragt beiden fühlen sich augenblicklich zueinander der Vetter der Marschallin, der sie zu sprechen Valzacchi und Annina, zwei dubiose Italiener, hingezogen. III. Akt wünscht. Die Dienerschaft wendet ein, daß es Erkundigungen über Mariandel einzuziehen. Faninal kommt zurück und stellt Sophie Im Nebenzimmer eines Gasthofs dazu zu früh sei, doch er verschafft sich Allein gelassen gedenkt die Marschallin der ihren zukünftigen Gemahl vor. Sie findet Valzacchi setzt das Rendezvous in Szene, und gewaltsam Zugang. Zeit, als sie eine junge Braut war und eine dessen rüpelhaftes Benehmen abstoßend, doch Oktavian, der erneut seine Verkleidung Wie zu erwarten, interessiert er sich gleich Vernunftehe hatte eingehen müssen. das fällt Ochs nicht weiter auf. Er zieht sich angelegt hat, trifft ein, um mit Ochs zu Abend für die “Kammerzofe”, und die Marschallin Oktavian kehrt zurück und spürt, daß sie mit dem Notar zurück, um den Ehevertrag zu essen. Valzacchis Mitverschwörer sorgen stellt sie als ihre Zofe Mariandel vor. Ochs unglücklich ist. Sie prophezeit ihm, daß er sie fertig aufzusetzen. Sophie und Oktavian immer wieder für Unterbrechungen, und zum erklärt, daß er nach Wien gekommen sei, um früher oder später zugunsten einer jüngeren gestehen einander ihre Liebe, und sie bittet ihn Schluß kommt Annina im Witwengewand mit Sophie von Faninal zu ehelichen, und seiner Frau verlassen werde. Oktavian ist verwirrt; er um Hilfe bei ihrem Vorhaben, sich dem mehreren Kindern im Schlepptau herein und 24 25 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 26

behauptet, Ochs’ Frau zu sein. Es entsteht ein Die in Sidney geborene Yvonne Kenny ist eine Reihe Opera Rara Donizettis Emilia di der Landgraf (Tannhäuser), Hagen mächtiger Aufruhr, und Ochs ruft schließlich der herausragenden Sopranistinnen ihrer Liverpool, L’eremitaggio di Liverpool und Ugo, (Götterdämmerung) und Baron Ochs (Der die Polizei, doch der Kommissar glaubt ihm Generation. Nachdem sie den Kathleen- Conte di Parigi sowie Meyerbeers Il crociato in Rosenkavalier). John Tomlinson hat unter nicht, als er sagt, daß Mariandel seine Verlobte Ferrier-Wettbewerb gewonnen hatte, trat sie Egitto. anderem den Ring-Zyklus, Verdis La forza del Sophie von Faninal sei. Kaum hat er dies ins Ensemble der Royal Opera ein und hat destino, Händels Julius Caesar, Donizettis gesagt, da erscheint auch schon Faninal, von dort unter anderem Pamina (Die Zauberflöte), John Tomlinson wurde in der nordenglischen Maria Stuarda und La traviata (für die Peter Valzacchi und Oktavian herbeigeholt. Ilia (Idomeneo), Oscar (Un ballo in maschera), Grafschaft Lancashire geboren und hat an der Moores Foundation) und Höhepunkte aus Natürlich ist damit erwiesen, daß Ochs’ Adina (L’elisir d’amore), Liù (Turandot) und Universität Manchester Bauingenieur studiert, Mussorgskis Boris Godunow (für Chandos und Aussage falsch ist, und Oktavian verrät der Donna Anna (Don Giovanni) gesungen. ehe ihm ein Stipendium zum Besuch des Royal die Peter Moores Foundation) auf Tonträger Polizei, wer Mariandel wirklich ist. Darüber hinaus war sie regelmäßig bei der Manchester College of Music verliehen wurde. aufgenommen. In diesem Augenblick trifft die Marschallin English National Opera und in den Er hat seit 1974 regelmäßig an der English ein, von Ochs’ Lakaien zu Hilfe gerufen. Es Opernhäusern von Glyndebourne, Venedig, National Opera und seit 1976 an der Royal Diana Montague hat am Royal Northern gelingt ihr, den Kommissar davon zu Wien, Mailand, München, Berlin, Paris und Opera gesungen und ist außerdem mit der College of Music studiert. Seit ihrem Debüt als überzeugen, daß die ganze Sache nur ein Zürich zu Gast. Sie ist auf der ganzen Welt mit Opera North und der Scottish Opera, beim Zerlina an der Glyndebourne Touring Opera Scherz war, und die Polizei empfiehlt sich. führenden Orchestern und bei den Festspielen Glyndebourne Festival sowie mit der ist sie in den führenden Opernhäusern und Ochs erkennt, daß es keinen Sinn hat, Sophie von Edinburgh, Aix-en-Provence und Salzburg Glyndebourne Touring Opera und der Kent Konzertsälen der Welt aufgetreten, darunter weiter nachzustellen, und geht, gefolgt von aufgetreten. Sie kehrt häufig zu Gastspielen in Opera aufgetreten. John Tomlinson hat ein auch am Royal Opera House Covent Garden, Kellnern, Kutschern und anderen, die darauf ihre Heimat Australien zurück. Ihrer großes Konzertrepertoire und ist mit allen an der Metropolitan Opera New York, dem gewartet haben, bezahlt zu werden. Darstellung der Marschallin an der English führenden britischen Orchestern, in Théâtre royal de la Monnaie in Brüssel, der Die Marschallin bleibt mit Oktavian und National Opera wurde höchste Anerkennung Deutschland, Italien, Belgien, den Opéra Bastille de Paris, am Teatro Colon in Sophie zurück und merkt, wie sehr die zwei gezollt, und sie hat die Rolle außerdem in Niederlanden, Frankreich, Spanien, Dänemark Buenos Aires sowie bei den Festspielen von ineinander verliebt sind. Sie ruft sich ihr Nordamerika gegeben. Yvonne Kenny wurde und in den USA sowie mit Dirigenten wie Bayreuth und Salzburg. Versprechen in Erinnerung, ihn mit Anstand für ihre Verdienste um die Musik 1989 in den Barenboim und Haitink aufgetreten. Ihr Repertoire umfaßt die großen zu lieben, und bringt in einem zärtlichen Trio Order of Australia aufgenommen. Er hat seit 1988 jedes Jahr bei den Mezzosopranrollen von Mozart, Gluck, ihre Gefühle zum Ausdruck. Dann begibt sie Zu Yvonne Kennys zahlreichen Aufnahmen Bayreuther Festspielen gesungen und war dort Strauss, Rossini, Bellini und Berlioz. Zu ihren sich zu Faninal, um ihm nach den Ereignissen auf Tonträger gehören Le nozze di Figaro, Die als Wotan (Das Rheingold und Die Walküre), häufigen Konzertengagements zählen viele des Tages Trost zuzusprechen, und läßt Entführung aus dem Serail, Elgars The der Wanderer (Siegfried), Titurel und Auftritte mit führenden Dirigenten, und sie Oktavian und Sophie miteinander allein. Kingdom, Brittens The Beggar’s Opera und Gurnemanz (Parsifal) und König Marke hat unter anderem Junon (Platée an der Royal Gloriana, Händels Deborah, Dysons The (Tristan und Isolde) zu hören. Zu seinen Partien Opera), Marguerite (La damnation de Faust in Übersetzung: Anne Steeb/Bernd Müller Canterbury Pilgrims (für Chandos), in der zählen ferner Hans Sachs (Die Meistersinger), Genf), Iphigénie en Tauride in Buenos Aires, 26 27 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 28

Madrid und an der Welsh National Opera, Amsterdam, Vancouver und Hamburg Orlando und Humperdincks Hänsel und Gretel House gesungen, zum Beispiel Butterfly, Liù, Ermione (Glyndebourne), Le comte Ory (in aufgetreten. Zu seinen Aufnahmen auf auf Tonträger aufgenommen. Violetta, Leonora (Il trovatore), Donna Elvira Lausanne, Rome und Glyndebourne), La Tonträger zählen Die Sache Makropulos sowie und Elettra. Sie ist häufig an der English clemenza di Tito und Glucks Orfeo für Chandos und die Peter Moores Foundation Jennifer Rhys-Davies hat an allen National Opera aufgetreten, an der Welsh (Glyndebourne) und Ariadne auf Naxos in , Tosca, La bohème und bedeutenden Opernhäusern Großbritanniens National Opera, der Opera North und der Lissabon gegeben. Die zahlreichen Don Pasquale. gesungen und Lady Macbeth, Donna Elvira, Scottish Opera. Zu ihren zahlreichen Schallplattenaufnahmen Diana Montagues Miss Jessel, Lucia, Donna Anna und die Engagements in aller Welt zählen Auftritte an umfassen I Capuleti e I Montecchi, Norma, Rosemary Joshua, in Cardiff geboren, hat Königin der Nacht gegeben. Sie ist in der Metropolitan Opera, in Wien, Berlin, Lucia di Lammermoor, Iphigénie en Tauride, Il unter anderen Partien Susanna, Adele (Die Deutschland und der Schweiz als Semiramide, Hamburg und Paris. Seit sie 1990 ins crociato in Egitto (für Opera Rara) sowie Fledermaus), die Titelrollen in Semele und Sieglinde, die Königin der Nacht und Hilda Mezzosopranfach übergewechselt ist, hat sie Cavalleria rusticana und ein Programm mit Princess Ida, Norina (Don Pasquale) und (Elegy for Young Lovers) aufgetreten. Am Royal unter anderem Herodias, die Hexe (Hänsel und Opernarien (für Chandos und die Peter Sophie (Der Rosenkavalier) für die English Opera House hat sie Berta, Amaltea (Mosè in Gretel), Auntie (Peter Grimes) und Annina Moores Foundation). National Opera gesungen, außerdem Susanna Egitto), Clorinda (La Cenerentola) und gesungen. Für die Zukunft sind Auftritte als beim Glyndebourne Festival, Olga (Fedora) in Marianne gesungen. Madame de Croissy (Dialogues des carmélites) Andrew Shore gilt heute als bedeutendster Covent Garden, die Titelrolle von La Calisto 1998 hat sie beim Glyndebourne Festival ihr und Herodias vorgesehen. Sie hat unter Buffo-Bariton Großbritanniens. Seit seinem und Pamina (Die Zauberflöte) am Théâtre de la Debüt als die italienische Sängerin (Capriccio) anderem Vivaldis Gloria und Maxwell Davies’ Debüt 1988 an der English National Opera Monnaie in Brüssel, Semele in Aix-en- gegeben und ist als Olympia am Grand théâtre Doctor of Myddfai auf Tonträger hat er unter anderem Falstaff, Dieg (in Philip Provence, bei den Innsbrucker Festwochen und de Limoges und am Stadttheater Basel aufgenommen. Glass’ The Making of the Representative for an der Flanders Opera sowie Juliette (Roméo et aufgetreten. Für die Zukunft sind Rosalinde Planet 8), Papageno (The Magic Flute), Juliette) für die San Diego Opera. (Die Fledermaus) in Nürnberg sowie Arminda Der Kinderchor Peter Kay Children’s Choir Monsieur Calcul (La belle Vivette), Don In Zukunft wird sie als Anne Trulove (The (La finta giardiniera) und Elettra (Idomeneo) bietet jungen Sängern Gelegenheit, in Opern Pasquale und Gianni Schicchi gesungen. Er hat Rake’s Progress) beim Glyndebourne Festival zu am Stadttheater Basel geplant. Sie hat unter und Konzerten aufzutreten, in Werbespots mit allen bedeutenden britischen sehen sein, als Cleopatra (Julius Caesar) an der anderem Orazi e Curiazi (für Opera Rara) (TV und Radio), bei Wohltätigkeits- Opernensembles gearbeitet, darunter mit der Florida Grand Opera, als Poppea (Agrippina) und den The Barber of Seville (für Chandos veranstaltungen, auf Festivals und in Royal Opera, der Opera North, der Scottish am Théâtre de la Monnaie und in der Titelrolle und die Peter Moores Foundation) Bühnenproduktion in Großbritannien, Opera, der Glyndebourne Festival Opera, der des Schlauen Füchsleins an der Flanders Opera. aufgenommen. Frankreich, Belgien, den Niederlanden, Kent Opera und der Welsh National Opera, Zu ihren Konzertverpflichtungen zählen Deutschland, Spanien und den USA. Neue und ist weltweit an der New Israeli Opera, der Auftritte mit Simon Rattle, Mark Elder, Frans Elizabeth Vaughan hat als Abigaille (Nabucco) Mitglieder werden auf Einladung und durch San Diego Opera, der Opéra-comique in Paris Brüggen, René Jacobs und Nicholas McGegan. an der Welsh National Opera debütiert und Vorsingen gewonnen, deren Teilnehmer bereits sowie in Lyon, Nantes, Montpellier, Rosemary Joshua hat unter anderem Händels seither zahlreiche Partien am Royal Opera Erfahrungen mit Gesangsauftritten gemacht 28 29 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 30

haben, und zwar an der English National und Klaus Tennstedt. Im Augenblick zählen zu regelmäßig an der English National Opera und gefeierte Inszenierung von Brittens Opera, wo Peter Kay als Children’s Adviser – seinen regulären Dirigenten der Musikdirektor konzertiert mit dem Philharmonia Orchestra, A Midsummer Night’s Dream dirigierte. Kinderberater – tätig ist, in der Finchley des Orchesters, Franz Welser-Möst und der 1996 machte er mit Così fan tutte sein Debüt Außerhalb Europas ist David Parry bei dem Children’s Music Group, im New London Präsident, Bernard Haitink. bei dem Glyndebourne Festival. Hongkong International Festival und mit dem Children’s Choir, bei den Jennifer Lilleystone Seit 1964 ist das London Philharmonic David Parry gastiert häufig in Spanien, wo UNAM Symphony Orchestra in Mexico City Singers und an Schulen überall in London und Residenzorchester bei der Glyndebourne er bereits mit den meisten Opernkompanien aufgetreten, war mit Carmen in Japan auf im Süden Englands. Festival Opera und seit 1992 an der Royal und Sinfonieorchestern aufgetreten ist. Die Tournee und leitete eine Neuinszenierung von Festival Hall. Es unternimmt zahlreiche spanische Premiere von Peter Grimes fand unter Katja Kabanova für das Festival in Neuseeland. Geoffrey Mitchell hat im Lauf seiner Konzertreisen und besuchte als erstes britisches seiner Leitung in Madrid statt; 1996 dirigierte Parry hat zahlreiche Werke für das Label Gesangskarriere ein erstaunlich umfangreiches Orchester die UdSSR und China. Seine er die erste spanische Inszenierung von The Opera Rara eingespielt, zuletzt Rosmonda Repertoire erschlossen, von alter bis hin zu Platteneinspielungen sind vielfach preisgekrönt Rake’s Progress (Strawinsky) und weihte zwei d’Inghilterra von Donizetti, das in Belgien mit zeitgenössischer Musik. Daraus ergaben sich worden. neue Konzertsäle mit der Neunten Sinfonie dem Prix Cecilia ausgezeichnet wurde; für erst Dirigieraufträge von der BBC, dann eine von Beethoven sowie ein neues Opernhaus mit Chandos hat er eine preisgekrönte Tosca ausgedehntere Zusammenarbeit mit seinen David Parry studierte bei Sergiu Celibidache Carmen ein. In Italien leitete er Ricciardo e aufgenommen, drei Aufnahmen operatischen Sängern, die wiederum zur Gründung des und begann seine Laufbahn als Sir John Zoraide bei dem Rossini-Festival in Pesaro. Er Arien (mit Bruce Ford, Diana Montague und Geoffrey Mitchell Choir führte. Frühe Pritchards musikalischer Assistent. Er tritt in Frankreich, Deutschland, Belgien, den Dennis O’Neill), Faust, Don Pasquale, Schallplattenaufnahmen hatten zur Folge, daß debütierte mit dem English Music Theatre und Niederlanden und Schweden auf, wo er eine La bohème, Cavalleria rusticana und Pagliacci. der Chor langfristige Beziehungen zu Opera wurde Kapellmeister an den Städtischen Rara einging, für die er 15 Opern Bühnen Dortmund sowie an Opera North in aufgezeichnet hat. Derzeit genießt er dank Leeds. Von 1983 bis 1987 fungierte er als weiterer Verpflichtungen für die BBC und Musikdirektor für Opera 80 und seit 1992 ist internationale Schallplattenfirmen wachsendes er der Musikdirektor (und Gründer) des Ansehen. zeitgenössischen Opern-Festivals Almeida Opera. Seit seiner Gründung im Jahr 1932 durch Sir Parrys Tätigkeitsbereich ist nicht nur das Thomas Beecham hat das London Opernhaus, sondern auch der Konzertsaal. Philharmonic Orchestra unter der Leitung Sein Repertoire erstreckt sich von Mozart und unzähliger prominenter Chefdirigenten der italienischen Oper des frühen 19. Jahr- gestanden, darunter Sir Adrian Boult, Sir John hunderts bis zu Janácˇek, Britten und Pritchard, Bernard Haitink, Sir Georg Solti zeitgenössischer Musik. In England dirigiert er 30 31 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 32

aujourd’hui. Le texte fut écrit dans un parler réussite extraordinaire pour un opéra aussi Strauss: Der Rosenkavalier imaginaire s’inspirant du dialecte viennois et complexe et d’une orchestration aussi dense. d’autres dialectes appropriés aux différents Ainsi que nous le raconte William Mann niveaux sociaux des personnages; si cet aspect dans son étude, The Operas of Richard Strauss Il est généralement admis qu’après les presque chaque mot si l’on veut apprécier est inévitablement perdu dans une traduction, (Cassell, 1964), le compositeur fut interviewé partitions révolutionnaires et avant-gardistes de toutes les nuances du texte. C’est pourquoi il la manière dont le texte est marié à la musique par le Daily Mail au moment où il travaillait à Salomé et d’Elektra, Richard Strauss abandonna est de la plus grande importance de pouvoir demeure cependant évidente. l’Acte III, et donna quelques aperçus de sa la lutte novatrice, et emprunta une voie plus comprendre les paroles, et pourquoi aussi le Strauss fut enchanté par le projet. Les idées méthode de travail: facile vers le succès avec Der Rosenkavalier fait de le donner en anglais à un public du livret libérèrent le flot de son inspiration Avant que j’improvise ne serait-ce que la plus (Le chevalier à la rose). Rien pourtant ne britannique est aussi payant. musicale, et fournit un cadre qui a tenu en petite esquisse pour un opéra, je laisse le texte saurait être plus éloigné de la vérité. En effet, si Hofmannsthal avait vu sa collaboration haleine le public depuis lors. On peut juger de s’imprégner dans mes pensées et mûrir en moi le nouvel opéra n’était certainement pas aussi fructueuse avec Stauss pour Elektra comme une son enthousiasme à la rapidité avec laquelle il pendant au moins six mois, afin que les situations agressif ou, pour son époque, aussi dissonant occasion de redonner vie au statut du livret composa l’œuvre, achevant le Premier acte en et les personnages soient entièrement assimilés. que ses deux prédécesseurs, il était d’une dans l’opéra allemand, posant des normes décembre 1909, et le Deuxième au début du C’est alors seulement que je laisse la pensée modernité comparable dans sa manière plus d’imagination et de qualités littéraires jamais mois d’avril 1910. Il alla jusqu’à composer la musicale pénétrer mon cerveau. A ce moment-là, immédiatement séduisante. Jamais auparavant atteintes jusque-là. Il songea d’abord à mélodie principale du duo final de l’Acte III les pré-esquisses deviennent esquisses. Elles sont un compositeur et un librettiste n’étaient présenter ses livrets sous la forme de pièces de avant même qu’Hofmannsthal en eût écrit le recopiées, développées et arrangées pour piano, parvenus à écrire un opéra aussi proche de la théâtre avant de les adapter pour l’opéra, mais texte. puis retravaillées le plus souvent quatre fois. C’est conversation, et dans lequel le texte, sans doute il abandonna bientôt cette méthode car elle Comme cela allait devenir la coutume dans la partie difficile du travail; les parties réduites le chef-d’œuvre de Hofmannsthal dans le s’avéra impraticable. Au lieu de cela, il ses rapports avec son illustre collaborateur, [particella?] ainsi que les couleurs symphoniques genre, est de la même qualité que la musique, commença à élaborer l’idée d’une comédie de Strauss fit de nombreuses suggestions au cours qui suivent sont ma création. J’écris tout de suite de sorte que les créateurs jumeaux ont en mœurs, et chercha son inspiration dans les de la rédaction du livret final. Par exemple, il la partition dans mon bureau, sans aucun quelque sorte inventé un nouveau genre de œuvres de Molière et d’un contemporain de émit des réserves – entièrement justifiées – problème, y travaillant douze heures d’affilée. théâtre musical. Certes, Puccini avait bien Beaumarchais, Louvet de Couvray, à partir concernant la partie centrale de l’Acte III, à Ainsi, j’obtiens une œuvre homogène, et c’est ce essayé la même chose avec ses trois grands chef- desquelles il imagina une histoire avec des partir de l’arrivée du Commissaire de police et, qui est plus plus important. d’œuvres, mais aucun d’eux ne possède un personnages français. A l’origine, le lieu de malgré les changements acceptés par Mann souligne qu’à ce stade, le 2 mai 1910, livret tant soit peu comparable à la subtilité et l’action devait être situé en France; cependant, Hofmannsthal, ce passage demeure la partie la l’œuvre s’intitulait encore Ochs auf Lerchenau, à l’illumination poétique obtenues par l’intrigue fut rapidement transférée à Vienne, plus faible de l’œuvre. Finalement, la partition mais qu’elle trouva son titre définitif, Hofmannsthal pour le Rosenkavalier de Strauss, et les noms changés de manière appropriée fut achevée le 16 septembre, soit tout juste dix- Der Rosenkavalier, trois semaines plus tard. un livret dans lequel il est important de saisir pour devenir ceux que nous connaissons sept mois après son commencement – une Cela donne à penser que l’auteur avait un 32 33 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 34

doute concernant le personnage principal de scène finale de l’Acte I, qui est le véritable cœur mesures de la société viennoise. Ainsi, tout un un chaleureux soprano lyrique. Carl Perron, le l’opéra, présageant une discussion qui n’a pas de l’œuvre, elle – et Strauss – nous dit et à monde de comportements humains est ici Baron Ochs de la création, était plutôt baryton encore cessé. On pourrait dire que le Chevalier, Octavian ce que tous les amants plus âgés représenté, un monde qui aujourd’hui encore que basse, et de la mauvaise taille pour le rôle, sous les traits d’Octavian, est indubitablement savent, à savoir qu’ils perdront inévitablement conserve toute sa pertinence; et quelque soit le grand et mince. Il fut rapidement confié à la le personnage central. Mis à part la scène du la personne la plus jeune, car celle-ci se nombre de fois que l’on réécoute la partition, basse viennoise Richard Mayr, à l’intention Lever à l’Acte I, il est présent pendant presque tournera vers quelqu’un du même âge. “Now elle apparaît toujours aussi fraîche et haute en duquel Strauss avait composé le rôle. Il le fit tout l’opéra; il tire une grande leçon de or tomorrow” est ce qu’écrit Hofmannsthal – couleurs que lors de sa création il y a 90 ans. sien pendant les vingt années qui suivirent, et l’existence à travers sa transformation de jouet et la manière dont Strauss lui fait exprimer ce En lisant le scénario du Premier acte, Strauss enregistra des extraits de l’œuvre en 1933 avec de la Maréchale en jeune amoureux d’une changement d’humeur dans sa musique vit immédiatement que des rôles aussi Lehmann dans le rôle de la Maréchale. jeune fille de son âge; ses humeurs somptueuse est bouleversante. Absente soigneusement écrits que ceux d’Octavian, de Bien qu’il n’ait par officiellement figuré contradictoires sont parfaitement exprimées pendant tout l’Acte II, la Maréchale réapparaît la Maréchale et du Baron Ochs nécessiteraient comme étant le metteur en scène, Max dans sa musique – comme au cours de la scène au beau milieu du tumulte de l’Acte III, et par de très bons chanteurs qui soient en même Reinhardt eut une grande influence sur le style érotique qui ouvre l’Acte I, ou encore dans son son comportement à la fois plein de tact, temps de très bons acteurs. Les premiers de la création, et l’on peut présumer que celle-ci attitude d’adolescent irascible à la fin de l’acte. ouvert et vrai, elle cède la place aux plus interprètes étaient des chanteurs d’un genre fut d’une vérité saisissante. Si certains critiques A l’acte suivant, nous le voyons tomber jeunes, après avoir proféré ses paroles assez différent de celui auquel on a recours de locaux trouvèrent la production répugnante, cela amoureux de Sophie presque immédiatement d’expérience à Sophie puis à Octavian. nos jours pour les rôles principaux. A la n’empêcha pas l’opéra de devenir un succès alors qu’il est envoyé comme émissaire du Sophie n’est pas un personnage mièvre, bien création de Dresde, la Maréchale fut chantée immédiat dans toute l’Allemagne, et rapidement balourd Baron Ochs; enfin, nous le découvrons qu’elle soit parfois interprétée de cette manière, par Margarethe Siems, célèbre dans des rôles à Vienne, Prague et Londres. Après la création de plongé dans la confusion totale, incapable de mais une jeune fille tout à fait consciente de sa tels que celui de Lucia, tandis qu’à première Dresde, le critique du Times écrivait: “Si cette faire face à ses différents sentiments vis-à-vis position dans la vie, et qui finira par berlinoise, Frieda Hempel, la Joan Sutherland œuvre n’est pas universellement acclamée, on des deux femmes, jusqu’au moment où la comprendre toute la peine qu’elle a infligée de l’époque, en fut l’interprète. Le premier devra sûrement désespérer du goût du public.” Il Maréchale résout pour lui son dilemme. sans le vouloir à la Maréchale. Le Baron Ochs, Octavian fut incarné par Eva van der Osten, n’avait pas besoin de s’inquiéter, car l’œuvre a Au cours de la première scène de l’Acte I, la que l’on entend dans ces extraits seulement à la une Elsa et une Isolde, et non la mezzo à la conquis et conservé l’attention du public depuis Maréchale se présente comme une amante fin de l’Acte II et juste avant son départ forcé à tessiture élevée que l’on considère maintenant lors. encore passionnée et aguichante; puis dans son l’Acte III, se doit de demeurer un artistocrate, comme celle qui convient au rôle. Lotte © 1999 Alan Blyth grand monologue, elle se transforme en une même s’il est grossier et libidineux. Il se couvre Lehmann, qui devait être la plus célèbre Traduction: Francis Marchal femme pleine de dignité, sentant le poids de de ridicule entièrement par sa faute, et Maréchale, se tourna vers ce rôle après avoir son âge (elle n’a que trente-trois ans dans pourtant Strauss parvient à nous faire aimer le chanté ceux de Sophie et d’Octavian. C’est elle Argument (les extraits figurant sur cet l’opéra, mais un âge qui à l’époque de l’action bonhomme; du moins, il ne fait pas le jeu de qui imposa le genre de voix que l’on entend enregistrement sont en caractères gras) était considéré comme déjà avancé). Dans la l’hypocrisie ou du côté deux poids deux généralement de nos jours pour la Maréchale, L’opéra se déroule à Vienne, à la fin du 34 35 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 36

XVIIIe siècle. Teresa, princesse de Werdenberg, est d’attendre son lever du matin puisque son la rose est sur le point d’arriver. Soucieux de seul. Annina lui apporte un billet de l’épouse du Maréchal von Werdenberg, et porte propre notaire sera présent. Durant le lever de respecter l’étiquette selon laquelle le maître de l’imaginaire Mariandel le conviant à un donc le titre de Maréchale. la Maréchale, nous assistons au défilé du la maison se doit d’être absent à l’arrivée du rendez-vous. Ochs, ravi, promet de lui faire notaire, du chef cuisinier, d’un chanteur italien porteur de la rose, Herr Faninal sort. Sophie parvenir une réponse. Acte I et de divers autres personnages. Ochs consulte est avec sa duègne Marianne, qui, installée à La chambre à coucher de la Maréchale le notaire au sujet du contrat de mariage mais la fenêtre, lui raconte avec animation tout ce Acte III C’est le matin, et la Maréchale est avec son se met en colère. La Maréchale gronde sa qui se passe dans la rue. Octavian arrive Un salon particulier dans une auberge jeune amant de dix-sept ans, Octavian. coiffeuse qui, dit-elle, la vieillit puis elle accompagné de ses serviteurs et il offre la rose Valzacchi est en train de préparer la scène du Soudain il y a du bruit derrière la porte, et congédie tous ses visiteurs. Avant de partir, d’argent à Sophie. Ils tombent rendez-vous lorsqu’Octavian arrive, déguisé en craignant que le mari de la Maréchale ne soit Ochs remet à la Maréchale la rose d’argent et immédiatement amoureux. Mariandel, pour son dîner avec Ochs. Après de retour, Octavian se déguise en femme de demande à deux Italiens d’allure suspecte, A son retour, Faninal présente Sophie à son toute une série d’interruptions étranges par les chambre. Mais le visiteur n’est autre que le Valzacchi et Annina, de découvrir tout ce qu’ils futur époux. Elle est offusquée par les manières comploteurs au service de Valzacchi, Annina baron Ochs von Lerchenau, cousin de la peuvent sur Mariandel. du baron mais ce dernier ne s’en aperçoit pas et entre, déguisé en veuve, traînant plusieurs Maréchale, qui demande à voir cette dernière. Restée seule, la Maréchale se souvient du il se retire avec le notaire pour mettre au point enfants derrière lui, et prétendant être la Les serviteurs protestent, vu l’heure matinale, temps où, jeune femme, elle avait dû se les derniers détails du contrat de mariage. femme d’Ochs. C’est la confusion la plus mais le baron entre de force dans sa chambre. marier par intérêt contre son gré. Sophie et Octavian s’avouent leur amour, et elle totale, Ochs finit par appeler la police, mais le Bien entendu, il est immédiatement attiré Lorsqu’Octavian revient, il devine qu’elle est le supplie de l’aider à échapper à ce mariage préfet de police refuse de le croire lorsqu’il par la “femme de chambre” que la Maréchale malheureuse. Elle le prévient que tôt ou tard forcé. Ayant observé la scène en cachette, déclare que Mariandel n’est autre que sa fiancée fait passer pour sa servante, Mariandel. Ochs il la quittera pour une femme plus jeune. Annina et Valzacchi convoquent Ochs. Sophie von Faninal. Sur ces entrefaites, Faninal explique qu’il est à Vienne pour épouser Octavian, troublé, réfute ses paroles et Octavian explique à Ochs que Sophie ne fait son entrée, prévenu par Valzacchi et Sophie von Faninal et qu’il souhaite envoyer à réaffirme son amour pour la Maréchale. l’épousera pas et les deux hommes se battent en Octavian. Bien sûr, le mensonge d’Ochs est sa fiancée une rose d’argent en cadeau de Lorsqu’elle se rend compte qu’il est parti sans duel. Ochs, légèrement blessé, fait beaucoup de mis à jour et Octavian révèle la véritable fiançailles. Il demande à la Maréchale de lui l’embrasser, elle demande aux serviteurs de le bruit pour rien. Faninal, horrifié, ordonne à identité de Mariandel à la police. recommander un jeune noble digne d’être son rappeler. Mais c’est trop tard, et elle demande à Sophie de choisir entre ce mariage et le C’est alors qu’arrive la Maréchale, que les “Chevalier à la rose”. Celle-ci lui recommande son page de porter la rose d’argent à Octavian. couvent. Octavian est congédié et s’assure le serviteurs d’Ochs sont allés chercher. Elle Octavian et lui montre son portrait dans un concours des deux Italiens qu’il a persuadés de réussit à convaincre le préfet de police qu’il ne pendentif, sur quoi Ochs remarque avec joie Acte II travailler pour lui plutôt que pour Ochs. s’agissait que d’une plaisanterie, et la police se combien il ressemble à Mariandel! Le palais de Faninal Après un pansement et quelques verres du retire. Ochs, se rendant compte que ses Ochs demande aussi à sa cousine de lui Herr von Faninal et toute la maisonnée sont bon vin de Faninal, Ochs se remet bien vite avances envers Sophie resteront vaines, sort à recommander un notaire et celle-ci lui suggère en proie à une vive émotion car le Chevalier à de sa blessure. La foule se disperse, Ochs reste son tour, poursuivi par plusieurs serviteurs, 36 37 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 38

cochers et autres lui réclamant l’argent qu’il interprétation de la Maréchale pour l’English Hollande, France, Espagne, au Danemark et Son répertoire comprend tous les grands leur doit. National Opera, un rôle qu’elle a repris en aux Etats-Unis pour chanter avec des chefs rôles de mezzo-soprano de Mozart, Gluck, Restée seule sur scène avec Octavian et Amérique du Nord. En 1989, Yvonne Kenny a d’orchestre tels que Barenboim et Haitink. Strauss, Rossini, Bellini et Berlioz. Elle chante Sophie, la Maréchale se rend compte que les reçu le titre honorifique de Membre de l’Ordre Depuis 1988 il participe chaque année au souvent en concert avec les plus grands chefs deux jeunes gens s’aiment déjà. Elle se dit d’Australie pour services rendus à la musique. Festival de Bayreuth, où il a été Wotan (L’or du d’orchestre. Elle a été entre autres Junon qu’elle avait promis d’aimer Octavian avec Yvonne Kenny a réalisé de nombreux Rhin et La Walkyrie), le Voyageur (Siegfried), (Platée avec le Royal Opera) et Marguerite décence, et elle ouvre son cœur dans un trio enregistrements, gravant entre autres Les noces Titurel et Gurnemanz (Parsifal) et le roi Marke (La damnation de Faust à Genève), elle a chanté plein de tendresse. Puis elle sort consoler de Figaro, L’enlèvement au sérail, The Kingdom (Tristan et Isolde). Parmi ses autres rôles, notons dans Iphigénie en Tauride à Buenos Aires, Faninal après une journée si mouvementée, d’Elgar, The Beggar’s Opera et Gloriana de ceux de Hans Sachs (Les maîtres chanteurs), du Madrid et avec le Welsh National Opera, laissant Octavian et Sophie ensemble. Britten, Deborah de Haendel, The Canterbury Landgrave (Tannhäuser), de Hagen Ermione (Glyndebourne), Le comte Ory (à Pilgrims de Dyson (pour Chandos); elle a (Götterdämmerung) et du baron Ochs Lausanne, Rome et Glyndebourne), Traduction: Nicole Valencia enregistré pour Opera Rara Emilia di Liverpool, (Le chevalier à la rose). Il a gravé entre autres le La clémence de Titus et Orphée de Gluck L’eremtaggio di Liverpool et Ugo, Conte di Parigi cycle de l’Anneau, La force du destin de Verdi, (Glyndebourne) ainsi que dans Ariane à Naxos Née à Sydney, Yvonne Kenny est l’une des de Donizetti ainsi que Il crociato in Egitto de Julius Caesar de Haendel, Mary Stuart de à Lisbonne. Diana Montague a réalisé de sopranos les plus remarquables de sa Meyerbeer. Donizetti ainsi que La traviata (pour la Peter nombreux enregistrements, gravant entre génération. Après avoir remporté le Concours Moores Foundation) et les grands airs de Boris autres I Capuletti e I Montecchi, Norma, Lucia Kathleen Ferrier, elle est entrée au Royal Opera John Tomlinson est né dans le Lancashire. Godounov de Moussorgsky (pour Chandos en di Lammermoor, Iphigénie en Tauride, Il crociato où elle a chanté entre autres rôles ceux de Après un diplôme d’ingénieur des travaux association avec la Peter Moores Foundation). in Egitto (pour Opera Rara) ainsi que Pamina (La flûte enchantée), Ilia (Idoménée), publics à l’université de Manchester, il a Cavalleria rusticana et un disque d’airs d’opéra Oscar (Un bal masqué), Adina (L’elisir d’amore), obtenu une bourse d’études au Royal Diana Montague a fait ses études au Royal (pour Chandos en association avec la Peter Liù (Turandot) et Donna Anna (Don Manchester College of Music. Il se produit Northern College of Music. Depuis ses débuts Moores Foundation). Giovanni). Elle est également souvent invitée à régulièrement avec l’English National Opera dans le rôle de Zerlina avec le Glyndebourne se produire avec l’English National Opera et a depuis 1974 et avec le Royal Opera depuis Touring Opera, elle s’est produite sur les plus Andrew Shore est de l’avis général le meilleur chanté à Glyndebourne, Venise, Vienne, 1976; il a également chanté avec Opera North, grandes scènes lyriques et dans les principales baryton bouffe en Grande-Bretagne à l’heure Milan, Muncih, Berlin, Paris et Zurich. Elle Scottish Opera, le Glyndebourne Festival salles de concert du monde comme le Royal actuelle. Depuis ses débuts avec l’English s’est produite avec les plus grands orchestres du Opera et le Glyndebourne Touring Opera sans Opera House à Covent Garden, le National Opera en 1988, il a tenu plusieurs monde ainsi qu’aux festivals d’Edimbourg, oublier Kent Opera. John Tomlinson a un Metropolitan Opera à New York, le Théâtre de rôles au sein de cette troupe dont ceux de d’Aix-en-Provence et de Salzbourg; elle important répertoire de concert et s’est produit la Monnaie à Bruxelles, l’Opéra Bastille à Paris, Falstaff, Dieg (The Making of the Representative retourne fréquemment dans son Australie avec les plus grands orchestres britanniques, le Teatro Colon à Buenos Aires; elle a participé for Planet 8 de ), Papageno (The natale. Elle a reçu bien des éloges pour son voyageant aussi en Allemagne, Italie, Belgique, aux festivals de Bayreuth et Salzbourg. Magic Flute), Monsieur Calcul (La belle 38 39 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 40

Vivette), Don Pasquale et Gianni Schicchi. Il a César) au Grand Opera de Floride, celui de Elizabeth Vaughan a fait ses débuts avec le l’English National Opera où Peter Kay est travaillé avec toutes les plus grandes troupes Poppée (Agrippina) à La Monnaie, et le rôle Welsh National Opera dans le rôle d’Abigaïl conseiller pour enfants, avec et au Finchley lyriques britanniques dont le Royal Opera, titre de La petite renarde rusée à l’Opéra des (Nabucco), enchaînant avec de nombreux rôles Children’s Music Group, le New London Opera North, Scottish Opera, le Flandres. Elle s’est produite en concert avec Sir pour le Royal Opera dont Butterfly, Liù, Children’s Choir, les Jennifer Lilleystone Glyndebourne Festival Opera, Kent Opera et Simon Rattle, Mark Elder, Frans Brüggen, Violetta, Leonora (Il trovatore), Donna Elvira Singers, et dans des écoles de Londres et du le Welsh National Opera et sur la scène René Jacobs et Nicholas McGegan. Rosemary et Elettra. Elle chante souvent avec l’English sud de l’Angleterre. internationale il s’est produit avec le New Joshua a gravé entre autres Orlando de Haendel National Opera, le Welsh National Opera, Israeli Opera, le San Diego Opera, l’Opéra- et Hänsel et Gretel de Humperdinck. Opera North et Scottish Opera. Sa carrière La carrière de chanteur de Geoffrey Mitchell a comique à Paris, chantant aussi à Lyon, internationale l’a conduite au Metropolitan couvert un répertoire d’une remarquable Nantes, Montpellier, Amsterdam, Vancouver et Jennifer Rhys-Davies s’est produite sur les plus Opera, à Vienne, Berlin, Hambourg et Paris. étendue allant de la musique ancienne à la Hambourg. Il a gravé entre autres L’affaire grandes scènes lyriques de Grande-Bretagne, Depuis qu’elle a décidé en 1990 de se pencher musique contemporaine. Elle prit son essor à la Makropoulos, et pour Chandos en association tenant les rôles de Lady Macbeth, Donna sur le répertoire de mezzo-soprano, elle a été suite de plusieurs invitations à diriger que lui avec la Peter Moores Foundation, The Barber of Elvira, Miss Jessel, Lucia, Donna Anna et la Hérode, la Sorcière (Hänsel et Gretel), Auntie offrit la BBC, et à une collaboration plus Seville, Tosca, La bohème et Don Pasquale. Reine de la Nuit. En Allemagne et en Suisse, (Peter Grimes) et Annina. Elle doit étroite avec ses propres chanteurs. C’est ainsi elle a été Sémiramide, Sieglinde, la Reine de la prochainement tenir le rôle de Madame de qu’il fut amené à fonder le Geoffrey Mitchell Née à Cardiff, Rosemary Joshua a tenu de nuit et Hilda (Elegy for Young Lovers). Sur la Croissy (Dialogues des carmélites) et celui Choir avec lequel il a enregistré quinze opéras nombreux rôles sur la scène lyrique: elle a été scène du Royal Opera elle a tenu les rôles de d’Hérode. Elle a enregistré entre autres le pour Opera Rara. Jouissant d’une réputation Susanna, Adele (La chauve-souris), Sémélé et Berta, Amaltea (Moïse en Egypte), Clorinda Gloria de Vivaldi et Doctor of Myddfai de Peter grandissante, ils ont d’autres projets avec la Princess Ida, Norina (Don Pasquale) et Sophie (La Cenerentola) et Marianne. Maxwell Davies. BBC et des maisons de disques internationales. (Der Rosenkavalier) pour l’English National En 1998 elle a fait ses débuts au Festival de Opera, Susanna au Festival de Glyndebourne, Glyndebourne dans le rôle de la Soprano Le Peter Kay Children’s Choir offre à de L’Orchestre philharmonique de Londres qui a Olga (Fedora) à Covent Garden, la Calisto et italienne (Capriccio), elle a été Olympia au jeunes chanteurs la possibilité de se produire à été formé par Sir Thomas Beecham en 1932 a Pamina (La flûte enchantée) à La Monnaie à Grand théâtre de Limoges et s’est produite au l’opéra, au concert, à la télévision, à la radio, attiré au fil des années une série inégalable de Bruxelles, Sémélé à Aix-en-Provence, au Théâtre de Bâle. Elle doit prochainement être lors de galas de bienfaisance, dans des festivals premiers chefs, dont Sir Adrian Boult, Sir John Festival d’Insbruck et à l’Opéra des Flandres Rosalinde (La chauve-souris) à Nuremberg, et des productions théâtrales en Grande- Pritchard, Bernard Haitink, Sir Georg Solti et ainsi que Juliette (Roméo et Juliette) pour Arminda (La finta giardiniera) et Elettra Bretagne, en France, en Belgique, aux Pays- Klaus Tennstedt. Parmi les chefs qui le dirigent l’Opéra de San Diego. (Idoménée) au Théâtre de Bâle. Elle a gravé Bas, en Allemagne, en Espagne e aux Etats- régulièrement à l’heure actuelle se trouvent son Elle doit prochainement chanter le rôle entre autres Orazi e Curiazi (pour Opera Rara) Unis. Ses membres sont recrutés sur invitation directeur musical, Franz Welser-Möst, et son d’Anne Trulove (La carrière du libertin) au et The Barber of Seville (pour Chandos en et sur audition, attirant des participants président, Bernard Haitink. Festival de Glyndebourne, de Cléopâtre (Jules association avec la Peter Moores Foundation). possédant déjà une expérience de la scène à L’orchestre qui est depuis 1964 l’orchestre 40 41 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 42

symphonique en résidence au Glyndebourne première espagnole de Peter Grimes à Madrid Festival Opera est devenu en 1992 l’orchestre et, en 1996, a dirigé la première mise en scène Strauss: Der Rosenkavalier symphonique en résidence au Royal Festival espagnole de The Rake’s Progress. Il a aussi Hall. Il effectue aussi de vastes tournées – il a inauguré deux nouvelles salles de concert avec été le premier orchestre à se rendre en URSS et une interprétation de la Neuvième symphonie Secondo teorie convenzionali Richard Strauss, quasi ogni parola per capire le sfumature del en Chine – et ses enregistrements ont remporté de Beethoven et un nouvel opéra avec Carmen. dopo due composizioni rivoluzionarie e testo. È per questo che capire le parole è della maintes récompenses prestigieuses. Il s’est également produit en Italie où il a dirigé d’avanguardia quali Salome ed Elektra, avrebbe massima importanza: di conseguenza, è Ricciardo et Zoraide au Festival d’opéra de rinunciato allo sforzo sperimentale prendendo oltremodo redditizio dare ad un pubblico David Parry étudia avec Sergiu Celibidache et Pesaro (consacré à Rossini), mais il s’est aussi una via più facile al successo con inglese un testo che si esprime nella sua propria commença sa carrière comme assistant de sir rendu en France, en Allemagne, en Belgique, Der Rosenkavalier (Il cavalierre della rosa). Nulla lingua. John Pritchard. Il fit ses débuts avec l’English en Hollande, et en Suède où il a dirigé une potrebbe essere più lontano dalla realtà. Hofmannsthal aveva visto nella sua fruttuosa Music Theatre et devint plus tard chef mise en scène très applaudie du Midsummer Sebbene la nuova opera non fosse certamente collaborazione con Strauss nell’Elektra appointé du Städtische Bühnen Dortmund et Night’s Dream de Britten. così aggressiva né – per il suo tempo – così un’occasione per rinvigorire lo stato del libretto d’Opera North. Directeur musical d’Opera 80 Hors d’Europe, David Parry s’est produit au dissonante come le due che l’avevano preceduta, nell’opera tedesca, determinando norme de 1983 à 1987, il est depuis 1992 le directeur Festival international de Hong Kong, a dirigé nella sua maniera immediatamente allettante era d’immaginazione e di eccellenza letteraria mai musical fondateur du festival d’opéra l’UNAM Symphony Orchestra à Mexico, a fait altrettanto innovatrice. In nessuna opera lirica prima conseguite. In un primo tempo contemporain Almeida Opera. une tournée consacrée à Carmen au Japon, et, che l’aveva preceduta avevano compositore e Hofmannstahl ebbe l’idea di presentare i suoi Il poursuit une carrière très active à l’opéra en 1996, a dirigé une nouvelle mise en scène de librettista scritto un pezzo tanto conversevole, in libretti come drammi scenici prima di adattarli et dans les salles de concert. Son répertoire va Katya Kabanova au Festival de Nouvelle- cui il testo (forse il capolavoro di Hofmannsthal per la scena lirica, ma fu un progetto che de Mozart et d el’opéra italien du début du Zélande. in questo genere) è totalmente alla pari con la dovette esser presto abbandonato perché XIXe siècle à Janácˇek, Britten et à la musique Il a réalisé un grand nombre musica, cosicché si potrebbe dire che i due impraticabile. Cominciò invece a formulare contemporaine. En Angleterre, il a fait des d’enregistrements pour le label Opera Rara, creatori gemelli abbiano virtualmente inventato un’idea per una commedia di costume e cercò apparitions régulières à l’English National le plus récent étant Rosmonda d’Inghilterra un nuovo genere di commedia musicale. ispirazione nei lavori teatrali di Molière e del Opera et lors de concerts avec le Philharmonia. de Donizetti, qui a remporté le prix Cecilia Puccini, fino ad un certo punto, aveva tentato contemporaneo di Beaumarchais, Louvet de En 1997, il a fait ses débuts au Festival de en Belgique, et c’est chez Chandos qu’il a di fare altrettanto nei suoi tre grandi capolavori, Couvray, selezionando una storia da queste Glyndebourne avec Così fan tutte. dirigé son enregistrement primé de Tosca, ma in nessuno di essi aveva avuto un libretto fonti con personaggi francesi. L’ambientazione Il se rend fréquemment en Espagne où il trois disques d’aries operatiques, Faust, che remotamente si avvicinasse alla finezza o originale avrebbe dovuto essere francese, ma in s’est produit avec la plupart des troupes d’opéra Don Pasquale, La bohème, Cavalleria rusticana illuminazione poetica che Hofmannsthal aveva breve tempo la trama si trasferì a Vienna ed i et des orchestres symphoniques. Il a donné la et Pagliacci. saputo raggiungere per Strauss nel nomi vennero appropriatamente cambiati in Rosenkavalier, laddove è importante afferrare quelli che oggi conosciamo. Il testo è scritto in 42 43 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 44

un linguaggio immaginario basato sul dialetto un’impresa straordinaria per un’opera così principale dell’opera, dando adito ad una saranno abbandonati da una persona più viennese e su altri dialetti adatti alle condizioni complessa e così densa nella strumentazione. discussione che da allora non è mai cessata. Si giovane a favore di qualcuno della sua età. sociali dei personaggi che inevitabilmente si Come William Mann ci dice nel suo saggio, potrebbe arguire che lo stesso Cavaliere – nei “Now or tomorrow” com’è espresso da perdono in una traduzione; ma la maniera The Operas of Richard Strauss (Cassell, 1964), il panni di Ottavio – è assolutamente il Hofmannsthal – ed il modo in cui Strauss le fa in cui il testo si sposa con la musica rimane compositore venne intervistato dal Daily Mail personaggio centrale: è in scena quasi esprimere quel cambiamento d’umore nella sua palese. mentre stava lavorando all’Atto III e fece alcuni ininterrottamente per tutta l’opera, eccetto nella meravigliosa musica è emotivamente L’intero progetto entusiasmò Strauss. Le idee accenni ai suoi metodi di lavoro: Leveé nell’Atto I; acquista una notevole lezione schiacciante. Assente dall’Atto II, essa ritorna contenute nel libretto diedero la stura ad un Prima d’improvvisare sin al più piccolo abbozzo di vita nella sua evoluzione da trastullo della nel mezzo del tumulto nell’Atto III e con il suo diluvio d’immaginazione nella sua musica e per un’opera lascio adito al testo di penetrare in Marescialla a giovane amante di una fanciulla comportamento sagace ma allo stesso tempo produssero una composizione che ha incantato tutti i miei pensieri, maturando in me per sua coetanea; i suoi sentimenti contradditori aperto e sincero lascia la scena ai personaggi il pubblico da allora fino ai nostri giorni. Il suo almeno sei mesi, in modo che le situazioni ed i sono espressi alla perfezione nella sua musica, più giovani, avendo palesato la sua esperienza entusiasmo per il progetto si può giudicare dal personaggi siano pienamente assimilati. Soltanto tanto nell’introduttiva scena erotica dell’Atto I successivamente a Sophie e a Ottavio. fatto che Strauss completò il primo atto nel dopo lascio che l’idea musicale mi entri nel quanto nel suo petulante, adolescente malumore In quanto a Sophie, essa non è una cifra, dicembre del 1909 e il secondo ai primi di cervello. A quel punto la traccia mentale si alla fine dell’atto. Lo sentiamo poi come anche se così viene spesso rappresentata, ma aprile del 1910. Aveva persino scritto la melodia tramuta in abbozzi: questi vengono elaborati, emissario dello zotico Ochs che si innamora di una ragazza che ben si accorge della sua principale per il duetto finale dell’Atto III ancor trascritti per pianoforte e riscritti fino a quattro Sophie quasi a prima vista, ed infine lo posizione nella vita e che alla fine si rende prima che Hofmannsthal ne avesse scritto il volte. È questa la parte più dura del lavoro: gli scopriamo in preda alla confusione, incapace di conto della ferita che involontariamente ha testo. spartiti delle parti [partitura breve?], la far fronte ai suoi ben diversi sentimenti verso le inflitto ai sentimenti della Marescialla. Ochs, Come divenne poi di prammatica nelle sue colorazione sinfonica che seguono sono la mia due donne fin quando la Marescialla non lo che in questi estratti sentiamo solo alla fine relazioni con il suo illustre collaboratore Strauss creazione. Scrivo la partitura nel mio studio libera dal suo dilemma. dell’Atto II e poco prima della sua forzata fece molti suggerimenti di propria iniziativa immediatamente, senza problemi, lavorandoci La stessa Marescialla ci appare nella prima partenza nell’Atto III, dovrebbe rimanere un nella messa a punto della versione finale del per dodici ore di fila. In tal modo viene scena come un’amante ancora avida e aristocratico, per quanto rozzo e lascivo. libretto. Per esempio, espresse dubbi – e con composto un tutto omogeneo e questo è quel che maliziosa, poi, nel suo grande monologo, si Interamente per colpa sua ci viene presentato buona ragione – circa la parte centrale dell’Atto conta. muta in una donna dignitosa, conscia della sua come ridicolo, eppure Strauss ce lo rende III, dall’arrivo del Commissario di Polizia e Mann fa notare che a questo stadio – età (anche se nell’opera ha solo trentatre anni, simpatico; per lo meno, non favorisce anche se gli emendamenti vennero accettati 2 maggio 1910 – l’opera era tuttora intitolata che a quel tempo veniva considerata mezza l’ipocrisia o la duplicità viennese. Così questa sezione forma la parte più debole Ochs auf Lerchenau, ma poco dopo tre settimane età). Nella scena finale dell’Atto I, il fulcro troviamo qui ritratto un mondo intero di dell’opera. La partitura venne alfine completata aveva trovato il suo titolo definitivo di Der dell’opera, la Marescialla – e Strauss – dicono a comportamenti umani, ancora validi nel nostro il 16 Settembre, appena diciassette mesi da Rosenkavalier. Ciò suggerisce che nella mente noi e a Ottavio ciò che tutti gli amanti più tempo, e per quanto spesso si ascolti quando Strauss aveva cominciato a lavorarci – dell’autore c’era un dubbio circa il personaggio maturi sanno, e cioè che inevitabilmente quest’opera ci appare sempre così fresca e ricca 44 45 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 46

di sfumature come quando fu creata Max Reinhardt fu molto coinvolto nello stile temendo il ritorno del marito della Marescialla, parrucchiere accusandolo di farla apparire novantanni fa. della premiere sebbene non sia stato Ottavio si traveste da cameriera. In realtà è vecchia, e congeda tutti i visitatori. Prima di Leggendo il canovaccio del primo atto ufficialmente citato come regista cosicché si arrivato solo il cugino della Marescialla, barone ritirarsi, Ochs consegna alla Marescialla la rosa Strauss vide subito che le parti scritte con tanta può presumere che sia stata drammaticamente Ochs von Lerchenau, venuto per incontrarla. I d’argento e incarica due italiani dall’aria cura per Ottavio, la Marescialla e il barone fedele. Anche se alcuni critici locali trovarono servitori cercano di trattenerlo adducendo l’ora equivoca, Valzacchi e Armina, di raccogliere Ochs avrebbero richiesto attori provetti oltre l’insieme nauseante ciò non impedì che l’opera antelucana, ma non riescono ad impedirgli di informazioni su Mariandel. che cantanti di primo rango. I primi interpreti avesse immediato successo in tutta la entrare. Rimasta sola, la Marescialla rievoca il furono di un genere piuttosto diverso da quello Germania, e ben presto a Vienna, Praga e Ingannato dalle apparenze, il Barone è tempo in cui era una giovane sposa, forzata ad dei cantanti ai quali vengono oggi affidati i ruoli Londra. Il critico del Times scrisse della prima immediatamente attratto dalla “cameriera”, accettare un matrimonio combinato. Ritorna principali. Alla premiere a Dresda la parte della rappresentazione a Dresda: “Se quest’ opera che la Marescialla presenta come la propria Ottavio, il quale si accorge della sua tristezza. Marescialla fu cantata da Margarethe Siems, non si guadagna l’approvazione universale si servitrice Mariandel. Ochs spiega di essere La Marescialla cerca di fargli capire che prima famosa come Lucia, mentre alla prima deve davvero disperare del gusto del pubblico.” a Vienna per sposare Sophie von Faninal, o poi lui la abbandonerà per una donna più rappresentazione a Berlino fu Frieda Hempel – I suoi dubbi risultarono infondati, giacché e comunica il suo desiderio di far recapitare giovane, ma Ottavio rimane confuso e non la Sutherland del suo tempo – ad intraprendere l’opera si è guadagnata l’attenzione del alla ragazza una rosa d’argento come dono vuole ascoltare, dichiarando ancora una volta il ruolo. Eva van der Osten fu il primo Ottavio: pubblico e l’ha mantenuta da allora inalterata. di fidanzamento. Per trovare un nobile il proprio amore per la Marescialla. Quando un’Elsa o una Isotta, non il mezzosoprano alto adatto a svolgere il ruolo di “Rosenkavalier” questa si rende conto che il suo amante se n’è che viene oggi considerato adatto alla parte. © 1999 Alan Blyth chiede aiuto alla Marescialla, la quale andato senza un bacio, chiede ai servitori di Lotte Lehmann, che sarebbe divenuta la più Traduzione: Marcella Barzetti propone Ottavio. Il barone nota con richiamarlo. Troppo tardi: non le rimane che famosa delle Marescialle. passò a questo ruolo piacere la somiglianza tra il ritratto del affidare ai suoi servitori la rosa d’argento da dopo aver cantato prima Sofia e poi Ottavio. Sinossi (I brani registrati sono in grassetto) giovane che gli viene mostrato consegnare a Ottavio. Fu lei a stabilire il tipo di voce che adesso L’opera è ambientata a Vienna a fine Settecento. e Mariandel. comunemente sentiamo come la Marescialla, Teresa, Principessa di Werdenberg, è sposata al Ochs desidera che la cugina gli consigli Atto II una voce calda di soprano lirico. Carl Perron, Feldmaresciallo von Werdenberg e ha quindi anche un buon avvocato, e questa propone di Presso la dimora di Faninal l’Ochs originale, era baritono piuttosto che acquisito il titolo di Marescialla. attendere la sveglia ufficiale, quando sul posto L’imminente arrivo del Rosenkavalier ha basso, e il suo aspetto – alto e magro – sbagliato giungerà il suo legale. La sveglia ha inizio e causato in Herr von Faninal e in tutti gli per la parte che fu presto affidata a Richard Atto I incontriamo uno dopo l’altro il notaio, il abitanti della sua casa una grande agitazione. Mayr, il basso viennese per il quale Strauss Nella stanza della Marescialla. cuoco, un cantante italiano e varie altre Faninal ha saputo che le regole dell’etichetta l’aveva intesa. Mayr la fece sua per i prossimi È mattina e la Marescialla si trova in persone. Ochs consulta l’avvocato circa il impongono la sua assenza all’arrivo del latore ventanni e incise estratti dall’opera nel 1933 con compagnia del suo amante, il diciassettenne proprio contratto matrimoniale e perde le della rosa ed egli, quindi, esce. Sophie è con la Lehmann nella parte della Marescialla. Ottavio. I due odono un rumore alla porta e, staffe. La Marescialla rimprovera il sua dama di compagnia, Marianne, la quale è 46 47 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 48

alla finestra e commenta eccitata tutto ciò che Atto III ragionevole, e i suoi sentimenti trovano voce Deborah di Handel, The Canterbury Pilgrims di accade in strada. Entra Ottavio accompagnato La camera di una locanda in un tenero trio. La Marescialla si reca infine Dyson (Chandos) e, per Opera Rara, Emilia di da un servitore e offre a Sophie la rosa Mentre Valzacchi prepara il teatro a consolare Faninal dopo gli eventi del giorno, Liverpool, L’eremitaggio di Liverpool, Ugo, Conte d’argento. L’attrazione tra i due ragazzi è dell’appuntamento, Ochs e Ottavio, lasciando soli Ottavio e Sophie. di Parigi di Donizetti e Il crociato d’Egitto di reciproca e immediata. nuovamente travestito, arrivano per la cena. Meyerbeer. Faninal ritorna e presenta a Sophie il Dopo alcune strane interruzioni provocate dai Nata a Sidney, Yvonne Kenny è una delle più futuro marito. I modi rozzi di quest’ultimo cospiratori di Valzacchi, entra Annina nei celebri soprano della sua generazione. Dopo John Tomlinson è nato nel Lancashire disgustano la ragazza, ma Ochs non vi bada e si panni di una vedova con svariati bambini al aver vinto il concorso Kathleen Ferrier è (Inghilterra) e ha studiato Ingegneria civile ritira con l’avvocato per stabilire le clausole del seguito, e afferma di essere la moglie di Ochs. entrata a far parte della Royal Opera, dove tra i presso l’università di Manchester, prima di contratto matrimoniale. Sophie e Ottavio si Nasce una gran confusione; Ochs chiama la ruoli da lei interpretati troviamo: Pamina (Die vincere una borsa di studio per il Royal confessano il loro amore e la ragazza supplica il polizia e cerca di convincere (senza successo) il Zauberflöte), Ilia (Idomeneo), Oscar (Un ballo Manchester College of Music. Dal 1974 si giovane di aiutarla a scongiurare quel commissario che Mariandel è in realtà la sua in maschera), Adina (L’elisir d’amore), Liù esibisce regolarmente con l’English National matrimonio. La scena è osservata di nascosto fidanzata, Sophie von Faninal. Ochs ha appena (Turandot) e Donna Anna (Don Giovanni). Opera, dal 1976 con The Royal Opera ed è da Valzacchi e Annina, che corrono a chiamare pronunciato questa affermazione quando arriva È stata ospite regolare della English National apparso con Opera North, Scottish Opera, al Ochs. Faninal, convocato da Valzacchi e Annina. La Opera e dei teatri di Glyndebourne, Venezia, Festival di Glyndebourne, con Touring Opera Ottaviano spiega a Ochs che Sophie non lo storia raccontata da Ochs viene ovviamente Vienna, Milano, Monaco, Berlino, Parigi e e con Kent Opera. John Tomlinson vanta un sposerà mai, e i due si battono in duello. Ochs smascherata e Ottavio rivela alla polizia la vera Zurigo. È apparsa al fianco delle più famose ampio repertorio concertistico ed ha rimane leggermente ferito e si abbandona a identità di Mariandel. orchestre del mondo e ai Festival di Edimburgo accompagnato tutte le principali orchestre grandi lamentazioni. Faninal è sconvolto e A questo punto compare la Marescialla, Aix-en-Provence e Salisburgo, e torna spesso inglesi, lavorando inoltre in Germania, Italia, ordina a Sophie di sposare Ochs o di ritirarsi fatta chiamare dai servitori di Ochs. La donna nel suo paese d’origine, l’Australia. La sua Belgio, Olanda, Francia, Spagna, Danimarca e in convento. Ottavio, allontanato, convince convince il commissario che tutta la vicenda interpretazione della Marescialla per l’English negli Stati Uniti, al fianco di maestri come i due italiani a lavorare per lui piuttosto che non è stata altro che uno scherzo, e la polizia National Opera ha ricevuto ampi elogi, e lo Barenboim e Haitink. per Ochs. se ne va. Ochs si rende conto di non avere stesso ruolo l’ha condotta anche sulle scene Dal 1988 si esibisce ogni anno al festival di Una fasciatura e ancora un po’ del buon speranze di conquistare Sophie e se ne va, nord americane. Nel 1989 Yvonne Kenny è Bayreuth, dove lo si è ascoltato nel ruolo di vino di Faninal, e Ochs torna ben presto in seguito da camerieri, vetturini e quanti altri stata nominata Membro dell’Order of Australia Wotan (Das Rheingold e Die Walküre), il forma. Una volta rimasto solo, egli riceve esigono di essere pagati. for Services to Music. Viandante (Siegfried), Titurel e Gurnemanz tramite Annina un messaggio della presunta La Marescialla rimane sola con Ottavio e Tra le numerose registrazioni realizzate da (Parsifal) e il re Mark (Tristan und Isolde). Tra Mariandel contenente un invito a un Sophie. Resasi conto dell’amore già sbocciato Yvonne Kenny ricordiamo: Le nozze di Figaro, gli altri ruoli da lui interpretati citiamo Hans appuntamento. Ne è felicissimo e promette di tra i due, la donna ricorda a se stessa la Die Entführung aus dem Serail, The Kingdom di Sachs (Die Meistersinger), Landgraf inviare una risposta. promessa fatta di amare il giovane in modo Elgar, The Beggar’s Opera e Gloriana di Britten, (Tannhäuser), Hagen (Götterdämmerung), e il 48 49 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 50

barone Ochs (Der Rosenkavalier). Le sue di Tito, e Orfeo di Gluck (Glyndebourne), e Nata a Cardiff (Galles), Rosemary Joshua ha notte. Ha cantato in Germania e in Svizzera registrazioni comprendono il ciclo del Ring, Ariadne auf Naxos a Lisbona. Le molte interpretato numerosi ruoli d’opera, tra cui nei ruoli di Semiramide, Sieglinde, la Regina La forza del destino di Verdi, Julius Caesar di registrazioni effettuate da Diana Montague Susanna, Adele (Die Fledermaus), Semele e la della notte e Hilda (Elegy for Young Lovers), Handel, Mary Stuart di Donizetti e La traviata comprendono: I Capuleti e I Montecchi, Principessa Ida nelle opere omonime, Norina mentre alla Royal Opera House ha cantato (per la Peter Moores Foundation), oltre a Norma, Lucia di Lammermoor, Iphigénie en (Don Pasquale) e Sophie (Der Rosenkavalier) come Berta, Amaltea (Mosè in Egitto), Clorinda brani scelti del Boris Godunov di Mussorgski Tauride, Il crociato d’Egitto (per Opera Rara), per l’English National Opera, Susanna al (La Cenerentola) e Marianne. (per la Chandos/Peter Moores oltre alla Cavalleria rusticana e una raccolta di Festival di Glyndebourne, Olga (Fedora) al Nel 1998 ha debuttato al Festival di Foundation). arie d’opera (per Chandos/Peter Moores Covent Garden, Calisto nell’opera omonima e Glyndebourne nel ruolo del Soprano italiano Foundation). Pamina (Die Zauberflöte) al La Monnaie di (Capriccio), si è esibita al Grand théâtre de Diana Montague ha studiato presso il Royal Bruxelles, Semele ad Aix-en-Provence, al Limoges nel ruolo di Olympia e al Theater Northern College of Music. Dal suo debutto Andrew Shore è oggi riconosciuto come il festival di Innsbruck e all’Opera delle Fiandre, Basel. Le sue registrazioni comprendono Orazi come Zerlina insieme con la Glyndebourne principale baritono buffo inglese. Dal suo e Juliette (Roméo et Juliette) per il teatro di San e Curiazi (Opera Rara) e The Barber of Seville Touring Opera è apparsa nei teatri e nelle sale debutto alla English National Opera nel 1988 Diego. (per Chandos/Peter Moores Foundation). da concerto più importanti del mondo, ha ricoperto i ruoli di Falstaff, Dieg (The I suoi impegni futuri prevedono Anne compresi la Royal Opera House Covent Making of the Representative for Planet 8 di Trulove (The Rake’s Progress) al festival di Elisabeth Vaughan ha debuttato con la Welsh Garden, il Metropolitan di New York, La Philip Glass), Papageno (The Magic Flute), Glyndebourne, Cleopatra (Julius Caesar) presso National Opera nel ruolo di Abigaille Monnaie a Bruxelles, Bastille di Parigi, il Teatro Monsieur Calcul (La belle Vivette), Don il Florida Grand Opera, Poppea (Agrippina) al (Nabucco), interpretando successivamente vari Colon di Buenos Aires, oltre ai festival di Pasquale e Gianni Schicchi. Ha collaborato La Monnaie e The Cunning Little Vixen nel personaggi con la Royal Opera, tra cui Bayreuth e Salisburgo. con tutte le principali compagnie operistiche ruolo della protagonista all’Opera delle Butterfly, Liù, Violetta, Leonora (Il trovatore), Il suo repertorio comprende i più importanti britanniche, comprese quelle di The Royal Fiandre. Le sue esibizioni in concerto sono Donna Elvira ed Elettra. È apparsa spesso con ruoli per mezzo soprano di Mozart, Gluck, Opera, Opera North, Scottish Opera, Festival state al fianco di Sir Simon Rattle, Mark Elder, la English National Opera, Welsh National Strauss, Rossini, Bellini e Berlioz. I suoi di Glyndebourne, Kent Opera e Welsh Frans Brüggen, René Jacobs e Nicholas Opera, Opera North e Scottish Opera. Le sue frequenti impegni concertistici l’hanno vista al National Opera, oltre ad apparire all’estero McGegan. Tra le sue registrazioni ricordiamo frequenti esibizioni all’estero si sono svolte al fianco di direttori di prima grandezza. Tra i (con la New Israeli Opera, San Diego Opera, Orlando di Gluck e Hänsel und Gretel di Metropolitan Opera, a Vienna, Berlino, suoi impegni figurano Giunone (Platée con la Opéra comique di Parigi, e a Lione, Nantes, Humperdinck. Amburgo e a Parigi. A partire dal passaggio a Royal Opera), Marguerite (La damnation de Montpelier, Amsterdam, Vancouver e ruoli di mezzo soprano, avvenuto nel 1990, ha Faust a Ginevra), Iphigénie en Tauride a Buenos Amburgo. Tra le sue registrazioni troviamo The Jennifer Rhys-Davies ha cantato in tutti i interpretato Herodias, la Strega (Hänsel und Aires, Madrid e con la Welsh National Opera, Makropulos Affair e, per la Chandos/Peter principali teatri della Gran Bretagna, vestendo i Gretel), Auntie (Peter Grimes) e Annina. Tra i Ermione (Glyndebourne), Le comte Ory (a Moores Foundation, The Barber of Seville, panni di Lady Macbeth, Donna Elvira, Miss suoi progetti futuri ci sono Madame de Croissy Losanna, Roma e Glyndebourne), La clemenza Tosca, La bohème e Don Pasquale. Jessel, Lucia, Donna Anna e la Regina della (Dialogues des carmélites) e Herodias. Le sue 50 51 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 52

registrazioni comprendono il Gloria di Vivaldi compagnis Opera Rara, per la quale ha Bühnen Dortmund e di Opera North. Dal teatro lirico con la Carmen. Altre tournées e Doctor of Myddfai di Maxwell Davies. registrato ben 15 opere. Attualmente gode di 1983 al 1987 è stato direttore artistico di l’hanno portato in Italia, dove ha diretto crescente reputazione grazie agli ulteriore Opera 80 e dal 1992 Direttore Musicale Ricciardo e Zoraide al Festival Rossini di Pesaro, Il Peter Kay Children’s Choir (Coro di incarichi ricevuti dalla BBC e dalle case fondatore del festival di opera contemporanea in Francia, Germania, Belgio, Olanda, e Svezia fanciulli) offre ai giovani cantanti buone discografiche internazionali. dell’Almeida Opera. dove ha diretto con grande successo Il sogno di prospettive in materia di opera lirica, concerti, Svolge un’intensa attività sia nel teatro lirico una notte di mezza estate di Britten. annunci pubblicitari televisivi e radio, attività La London Philharmonic Orchestra, costituita sia in campo sinfonico. Il suo repertorio da va Fuori d’Europa David Parry si è esibito al di beneficienza, festival e produzioni teatrali, in nel 1932 da Sir Thomas Beecham, ha attratto Mozart e l’opera italiana del Settecento a festival internazionale di Hong Kong, con Gran Bretagna, Francia, Belgio, Olanda, nel corso degli anni una successione Janácˇek e Britten e la musica contemporanea. In l’orchestra sinfonica UNAM a Città del Germania, Spagna ed USA. I suoi membri incomparabile di primi direttori, tra cui Sir Inghilterra ha diretto frequentemente alla Messico e in una serie di rappresentazioni della sono stati prescelti tra adolescenti con Adrian Boult, Sir John Pritchard, Bernard English National Opera ed in concerti sinfonici Carmen in Giappone. Nel 1996 ha diretto esperienza di esecuzioni corali, previo invito ed Haitink, Sir Georg Solti e Klaus Tennstedt. con la Philharmonia. Nel 1996 ha debuttato al Katya Kabanova in un nuovo allestimento per audizione presso l’English National Opera, di Attualmente si alternano periodicamente sul festival di Glyndebourne con Così fan tutte. il festival della Nuova Zelanda. cui Peter Kay è consultente, il Finchley podio il Direttore musicale Franz Weiser-Möst Dirige spesso in Spagna nella maggior parte Ha iniciso numerosi dischi per Opera Rara, Children’s Music Group, il New London ed il Presidente Bernard Haitink. dei teatri lirici e con orchestra sinfoniche. Ha fra questi il più recente è quello di Rosmonda Children’s Choir, The Jennifer Lilleystone Dal 1964 questo complesso è l’orchestra diretto la prima spagnola di Peter Grimes a d’Inghilterra di Donizetti, che ha vinto il Priz Singers, nonché varie scuole di tutta Londra e sinfonica stabile della Glyndebourne Festival Madrid e nel 1996 il primo allestimento Cecilia in Belgio; per Chandos ha diretto dell’Inghiltera meridionale. Opera (Compagnia lirica del Festival spagnolo della Carriera di un libertino, ha l’acclamato disco della Tosca, tre dische di omonimo) e dal 1992 del Royal Festival Hall. inaugurato due nuove sale di concerti con la grandi arie operistiche, Faust, Don Pasquale, La La carriera vocale di Geoffrey Mitchell si Inoltre, ha effettuato tournée in ogni parte del Nona sinfonia di Beethoven ed un nuovo bohème, Cavalleria rusticana e Pagliacci. distingue per il repertorio eccezionalmente mondo ed è la prima orchestra britannica ad ampio, che va dalla musica antica a quella esibirsi nell’URSS e in Cina. Le sue contemporanea. Tale fatto gli ha fruttato reguistrazioni discografiche le hanno meritato numerosi inviti della BBC ad esibirsi nel ruolo numerosi importanti premi. di direttore e, in seguito, un’attività più impegnativa in sintonia con propri cantanti David Parry ha studiato con Sergiu nonché la consequente formazione del Celibidache ed ha iniziato la sua carriera come Geoffrey Mitchell Choir. Dopo le prime assistente di Sir John Pritchard. Ha fatto il suo registrazioni su disco il complesso ha potuto debutto con l’English Music Theatre ed è poi stabilire regolari rapporti di lavoro con la diventato direttore stabile della Städtische 52 53 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 54

Act I (opening) You, you, you! Why talk of ‘You’? This ‘You But I trouble myself. The world will have it so. Octavian (tenderly) and I’? I remember a girl, just like this one, And you’re unhappy! 1 The Bedroom of the Marschallin. To the left in We know what they mean. who fresh from the convent, was marched off the alcove the large tent-shaped four-poster. Next Marschallin They are words, only words, yes. You know! straight to the holy estate of wedlock. The mood has flown away. You know me, how I to the bed, a threefold Chinese screen, behind All the same though, there is something (She takes a hand mirror.) which are lying some clothes. In addition, a little am. within them; a feeling, a craving, a yearning, a Where is she now? Ah, One moment laughing, one moment crying. table and some chairs. On a little sofa to the left lies striving, (sighing) a sword in its sheath. To the right, great folding My thoughts, I cannot command them, I know a longing, a burning: go, seek the snows of yesteryear! not why. doors that lead to the antechamber. In the centre – my hand reaches out to search for your hand, But can it be, (quietly) can it really be as I say? scarcely visible – a small door in the wall. No other and I must touch you, I want to hold you. That I was that young girl long ago, Octavian doors. Between the alcove and the small door a I exist to long for you; and that I shall one day become the old I know why you have been in tears, my heart. toilet table and a few armchairs against the wall. but then that ‘I’ is lost in that ‘You’… Princess… You were beside yourself and panic-stricken. The curtains of the bed are half drawn. Through I am your boy. But then when I am carried away The Marshall’s old Princess! Am I not right? Confess to me; the half open window the bright morning sun in your arms… ‘Look now, there goes the old Princess you were terrified, streams in. From the garden sounds the song of Where is then your boy? Theresia!’ my sweetest, my dearest, birds. How can this come to pass? my love, my heart! Marschallin (softly) Is this indeed the will of God? (The Curtain rises. Octavian kneels on a footstool, You are my boy, you are my heart! Marschallin For I am still I, the very same, half embracing the Marschallin who is reclining in (very tenderly) A little perhaps, but I recovered my courage and but if indeed it has to be, the bed. Her face is hidden; only her beautiful hand I love you so! to myself I said: Now what indeed should I why must I stand here looking on is seen and her arm, peeping from out of the sleeve (They embrace.) fear, of her nightgown of lace.) and see it all, so clear. and does it really matter? *** Why are these things not kept from me? Octavian (passionately) (gradually lowering her voice) Octavian (gaily) 2 How you were! How you are! Act I (conclusion) The secret is so deep, so very deep, It was not your husband, Past all knowing, past all grieving! Marschallin (alone) and we are here on earth but that silly clown, your cousin, and you are all 3 (sighing) mine, Marschallin (raising herself on her pillow) Ah, there he goes, a vain, pretentious, pompous to bear it all. you are all mine. Do you reproach me for that, Quinquin? fellow But to know ‘how?’. Would you have all the world share them? and takes a young and lovely bride and ample Marschallin (pushing him aside) dowry as reward. (very quietly) Dearest, embrace me not so much: Octavian (ardently) (sighing) In that lies all the difference. who tries to hold too much, holds nothing fast. Angel! No! Blessed am I, He takes it all, (Enter Octavian from the right, in riding dress for it I alone who knows your secrets! and then he’s pleased to think that he’s the one, with riding boots.) Octavian (passionately) Past all dreaming, past all knowing! who is honouring her! 4 Ah! You are back again? Say you are mine alone, mine! 54 55 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 56

Marschallin that all things earthly are but a vanity, vain empty but there comes a moment when time is all we Octavian Oh! Do but be good, tender and gentle, kind and dreams; feel. So you are trying now to dismiss me wise. deep in my heart I know All the world talks of it, all our souls are filled and do with words what your hands refuse. I beg you, try not to be like all the other men. how we should grasp at naught, with it. Marschallin (quietly) how we can cling to naught, On ev’ry face its mark will show. Each mirror The day will come unbidden, Octavian (starting up suspiciously) how life and its joys slip through our fingers, betrays it, now, or tomorrow it will come, Octavian. Like all the others? how ev’rything alters if we but grasp it, all through my dreams ’tis flowing, Marschallin (quickly recovering herself ) ev’rything fades like shadows, like dreams. and now between us two it flows in silence, Octavian trickling as in an hour-glass. Not now, nor tomorrow: I love you so. Like my husband is, and my cousin Ochs. Octavian (warm) (with growing passion) My God, what do you say? You only want to tell Octavian (still dissatisfied) Oh, Quinquin, Not now, nor tomorrow! me Bichette! Sometimes I hear it flowing unrelenting. The sun shall not rise, that I swear on such that you love me no more. Sometimes I arise in the dead of night, a day! Marschallin (emphatically) (He weeps.) go to my clocks and stop them, ev’ry one. So dreadful a day! No, do not be like all the other men. Marschallin And yet, to be afraid of time is useless. That day shall never come, Octavian Ah, do be good, Quinquin! For God, mindful of all his children, I cannot bear to think of it. I know nothing of the other men. (Octavian weeps more bitterly.) in his wisdom created it. Why break my heart and yours, Theres? Ah, now I am the one who must console him, (with sudden tenderness) Octavian (quietly and tenderly) Marschallin Only I know I love you. for the day, be it soon, be it late, when he will 6 My dearest love, why do you torture Now or tomorrow, if not tomorrow, very soon. leave me. Bichette, they’ve taken you away from me. yourself with such thoughts? I would not torture you, my dear. (She strokes his hair.) Bichette, where is she then? Now that I am here, I speak the truth now, you must speak it too, as I Marschallin (quietly) Octavian and my loving fingers are clasping yours so have done… I still am here my love. ‘Be it soon, be it late.’ tenderly, Let us then lightly meet our fate; (angrily) and my eyes look into yours to find an answer; light must we be, Octavian Who could have put such words into your now that I am here, our spirits light, with gentle touch Yes, is she here? Then I want to hold her, mouth, Bichette? at such a time can you feel like this? we take all our pleasures, take them and leave to protect her from what may befall her, hold her them… Marschallin Marschallin (very serious) by my side. Unless we do much grief awaits us, not even God Do my words hurt you so? Quinquin, now, or tomorrow surely, Then she will know to whom she belongs. will pity us. To me! For I am hers and she is mine! The time is coming, Quinquin, you will go from me, leave me and find the time, be it sooner or later, what matter. another, Octavian Marschallin (escaping from him) 5 For time is a mysterious thing. who’s younger (hesitating a little) and lovelier Today you sound like my confessor Oh do be good Quinquin. I feel I know We go on living, time has no meaning, than I. Do you tell me that I may never, 56 57 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 58

may never love and kiss you a festal day, a sacred day. (She controls herself with difficulty.) Marianne till you are faint with rapture? (Sophie kisses his hand.) I will offer humbly my heart, my heart to him. They herald the Rosenkavalier and shout the Marschallin Marianne (at the window) My flesh is too weak to be humble, names Quinquin, now you must go. Now you must The new coach is there with our man on the box. so I must humble myself. of the noble lords related to your husband, I am Its curtains are of sky-blue. sure. leave me; Marianne (very excited) 7 Four shining horses are there. (with eager gestures) I’ll go now, go to church, and pray, And half the town is out of doors. and later visit my Uncle Greifenklau, Now the servants form a pathway, Major-Domo (confidentially to Faninal) See them in the cloister, the good monks one and and the lackies are beside the door! who’s old and infirm now, It’s high time now your Lordship should be leaving. all are at the windows and dine with him: ’twill please the dear old man. It’s customary for the bride’s father and one old man sits high up upon the roof. Three Running Footmen (as before) This afternoon to your house I will send a to have taken his Rofrano, Rofrano! footman, departure from the house Sophie (struggling to collect her thoughts) Quinquin, and he will tell you, Sophie before the silver Rosenkavalier comes here. Humble myself and from temptation, from envy, Oh, but when my bridegroom comes will (hesitating) It is not seemly for you to meet him at the palace from sin, from evil thoughts, if I plan to take the air, ev’ryone door. I must always pray to save myself! run to greet him and his name and titles too? and if I do (Footmen open the door.) My mother is dead, and I am all alone, and should you wish, here in prayer before thy throne. Running Footmen (just underneath the window) Faninal you may meet me in the Prater riding Here at the altar with thy blessing I stand. Rofrano! Rofrano! and you may ride beside my carriage… May Heaven help me. When I come again, Now you be good. Do as I say. I shall be leading your bridegroom-to-be by the Marianne (crying out, delighted) Marianne (enthusiastically) hand. The coach door is open and he comes, *** He comes, he comes. With two great coaches. The first one has four horses. It is empty. But the all in silver cloth, he is glittering from head to Act II (opening) Marianne foot, The excellent and noble baron Lerchenau! next Room in Herr von Faninal’s palace. Centre door like an archangel all on fire. (Faninal goes. Marianne is at the window) has six dapple greys. leading to the anteroom. Doors right and left. On He’s getting in. They’re jumping on the back, I can see him, the Rosenkavalier! Sophie the right a large window. At either side of the centre Xavier and Anton are. Merciful heaven! door chairs against the wall. In the rounded corners The page has handed up the whip, Three Running Footmen (in the street below) I know that pride must be a mortal sin. on either side large fireplace. Faninal, Sophie, to Joseph, there are faces at ev’ry house. Rofrano, Rofrano! (like distant fanfares) But today never shall I humble myself. Marianne Leitmetzerin, the Duenna, the Major- ’Tis all in vain. Domo, Footmen. Sophie (advancing, alone) Sophie (almost losing her self control) 9 In this most wonderful and serious moment, But I shall never let my married status I can’t help being proud, so proud! (The curtain rises.) in which you, my creator, high above my worth, make me haughty – (The Footman quickly open the centre doors. Enter Faninal (at the point of saying goodbye to Sophie) have brought me – no, never haughty. Octavian, bareheaded, dressed all in white and 8 A solemn day, a wondrous day, and to allow me to enter my married life. What is it they shout? silver carrying the Silver Rose in his hand. Behind

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him his servants in his colours, white and pale from golden gardens of Paradise. Think you not (During this, Octavian’s servants have taken up Oh, oh! That demon! Oh, oh! That accursed green, the Footmen, the Heyducks with their so? their position on the left at the back, Faninal’s little imp! crooked Hungarian swords at their side; the (Octavian bends over the rose, which she holds out servants with the Major-Domo to the right. Still wet behind the ears, and fooling with a rapier. Couriers in white leather with green ostrich plumes. to him, then raises his head and looks at her lips.) Octavian’s Footman hands the jewel case to (with rising anger) Immediately behind Octavian a black servant, It’s like a gift from Heaven. Oh so sweet and rare Marianne. Sophie wakes from her reverie and gives Insolent poodle pup! I swear that I will catch carrying his hat, and another Footman who carries that no one dare breathe it again. the rose to Marianne, who places it in the jewel you. I’ll catch you. the case of the Silver Rose in both hands. Behind Drawing me on, as though it were tugging at my case. The Footman with the hat approaches I’ll break you in like one of my dogs, locked in a these Faninal’s servants. Octavian, taking the rose heart. Octavian and gives it to him. Octavian’s servants cage. in his right hand, advances with high-born grace (softly) withdraw, and at the same time Faninal’s servants That’s where you’ll grovel. You’re in the pig sty! towards Sophie; but his youthful features bear traces Where have I been before carry three chairs to the centre, two for Sophie and That’s where you’ll hear the angels sing. of embarrassment and he blushes. Sophie turns pale and felt such rapture? Octavian, and one for Marianne further back at with excitement at his splendid appearance. They the side. Faninal’s Major-Domo carries the jewel (His Servants at once assume a very dangerous and stand opposite each other; each disconcerted by the Octavian case with the rose through the door to the right, the threatening attitude, turning to the door by which confusion and beauty of the other.) Where have I been before other servants immediately withdraw through the Octavian has gone out.) and felt such rapture? centre door. Sophie and Octavian stand opposite Octavian (with slight hesitation) Lerchenau’s Servants (in hollow voices) each other partly restored to the everyday world, but 10 It is an honour, an enchantment Sophie We will do for you, a little embarrassed.) to which I’ll stay most deeply sensible all my days, To walk those blessed fields of Paradise once beat you black and blue, to come here as messenger at more. I fear not death itself. wait our time will come, my cousin Lerchenau’s bidding, And yet why dream of death? *** vile Italian scum! It’s far, it’s far. It’s an eternity to offer you as token of his love this rose. Act II (conclusion) that shines on moments of blessedness, (The Doctor pours out for the Baron, and offers Sophie (taking the rose) never to be forgotten till death close my eyes. (Faninal rushes off. Soon a footman comes with a him the glass.) I am to your Honour much indebted. case of wine, and offers it to the Baron. The Baron I am to your Honour for all Eternity indebted. Octavian is alone with his servants and the Doctor.) Baron Ochs (to Faninal’s footman, who is waiting (There is a pause of confusion. Smelling the rose) I was a child, on him) There is a scent in its petals of roses, like the I never heard her voice until today. Baron Ochs A drop more claret, quick! living ones. But who am I? 11 Here I am. What accidents befall a man of quality (his good humour gradually returning) What fate brings me to her? in this tempestuous town. And yet it’s funny, how his little mind works – Octavian What fate brings her to me? It does not suit me here. There’s no one you can this boy of seventeen, who thinks he’s worldly Yes, there’s a drop of oil of Persian roses in its Feeling and sense would leave me were I not a trust save God himself. wise; heart. man; I’d rather be home. She believes she’s got the better of me. Sophie this is a moment of blessedness, (He wants to drink and makes a movement which Ha ha! He who laughs last laughs the longest. Like heavenly, not earthly flowers, like roses never to be forgotten till death close my eyes. gives him pain.) And on the bright side,

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not for the world would I have missed that Baron Ochs Come back tonight. I’ll give the answer and in Act III (conclusion) hanky-panky with my wife-to be! And who, pray may that be? writing. (The Marschallin seems to be looking for a seat. (with increasing good humour) Annina (coming quite close to him) Annina Octavian hurries forward and reaches her a chair. There’s nothing I know that inflames my desire, To your hands only and in secret can I give it. The Baron fails to realize this new development, or so invigorates my soul, Yours to command Herr Cavalier. You won’t Baron Ochs rolls his eyes in anger and perplexity. At this like a defiant wench. forget your servant. Off now! moment the man emerges from the trapdoor. (His Servants retire, unceremoniously take the Baron Ochs (not hearing, to himself ) Valzacchi enters from the left, followed by his Lerchenau’s Servants (in hollow voices) ‘Without me, lonely days feel all wrong.’ We will do for you, wine-can from Faninal’s footmen, and empty it.) suspicious accomplices with modest demeanour. vile Italian scum, Give it to me. Annina (more importunate) Annina tears off her widow’s cap and veil, rubs off we will do for you, (He opens the letter with his left hand, and tries to You won’t forget your servant, your Highness! the paint and shows her natural face. The Baron’s beat you black and blue! read it, holding it far from his eyes.) astonishment grows. The Innkeeper carrying a long Look for my glasses there in my jacket. Baron Ochs bill, enters by the centre door, followed by waiters, Baron Ochs (very suspicious) All right. musicians, boots, coachmen. The body-servant Good Doctor, go before me to my room! No! Better not. If you can read, let’s hear it. ‘With me, with me, with me not a night is too seizes a candle from the table and prepares to And make my bed, (with some hesitation) of 12 Here. long.’ precede his master. Annina insolently bars the (Annina makes another gesture of begging.) softest feather bedding. Annina (taking the letter and reading) Baron’s passage.) No tip yet – in a lump sum when it’s all done. I’ll come, but first another drink! Now off with ‘Herr Cavalier! Tomorrow come evening, I’ll be She waits an answer. In the meanwhile leave me. Baron Ochs (As he sees them, he knows the game is you good Doctor. free. (He empties the second cup.) When you come up, bring me a pen and ink, and lost. He calls out quickly and decidedly.) I liked you, at once but I 13 I will Leupold, let’s go. A feather bed. Two hours before we dine. I’ll die was too shy there before her Highness think of an answer to dictate! of boredom. ’cos I am only a young girl. Your most loving Annina (Annina goes out, not without indicating by a (Annina has entered the ante-room, and approaches Mariandel, ‘I still have all the luck of all the Lerchenaus. menacing gesture behind the Baron’s back that she him discreetly, a letter in her hand. To himself, softly) humble serving girl and sweetheart. Come back tonight. will soon be even with him for his niggardliness. ‘Without me, without me, lonely days feel all Hoping Herr Cavalier has not completely (looking at the Landlord’s bill) The Baron takes a last sip of wine.) wrong. forgotten me. I’ll give the answer and in writing.’ ‘Nights cannot be too long.’ With me, with me, not a night is too long.’ I wait an answer.’ (Annina places herself so that the Baron must see (Sentimentally, followed by his Servants he goes Children (running between the Baron’s legs. her, and makes mysterious signs to him with the Baron Ochs (delighted) slowly and quite at his ease towards his room.) He hits out at them with his hat.) letter.) She waits an answer! ‘With me, with me, with me not a night is too Papa! Papa! Papa! For me? It works like a charm, just like home, long.’ but better with an extra flavour that’s new. Waiters (pressing forward towards the Baron) Annina (approaching) (very merry) (The curtain falls slowly.) May’t please you, your Highness! From one you know of. I still have all the luck of all the Lerchenaus. *** There are the lights to pay! 62 63 CHAN 3022 BOOK.qxd 24/7/07 3:42 pm Page 64

Landlord (pressing forward with his bill) (From this point all shout in wild confusion. All have Marschallin Octavian May’t please you, your Highness! reached the door. The candle is wrested from the ’Tis no matter. I swear upon my soul it is not so! body-servant. The Baron rushes off, all hurry after Annina (dancing backwards in front of the Baron) him. The noise grows fainter. Faninal’s two footmen Octavian Sophie ‘I still have all the luck of all the Lerchenaus.’ have gone out by the door on the left. Sophie, the But I do not understand. Pray let me go now! Marschallin and Octavian alone remain.) Valzacchi (ironically) Marschallin (laughing angrily) Octavian (seizing her hand) ‘I still have all the luck of all the Lerchenaus.’ Sophie (standing on the left, pale) How like a man to say that. Go to her! I never shall! 14 Oh God! The story was a masquerade and no Octavian (He crosses over.) Sophie Musicians (barring the Baron’s passage) more. There’s music, two hours and more, sir. As you command. My father needs my help. Oh God! He goes towards her, and I am no more (Sophie stands silent. Approaching her) (The body-servant forces a way to the door. alive for him! Eh bien, have you no friendly word for me? Octavian I need you more than he! The Baron tries to follow.) Octavian (behind the Marschallin’s chair, No glance or smile, no smile to show that you care? Sophie Coachmen (crowding round the Baron) embarrassed) ’Tis little said. For the coach, for the coach! Horses standing! My plan has gone astray Marie Theres, so Sophie (hesitating) strangely! Time is up! All, my Lord, I had dared expect of you and your Octavian (in extreme embarrassment) chivalry, I have such overwhelming love. Boots (insolently bawling at the Baron) Command me, shall I, should I not. The Lady… a token of affection more than pity. Don’t forget sir, I lock the house! Her father… Sophie Octavian (eagerly) Marschallin It is not true. Landlord (still presenting his bill) What? Are you then not glad? Your love is not as great as you declare. May’t please you, your Highness! Go, quickly go, and do all that your heart commands. Sophie (angrily) Forget me then! Waiters I really have no cause to be. Octavian Two score candles. There are lights to pay. Sophie (in despair) No more alive. Oh my God! My God! Octavian You are my all! You are my all! (The Baron struggles to the doorway. All crowd Octavian Have we not chased that wretch away who made Sophie round him.) Theres, I do not know. you sad? Forget me then! Baron Ochs (in the crowd) Marschallin Sophie Octavian (vehemently) Clear off. Clear off. Out of my way! Way there! Go now, and pay her your court. It could have been a day of thankfulness and joy. The world may vanish for all I care! Yet all conspires to shame me. And in the smile Children Octavian her Highness turns on me I can feel all the pity Sophie Papa! Papa! Papa! I swear it. and the scorn. Forget me then!

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Octavian Marschallin And as for your dear papa’s discomfort, I know e’en to love the love he bore another, I have no thought now, but love for you. Poor boy, look how perplexed he stands there just the medicine for him. I promised. I see your lovely face, between us two. I’ll go, say a few words to him, and bid him But in truth, I did not think so dear to me my love, my love. Octavian (to Sophie) ride with me and you and Count Octavian in my that all so soon I’d find the task await me. own carriage, we’ll go home now. Don’t you Full many a thing is ordained in this world, Sophie By all that’s holy, stay! think which we should scarce believe could be Forget me then! (to the Marschallin) Yes. What was that you said? that would be quite enough to make him well if we heard others tell of them. Marschallin (She rises abruptly, but controls herself again And only we who live them believe in them, and and sits again.) (The Marschallin, paying no need to Octavian, and even cheer his spirits. know not how… 15 Now or tomorrow; if not tomorrow, very soon. crosses to Sophie and looks at her critically but There stands the boy, and here I stand; and with Did I not say the words myself? kindly. Octavian retreats a step. Sophie, much Sophie this pretty child of his There is no woman can escape this fate? embarrassed, makes a curtsey.) Ah, your Highness, you are much too kind. he will know happiness such as man thinks Did I not know the truth? Marschallin Marschallin (very delicate and feeling in expression) the best of the world can give. Did I not take a vow on it? So quickly have you learned to love him? And for your pale cheeks, I think my cousin Octavian (to himself ) That I with all my heart and humble spirit there will have the cure. Can I believe it has come to pass? must bear the blow. Sophie (very quickly) Would I could ask her. ‘Can it be?’ And just that Now or tomorrow if not tomorrow, very soon. Indeed, ma’am, your question I can hardly Octavian (with deep feeling) question (She wipes her eyes and rises.) understand. 16 Marie Theres’, how good you are. Marie Theres’; I wish I knew! is the question that I dare not ask. Sophie (softly) Marschallin Would I could ask her, why, oh why, why am I The Princess there, she’s calling you. Go speak to Your cheek so pale gives me an answer plain Marschallin (with an enigmatic expression, softly) afraid? her! enough. I know nothing, What if a cruel wrong has been done? And yet of (Octavian, after advancing a few steps towards the Sophie (very timid and embarrassed. Still very (quite toneless) her, Marschallin, now stands undecided between the quickly) nothing. I may not ask the question – and then I see you two. Sophie in the doorway, hesitates whether to go No wonder if my cheeks are pale your Highness. Octavian (undecided, as if he wished to follow her) by me or to remain. Octavian between them turns his I have been dreadfully afraid for my poor father, Marie Theres’. Sophie, and see but you, know but you, head from one to the other. The Marschallin notices not to speak also of my anger at all the vile Sophie, and know no more but you; you I love. his perplexity and a melancholy smile flits over her (Octavian stands next to her. Sophie further to the things that that hateful man has said and done. Sophie (to herself ) countenance.) right.) I am most grateful, forever grateful to your I feel as when I’m kneeling, holy rapture mixed (by the door) Highness for your help and kindness. Marschallin (She remains standing in the door.) with fear, I must go in, I think I hear my father call. Marschallin (deprecatingly) (to herself ) and rapture that’s unholy too! I know not what I Octavian No need to talk so much. You’re pretty, that’s I made a vow to love him rightly, in the noblest feel. So much is unspoken, I have no words to speak. enough! manner, A holy rapture, an anguish of fear.

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I’d gladly kneel before my lady there, yet I’d hurt Sophie Sophie (dreamily) (She sinks into his arms. He kisses her quickly. her You are laughing? I stand in dread Am I dreaming that here I stand, Without noticing it, her handkerchief drops from gladly; for I feel, she gives me him such a torment runs in my head. one in happiness and hand in hand? her hand. Then they run off quickly, hand in hand. and yet robs me of part of him. I know not how Hold me! A weak foolish thing Ever hand in hand to be The stage remains empty. Then the centre door is it is. to you I cling. for evermore. opened again. Through it comes the little Black Boy, Could I understand! And yet I fear the truth! with a taper in his hand; he looks for the I would know and yet not know. I am hot and (She leans on him for support. At this moment Sophie and Octavian handkerchief, finds it, picks it up, and trips out. cold. Faninal’s footmen open the door and enter, each You are mine alone. The curtain falls quickly.) And know but you, (gazing into Octavian’s eyes) carrying a candlestick. Faninal, leading the know but this one thing, Marschallin by the hand, enters through the door. Alfred Kalisch that I love one thing, I love you, you I love. The two young people stand for a moment confused, then they made a deep bow, which Faninal and the © Copyright 1910, 1911 by Adolf Fürstner. (The Marschallin goes quietly into the room on the Marschallin return.) US Copyright renewed. Copyright assigned 1943 left; the two others do not notice her. Octavian has to Hawkes & Son (London) Ltd (a Boosey & come quite near to Sophie. A moment later she is Faninal (He pats Sophie with paternal benevolence Hawkes Company) for the world excluding clasped in his arms.) on the cheek.) Germany, Italy, Portugal and the former ’Tis ever so, youth will be youth! territories of the USSR (excluding Estonia, Octavian Latvia and Lithuania). Reproduced by 17 Bliss is too deep to understand, Marschallin permission of Boosey & Hawkes Music one in happiness and hand in hand! Ah, yes. Publishers Ltd. Years to come glimmer like the sun before my eyes. (Faninal gives his hand to the Marschallin, conducts her to the centre door, which the suite Reproduced by permission of the publishers Sophie of the Marschallin, among them the little Black Fürstner, Mainz/Germany for Germany, Italy, Am I dreaming that here we stand, Boy, at that moment throws open. There is bright Portugal and the former USSR countries, and by one in happiness and hand in hand? light outside, within a half-light, as the two permission of Boosey & Hawkes Ltd for all other Ever hand in hand to be footmen with the candlesticks precede the countries. for all eternity. Marschallin.)

Octavian Octavian (dreamily) In a palace once upon a day, 18 Bliss is too deep to understand, you were waiting till I stole you away. one in happiness and hand in hand! They let me steal the brightest jewel there, Years to come glimmer like the sun fools that they were. before my eyes.

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Yvonne Kenny as the

Bill Rafferty Bill Marschallin and Rafferty Bill John Tomlinson as Baron Ochs

John Tomlinson as Baron Ochs

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Opera in English on Chandos Opera in English on Chandos

CHAN 7023/4 CHAN 3000(2) CHAN 3004 CHAN 3003

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Opera in English on Chandos Opera in English on Chandos

CHAN 3006 CHAN 3010

CHAN 3014(3)

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Opera in English on Chandos

Yvonne Kenny John Tomlinson

CHAN 3017(2) CHAN 3019(3)

Diana Montague

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Chandos 20-bit Recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 20-bit recording. 20-bit has a dynamic range that is up to 24dB greater and up to 16 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’. Andrew Rosemary Shore Joshua Producer Brian Couzens Sound engineers Ralph Couzens, & Jonathan Cooper (16 December only) Assistant engineer Richard Smoker Editor Jonathan Cooper Recording venue Blackheath Halls; 14–16 & 18 December 1998 Operas administrator Sue Shortridge Stage manager/language coach Charles Kilpatrick Front cover Photo of Yvonne Kenny as the Marschallin in the English National Opera production of Der Rosenkavalier, by Bill Rafferty Back cover Photo of David Parry Design D.M. Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright GEMA/Boosey & Hawkes Music Publishers Ltd p 1999 Chandos Records Ltd c 1999 Chandos Records Ltd Jennifer Elizabeth Chandos Records Ltd, Colchester, Essex, England Rhys-Davies Vaughan Printed in the EU 78 79 CHAN 3022 Inlay.qxd 24/7/07 3:44 pm Page 1 TAS:DRROSENKAVALIER HIGHLIGHTS - Soloists/LPO/Parry STRAUSS: DER TAS:DRROSENKAVALIER HIGHLIGHTS - Soloists/LPO/Parry STRAUSS: DER bit CHANDOS DIGITAL CHAN 3022 20

Richard Strauss (1864–1949)

Der Rosenkavalier (The Knight of the Rose) (Highlights)

Libretto by Hugo von Hofmannsthal English version by Alfred Kalisch The Feldmarschallin, Princess of Werdenberg ...... Yvonne Kenny soprano Baron Ochs of Lerchenau ...... John Tomlinson bass Octavian, a young gentleman of noble family...... Diana Montague mezzo-soprano Herr von Faninal, a rich merchant ...... Andrew Shore baritone Sophie, his daughter ...... Rosemary Joshua soprano Marianne, her duenna ...... Jennifer Rhys-Davies soprano Annina ...... Elizabeth Vaughan contralto

1 - 2 Act I (opening) 8:28 The Peter Kay Children’s Choir 3 - 7 Act I (conclusion) 21:24 Geoffrey Mitchell Choir 8 - 10 Act II (opening) 13:01 11 - 12 Act II (conclusion) 13:05 London Philharmonic Orchestra 13 - 18 Act III (conclusion) 23:08 CHANDOS CHANDOS HN3022 CHAN HN3022 CHAN David Parry DDD TT 79:40

CHANDOS RECORDS LTD. p 1999 Chandos Records Ltd. c 1999 Chandos Records Ltd. Colchester . Essex . England Printed in the EU