RUSALKADvorˇák CHAN 10449(3) Australia Richard105 Hickox

CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 104-105104-105 220/11/070/11/07 17:01:5817:01:58 Antonín Dvořák (1841 – 1904)

An opera in three acts by Jaroslav Kvapil, after by Friedrich Heinrich de la Motte Fouqué

A production by recorded live at the Lebrecht Music & Arts Photo Library in March 2007

Wood Nymphs Taryn Fiebig soprano Dominica Matthews mezzo-soprano Water Sprite Bruce Martin Rusalka Cheryl Barker soprano Ježibaba Anne-Marie Owens mezzo-soprano Prince Gamekeeper / Huntsman Barry Ryan Kitchen Boy Sian Pendry soprano Foreign Princess Elizabeth Whitehouse soprano Wedding Guests; Water Nymphs

Opera Australia Chorus Michael Black chorus master Kate Golla assistant chorus master

Australian Opera and Ballet Orchestra Stephen Mould assistant conductor Antonín Dvořák Aubrey Murphy concertmaster

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 2-32-3 220/11/070/11/07 17:01:0117:01:01 Opera Australia Chorus

soprano Chloris Bath mezzo Caroline Clack tenor Dean Bassett cello Zoltan Szabo Andrew Malec Gregory van der Struik Helen Borthwick Jane Dunstan David Corcoran Eszter Mikes-Liu* William Farmer Annabelle Chaff ey Vanessa Lewis Warren Fisher Henry Urbanavicius** Peter Jenkin Nigel Crocker Angela Brewer Ke-Lu Ma David Lewis Margaret Iddison Richard Rourke* Lisa Cooper Lynette Murray Kent McIntosh Pierre Emery bass trombone Brett Page Elizabeth Ellis Sandra Oldis Th omas Moran Victoria Parkin Euan Huggett Marjory McKay Margaret Plummer Peter Rees Matthew Walmsley Julia Malczewski Caroline Vercoe bass Luke Gabbedy Douglas Eyre Jane Parkin Tom Hamilton bass Brett Berthold Gillian Hansen timpani David Clarence Katrina Sheppeard Andrew Jones Andrew Meisel* Charlie Kedmenec Edmund Bastian horn Michelle Perry percussion Bruce Cotterill Andrew Moran David Cooper Anton Schroeder Darryl Turner* Walter Sutcliff e Lewis Allan Watson* Dorit Herskovitz Victoria Chatterley Timothy Paillas Lisa Wynne-Allen Bree Van Reyk Australian Opera and Ballet Orchestra fl ute Elizabeth Pring Francesco Lo Surdo Jeremy Barnett Alistair Howlett violin Aubrey Murphy Virginia Blunt Amanda Murphy* Bruce Hellmers harp Jane Rosenson Sun Yi Rachel Easton David Wicks piccolo Diane Berger Brian Evans Huy-Nguyen Bui Samuel Podjarski David Dixon Peter Wiseman Adrian Keating Daniel Rosenbaum Magda Kruszynska Conall McClure Tony Gault Robert Sek Marilyn Wilson Mark Bruwel Rebecca Irwin Jaroslaw Talar Gregory Ford Marek Kruszynski Ursula Nelius Vera Marcu Rachel Westwood Jennifer Taylor Lucie Miller Patrick Wong Robin Wilson Airena Nakamura Belinda Jezek Stephanie Zarka Doreen Cumming Kiyondo Ishizaka Jane Stanley

Concertmaster: Aubrey Murphy Associate Concertmaster: Sun Yi Deputy Concertmaster: Huy-Nguyen Bui Italics denotes Principal * denotes Associate Principal ** denotes Deputy Principal/Section Soloist

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 4-54-5 220/11/070/11/07 17:01:1417:01:14 COMPACT DISC ONE Time Page Time Page 11 ‘A young Huntsman was once out riding’ 4:53 p. 64 Act I Huntsman A forest glade at the edge of a lake. A moonlit night. 12 ‘Divine vision, sweetest being’ 4:31 p. 65 1 Prelude 4:24 p. 52 Prince 2 Allegro molto. ‘Ho, ho, ho’ 4:28 p. 52 Wood Nymphs 13 ‘I know you’re nothing but magic’ 2:06 p. 67 Prince 3 ‘You are most welcome here in the lake’ 3:24 p. 53 TT 54:04 Water Sprite

4 ‘Father Water Sprite!’ 4:17 p. 55 COMPACT DISC TWO Rusalka 5 ‘He often comes here’ 4:31 p. 56 Act II Rusalka A park surrounding the Prince’s palace.

1 6 ‘O moon in the velvet heavens’ 4:50 p. 57 ‘Tell me all, dear boy’ 4:07 p. 67 Rusalka Gamekeeper

2 7 ‘Th e water feels cold!’ 3:19 p. 58 ‘Our forest is haunted’ 3:48 p. 69 Rusalka Gamekeeper

3 8 ‘With your ancient wisdom, you know everything’ 3:02 p. 59 ‘You have now been with me for a week’ 5:07 p. 71 Rusalka Prince

4 9 ‘I know that, I know that’ 6:24 p. 60 ‘Ah, this reproach comes not before time’ 3:46 p. 72 Ježibaba Prince

5 10 ‘Abracadabra’ 3:50 p. 62 Ballet. Andante – Moderato maestoso 6:51 p. 73 Ježibaba

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 6-76-7 220/11/070/11/07 17:01:1517:01:15 Time Page Time Page 6 ‘No-one in the world can give you…’ 4:09 p. 73 4 ‘You must wash away Nature’s curse’ 5:08 p. 81 Water Sprite Ježibaba 7 ‘White blossoms along the road’ 5:58 p. 74 5 ‘I am torn from life’ 4:01 p. 82 Wedding Guests Rusalka 8 ‘Oh, it’s all in vain!’ 2:54 p. 76 6 ‘Are you afraid?’ 3:55 p. 83 Rusalka Gamekeeper 9 ‘Do you see them?’ 3:19 p. 76 7 ‘Our prince has Fallen dangerously ill’ 4:07 p. 86 Rusalka Kitchen Boy 10 ‘But when my fi re has burnt you out’ 3:36 p. 77 8 ‘I have golden tresses’ 7:45 p. 87 Foreign Princess First Wood Nymph TT 43:40 9 ‘My white doe!’ 4:47 p. 89 Prince COMPACT DISC THREE 10 ‘Beloved, do you recognise me?’ 2:21 p. 90 Act III Rusalka Th e lakeside glade. Night is drawing on. 11 ‘Why did you enfold me in your arms…?’ 5:23 p. 91 1 ‘Unfeeling watery power’ 4:00 p. 79 Rusalka Rusalka 12 ‘Kiss me, kiss me, give me peace’ 5:57 p. 91 2 ‘Deprived of my youth’ 4:18 p. 79 Prince Rusalka TT 54:53 3 ‘Aha! Are you back already?’ 3:06 p. 80 Ježibaba

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 8-98-9 220/11/070/11/07 17:01:1617:01:16 completion in 1888 of Th e Jacobin (Jakobín), so, Dvořák never let posterity know what it Dvořák: Rusalka Dvořák’s semi-comic masterpiece, a richly was. In his next symphony, the celebrated textured and gloriously lyrical celebration ‘New World’, Longfellow’s Song of Hiawatha of the reconciliation between a father and a was a major infl uence. During his stay in Given its subject matter, the hugely successful Dvořák and opera prodigal son, and the Czech love of music. the United States, between 1892 and 1895, premiere of Dvořák’s Rusalka on 31 March By the time Dvořák came to write Rusalka, Dvořák’s two serious from the Dvořák did not write the great American 1900 was one of the more unexpected triumphs he was a seasoned opera composer with nine 1870s and 1880s, the grand operas opera for which his employer at the National in Czech opera at the turn of the century. works to his credit. His fi rst two operas, the and , stood aside from the Modernist Conservatory of Music in New York, Th e prevailing preoccupation of Dvořák’s Wagnerian – to a German text – and tendencies of Smetana’s tragic Dalibor and Mrs Th urber, had hoped, although this did (mostly younger) operatic contemporaries the startlingly experimental comedy Th e King his festival opera, Libuše, and the more not prevent the Musical Times stating that was that sensational novelty of the 1890s, and the Charcoal-Burner (Král a uhlíř), were Wagnerian paths being explored by Zdeněk his operatic treatment of Uncle Tom’s Cabin verismo. Th e premiere of Mascagni’s out of tune with Czech operatic tastes in the Fibich in his music drama, Th e Bride of was eagerly awaited. Instead, Dvořák devoted Cavalleria rusticana in 1891 precipitated 1870s (neither reached the stage in Dvořák’s Messina (Nevěsta Messinská). In neither work himself in this period to a root and branch widespread enthusiasm among both audiences lifetime). However, he soon knuckled did Dvořák set out to be experimental and revision of his grand opera, Dimitrij, taking and composers. Even the old hands of the down to producing a series of comedies in perhaps because of this Dimitrij in particular it a considerable way toward Wagnerian Czech national revival, such as Karel Bendl the mould pioneered by Smetana and his produced an enthusiastic response from music drama, and two years after he returned and Richard Rozkošný, threw themselves into librettist Sabina in Th e Bartered Bride, one Czech audiences through the 1880s (unlike to Prague he made extensive changes to the new realism with enthusiasm, although clearly favoured by Prague audiences. A Fibich’s Bride which inexorably emptied the Th e Jacobin. neither managed to provide the Czechs with a remarkable part of Dvořák’s journey toward opera house). local equivalent to ‘Cav and Pag’. Th e younger greater orthodoxy was his resetting of Dvořák’s post-American operatic career Dvořák and Kvapil’s ‘Rusalka’ generation was also drawn to realist subject Th e King and the Charcoal-Burner to was rather diff erent. Disillusioned with the In his later years Dvořák was much matter: Foerster’s Eva had a reasonable success; completely new music much more akin symphony and abstract music in general, preoccupied with the folk-inspired ballads but the greatest work of this new trend was to the manner of Smetana; it proved a he turned to Czech folklore for inspiration. of Karel Jaromir Erben. A popular poet and Janáček’s Jenůfa. moderate success during its fi rst run and A programmatic tendency was beginning translator, notably of Goethe, Erben also Composed at more or less the same time, was followed by two more comedies during to emerge strongly in his works from the provided Bohemia with a comprehensive Rusalka inhabits a moonlit world far removed the 1870s: a one-acter, Th e Stubborn Lovers late 1880s, notably in the ‘Triple overture’, collection of ‘Czech folksongs and nursery from the aggravated emotions of Czech (Tvrdé palice), and Th e Cunning Peasant Nature, Life and Love, to the extent that rhymes’. Th e melodies for the verse were realism, yet, bucking the trend, it proved his (Šelma sedlák). Both contain some of the the critic of the Musical Times set a rumour published separately from the texts which greatest operatic triumph and today, along with most charming music Dvořák wrote in this running at the English premiere of the Eighth were issued in 1864; Dvořák frequently Smetana’s Bartered Bride, the opera remains period. Th e climax of this particular strand of Symphony in 1890 that its slow movement had recourse to the latter in his art song very much at the heart of the Czech repertoire. operatic writing came ten years later with the was based on a legend, though if this was settings. Erben’s most popular collection was

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 10-1110-11 220/11/070/11/07 17:01:1617:01:16 A Garland of National Tales (Kytice z povestí on his own admission, a certain amount of in Vienna who, their employers having taken he is certainly a benefi cial one. Rusalka is also národních) published in 1853. Dvořák had borrowing from Andersen’s Little Mermaid advantage of them, were often turned out the most consciously ‘through-composed’ turned to this resource when commissioned and Gerhart Hauptmann’s Sunken Bell. For of the house pregnant; the result was often of Dvořák’s operas, although this does not to write a cantata for the Birmingham Choral all its eclectic nature, the libretto acquires its a life of prostitution and eventually disease. prevent Czech opera’s most famous ‘bleeding Festival of 1885. Th e result was Th e Spectre’s strong sense of unity from the atmosphere In Rusalka the opposition between rural chunk’, Rusalka’s ineff ably beautiful ‘Song to Bride (Svatební košile), a distinctly ghoulish which Kvapil acknowledged derived in large and urban life can be seen in the diff erence the Moon’, being frequently extracted from tale of a bride lured to a charnel house by her part from Erben’s Garland. Indeed, Kvapil between Rusalka’s forest and the Prince’s castle; the score. But a complete hearing of the work ghostly lover, but one which appealed hugely further speculated in his introduction to the likewise Rusalka’s lack of guile contrasts starkly shows the listener that this is only one of the to Victorian audiences. On returning to libretto that the Erbenesque folkloric element with the calculating sophistication of the heroine’s many glorious arias: among them Bohemia from America, Dvořák turned once was what had drawn Dvořák to the story in Foreign Princess. And then there is the price is Rusalka’s extraordinarily moving fi rst-act again to Erben’s Garland for the programmes the fi rst place. for Rusalka’s mortality – namely that she is plea, ‘With your ancient wisdom, you know of four brilliantly coloured symphonic poems. An element of which Dvořák may not have mute; the very image of a tongue-tied Czech everything’ (Staletá moudrost tvá všechno Having relocated himself fi rmly within the been aware, but which adds poignant depth maid in Vienna, whose German is perhaps ví), made to the witch Ježibaba who, Rusalka world of Bohemian folklore, it is no surprise to Kvapil’s libretto, was the author’s profound inadequate, unable to resist eloquent seduction hopes, can make her human, and her desolate to fi nd him making use of it as the subject- awareness of the often abusive fate of women at the hands of her betters. Even Rusalka’s lament ‘Deprived of my youth’ (Mladostí své matter for opera. His fi rst fairy-tale opera, in contemporary society. Two of his plays, ultimate fate of being shunned by her former pozbavená) at the beginning of the third act. Th e Devil and Kate (Čert a Káča), was based Willow-the-Wisp and Princess Dandelion, playmates mirrors the revulsion shown to Dvořák also ingeniously overcomes the on a story from a collection by the great author explore in an allegorical manner the many of the former maids, returning degraded problem of Rusalka’s muteness in the fi rst Božena Němcová. After the work’s successful vicissitudes of the female situation: the fi rst and diseased to their rural home. act when she is unable to profess her love for premiere in 1899, when Dvořák was casting concerning tacit assumptions about virginity, While this dimension of human misery the Prince in what might be expected to be a around for another libretto, František Šubert, and the lack of it, the second the sad fate of may have added to the depth of the drama climactic duet; instead, he eff ectively creates the director of the National Th eatre, drew his a royal princess married to a country lad; for Kvapil, Dvořák’s response was rather to a dialogue for a single person in the repeated attention to Jaroslav Kvapil’s Rusalka. unable to cope with such a life, the princess the tragic beauty of this ‘lyric fairy-tale’, rising phrases for the Prince which form the Having failed to attract the interest of a sinks into a deep melancholy, ultimately to as it was rendered in the subtitle. Always passionately ecstatic conclusion of the act. number of younger composers, including be wafted away, like a dandelion seed, on inclined toward lyricism in opera, Dvořák Needless to say, when Rusalka’s speech is Dvořák’s son-in-law, Josef Suk, Kvapil’s a cold wind. If Rusalka is submitted to an reaches unmatched heights of melodic restored her exchanges with the ill and haunted libretto was nevertheless seized on with allegorical reading – and most fairy-tales are eloquence in this his loveliest operatic score. Prince at the end of the opera are among eagerness by Dvořák who completed the fair game for such treatment – the fate of the If Wagner is a presence in the use of certain its most aff ecting moments; his fi nal words, entire score in a little over six months in eponymous heroine might be read in similar leitmotifs and some of the harmonic fabric, ‘I die happy in your embrace’, are handled the middle part of 1900. Kvapil based the ways. At the time there was much concern at as indeed he is in Humperdinck’s slightly with exquisite restraint. Th e fi nal pages in story on De la Motte Fouqué’s Undine with, the plight of Czech country girls in service earlier fairy-tale opera, Hansel and Gretel, which Rusalka, now alone, rejected both by

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 12-1312-13 220/11/070/11/07 17:01:1717:01:17 humanity and her sister nymphs, pronounces notably when they are caught gossiping in illuminates the water nymph Rusalka, who completely failing to understand her silence an aff ectionate benediction over the body of lively fashion to the strains of an imitation tells the Water Sprite that she has fallen in and lack of response. Th e appearance of a the erring Prince, are truly unforgettable. bagpipe melody at the start of the second act. love with a human Prince and wishes to sophisticated Foreign Princess calls him away Part of the secret of the score’s magic Interestingly, when Dvořák was negotiating become mortal in order to experience physical from his puzzled reverie, and a ballet signals is in the instrumental colouring. Dvořák a premiere in Vienna for the opera, Mahler love. Beset with anxiety that she might lose the preliminaries of the wedding. Th e Water was always inspired in his handling of the expressed a desire to cut this piquant comic her immortal life and learn the meaning of Sprite appears in the castle’s lake and laments orchestra, but in Rusalka he reaches new relief; this was one of the reasons, ultimately, human sin, the Water Sprite nonetheless Rusalka’s fate. Th e Prince and Foreign Princess, heights of expressive scene painting. To that the proposed Austrian debut did not tells Rusalka to ask the witch Ježibaba for now amorously entangled, appear, and take but one example, the evocation of the take place. Th e fact is that everything in this assistance in fulfi lling her desire. Before Rusalka begs to be accepted by the Prince, moon shining above the Prince’s palace just remarkable score seems absolutely right; even tackling the terrifying Ježibaba, Rusalka but now is rejected. Th e Water Sprite rises up before the second act’s central ballet has an the ballet for the wedding guests in the second calls on the moon to send news of her love to and curses the Prince as the Princess sweeps almost Impressionist delicacy. As important is act, a sumptuous polonaise with a meltingly the Prince. In mocking tones, Ježibaba tells haughtily away. Dvořák’s control of the symphonic argument: beautiful trio, fi ts dramatically in emphasising Rusalka that she can make her human, but rather like the Mass settings of Haydn’s later Rusalka’s inability to be part of the humans’ that she will remain mute; worse still, if she is Act 3 maturity, where symphony and liturgical celebrations. But all would be as nothing were rejected, she will become a willow-the-wisp, Rusalka waits by the lake lamenting her text achieve a supremely convincing unity, it not for Dvořák’s portrayal of the title role: neither immortal nor human, doomed to fate. Ježibaba tells her that if she were to Dvořák’s symphonic instincts are co-ordinated Rusalka’s barely suppressed passion in the fi rst wander forever entrapping the unwary in the kill the Prince, she would be saved; Rusalka unerringly with the lyrical impulse, delivering, act, her desperation at rejection in the second depths of the forest lake, and the Prince will rejects this solution, casting the proff ered among much else, extraordinarily powerful and her desolation and resignation in the last die. Rusalka’s all-consuming love compels her knife into the lake. Th e Gamekeeper and climaxes to all three acts. are captured fl awlessly. When turning down to consent and she is transformed as the dawn Kitchen Boy arrive and, terrifi ed, beg for Dvořák’s characterisation is also the libretto of Rusalka, the composer Josef breaks and the Prince arrives during a hunt help for their ailing Prince; the Water Sprite beautifully observed in all cases. His Bohuslav Foerster opined that Dvořák was in the forest. Enchanted by the now silent, erupts from the lake and announces that the experience in writing the symphonic poems the perfect person to set the text. Indeed, the human Rusalka, the Prince sweeps her away Prince is damned for rejecting Rusalka. Th e based on Erben’s poetry, not to mention match of composer with story has rarely been to his castle. Wood Nymphs, celebrating their beauty, a creative life often focused on operatic more complete than in Rusalka. are downcast to hear of Rusalka’s fate. Th e composition, undoubtedly contributed greatly Act 2 Prince, now deranged, appears in search to the marvellously pungent realisation of Synopsis A Gamekeeper and Kitchen Boy gossip about of his lost love. In aff ecting exchanges, he the Water Sprite, the witch Ježibaba, and the strange girl the Prince has found in the consents to perish in Rusalka’s arms. As he the trio of Wood Nymphs. Equally deft Act 1 terrifying forest and the preparations for dies, Rusalka forgives him and accepts her is his handling of the more overtly comic In a moonlit glade by a lake, Wood Nymphs their wedding. Th ey rush away as the Prince desolate fate. roles of the Gamekeeper and Kitchen Boy, frolic with a Water Sprite. A shaft of moonlight approaches with Rusalka; he is perplexed, © 2008 Jan Smaczny

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 14-1514-15 220/11/070/11/07 17:01:1717:01:17 Australian- Opera, Covent Garden; Tatyana and Adina Feldmarschallin Graduate Diploma born Cheryl (L’elisir d ’amore) for Scottish Opera; Oksana (Der Rosenkavalier) of Music (Opera), Barker studied (Rimsky-Korsakov’s Christmas Eve), Th e in Palermo, at the Queensland

Keith Saunders Keith in Melbourne Governess (Th e Turn of the Screw), Musetta Melbourne and Conservatorium, with Dame Joan (La bohème), and Donna Elvira for English at , Griffi th University. Hammond and in National Opera; the title role in Maria in San Francisco, During this time London with David Stuarda for the Nationale Reisoper in the Colorado, Tokyo, she performed Harper. In Australia, Netherlands; Violetta for Hamburg State Frankfurt and Cherubino in she appears regularly Opera and the Deutsche Oper; the title role Sydney Olympic Le nozze de with Opera in Katya Kabanova in Geneva and for Welsh Arts Festival, Figaro, Hänsel in Australia, where her National Opera; and for De Vlaamse Opera Ariadne auf Naxos Hänsel und Gretel, roles have included Nedda (I pagliacci), the the title roles in Suor Angelica and Th e Merry at La Fenice, and a concert performance of Dorabella in Cosí fan tutte, La Zelatrice in Countess (Th e Marriage of Figaro), Mimì Widow, Mimì, Desdemona (Otello) and Liù Act Two of Fedora with Plácido Domingo in Suor Angelica, Cupid in Venus and Adonis, (La bohème), Violetta (La traviata), Donna (). San Francisco. Elizabeth Whitehouse is also and Th e Shining One, Cup Bearer and Angel Elvira (), Tatyana (Eugene She appears regularly on the recital and much in demand for her concert repertoire, of the Lord in Th e Pilgrim’s Progress, Mozart’s Onegin) and the title roles in both Madama concert platform and her many recordings including Gurrelieder, Wesendonck Lieder Grand Mass in C minor and Coronation Butterfl y and Tosca. She has also sung the roles include Emilia Marty (Th e Makropulos Case) and Zemlinsky’s Lyrische Symphonie. Recent Mass, and Händel’s Judas Maccabaeus. In 2003 of Mimì, Antonia (Les Contes d’Hoff mann) and Madam Butterfl y as part of Chandos’ international engagements have taken her to Sian Pendry was a Developing Artist with and Tatyana for the Victoria State Opera; Opera in English Series, Dyson’s Quo Vadis Florence, Venice, Munich, Slovenia, Madrid, Opera Queensland and since joining Opera Tatyana and Violetta for Opera Queensland; for Chandos, and a solo CD featuring Puccini and the Edinburgh Festival. She made her Australia and the Moff att Oxenbould Young and Madama Butterfl y and Violetta for New Arias. Australian debut with Opera Australia in Artist Program her roles have included Hänsel Zealand Opera. 1996 as Senta in Der fl iegende Holländer, in Hänsel und Gretel, Stephano in Romeo Internationally, Cheryl Barker is Elizabeth Whitehouse, one of Australia’s and since then has returned to Australia and Juliet, Annio in , the particularly noted for her performances most renowned , lives in Germany regularly. Recent roles in Australia include Kitchen Boy in Rusalka, and the title role in of Madama Butterfl y, singing this role for with her career focused primarily in Europe. Fata Morgana in Th e Love for Th ree Oranges for OzOpera. , Houston Grand Operatic appearances include Ellen Orford (CHAN 10347) and Kostelnicka in Jenůfa. Opera, De Vlaamse Opera, Hamburg State () in Genoa and at La Scala, Taryn Fiebig graduated from both the Opera, Deutsche Oper, Berlin and most Leonore (Fidelio) at La Scala, Amelia Lyric mezzo-soprano Sian Pendry completed University of Western Australia and the recently for Th e Netherlands Opera. Other (Un ballo in maschera) at the Deutsche Oper a Bachelor of Music Performance in Voice Australian Opera Studio. As a soloist, she has international appearances include Jenifer and Bregenz Festival, Elsa (Lohengrin) in (Hons) at the Victorian College of the Arts, performed with the Australian Brandenburg (A Midsummer Marriage) for the Royal Turin, Lady Macbeth of Mtsensk in Sydney, Melbourne, and subsequently completed a Orchestra, the West Australian Symphony

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 16-1716-17 220/11/070/11/07 17:01:1817:01:18 Orchestra, Ensemble appearances with Opéra de Lausanne, Dominica Archangelo, Cologne Opera, New York City Matthews is Collegium Opéra National du Opera, Santa Fe a graduate of Musicum, Rhin in Strasbourg Opera, Lyric Opera the Sydney Oratorio Choir, the and Freiburg of Chicago, the Conservatorium English Chamber Opera, in roles Komische Oper, of Music and Orchestra in St such as Pamina in Berlin, Bayerische the RNCM. She John’s Smith Square, Die Zauberfl öte, Staatsoper, Opera has also been a London, and on Marzelline in Australia and at Peter Moores BBC Radio 3 and Fidelio and Gretel the Hong Kong Foundation Radio 4. In 2005, in Hänsel und and Saito Kinen Scholar. She has Taryn Fiebig joined Opera Australia. Her Gretel. In 2006 she took the soprano solos Festivals. With a vast operatic repertoire performed as soloist in operas, oratorios principal roles with this company included in Th e Queensland Orchestra’s performance that includes Brangäne (Tristan und Isolde), and recitals with a number of orchestras Zerlina in Don Giovanni, Th e Plaintiff in Trial of Mozart’s , sang Juliette in Opera Amneris (), Azucena (Il trovatore), and ensembles in venues throughout the by Jury, Papagena in Th e Magic Flute, Rose in Queensland’s production of Romeo et Juliette Venus (Tannhäuser), Herodias () and UK and Australia. Principal operatic roles Lakmé, Servilia in La clemenza di Tito, Karolka and performed First Lady in Th e Magic Flute Santuzza (Cavalleria rusticana), she has include the title role in La cenerentola, in Jenůfa, Mabel in Th e Pirates of Penzance for Opera Australia. In 2007, she sang First also recently performed as Morozova in La Principessa (Suor Angelica), Suzuki and Tessa in Th e Gondoliers. In 2007, Taryn Wood Sprite in Rusalka and in Tchaikovsky’s Oprichnik in Cagliari, Ragonde (Madama Butterfl y), Baba the Turk sang Mabel and principal roles in Rusalka and for Opera Australia, Anna in Nabucco for (Le Comte Ory) for Garsington Opera, Witch (Th e Rake’s Progress) and Th e First Prioress Il Trittico for Opera Australia and appeared Opera Queensland, and performed as soloist (Hänsel und Gretel) and Mrs Grose (Turn of (Dialogue of the Carmelites). In 2006 she in concert as Belinda in . In with the Queensland Music Festival and the Screw) for Glyndebourne. returned to Australia to become a Young 2008, she performs Clorinda in La cenerentola, Th e Queensland Orchestra. In 2008, she Anne-Marie Owens is also in much Artist with Opera Australia. She has since Musetta in La bohème and the leading role of sings Micaela in Carmen for Opera Australia demand on the concert platform where appeared as Th ird Lady in Th e Magic Flute, Eliza Doolittle in . and Pamina for Opera Queensland. she regularly performs the works of Countess Ceprano in and Edith in Mahler, Vaughan Williams, Elgar and the Th e Pirates of Penzance. Her association with Australian soprano Sarah Crane is a As one of Britain’s leading mezzo-sopranos, choral works of Verdi, Handel, Mozart the national company continued in 2007 graduate of the Queensland Conservatorium Anne-Marie Owens has performed for and Beethoven with such orchestras as when she sang Nicklausse in Th e Tales of of Music and the winner of the German many of the world’s great opera companies, the London Symphony Orchestra, BBC Hoff mann, Flora in La traviata and Eunice Operatic Award and the Australian regional including the Royal Opera, Covent Garden, Symphony Orchestra, Royal Scottish Hubble in A Streetcar Named Desire. In fi nals of the Award. Scottish Opera, Welsh National Opera, National Orchestra and Detroit Symphony 2008, she will perform the title roles in both Her subsequent move to Europe led to Opera North, Opéra National de Paris, Orchestra. La cenerentola and .

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 18-1918-19 220/11/070/11/07 17:01:1917:01:19 Australian-born Australian A graduate of performing in such diverse works as Handel’s Rosario La baritone Barry the University of , Beethoven’s Ninth Symphony, Spina trained at Ryan graduated Western Australia Belioz’ Damnation of Faust, Verdi’s Requiem, the Queensland with Honours and former Mussorgsky’s Songs and Dances of Death and Conservatorium of from the Sydney university lecturer, Bartok’s Bluebeard’s Castle. Music and RNCM Conservatorium Bruce Martin began and then embarked of Music. He has his singing career Opera Australia is the vibrant identity for on the two-year performed with performing in Australia’s national opera company, created Young Singer’s Europe’s leading oratorio and lieder. through the merger of The Australian Course at La Scala, opera companies He now performs Opera and Victoria State Opera. In 2006, Milan. In 2002 including the Royal mainly with the company gave 225 performances in its Rosario won fi rst prize in the Mario Del Opera, Covent Garden, La Scala Milan, Opera Australia, his roles with that company subscription seasons in the State Theatre of Monaco International Opera Competition Opera Comique in Paris, Bastille, including the great Wagnerian roles such as the Victorian Arts Centre and the Sydney and made his principal role debut at La Scala Deutsche Oper am Rhein, Düsseldorf, Flemish Fasolt in Das Rheingold, Wotan in Die Walkure Opera House Opera Theatre, attended by as Riccardo in Verdi’s Oberto. Since that Opera Antwerp, Komische Oper Berlin, and Das Rheingold, Hagen in Götterdämmerung, more than 305, 000 people. A further 17, 240 time he has performed in opera and concert Basel Opera and the Otono Festival Opera King Marke in Tristan und Isolde, and Hans people attended the production of Carmen throughout the world: Italy, Switzerland, Madrid. He was a principal artist with the Sachs in Die Meistersinger von Nürnberg. Other presented in Victoria, New South Wales and Egypt, Taiwan, the USA, Indonesia, Japan, Cologne Opera from 1988 to 1992. Barry has roles with Opera Australia have included South Australia by OzOpera, Opera Australia’s Australia and New Zealand. He has taken performed in concert throughout Europe, Zaccaria (Nabucco), Padre Guardiano (La forza education, access and development arm, while the leading tenor roles in La traviata, Australia and Asia and has been seen in televised del destino), Assur (Semiramide), Sarastro (Th e OzOpera’s Schools Company performed to La bohème, I pagliacci, Ernani, Th e Love performances of opera in Germany, Belgium, Magic Flute), Escamillo (Carmen) and the title over 77, 800 primary age children in more than for Th ree Oranges, I Lombardi, Rigoletto the Netherlands, France and Australia. He role in Don Giovanni. In the past few years 437 performances in urban and regional New and Tosca. In 2007 he sang Alfredo in has performed on radio for the BBC, ABC in he has performed the central role of Pelseart South Wales and Victoria. La traviata, Th e Prince in Rusalka and the Australia, WDR in Germany, Norwegian Radio in , the four villains in Th e Tales of Opera Australia performs at the Sydney title role in Th e Tales of Hoff mann for Opera and Radio Tokyo. Barry is also a lecturer in Hoff mann, Mephistopheles in Faust, King Opera House for seven months of each Australia, and made his debut at Seattle Voice and Opera at the Sydney Conservatorium Henry in Lohengrin, Boris in Lady Macbeth of year, encompassing the Sydney summer and Opera as Rodolfo in La bohème. 2008 sees of Music. Recent roles for Opera Australia Mtsensk, Raimondo in , winter seasons. Th e company is resident at performances as Pinkerton in Madama include Count di Luna in Il trovatore, Wiebbe Hans Sachs, Jokanaan in Salome, Oreveso in the Arts Centre, Melbourne, for an autumn Butterfl y and Don José in Carmen for Opera Hayes in Batavia and Peter in Hansel and Norma, Nilakantha in Lakmé, and Scarpia season in April and May and a spring season Australia and Radames in Aida for Seattle Gretel. In 2008 he sings Marcello in La bohème in Tosca. He has appeared in numerous from November to December. Most of Opera. and Sharpless in Madama Butterfl y. concerts with the major Australian orchestras, the company’s income is earned from box

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 20-2120-21 220/11/070/11/07 17:01:2117:01:21 offi ce and corporate sponsorship, and the He has previously conducted the Sydney directed by John Cox, Wozzeck directed by Mozart’s Requiem, Brahms’ Ein deutsches company welcomes the ongoing support and Symphony and, for Opera Australia, has Barry Kosky, and directed by Neil Requiem, Beethoven’s Ninth Symphony, endorsement of government and corporate conducted seasons of La bohème, Armfi eld. Carmina Burana, Chichester Psalms, Th e Planets Australia in realising its primary aim: to present Th e Marriage of Figaro, Simon Boccanegra, In addition to its full schedule of operatic and Rimsky-Korsakov’s Polovtsian Dances. He great opera for everyone. Die Zauberfl öte, Rusalka, La Voix Humaine, performances, the Opera Australia Chorus was Chorus Master for the Chandos recording Signor Bruschino and Th e Gondoliers. He has appeared in recent concert performances Th e Love for Th ree Oranges (CHAN 10347), Stephen Mould was recently conducted Cavalleria rusticana and of Carmina Burana and the Chichester Psalms and has been Guest Chorus Master for Opera born in Sydney and I pagliacci for the Macau International Music (conducted by Richard Hickox) and has Holland Park (UK), Sydney Philharmonia studied piano and Festival, and will conduct Madama Butterfl y in collaborated with the Sydney Symphony Choir, Cantillation and Sydney Motet Choir. composition at the Baltimore in 2008 as well as Carmen and for a performance of Rossini’s . Also considered one of Australia’s fi nest New South Wales Th e Makropulos Secret for Opera Australia. Other noteworthy concerts include Verdi’s accompanists, he regularly performs with Conservatorium of Requiem (conducted by Simone Young), singers in recital and for broadcasts and Music. He began his Th e Opera Australia Chorus currently Brahms Ein deutsches Requiem and Mozart’s recordings. He has appeared at all the professional career comprises forty-eight full-time members, with Requiem (conducted by Richard Hickox), major Australian festivals including the in before an additional 200 singers employed on a casual and Beethoven’s Ninth Symphony with the Perth International Arts Festival, Wigmore spending several basis. Noted for its versatility, the Chorus Tasmanian Symphony Orchestra. Hall Touring Chamber Music, Sydney years in Europe was awarded a special Green Room Award and Melbourne Festivals and the Brisbane where he worked as a conductor in a number in 2005 for Consistent Excellence. Notable Michael Black Bienniale as well as regularly recording and of houses in Germany, Belgium and Norway. performances have included the Australian has degrees broadcasting for ABC. As an educator Michael In 1992 he was appointed to the music staff premiere of War and Peace for the opening of in Education, Black lectured for many years at the Sydney of Opera Frankfurt as assistant to the Music the Sydney Opera House, the bicentennial Performance Conservatorium of Music, has been an Director. During this time in Europe, he also performances of Die Meistersinger von Nürnberg and Musicology adjudicator for numerous competitions and took part in several summer festivals and was and world premieres of Australian works such from the Sydney has given vocal master classes at the Victoria associated with the music conservatoriums in as Richard Meale’s Voss, Th e Eighth Wonder by Conservatorium College of the Arts and Sydney Conservatorium Würzburg and Frankfurt. Dennis Watkins and Alan Johns, and Batavia of Music and of Music. In 1996 he returned to Australia and by and Peter Goldsworthy. University of New joined the staff of Opera Australia where he Recent critically acclaimed productions include South Wales. He Th e members of the Australian Opera and is currently Head of Music. Since his return Sweeney Todd directed by Gale Edwards, Lady has been Chorus Ballet Orchestra form one of the busiest and he has undertaken engagements for Sydney Macbeth of Mtsensk and Th e Love for Th ree Master for Opera Australia since 2001 and most versatile orchestras in the country. From Festival, Melbourne Festival, Symphony Oranges directed by Francesca Zambello, Otello has prepared more than eighty operas as well its famous home in the Sydney Opera House, Australia and Sydney Philharmonia Choirs. directed by , Th e Rake’s Progress as choral works such was Verdi’s Requiem, the principal role of the AOBO is to be the

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 22-2322-23 220/11/070/11/07 17:01:2217:01:22 indispensable orchestral partner of Australia’s and Sir Colin Davis. In 2001 he was appointed BBC Proms and at the Aldeburgh, Bath Pittsburgh Symphony Orchestra, Orchestre two premiere performing arts companies, Concertmaster of the Australian Opera and and Cheltenham festivals among others. de Paris, Bavarian Radio Symphony Opera Australia and Th e Australian Ballet. Ballet Orchestra for Opera Australia and Th e With the London Symphony Orchestra at Orchestra and New York Philharmonic. In a typical year in Sydney the Orchestra Australian Ballet at the Sydney Opera House. the Barbican Centre he has conducted a His phenomenal success in the recording will give some 175 performances of more He is a prolifi c chamber music player, regularly number of semi-staged operas, including studio has resulted in more than 280 than a dozen operas and more than eighty leading the Sydney Soloists, and founded Th e Billy Budd, Hänsel und Gretel and Salome. recordings, including most recently cycles performances of four ballets. Th e Orchestra Utzon Ensemble in 2004. He was awarded With the Bournemouth Symphony of orchestral works by Sir Lennox and will work with perhaps a dozen diff erent the Centenary Medal for services to music Orchestra he gave the fi rst ever complete Michael Berkeley and Frank Bridge with conductors, mastering performing traditions in Australia, and performs on a rare 1853 cycle of Vaughan Williams’s symphonies the BBC National Orchestra of Wales, and repertoire ranging from Monteverdi to Giuseppe Rocca violin. in London. In the course of an ongoing the symphonies by Vaughan Williams Berg, and will perform several Gala Concerts. relationship with the Philharmonia with the London Symphony Orchestra, One of Britain’s Orchestra he has conducted Elgar, Walton and a series of operas by Britten with the Dublin born most gifted and and Britten festivals at the South Bank and City of London Sinfonia. He has received violinist Aubrey versatile conductors, a semi-staged performance of Gloriana at a Grammy (for Peter Grimes) and fi ve Murphy was the Barrett Greg Richard Hickox the Aldeburgh Festival. Gramophone Awards. Richard Hickox was fi rst Irish student CBE is Music Apart from his activities with awarded a CBE in the Queen’s Jubilee to enter the Yehudi Director of Opera Opera Australia he has enjoyed recent Honours List in 2002, and has received Menuhin School Australia, and was engagements with Th e Royal Opera, many other awards, including two Royal at the age of ten. Principal Conductor Covent Garden, English National Opera, Philharmonic Society Music Awards, the In 1983 he began of the BBC and Washington Opera fi rst ever Sir Charles Groves Award, the his studies at National Orchestra among others. He has guest conducted Evening Standard Opera Award, and the Indiana University, of Wales from such world-renowned orchestras as the Association of British Orchestras Award. Bloomington, 2000 until 2006 when he became Conductor under Franco Gulli and Henryk Kowalski. He Emeritus. He founded the City of London has been guest leader with Scottish Chamber Sinfonia, of which he is Music Director, in Orchestra and BBC Ulster Orchestra. He spent 1971. He is also Associate Guest Conductor of eight years as Principal Violinist and regular the London Symphony Orchestra, Conductor Guest Leader with the Orchestra of the Royal Emeritus of the Northern Sinfonia, and Opera House, Covent Garden, working under co-founder of Collegium Musicum 90. conductors such as Bernard Haitink, Richard He regularly conducts the major orchestras Hickox, Sir George Solti, Sir in the UK and has appeared many times at the

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 24-2524-25 220/11/070/11/07 17:01:2317:01:23 Cheryl Barker as Rusalka

CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 26-2726-27 220/11/070/11/07 17:01:2417:01:24 Entwicklung zu größerer Orthodoxie war seinem tschechischen Publikum begeisterte Dvořák: Rusalka seine völlige Neuvertonung von Der König und Reaktionen aus (während Fibichs Braut der Köhler, die sich diesmal eher an Smetanas unweigerlichen vor leeren Rängen spielte). Idiom anlehnte; das Werk war in seiner ersten Dvořáks post-amerikanische Angesichts des Stoff es, den diese Oper Realismus angesiedelt; doch obwohl das Werk Spielzeit ein moderater Erfolg, und es folgten Opernlaufbahn gestaltete sich recht anders. behandelt, war die überaus erfolgreiche sich dem allgemeinen Trend widersetzt, wurde in den 1870er Jahren noch zwei weitere Desillusioniert von der Gattung der Sinfonie Premiere von Dvořáks Rusalka am es zu Dvořáks größtem Operntriumph – bis in Komödien – der Einakter Die Dickschädel und der abstrakten Musik im Allgemeinen 31. März 1900 ein eher unerwarteter die Gegenwart nimmt Rusalka neben Smetanas (Trvdé palice) und Der Bauer ein Schelm suchte er nun Inspiration in der tschechischen Triumph der tschechischen Oper um Die verkaufte Braut einen festen Platz im (Šelma sedlák). Beide Werke enthalten einige Folklore. In seinen Kompositionen der die Jahrhundertwende. Dvořáks meist Herzen des tschechischen Repertoires ein. der bezauberndsten musikalischen Passagen, späten 1880er Jahre begannen sich starke jüngere opernschaff ende Zeitgenossen die Dvořák in dieser Zeit geschrieben hat. programmatische Tendenzen abzuzeichnen, wandten sich zu dieser Zeit vor allem dem Dvořák und die Oper Der Höhepunkt dieses besonderen Operntyps die vor allem in dem Ouvertüren-Zyklus in den 1890er Jahren neu entwickelten Als Dvořák die Arbeit an Rusalka aufnahm, kam zehn Jahre später, als der Komponist im Natur, Leben und Liebe zu spüren sind; dieser Verismo zu. Die Prager Urauff ührung von war er bereits ein erfahrener Opernkomponist, Jahr 1888 sein semi-komisches Meisterwerk Trend war so prominent, daß der Kritiker Mascagnis Cavalleria rusticana im Jahr 1891 der auf neun vollendete Werke in dieser Der Jakobiner (Jakobín) vollendete, ein der Musical Times anläßlich der englischen löste beim Publikum ebenso wie bei den Gattung zurückblicken konnte. Seine facettenreiches und wunderbar lyrisches Stück, Urauff ührung der Achten Sinfonie im Jahr Komponisten große Begeisterung aus. Selbst beiden ersten Opern – das dem Stil Wagners das die Versöhnung zwischen einem Vater und 1890 das Gerücht verbreitete, ihr langsamer Veteranen der nationalen tschechischen verpfl ichtete Musikdrama Alfred (auf einen seinem verlorenen Sohn und zugleich die Liebe Satz basiere auf einer Legende (sollte dies Erneuerungsbewegung wie Karel Bendl deutschen Text) und die überraschend der Tschechen zur Musik zum Th ema hat. tatsächlich der Fall sein, so hat Dvořák der und Richard Rozkošný begeisterten sich für experimentelle Komödie Der König und der Dvořáks zwei ernste Opern aus den Nachwelt allerdings nie mitgeteilt, um was den neuen Realismus, obwohl es keinem Köhler (Král a uhlíř) – entsprachen in den 1870er und 1880er Jahren, die großen Opern es sich dabei handelte). Sein nächstes Werk von ihnen gelang, ihren Landsleuten ein 1870er Jahren nicht dem vorherrschenden Vanda und Dimitrij, enthielten sich der in dieser Gattung, die gefeierte Sinfonie tschechisches Äquivalent zu “Cav und Pag” tschechischen Operngeschmack und wurden modernistischen Tendenzen von Smetanas “Aus der Neuen Welt”, war wesentlich von zu liefern. Auch die jüngere Generation zu Dvořáks Lebzeiten nie aufgeführt. tragischem Werk Dalibor und seiner Festival- Longfellows Th e Song of Hiawatha beeinfl ußt. wandte sich realistischen Th emenkreisen Doch schon bald machte er sich an die Oper Libuše, wie auch der eher wagnerischen Während seines Aufenthaltes in den USA in zu: Foersters Eva war angemessener Erfolg Produktion einer Reihe von Komödien in Pfade, denen ein Zdeněk Fibich in seinem den Jahren 1892 bis 1895 gelang es Dvořák beschieden, doch die größte Oper, die diesem der von Smetana und dessen Librettisten Musikdrama Die Braut von Messina (Nevěsta nicht, die große amerikanische Oper zu neuen Trend folgte, war Janáčeks Jenůfa. Sabina zuerst in der Verkauften Braut Messinská) folgte. Dvořák gab sich in schreiben, auf die seine Dienstherrin am Rusalka entstand etwa zur selben Zeit und erprobten Methode, die beim Prager keinem der beiden Werke experimentell und National Conservatory of Music in New ist in einer mondbeschienenen Welt fern der Publikum off ensichtlich sehr beliebt war. vielleicht deshalb löste besonders Dimitrij York, Mrs. Th urber, gehoff t hatte; dies hielt überhitzten Emotionen des tschechischen Eine bemerkenswerte Etappe in Dvořáks während der gesamten 1880er Jahre bei jedoch die Musical Times nicht davon ab zu

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 28-2928-29 220/11/070/11/07 17:01:2617:01:26 behaupten, seine Vertonung von Onkel Toms ausgesprochen gruselige, bei viktorianischen der Autor selbst eingesteht – einigen versinkt, bis sie schließlich wie der Samen Hütte werde ungeduldig erwartet. Stattdessen Zuhörern jedoch überaus beliebte Geschichte Entlehnungen aus Andersens Die kleine einer Löwenzahnblüte von einem kalten widmete sich Dvořák in dieser Zeit einer einer Braut, die von ihrem gespenstischen Meerjungfrau und Gerhart Hauptmanns Wind fortgeweht wird. Wenn man Rusalka grundlegenden Überarbeitung seiner Liebhaber in ein Leichenhaus gelockt wird. Die versunkene Glocke. Trotz seiner einer allegorischen Interpretation unterzieht – Großen Oper Dimitrij, die er wesentlich Nachdem er aus Amerika nach Böhmen eklektischen Natur vermittelt das Libretto und die meisten Märchen eignen sich für dem Wagnerischen Musikdrama annäherte, zurückgekehrt war, wandte sich Dvořák dank der Atmosphäre, die laut Kvapil vor eine solche Behandlung – könnte man das und zwei Jahre nach seiner Rückkehr nach für die Programme von vier brillanten allem aus Erbens Blumenstrauß stammte, ein Schicksal der Titelheldin in ähnlicher Weise Prag nahm er tiefgreifende Änderungen am Sinfonischen Dichtungen erneut Erbens starkes Gefühl von Einheitlichkeit. Kvapil verstehen. Zu der Zeit gab es große Besorgnis Jakobiner vor. Sammlung Blumenstrauß zu. Nachdem er sich ging in seiner Einleitung zu dem Libretto über das Schicksal zahlreicher auf dem Land so wieder fest in der Welt der böhmischen sogar so weit zu spekulieren, daß das von aufgewachsener tschechischer Mädchen, die Dvořák und Kvapils “Rusalka” Folklore etabliert hatte, verwundert es kaum, Erben vermittelte folkloristische Element sich in Wien als Dienstmägde verdingten In seinen späteren Jahren beschäftigte sich daß er diesen Th emenkreis auch für die Oper Dvořák an der Geschichte wohl am meisten und, von ihren Dienstherren mißbraucht, Dvořák intensiv mit den folkloristisch verwendete. Seine erste Märchenoper, Der angezogen haben dürfte. oft schwanger aus ihrem Arbeitsverhältnis inspirierten Balladen von Karel Jaromir Teufel und die Käthe (Čert a Káča), basiert Ein Aspekt der Geschichte, dessen entlassen wurden; diesen Mädchen blieb Erben. Dieser populäre Dichter und auf einer Geschichte aus einer Sammlung Dvořák sich vielleicht gar nicht bewußt war, oft nur ein Leben in der Prostitution, das Übersetzer vor allem auch der Werke des großen Schriftstellers Božena Němcová. der Kvapils Libretto aber eine anrührende häufi g in Krankheit endete. In Rusalka ist Goethes lieferte seinen böhmischen Nachdem das Werk 1899 mit großem Erfolg Tiefe verleiht, ist der Umstand, daß der der Gegensatz zwischen dem ländlichen Landsleuten eine umfassende Sammlung uraufgeführt worden war und Dvořák sich Autor ein tiefes Empfi nden für den in und dem Stadtleben durch den Unterschied von “Tschechischen Volksliedern und nach einem weiteren Libretto umschaute, der zeitgenössischen Gesellschaft weit zwischen Rusalkas Wald und dem Schloß des Kinderreimen”. Während die Reime machte ihn der Direktor des Nationaltheaters verbreitenden Mißbrauch von Frauen Prinzen dargestellt; in ähnlicher Weise bildet 1864 erschienen, wurden die zugehörigen František Šubert auf Jaroslav Kvapils Rusalka entwickelt hatte. Zwei seiner Schauspiele, Rusalkas Arglosigkeit einen krassen Kontrast Melodien gesondert veröff entlicht; Dvořák aufmerksam. Das Irrlicht und Prinzessin Löwenzahn, zu der berechnenden Weltgewandtheit der konsultierte diese Sammlung häufi g für seine Obwohl Kvapils Libretto bereits erkunden allegorisch das wechselvolle fremdländischen Prinzessin. Und dann gibt es Kunstliedvertonungen. Erbens beliebteste das Interesse einer Reihe von jüngeren Schicksal der Frauen: Das erste betriff t da noch den Preis für Rusalkas Sterblichkeit – Sammlung war der 1853 veröff entlichte Komponisten – darunter auch Dvořáks die stillschweigende Haltung zur ihre Stummheit, das genaue Abbild einer Blumenstrauß nationaler Sagen (Kytice Schwiegersohn Josef Suk – nicht hatte Jungfräulichkeit wie auch deren Fehlen, der Sprache nicht mächtigen Magd in z povestí národních). Dvořák benutzte wecken können, griff Dvořák es eifrig auf und das zweite schildert das traurige Schicksal Wien, deren Deutschkenntnisse vielleicht das Werk, als er den Auftrag erhielt, für vollendete die Partitur innerhalb von etwas einer königlichen Prinzessin, die mit einem unzureichend sind und die sich nicht in das Birmingham Festival von 1885 eine mehr als sechs Monaten, so daß sie Mitte des einfachen Jungen vom Lande verheiratet der Lage sieht, der eloquenten Verführung Kantate zu schreiben. Das Ergebnis war Jahres 1900 vorlag. Kvapils Geschichte basiert ist und, da sie mit dem ihr beschiedenen durch ihre Dienstherren zu widerstehen. Die Geisterbraut (Svatební košile), die auf De la Motte Fouqués Undine mit – wie Leben nicht fertig wird, in tiefe Melancholie Selbst das Schicksal, das Rusalka schließlich

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 30-3130-31 220/11/070/11/07 17:01:2717:01:27 ereilt – daß ihre früheren Spielgefährten sie in der Rusalka die Hexe Ježibaba anfl eht, Ein Teil des Erfolgs dieser magischen komischen Rollen des Wildhüters und des meiden – spiegelt die Abscheu, mit der viele “In deiner uralten Weisheit weißt du alles” Musik liegt in den verwendeten Küchenjungen, besonders wenn die beiden der früheren Dienstmägde behandelt wurden, (Staletá moudrost tvá všechno ví), in der Orchesterfarben. Dvořák war schon immer zu Beginn des zweiten Akts dabei überrascht die schließlich erniedrigt und krank in ihre Hoff nung, diese könne sie in einen Menschen besonders geschickt in seiner Behandlung des werden, wie sie, untermalt von den Klängen lämdliche Heimat zurückkehrten. verwandeln, oder ihre verzweifelte Klage Orchesters, doch in Rusalka erreichte er neue einer imitierten Dudelsackmelodie, lebhaft Während dieser Aspekt des menschlichen “Meiner Jugend beraubt” (Mladostí své Höhen der expressiven Szenenmalerei. Um miteinander schwatzen. Ein interessantes Elends Kvapils Drama noch vertieft haben pozbavená) zu Beginn des dritten Akts. nur ein Beispiel zu nennen: Die Anrufung Detail: Als Dvořák über eine Urauff ührung mag, reagierte Dvořák wohl eher auf Dvořák löst auch in genialer Weise des über dem Palast des Prinzen scheinenden der Oper in Wien verhandelte, wünschte die tragische Schönheit dieses “lyrischen das Problem von Rusalkas Stummheit im Mondes unmittelbar vor dem in der Mitte Mahler, daß diese überaus komische Märchens”, wie es im Untertitel heißt. ersten Akt, wo man ein entscheidendes des zweiten Aktes präsentierten Ballett ist Szene gestrichen werde; dies war einer der Schon immer hatte Dvořák das Lyrische und Duett erwartet, in dem sie ihre Unfähigkeit von fast impressionistischer Zartheit. Ebenso Gründe, warum es nicht zu dem geplanten Gefühlsbetonte in der Oper bevorzugt, und eingesteht, ihrer Liebe für den Prinzen wichtig ist Dvořáks Beherrschung der österreichischen Debüt kam. In der Tat in dieser, seiner lieblichsten Opernvertonung Ausdruck zu verleihen; stattdessen schuf er sinfonischen Ausdruckspalette: Ähnlich wie scheint in dieser bemerkenswerten Oper alles erreichte er ungeahnte Höhen der melodischen in den wiederholten aufsteigenden Phrasen die Messvertonungen des reifen Haydn, wo genau zu stimmen; sogar das Ballett für die Eloquenz. Von positiver Wirkung ist für den Prinzen einen sehr wirkungsvollen Sinfonie und liturgischer Text eine höchst Hochzeitsgäste im zweiten Akt, eine prächtige Wagners Einfl uß in der Verwendung gewisser Dialog für eine einzelne Person, der den überzeugende Einheit bilden, ist Dvořáks Polonaise mit schmelzend schönem Trio, erfüllt Leitmotive und einigen harmonischen leidenschaftlich verzückten Abschluß des sinfonischer Spürsinn stets mit dem lyrischen geschickt die dramatische Aufgabe, Rusalkas Strukturen – ähnlich wie in Humperdincks ersten Aktes bildet. Es erübrigt sich zu sagen, Impuls gepaart, und dies führt unter Unfähigkeit herauszuarbeiten, gemeinsam mit etwas früher entstandener Märchenoper daß, als Rusalka ihre Stimme wiederfi ndet, die anderem zu außergewöhnlich kraftvollen den Menschen zu feiern. Doch all dies wäre Hänsel und Gretel. Rusalka ist zudem die Worte, die sie am Schluß der Oper mit dem Höhepunkten in allen drei Akten. nichtig, gäbe es nicht Dvořáks Darstellung am bewußtesten “durchkomponierte” von kranken und verhexten Prinzen wechselt, zu Auch Dvořáks Charakterdarstellung der Titelrolle – Rusalkas kaum unterdrückte Dvořáks Opern, wobei dies nicht verhindert, den anrührendsten Momenten des gesamten basiert in allen Fällen auf genauer Leidenschaft im ersten Akt, ihre Verzweifl ung daß das berühmteste “Schmalzstück” Werks gehören; seine letzten Worte, “In deinen Beobachtung. Zweifellos trug seine über die Zurückweisung im zweiten und ihre der tschechischen Oper, Rusalkas Armen sterbe ich glücklich”, werden mit Erfahrung beim Schreiben der Sinfonischen Trostlosigkeit und Resignation im letzten sind unbeschreiblich schönes “Lied an den überaus passender Zurückhaltung umgesetzt. Dichtungen nach Erbens Vorlagen wie auch perfekt eingefangen. Als er selbst das Libretto Mond”, häufi g separat aufgeführt wird. Und die letzten Augenblicke, in denen seine große Erfahrung im Komponieren zu Rusalka ablehnte, äußerte der Komponist Doch wenn man einmal die vollständige Rusalka – allein und von den Menschen wie von Opern wesentlich zu der wundervoll Josef Bohuslav Foerster die Meinung, daß Oper anhört, wird man feststellen, daß der auch von ihren schwesterlichen Nymphen präzisen Realisierung des Wasserkobolds, Dvořák die geeignetste Person sei, den Text zu Titelheldin noch ein ganze Reihe weiterer verstoßen – über den Körper des irregeleiteten der Hexe Ježibaba und des Dreiergespanns vertonen. Und in der Tat war die Verbindung wunderschöner Arien zufallen, so etwa die Prinzen einen liebevollen Segen spricht, sind von Waldnymphen bei. Ähnlich geschickt von Komponist und Libretto selten zutiefst anrührende Nummer im ersten Akt, wahrhaft unvergeßlich. ist seine Behandlung der off ensichtlicher vollkommener als im Fall von Rusalka.

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 32-3332-33 220/11/070/11/07 17:01:2817:01:28 Synopsis Prinz auf der Jagd den Wald erreicht, wird Prinzen töten müßte, um gerettet zu werden; Opera House Opera Th eatre, zu denen sie verwandelt. Von der nun schweigenden, doch Rusalka lehnt dies ab und wirft das mehr als 294.000 Zuschauer erschienen. Erster Akt menschlichen Rusalka bezaubert, ergreift er ihr dargebotene Messer in den See. Der Weitere 13.350 Zuschauer besuchten die Auf einer monderhellten Lichtung an sie und nimmt sie mit sich auf sein Schloß. Wildhüter und der Küchenjunge erscheinen von OzOpera, dem Bildungszweig von einem See vergnügen sich Waldnymphen und bitten verschreckt um Hilfe für ihren Opera Australia, inszenierten Auff ührungen mit einem Wasserkobold. Ein Mondstrahl Zweiter Akt dahinsiechenden Prinzen; der Wasserkobold von La bohème in Victoria, Northern beleuchtet die Wassernymphe Rusalka, die Ein Wildhüter unterhält sich mit einem taucht plötzlich aus dem See auf und Territory und Western Australia, während dem Wasserkobold erzählt, daß sie sich in Küchenjungen über das seltsame Mädchen, verkündet, daß der Prinz wegen seiner das Schulensemble von OzOpera vor über einen menschlichen Prinzen verliebt hat das der Prinz in dem furchterregenden Zurückweisung Rusalkas verdammt sei. 63.500 Grundschülern in mehr als 360 und nun auch sterblich werden möchte, um Wald gefunden hat, und über die Die Waldnymphen stellen ihre Schönheit Auff ührungen in den städtischen und die körperliche Liebe erfahren zu können. Hochzeitsvorbereitungen. Sie eilen fort, als der zur Schau und hören betrübt von Rusalkas ländlichen Gebieten von New South Wales Voller Angst, daß sie ihr unsterbliches Dasein Prinz mit Rusalka auftaucht; dieser ist verwirrt Schicksal. Der Prinz, der inzwischen und Victoria auftrat. aufgeben und die Bedeutung menschlicher und kann ihr Schweigen und ihre scheinbar seinen Verstand verloren hat, erscheint auf Sieben Monate lang steht Opera Australia Sünde kennenlernen könnte, rät der unbeteiligte Kälte überhaupt nicht verstehen. der Suche nach seiner verlorenen Liebe. jedes Jahr auf dem Programm der Sommer- Wasserkobold Rusalka dennoch, sie möge Das Auftauchen einer weltgewandten In einem zu Herzen gehenden Dialog und Winterspielzeiten am Sydney Opera die Hexe Ježibaba um Unterstützung bei der fremdländischen Prinzessin weckt ihn aus akzeptiert er, daß er in Rusalkas Armen House. Das Ensemble gastiert am Arts Erfüllung ihres Wunsches bitten. Bevor sie seiner verwirrten Träumerei, und ein Ballett sein Leben lassen wird. Als er stirbt, vergibt Centre Melbourne im Herbst (April und Mai) sich an die furchterregende Ježibaba wendet, kündigt sodann die Hochzeitsvorbereitungen Rusalka ihm und überläßt sich ihrem und Frühjahr (November und Dezember). bittet Rusalka den Mond, dem Prinzen ihre an. Der Wasserkobold taucht im Schloßteich hoff nungslosen Schicksal. Das Ensemble fi nanziert sich vor allem durch Liebe zu übermitteln. Ježibaba teilt Rusalka auf und beklagt Rusalkas Schicksal. Der Prinz Kartenverkäufe und Firmenunterstützung in spöttischem Ton mit, sie könne sie zwar und die fremdländische Prinzessin erscheinen; © 2008 Jan Smaczny und begrüßt die fortwährende Förderung in einen Menschen verwandeln, Rusalka sie sind inzwischen eine Liebesbeziehung Übersetzung: Stephanie Wollny durch die Regierung und die Wirtschaft werde dann aber stumm sein; und schlimmer eingegangen. Rusalka fl eht den Prinzen an, er Australiens bei der Verfolgung seines noch, sollte sie zurückgewiesen werden, so möge sich ihr zuwenden, doch nun wird sie Opera Australia ist die offi zielle Bezeichung Hauptziels, die große Oper jedermann werde sie zu einem Irrlicht, weder unsterblich zurückgewiesen. Der Wasserkobold erhebt sich der australischen Nationaloper, die aus zugänglich zu machen. noch menschlich und dazu verdammt, ewig aus dem Wasser und verfl ucht den Prinzen, dem Zusammenschluss der Australian herumzuwandern und arglose Seelen in die während die Prinzessin hochmütig davoneilt. Opera und der Victoria State Opera Zum Opera Australia Chorus gehören Tiefe des Waldsees zu locken, während der hervorgegangen ist. Im Jahr 2004 gab das derzeit 48 hauptamtliche Mitglieder und Prinz sterben müsse. Rusalkas verzehrende Dritter Akt Ensemble 226 Auff ührungen im Rahmen noch weitere 200 Sänger, die bei Bedarf Liebe zwingt sie, zuzustimmen, und als Rusalka wartet am See und beklagt ihr ihrer Abonnementsreihen am State Th eatre herangezogen werden können. Der für seine die Morgendämmerung anbricht und der Schicksal. Ježibaba teilt ihr mit, daß sie den des Victorian Arts Centre und am Sydney Vielseitigkeit bekannte Chor wurde im

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 34-3534-35 220/11/070/11/07 17:01:2817:01:28 Jahr 2005 mit einem “Green Room Award (dirigiert von Simone Young), Brahms’ Dirigenten. 1971 gründete er die City of die Wiener Staatsoper und die Washington for Consistent Excellence” ausgezeichnet. Ein deutsches Requiem, Mozarts Requiem London Sinfonia, deren künstlerischer Leiter Opera geführt. Als Gastdirigent hat er solch Zu seinen gefeierten Auftritten zählen die (unter der Leitung von Richard Hickox) er ist. Ferner ist er Assoziierter Gastdirigent des weltberühmte Klangkörper wie das Pittsburgh australische Erstauff ührung von War and und Beethovens Neunte Sinfonie mit dem London Symphony Orchestra, Emeritierter Symphony Orchestra, das Orchestre de Paris, Peace zur Eröff nung des Opernhauses von Tasmanian Symphony Orchestra. Dirigent der Northern Sinfonia und das Bayerische Radio-Sinfonieorchester und Sydney, die Auff ührungen der Meistersinger Mitbegründer des Collegium Musicum 90. das New York Philharmonic dirigiert. von Nürnberg anläßlich der Zweihundertjahr- Das Australian Opera and Ballet Orchestra Er dirigiert regelmäßig die großen Orchester Sein phänomenaler Erfolg in den Feier des Staates sowie Weltpremieren ist eines der meistbeschäftigten und des Landes und ist häufi g auf den BBC- Aufnahmestudios resultierte in mehr als 280 australischer Kompositionen wie Richard vielseitigsten Orchester Australiens. Es ist im Promenadenkonzerten und den Festivals von Einspielungen, darunter jüngst Zyklen der Meales Voss, Th e Eighth Wonder von berühmten Sydney Opera House beheimatet Aldeburgh, Bath und Cheltenham aufgetreten. Orchesterwerke von Sir Lennox und Michael Dennis Watkins und Alan Johns sowie und fungiert als fester Orchesterpartner Mit dem London Symphony Orchestra Berkeley und Frank Bridge mit dem BBC schließlich Batavia von Richard Mills der beiden führenden Ensembles im Lande, hat er im Barbican Centre eine Reihe von National Orchestra of Wales, die Sinfonien und Peter Goldsworthy. Bemerkenswerte Opera Australia und Th e Australian Ballet. halbszenischen Opern aufgeführt, darunter von Vaughan Williams mit dem London Inszenierungen in jüngerer Zeit umfassen In einem typischen Jahr in Sydney spielt das Billy Budd, Hänsel und Gretel und Salome. Symphony Orchestra und eine Reihe von Sweeney Todd unter der Leitung von Gale Orchester bei etwa 175 Auff ührungen von Mit dem Bournemouth Symphony Orchestra Brittens Opern mit der City of London Edwards, Lady Macbeth of Mtsensk und mehr als einem Dutzend Opern und über 80 präsentierte er in London erstmalig den Sinfonia. Er wurde mit einem Grammy (für Th e Love for Th ree Oranges unter Francesca Darbietungen von vier Balletten. Es arbeitet vollständigen Zyklus von Vaughan Williams’ Peter Grimes) und fünf Gramophone Awards Zambello, Otello unter der Leitung von mit etwa einem Dutzend verschiedener Sinfonien. Im Zuge seiner langjährigen ausgezeichnet. Richard Hickox wurde im Jahr Harry Kupfer, Th e Rake’s Progress unter John Dirigenten zusammen und beherrscht die Verbindung mit dem Philharmonia Orchestra 2002 im Rahmen der Jubilee Honours List der Cox, Wozzeck unter Barry Kosky und Billy Auff ührungstraditionen eines Repertoires, hat er an der South Bank Elgar-, Walton- und Königin mit einem CBE (Commander of the Budd unter der Leitung von Neil Armfi eld. das von Monteverdi bis Berg reicht. Das Britten-Festivals sowie auf dem Aldeburgh- Order of the British Empire) geehrt und hat Neben seinem vollen Opernprogramm ist Orchester ist auch in Galakonzerten zu Festival eine halbszenische Auff ührung von außerdem zahlreiche andere Auszeichnungen der Opera Australia Chorus in jüngerer Zeit erleben. Gloriana dirigiert. erhalten, darunter zwei Royal Philharmonic auch in Konzertauff ührungen von Carmina Neben seiner Tätigkeit an der Oper von Society Music Awards, den ersten Sir Charles Burana und den Chichester Psalms (unter der Richard Hickox CBE, einer der Sydney haben Engagements ihn in jüngerer Groves Award, den Evening Standard Opera Leitung von Richard Hickox) aufgetreten begabtesten und vielseitigsten Dirigenten Zeit unter anderem an die Royal Opera Award und den Association of British und hat für eine Auff ührung von Rossinis Großbritanniens, ist Musikdirektor der Covent Garden, die English National Opera, Orchestras Award. Stabat Mater mit dem Sydney Symphony Opera Australia und war für den Zeitraum Orchestra zusammmengearbeitet. Weitere 2000 – 2006 zum Chefdirigenten des BBC beachtete Konzerte, an denen der Chor National Orchestra of Wales berufen; danach Das Libretto ist in deutscher Übersetzung verfügbar. Näheres erfahren mitgewirkt hat, umfassen Verdis Requiem wechselte er auf die Position eines Emeritierten Sie von Chandos (Anschrift auf Seite 103) oder über die Website.

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 36-3736-37 220/11/070/11/07 17:01:2917:01:29 Dominica Matthews, Taryn Fiebig and Sarah Crane as the Wood Nymphs Barry Ryan as the Gamekeeper and Sian Pendry as the Kitchen Boy

CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 38-3938-39 220/11/070/11/07 17:01:2917:01:29 version remaniée ne connut qu’un succès La phase post-américaine de la carrière Dvořák: Roussalka modéré lors de ses premières représentations. de Dvořák fut assez diff érente. Déçu par la Deux comédies lui succédèrent encore symphonie et la musique abstraite en général, pendant les années 1870: une comédie en le compositeur se tourna vers le folklore Le succès de la création de Roussalka le le plus grand triomphe opératique de Dvořák. un acte, Les Amoureux têtus (Tvrdé palice) tchèque pour y puiser de l’inspiration. 31 mars 1900, fut, compte tenu de son Avec La Fiancée vendue de Smetana, Roussalka et Le Paysan rusé (Šelma sedlák). Il y a dans Depuis la fi n des années 1880, une tendance sujet, l’un des plus inattendus dans l’opéra est ancré aujourd’hui au cœur même du ces deux œuvres quelques uns des épisodes programmatique se dessinait de plus en plus tchèque au tournant du siècle. La principale répertoire tchèque. musicaux les plus charmants que Dvořák ait dans ses œuvres, notamment dans la “Triple préoccupation des contemporains de Dvořák écrits au cours de cette période. Le climax de ouverture”, Nature, Vie et Amour, au point (surtout des plus jeunes) en matière d’opéra Dvořák et l’opéra ce courant particulier d’écriture opératique se que le critique du Musical Times fi t courir fut cette sensationnelle innovation des années À l’époque où il se mit à écrire Roussalka, profi la dix ans plus tard avec l’achèvement en la rumeur, lors de la création en Angleterre 1890, le verismo. La première représentation Dvořák était un compositeur chevronné avec 1888 de Le Jacobin (Jakobín), le chef-d’œuvre de la Huitième symphonie en 1890, que son à Prague de Cavalleria rusticana de neuf opéras à son actif. Les deux premiers, semi-comique de Dvořák, une célébration mouvement lent était inspiré d’une légende; Mascagni, en 1891, précipita l’extension l’opéra wagnérien Alfred – d’après un texte merveilleusement lyrique, à la texture riche, si ce fut le cas, Dvořák n’en fi t jamais rien de cet engouement parmi le public et les allemand – et la comédie étonnamment de la réconciliation entre un père et son fi ls savoir à la postérité. Dans la symphonie compositeurs. Même les anciens artisans du expérimentale Le Roi et le charbonnier (Král prodigue, et l’amour de la musique du peuple suivante, la célèbre Symphonie du Nouveau renouveau national tchèque, comme Karel a uhlíř) n’étaient plus en harmonie avec les tchèque. Monde, l’œuvre de Longfellow, Th e Song of Bendl et Richard Rozkošný, se lancèrent dans goûts opératiques tchèques des années 1870 Les deux grands opéras sérieux que composa Hiawatha eut une infl uence majeure. Pendant le nouveau réalisme avec enthousiasme, mais (aucun des deux ne fut porté à la scène du Dvořák dans les années 1870 et 1880, Vanda et son séjour aux États-Unis, entre 1892 et aucun des deux ne réussit cependant à off rir vivant du compositeur). Mais Dvořák se mit Dimitri, se trouvaient en marge des tendances 1895, Dvořák ne composa pas le grand aux Tchèques un équivalent local de “Cav bientôt à produire une série de comédies modernistes du tragique Dalibor de Smetana opéra américain qu’espérait Mrs Th urber, and Pag” (Cavalleria rusticana et Paillasse). La coulées dans le même moule que La Fiancée et de son opéra de fête, Libuše, ainsi que des son employeur au National Conservatory jeune génération fut également attirée par des vendue, un genre dont Smetana et son sentiers plus wagnériens qu’explorait Zdeněk of Music à New York. Mais ceci n’empêcha sujets réalistes et, si Eva de Foerster connut librettiste Sabina furent les pionniers et qui Fibich dans le drame musical, La Fiancée de pas le Musical Times d’écrire que la version un succès raisonnable, l’œuvre majeure de ce avait manifestement la faveur du public Messine (Nevěsta Messinská). Dvořák ne se opératique de Dvořák de La Case de l’oncle courant nouveau fut Jenufa de Janáček. praguois. Une étape remarquable du voyage montra expérimental dans aucune des deux Tom était attendue avec impatience. Au cours Composé environ à la même époque que de Dvořák vers une plus grande orthodoxie œuvres et c’est pour cette raison peut-être de cette période le compositeur se consacra Jenufa, Roussalka se déroule dans un univers fut la nouvelle mise en musique qu’il fi t de que Dimitri, surtout, fut accueilli avec plutôt à un remaniement radical de son grand éclairé par la lune, très éloigné des sombres l’opéra Le Roi et le charbonnier qui acquit enthousiasme par le public tchèque dans les opéra, Dimitri, une révision qui le rapprocha émotions du réalisme tchèque et, cependant, ainsi un style entièrement nouveau, beaucoup années 1880 (contrairement à La Fiancée de considérablement du drame musical bien qu’allant à l’encontre du courant, ce fut plus proche de la manière de Smetana. Cette Messine qui vida inexorablement l’opéra). wagnérien; et, deux ans après son retour à

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 40-4140-41 220/11/070/11/07 17:01:3217:01:32 Prague, Dvořák apporta des changements il s’était fermement resitué dans l’univers du Un élément dont Dvořák n’a peut-être ruse de Roussalka s’oppose fortement à la importants à son opéra, Le Jacobin. folklore de Bohême, il n’est pas surprenant de pas été conscient, mais qui donne au livret sophistication calculatrice de la Princesse constater qu’il y eut recours pour des thèmes de Kvapil une profondeur poignante, est étrangère. Il y a ensuite le prix à payer par Dvořák et le “Roussalka” de Kvapil d’opéra. Son premier opéra-conte de fées, le sentiment aigu qu’avait son auteur de la Roussalka pour son statut de mortelle: elle Plus tard au cours de sa carrière professionnelle, Le Diable et Catherine (Čert a Káča) s’inspire condition souvent trop pénible de la femme est muette. Ceci est l’image même d’une Dvořák s’intéressa de près aux ballades d’une histoire provenant d’un recueil du dans la société de son temps. Deux de ses servante tchèque à Vienne condamnée au d’inspiration folklorique de Karel Jaromir célèbre auteur Božena Němcová. Après le pièces, Feu follet et La Princesse Dent-de- silence, car elle ne parle guère l’allemand Erben. Erben, qui était bien connu comme succès de la création de l’œuvre en 1899, lion explorent sous forme d’allégorie les peut-être, ne pouvant résister à l’éloquente poète et traducteur – de Goethe notamment –, alors que Dvořák était à la recherche d’un vicissitudes de la condition féminine. La séduction de ses supérieurs. Même le destin avait compilé pour la Bohême un recueil nouveau livret, František Šubert, le directeur première a trait aux suppositions tacites quant ultime de Roussalka que fuient ses anciennes complet de “Chansons populaires et comptines du Th éâtre national, attira son attention sur à la virginité, et à son absence, tandis que la compagnes de jeux refl ète la répugnance tchèques”. Les mélodies des couplets furent Roussalka de Jaroslav Kvapil. seconde évoque le triste destin d’une princesse témoignée à de nombreuses anciennes publiées indépendamment des textes qui Le livret de Kvapil n’avait pas réussi à royale mariée à un homme de la campagne servantes rentrant chez elle à la campagne, parurent en 1864. Dvořák eut souvent recours éveiller l’intérêt d’un certain nombre de qui, incapable de faire face à sa nouvelle vie, avilies et malades. à ces derniers dans ses mises en musique jeunes compositeurs dont Josef Suk, le gendre sombre dans une mélancolie profonde, puis S’il est vrai que cette dimension de misère de mélodies. Le recueil le plus populaire de de Dvořák, mais c’est avec une impatiente est emportée enfi n par un vent froid comme humaine a donné plus de profondeur au Erben était Le Bouquet de légendes nationales ardeur que Dvořák lui-même s’en empara, une semence de dent-de-lion. Si l’on soumet drame de Kvapil, c’est plutôt à la beauté (Kytice z povestí národních) publié en et il acheva la partition en un peu plus de six Roussalka à une lecture allégorique – tragique de ce “conte de fées lyrique” – sous- 1853. Dvořák s’orienta vers cette source mois, au milieu de l’année 1900. Kvapil s’était et la plupart des contes de fées s’y prêtent titre de l’œuvre – que Dvořák fi t écho. d’inspiration lorsqu’on lui commanda une inspiré de Undine de De la Motte Fouqué bien –, le destin de l’héroïne éponyme Toujours porté vers le lyrisme dans l’opéra, cantate pour le Birmingham Choral Festival tout en empruntant – il l’admettait – un peut être interprété de manière similaire. Dvořák est d’une éloquence mélodique sans de 1885. Le résultat fut La Fiancée du spectre certain nombre d’éléments à la Petite sirène À l’époque on se souciait beaucoup de la pareille dans cette partition, la plus belle (Svatební košile), l’histoire particulièrement d’Andersen et à La Cloche engloutie de Gerhart situation critique des jeunes fi lles tchèques qu’il ait écrite. Si la présence de Wagner macabre d’une jeune femme attirée dans Hauptmann. Malgré son éclectisme, le livret a de la campagne en service à Vienne, car est perceptible dans certains leitmotive et un charnier par son fi ancé fantomatique; beaucoup d’homogénéité par son atmosphère leurs employeurs abusaient d’elles et les parfois dans le tissu harmonique, comme l’œuvre plut immensément au public qui, comme en convient Kvapil, lui vient en renvoyaient bien souvent lorsqu’elles étaient elle l’est aussi dans l’opéra-conte de fées de victorien. À son retour en Bohême après grande partie du Bouquet de Erben. D’ailleurs enceintes, les vouant à une vie de prostitution Humperdinck, Hansel et Gretel, qui lui est son séjour en Amérique, Dvořák se tourna Kvapil s’interrogea, dans son introduction et de maladie. Dans Roussalka, l’antinomie légèrement antérieur, elle le fut certes tout une fois encore vers Le Bouquet de Erben au livret, sur la possibilité que Dvořák ait entre la vie rurale et urbaine apparaît dans à son avantage. Roussalka est aussi l’opéra pour les programmes de quatre poèmes été charmé en premier lieu par cette source le contraste entre la forêt de Roussalka et que Dvořák a conçu le plus délibérément symphoniques aux coloris brillants. Comme d’inspiration folklorique. le château du Prince; de même l’absence de en “mélodie continue”, bien que ceci

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 42-4342-43 220/11/070/11/07 17:01:3317:01:33 n’empêche pas le grand air le plus célèbre retenue. Les pages fi nales dans lesquelles merveilleusement expressive à Ondin, à musique. En eff et, compositeur et récit ont de l’opéra tchèque, le “Chant à la lune” de Roussalka, maintenant seule, rejetée par les la sorcière Jezibaba et au trio de nymphes. rarement été en harmonie aussi intime que Roussalka, qui est d’une indicible beauté, hommes et par ses sœurs – les nymphes –, La manière dont il traite les rôles plus dans Roussalka. d’être souvent extrait de la partition. Mais bénit avec aff ection la dépouille du Prince ouvertement comiques du garde-chasse et l’auditeur s’apercevra, en écoutant l’œuvre fautif sont véritablement inoubliables. du tournebroche est tout aussi ingénieuse, Synopsis dans son intégralité, qu’il ne s’agit que La coloration instrumentale de Roussalka notamment quand on les trouve occupés à d’une des merveilleuses arias de l’héroïne est l’un des secrets de sa magie. Dvořák a cancaner avec animation aux accents d’une Acte I éponyme: parmi elles, il y a aussi les paroles toujours été inspiré dans le traitement de imitation d’un air de cornemuse au début Par une nuit de lune, dans une clairière extraordinairement émouvantes de Roussalka l’orchestre, mais ici il atteint de nouveaux du deuxième acte. Il est intéressant de noter longeant un lac, des nymphes folâtrent en dans le premier acte, “Ton éternelle sagesse sommets d’expressivité. Pour ne prendre que lorsque Dvořák négociait la création à compagnie d’un ondin. Un rayon de lune te fait connaître toutes choses” (Staletá qu’un seul exemple, c’est presqu’avec une Vienne de l’opéra, Mahler exprima le souhait illumine la nymphe des eaux, Roussalka, moudrost tvá všechno ví), à l’adresse de délicatesse impressionniste qu’il dépeint le de supprimer cette touche de comique qui raconte à l’ondin qu’elle est tombée la sorcière Jezibaba qui, comme l’espère clair de lune dans lequel baigne le palais du piquant; ce fut une des raisons, fi nalement, amoureuse d’un prince humain et souhaite Roussalka, pourra lui donner un corps de Prince peu avant le ballet central du deuxième pour lesquelles cette première en Autriche devenir mortelle pour vivre un amour femme, et sa lamentation, “Privée de ma acte. La maîtrise qu’a Dvořák du discours n’eut pas lieu. Le fait est que tout, dans cette charnel. L’ondin, très anxieux à l’idée de la jeunesse” (Mladostí své pozbavená), au début symphonique est tout aussi remarquable: remarquable partition, semble d’une absolue voir perdre son immortalité et découvrir le du troisième acte. un peu à l’image des Messes de la maturité perfection. Même le ballet des invités à la péché humain, dit néanmoins à Roussalka Dvořák trouve aussi une solution tardive de Haydn où la fusion des éléments noce dans le deuxième acte, une polonaise de demander l’aide de la sorcière Jezibaba ingénieuse quand Roussalka, muette dans le symphonique et liturgique est extrêmement somptueuse avec un trio d’une attendrissante pour accéder à son désir. Avant d’aborder premier acte, ne peut déclarer son amour au convaincante, l’instinct symphonique de beauté, souligne dramatiquement l’incapacité la terrifi ante Jezibaba, Roussalka demande Prince. Au lieu du duo paroxystique auquel Dvořák s’harmonise parfaitement avec de Roussalka à participer aux célébrations des à la lune de parler au prince de son amour. on pourrait s’attendre, il imagine une sorte l’impulsion lyrique. De ce fait, chacun humains. Mais tout cela ne serait rien sans Sur le ton du sarcasme, Jezibaba explique de dialogue dans lequel le Prince chante seul des trois actes est pourvu de moments le portrait fait par Dvořák du rôle titre: la à Roussalka qu’elle peut lui donner forme des phrases dont l’intensité s’amplifi e, et qui d’apothéose d’une force extraordinaire. passion à peine contenue de Roussalka dans le humaine, mais qu’elle sera muette, et pire clôturent l’acte dans une extase passionnée. Il Les diff érents caractères sont premier acte, son désespoir lorsque le Prince encore, si le prince la rejette, elle deviendra va sans dire que lorsque Roussalka a retrouvé merveilleusement observés. Il est évident la rejette dans le deuxième et sa désolation un feu follet, ni immortelle ni humaine, la faculté de parler, ses échanges avec le Prince que l’expérience acquise par l’écriture de résignée dans le dernier sont parfaitement mais condamnée à errer, prenant au piège égaré et malade à la fi n de l’opéra forment l’un poèmes symphoniques inspirés de la poésie rendus. Quand il refusa le livret de Roussalka, les imprudents dans les profondeurs du lac; des épisodes les plus touchants de l’œuvre. de Erben et toute une vie de création souvent le compositeur Josef Bohuslav Foerster dit et enfi n, le prince mourra. N’écoutant que Ses dernières paroles, “Je meurs heureux dans orientée sur la composition d’opéras aidèrent qu’à son avis Dvořák était la personne la sa passion dévorante, Roussalka accepte ce tes bras”, sont traitées avec une délicieuse largement Dvořák à donner cette coloration plus parfaitement apte à mettre le texte en destin et elle subit la métamorphose, tandis

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 44-4544-45 220/11/070/11/07 17:01:3317:01:33 que point le jour et que le prince arrive dans cette off re et lance le couteau que lui tend la branche d’Opera Australia consacrée à création en Australie de Guerre et Paix pour la forêt au cours d’une partie de chasse. la sorcière dans le lac. Le garde-chasse et le l’éducation et au développement, tandis l’inauguration du Sydney Opera House, les Ébloui par le charme de Roussalka, devenue tournebroche arrivent et, terrifi és, implorent qu’OzOpera’s Schools Company se produisit exécutions de Die Meistersinger von Nürnberg femme, mais à présent silencieuse, le prince de l’aide pour leur prince malade. L’ondin devant plus de 63,500 élèves d’âge primaire pour marquer le bicentenaire de l’Australie et l’entraîne dans son palais. surgit dans le lac et annonce que le prince dans le cadre de 360 représentations dans les les créations mondiales d’œuvres australiennes est damné parce qu’il a repoussé Roussalka. villes et les campagnes de New South Wales comme Voss de Richard Meale, Th e Eighth Acte II Les nymphes des bois, en train de chanter et de Victoria. Wonder de Dennis Watkins et Alan Johns, Un garde-chasse et un tournebroche leur beauté, sont abattues en entendant le Opera Australia élit domicile à l’Opéra et Batavia de Richard Mills et Peter cancanent au sujet le la jeune fi lle étrange sort réservé à Roussalka. Le prince apparaît, de Sydney sept mois par an, pour ses saisons Goldsworthy. Citons parmi ses productions trouvée par le prince dans la terrifi ante forêt comme fou, cherchant son amour perdu. d’été et d’hiver. La compagnie est ensemble récentes acclamées par la critique: Sweeney et des préparatifs de la noce. Ils s’enfuient Dans un échange émouvant avec Roussalka, en résidence à l’Arts Centre de Melbourne Todd dirigé par Gale Edwards, Lady Macbeth lorsque le prince s’approche avec Roussalka. il consent à périr dans ses bras. Alors qu’il pour une saison au printemps, de novembre à de Mtsensk et L’Amour des trois oranges dirigés Le prince est embarrassé, absolument pousse son dernier soupir, Roussalka lui décembre, et une saison à l’automne, en avril par Francesca Zambello, Otello dirigé par incapable de comprendre le silence de sa pardonne et accepte sa sombre destinée. et en mai. La compagnie vit essentiellement Harry Kupfer, Le Libertin dirigé par John dulcinée et l’absence de toute réponse de sa de la recette des spectacles et de l’aide Cox, Wozzeck dirigé par Barry Kosky et © 2008 Jan Smaczny part. L’apparition d’une princesse étrangère fi nancière de sociétés, et elle accueille à bras Billy Budd dirigé par Neil Armfi eld. Traduction française: Marie-Françoise de Meeûs pleine de raffi nement l’arrache à sa rêverie ouverts le soutien que lui off rent à présent le En plus de son programme complet perplexe, et un ballet marque les préliminaires gouvernement et les sociétés australiennes de productions opératiques, l’Opera de la noce. L’ondin surgit dans l’étang du Opera Australia est le nom de la compagnie pour atteindre le but qu’elle s’est fi xée: off rir Australia Chorus a participé à de récentes château et pleure le destin de Roussalka. Le lyrique nationale d’Australie, un ensemble du grand opéra à tout le monde. productions en concert de Carmina Burana prince et la princesse étrangère apparaissent plein de vitalité né de la fusion de Th e et des Chichester Psalms (sous la direction amoureusement enlacés et Roussalka tente de Australian Opera et du Victoria State L’Opera Australia Chorus compte de Richard Hickox) et a collaboré avec le se faire accepter par le prince, qui la rejette. Opera. En 2004, la compagnie donna actuellement quarante-huit membres Sydney Symphony Orchestra à une exécution L’ondin se dresse et maudit le prince tandis 226 représentations dans le cadre de ses travaillant à temps plein; deux cents du Stabat Mater de Rossini. Citons parmi que la princesse s’éloigne rapidement, avec saisons pour abonnés au State Th eatre of chanteurs supplémentaires sont employés d’autres concerts remarquables, le Requiem arrogance. the Victorian Arts Centre et au Sydney temporairement selon les nécessités. de Verdi (sous la direction de Simone Opera House Opera Th eatre, devant plus Renommé pour la variété de ses talents, Young), Ein deutsches Requiem de Brahms et Acte III de 294,000 spectateurs. En plus, 13,350 le Chœur se vit décerner en 2005 un le Requiem de Mozart (sous la direction de Roussalka attend au bord du lac et pleure son mélomanes virent La bohème mis en scène Green Room Award spécial avec la Richard Hickox), et la Neuvième symphonie destin. Jezibaba lui dit qu’elle pourrait être dans les provinces de Victoria, Northern mention “Consistent Excellence”. Parmi de Beethoven avec le Tasmanian Symphony sauvée si elle tuait le prince; Roussalka rejette Territory et Western Australia par OzOpera, ses exécutions majeures, mentionnons la Orchestra.

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 46-4746-47 220/11/070/11/07 17:01:3417:01:34 Les membres de l’Australian Opera Il dirige régulièrement les plus grands et de Frank Bridge avec le BBC National décerner le titre de Commander of the Order and Ballet Orchestra forment l’un des orchestres du Royaume-Uni et a souvent Orchestra of Wales, les symphonies de of the British Empire (CBE) par la Reine en orchestres les plus actifs du pays, dans les participé aux Proms de la BBC ainsi Vaughan Williams avec le London Symphony 2002 et a reçu de nombreuses autres prix, dont styles musicaux les plus variés. Basé dans qu’aux festivals d’Aldeburgh, de Bath Orchestra ainsi qu’une série d’opéras de deux Music Awards de la Royal Philharmonic le célèbre Sydney Opera House, le rôle et de Cheltenham entre autres. Avec le Britten avec le City of London Sinfonia. Il a Society, le tout premier Sir Charles Groves principal de l’orchestre est d’être le partenaire London Symphony Orchestra, il a dirigé au reçu un Grammy (pour Peter Grimes) et cinq Award, l’Evening Standard Opera Award et indispensable des deux plus grandes Barbican Centre à Londres plusieurs mises Gramophone Awards. Richard Hickox s’est vu l’Association of British Orchestras Award. compagnies artistiques d’Australie, Opera en scène partielles d’opéras dont Billy Budd, Australia et Th e Australian Ballet. Au cours Hänsel und Gretel et Salome. À la tête du d’une année typique, l’Orchestre donnera Bournemouth Symphony Orchestra, il a quelques 175 représentations de plus de donné la première intégrale des symphonies douze opéras et plus de 80 représentations de Vaughan Williams à Londres. Dans le de quatre ballets. L’ensemble travaillera cadre de son association avec le Philharmonia avec une douzaine de chefs diff érents, Orchestra, il a dirigé des festivals d’Elgar, de maîtrisant les traditions d’interprétations et Walton et de Britten dans des salles du South un répertoire allant de Monteverdi à Berg, Bank à Londres et une mise en scène partielle et participera également à plusieurs Concerts de Gloriana au Festival d’Aldeburgh. de Gala. Outre ses activités avec l’Opéra de Sydney, il a récemment travaillé entre autres L’un des chefs d’orchestre les plus doués avec le Royal Opera de Covent Garden, et les plus complets de Grande-Bretagne, l’English National Opera, l’Opéra d’état Richard Hickox CBE est directeur musical de Vienne et le Washington Opera. Il a d’Opera Australia. Il fut chef principal du été invité à diriger des orchestres de renom BBC National Orchestra of Wales entre 2000 mondial tels le Pittsburgh Symphony et 2006 quand il est devenu chef honoraire. Orchestra, l’Orchestre de Paris, l’Orchestre Il est directeur musical du City of London symphonique de la Radio bavaroise et le New Sinfonia qu’il fonda en 1971. Il est également York Philharmonic. chef invité associé du London Symphony Connaissant un succès phénoménal en Orchestra, chef honoraire du Northern studio, il a réalisé plus de 280 enregistrements, Sinfonia et co-fondateur de Collegium dont dernièrement des cycles d’œuvres Une version française du livret est disponible aux intéressés. Veuillez s’adresser à Chandos à l’adresse indiquée sur Musicum 90. orchestrales de Sir Lennox et Michael Berkeley la page 103, ou suivre le lien sur le site Web de Chandos.

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 48-4948-49 220/11/070/11/07 17:01:3417:01:34 Bruce Martin as the Water Sprite and Cheryl Barker as Rusalka

Rosario La Spina as the Prince and Cheryl Barker as Rusalka

CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 50-5150-51 220/11/070/11/07 17:01:3517:01:35 COMPACT DISC ONE (Tancˇí.) (Th ey dance.) Hou, hou, hou, Ho, ho, ho, 1. Jednání Act I meˇsíc bloudí nad vodou! the moon is wandering over the lake!

Prˇedehra Prelude Echo Echo 1 Palouk na pokraji jezera. Kolkolem lesy, v nich na A forest glade at the edge of a lake, on the shore of …nad vodou! …over the lake! brˇehu jezera chalupa Ježibaby. Meˇsíc svítí. which stands Ježibaba’s cottage. It is a moonlit night. Lesní žínky Wood Nymphs (Na staré vrbeˇ, jeež se sklání k jezeru, sedí Rusalka, (Rusalka, in pensive mood, is sitting in the branches of Po jezerˇe tancˇí vánek, A little breeze is dancing over the lake, smutneˇ zamysˇlena. Trˇi lesní žínky, držíce se za an old willow tree overhanging the lake. Th ree Wood probudil se hastrmánek, the Water Sprite has woken up, ruce, lehkým tanecˇním krokem v poprˇedí Nymphs are holding hands and skipping around at the hastrmánek tatrmánek, Water Sprite, water clown, jevisˇteˇ se pohybují.) front of the stage.) hou, hou, hou, ho, ho, ho, bublinky už ze dna jdou. bubbles are rising from the depths. Lesní žínky Wood Nymphs Hou, hou, hou, Ho, ho, ho, 2 Hou, hou, hou, Ho, ho, ho, hastrmánek nad vodou! the Water Sprite is coming to the surface! stojí meˇsíc nad vodou! the moon hangs above the lake! (Vodník se vynorˇí, mne si ocˇi a divá se na tancˇící.) (Th e Water Sprite emerges from the water, rubs his eyes Hastrmánek chce se ženit, and looks at the dancing Wood Nymphs.) Echo Echo která z vás chce vodu peˇnit, Water Sprite wants to get married, …stojí meˇsíc nad vodou! …the moon hangs above the lake! deˇdka cˇesat, lože zmeˇnit, which of us will make the water foam, comb hou, hou, hou, the old one’s tangled locks, take the place – Lesní žínky Wood Nymphs s babkou hastrmanovou? ho, ho, ho – Zveˇdaveˇ se v hloubku dívá, Curious, the moon peers into the depths, (Skotacˇí kolem vodníka, který z vody nemu˚že a jen po of Grandma Water Sprite? po kameni ke dnu splývá, sending her beams to the bottom of the lake, pás vycˇnívá nad hladinu.) (Th ey skip around the Water Sprite, who cannot leave hastrmánek hlavou kývá, where a Water Sprite shakes his head. Hou, hou, hou! the water and remains submerged up to his waist.) hou, hou, hou, Ho, ho, ho, Ho, ho, ho! starou hlavou zelenou. his old green head. (Tancˇí.) (Th ey dance.) Vodník (dobromyslneˇ a jakoby žertem) Water Sprite (jokingly) Hou, hou, hou, Ho, ho, ho, 3 I peˇkneˇ vítám, peˇkneˇ vítám You are most welcome here in the lake, kdo to chodí noci tou? who goes there through this night? z lesa k jezeru! you denizens of sylvan glades! Hou, hou, hou! Ho, ho, ho, jakž, je tam smutno Why, have your high spirits Hastrmánku, meˇsíc stoupá, Water Sprite, the moon is rising, bujným slecˇinkám? been dampened by the forest gloom? už se tobeˇ v okneˇ stoupá, she is peeping through your window Mám dole na dneˇ I have some wonderful things za chvíli se k tobeˇ vloupá, and in a moment will steal in, samu nádheru to show you down on the bottom: hou, hou, hou, hou, ho, ho, ho, ho, a zlatých rybek na pytle tam mám – goldfi sh by the sackful – ve tvou sínˇku strˇíbrnou! into your silvery hall!

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 52-5352-53 220/11/070/11/07 17:01:3817:01:38 (Lapá rukou po žínkách, které mu pokaždé (He makes a grab at the Wood Nymphs, who slip from Rusalka Rusalka uklouznou.) his grasp.) 4 Hastrmánku, tatícˇku! Father Water Sprite! rákosím se kmitnu, I’ll fl it through the reeds ruku svou jen napnu, and stretch out my hand Vodník (jenž ji drˇíve nevideˇl, obrátí se prˇekvapen a Water Sprite (Noticing her, he turns round in surprise po slecˇince chnˇapnu, to grab one of these luscious young things; ptá se vesele) and addresses her good-humouredly.) za nožky ji chytnu, I’ll catch hold of her foot Kýho ˇlaka,s díteˇ – How you startled me, my child! stáhnu si ji k nám! and drag her down to the depths! snad mi tady v meˇsícˇku I hope you’re not using moonbeams (Lapá nemotorneˇ po žínkách.) (He lunges ineptly at the Wood Nymphs.) nesusˇísˇ mé síteˇ? to dry out my fi shing nets?

Lesní žínky Wood Nymphs Rusalka Rusalka Hastrmánku, heja hej, Water Sprite, hey, hey, Hastrmánku, tatícˇku, Father Water Sprite, tedy si nás nachytej! try and catch us if you can! než se vody zpeˇní, before the foaming waters reclaim me, Hou, hou, hou! Ho, ho, ho! secˇkej se mnou chvilicˇku, stay with me a while (Lesní žínky prˇi tomto zpeˇvu couvají ode jezera (Still skipping and frolicking, the Wood Nymphs beat a at mi smutno není! and chase sorrow away! stále poskakujíce a dovádeˇjíce.) retreat from the lake.) Kterou chytísˇ, mužícˇku, Whichever one you catch, dear man, Vodník Water Sprite dá ti peˇknou hubicˇku! will give you a nice kiss! I vida, smutno! What do you mean, sorrow? Ale žena, ha ha ha, But your wife, ha ha ha, za usˇi ti vytahá! will pull your ears for you! Rusalka Rusalka Ha ha, ha ha, Ha ha, ha ha, Vsˇechno ˇeknur ti! I’ll tell you all about it! za usˇi ti vytahá! she’ll pull your ears for you! Heja, hej! Hey, hey! Vodník Water Sprite Tedy si nás nachytej! Try and catch us if you can! A dole taky? Are you sad down below the water? (Rozutekou se.) (Th ey run away.) Rusalka Rusalka Vodník Water Sprite Smutno k zalknutí! So sad, I could die! Ulicˇnická haveˇt’! What a pack of guttersnipes! Kterak zbrkle pádí! And they can certainly run! Vodník Water Sprite Horem, dolem, dolem polem – Uphill, down dale, across the fi elds – Dole, kde je samý rej? Down below, where it’s all fun and games? inu, mládí, mládí! well, they’re young, after all! Není možná! Povídej! It’s not possible! Explain yourself!

(Rusalka, která již od pocˇátku sedí na vrbeˇ nad (Rusalka, still sitting in the willow tree overhanging the Rusalka Rusalka jezerem, zavolá teskneˇ na vodníka.) lake, calls sadly to the Water Sprite.) Chteˇla bych od vás, I would like to leave here, hlubin teˇch se zbýti, to escape from the watery depths, cˇlověkem být to become human

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 54-5554-55 220/11/070/11/07 17:01:3817:01:38 a v zlatém slunci žíti! and live in the golden sunshine! mou bytost nesmí zrˇít. he doesn’t even know that I exist. Chtěla bych od vás, I would like to leave here, Ó vím, že cˇloveˇkem I know that I must hlubin těch se zbýti. to escape from the watery depths. drˇív musila bych býti, myself become human, jak já jej objímám so that – just as I embrace him Vodník Water Sprite a vinu já jej v ruce, and hold him in my arms – Mohu-liž věriˇt vlastním usˇím svým? Can I believe my ears? by on mne objal sám he too will embrace me Cˇloveˇkem býti? Cˇloveˇkem býti? You want to become human? a zulíbal mne prudce! and kiss me passionately! Tvorem smrtelným? To become a mortal being? Vodník Water Sprite Rusalka Rusalka Díteˇ, diteˇ, z noci do noci My child, my child, night after night Sám vyprávěls ty zveˇsti neznámé, You yourself used to tell me strange tales tvoje sestry budou pro teˇ plakat, your sisters will weep over you, že mají dusˇi, které nemáme, of how they have souls – unlike us – už ti není, není pomoci, there’s no hope for you a dusˇe lidí že jde nebi vstrˇíc, and of how these souls ascend to heaven cˇloveˇk-li teˇ v svou moc doved’ zlákat! once you’ve been seduced by a human being! když cˇloveˇk zhyne once the human dies a když znikne v nic! and vanishes from the earth! Rusalka Rusalka Hastrmánku, mužícˇku, Water Sprite dearest, Vodník Water Sprite on mne musí zocˇit, he must be able to see me! Dokud rodná kolébá teˇ vlna, For as long as these waves cradle you, poveˇz, poveˇz, tatícˇku, Tell me, father dear, nechteˇj dusˇi, do not wish for a soul, co mám, smutná, pocˇít? what am I to do? ne, ta je hrˇíchu plna. for souls are full of sin. Vodník Water Sprite Rusalka Rusalka Ztracena, ztracena do veˇku˚, You are doomed, lost for eternity, A plna lásky! And full of love! prodána, prodána cˇloveˇku! if you give yourself to a man! Marno je lákat teˇ It’s pointless to ask you Vodník Water Sprite dolu˚ v rej – to join in the fun down below. Vodo praveˇká – Ye ancient waters! My child, Ježibabu si zavolej, You’d better summon the witch Ježibaba, snad nemilujesˇ, you are surely not in love ubohá Rusalko bledá! my poor, wan Rusalka! díteˇ, cˇloveˇka? with a human being? (Potápí se.) (He begins to sink.) Beˇda! Beˇda! Beˇda! Woe! Woe! Woe! Rusalka Rusalka (Zmizí pod vodou.) (He disappears below the water.) 5 Sem ˇastoc prˇichází He often comes here a v objetí mé stoupá, and submits to my embrace. Rusalka (zpívá, hledíc k meˇsíci, jenž zatím ozárˇil celou Rusalka (singing to the moon, whose beams now light ˇats shodí na hrázi Leaving his clothes on the shore, krajinu. Je krásná letní noc.) up the entire landscape. It is a beautiful summer’s night.) a v loktech mých se koupá. he plunges into my arms. 6 Meˇsícˇku na nebi hlubokém, O moon in the velvet heavens, Lecˇ pouhou vlnou jsem, But because I’m only a wave, sveˇtlo tvé daleko vidí, your light shines far,

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 56-5756-57 220/11/070/11/07 17:01:3917:01:39 po sveˇteˇ bloudisˇ ˇirokém,s you roam throughout the whole world, Ježibaba Ježibaba dívásˇ se v prˇíbytky lidí. gazing into human dwellings. Slysˇím cosi, cˇichám cosi, Fee, fi e, fo, fum, what’s this I hear? Meˇsícˇku, postu˚j chvíli, O moon, stay a while, ozvi se a poveˇz, kdo jsi! Speak up, and tell me who you are! ˇeknir mi, kde je mu˚j milý! tell me where my beloved is! Rˇekni mu, strˇíbrný meˇsícˇku, O tell him, silver moon, Rusalka Rusalka mé že jej objímá rámeˇ, that my arms enfold him, Rusalka jsem, vodní vila, My name is Rusalka, and I am a water nymph. aby se alesponˇ chvilicˇku in the hope that for at least a moment dej mi léku, tetko milá! Please give me a potion, auntie dear! vzpomenul ve sneˇní na mneˇ. he will dream of me. Zasveˇt’ mu do daleka, Shine on him, wherever he may be, Ježibaba Ježibaba rˇekni mu kdo tu nanˇ cˇeká! and tell him of the one who awaits him here! Jsi-li víla, zjev se hbiteˇ, Reveal yourself, if you are a nymph. O mneˇ-1i, dusˇe lidská sní, If a human soul should dream of me, ukaž se mi, krásné díteˇ! I must see you, you lovely child! at’ se tou vzpomínkou vzbudí, may he still remember me on awaking; meˇsícˇku, nezhasni, nezhasni! o moon, do not fade away! Rusalka Rusalka (Meˇsíc zmizí v mracích.) (Th e moon disappears behind the clouds.) Vlnami jsem upoutána, I am held down by the waves 7 Ta voda studí, studí! Th e water feels cold! do leknínu˚ zamotána. and tethered to the waterlilies. (Zachveˇje se úzkostí.) (She trembles with anxiety.) Ježibabo! Ježibabo! Ježibaba! Ježibaba! Ježibaba Ježibaba Vytrhni se, cupy hupy, Tear yourself away if you can (V chateˇ Ježibaby vzplane ohenˇ.) (A fi re glows in Ježibaba’s cottage.) pospeˇsˇ ke mneˇ do chalupy, and hasten to my cottage. pust˙ ji, vlnko, pust˙ ji ke mneˇ, Release her, waves, set her free, Vodník (hluboko pod vodou) Water Sprite (from the depths of the lake) až se nožky dotknou zemeˇ! let her feet touch the ground! Ubohá Rusalko bledá! My poor, wan Rusalka! Beˇda! Beˇda! Beˇda! Woe! Woe! Woe! (Rusalka se snese s vrby a namáhaveˇ tápe k (Rusalka climbs down from the willow tree and Ježibabeˇ.) stumbles towards Ježibaba.) Rusalka (úpeˇnliveˇ) Rusalka (urgently) Ježibabo! Ježibabo! Ježibaba! Ježibaba! Ježibaba (jakoby ˇarovalac ) Ježibaba (as if casting a spell) Nožicˇky, neste ji, Little feet, carry her, Ježibaba (vyjde z chalupy a rozhlíží se) Ježibaba (coming out of her cottage and looking round) nožicˇky, držte ji, little feet, support her – Lkáním, ˇtkáním,s narˇíkáním What’s all this weeping and wailing? vida, jak nožicˇky chodit už umeˇjí! see how her feet are already learning to walk! kdo mne budí prˇed svítáním? Who dares to wake me before sunrise? Rusalka (klesne k nohám Ježibaby) Rusalka (falling at Ježibaba’s feet) Rusalka Rusalka Ježibabo! Ježibabo! Ježibaba! Ježibaba! Ježibabo, léku dej mi, Ježibaba, you must give me a potion Pomoz, pomoz, pomoz! Help me, help me! vodní kouzlo se mne sejmi! to set me free from this watery realm! 8 Staletá moudrost tvá vsˇechno ví, With your ancient wisdom, you know everything, proniklas prˇírody tajemství, you have discovered nature’s secrets,

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 58-5958-59 220/11/070/11/07 17:01:3917:01:39 za nocí hlubokých in the depths of the night Ježibaba Ježibaba o lidech snísˇ, you dream of people, A nic víc? Pranic víc? Is that all? Nothing more? odveˇkým živlu˚m rozumísˇ, and you understand the eternal elements, A nic víc? Is that all you want? pozemské jedy, paprsky meˇsíce you know how to combine earthly poisons and Proto prˇišlas úpeˇjíc? You came here crying for that? dovedesˇ svarˇit na léku˚ tisíce, moonbeams into thousands of remedies, (s humorem, ale stále jízliveˇji) (jokingly, but with increasing malice) dovedesˇ spojit, dovedesˇ borˇit, you know how to build up, how to break down, Voda teˇ už omrzela, You are tired of living in the water dovedesˇ usmrtit, dovedesˇ stvorˇit, how to destroy, how to create, lidského jsi lacˇna teˇla, and you yearn to have a human body cˇloveˇka v prˇísˇeru, you can turn a man into a monster milování lasˇkování, so that you can love and be loved, prˇísˇeru v cˇloveˇka and back again, hubicˇek a cukrování, exchange kisses, bill and coo: dovede promeˇnit moudrost tvá odveˇká. and all by means of your eternal wisdom. to já znám, to já znám, I know all about that – Rusalky za nocí hrozbou svou strasˇísˇ, At night, nymphs tremble at the thought of you, s takovou se chodí k nám! that’s what everyone wants! pro lidské strasti you prepare miraculous remedies divné léky snásˇísˇ, to cure people’s ailments, Rusalka Rusalka pro nás i pro lidi for us and for humans Tvoje moudrost vsˇechno tusˇí, In your wisdom you know everything: ve sveˇteˇ dalekém throughout the world dej mi lidské teˇlo, lidskou dusˇi! give me a human body, a human soul! sama jsi živlem, you are both an elemental sama jsi cˇloveˇkem, and a human being, Ježibaba Ježibaba se smrtí veˇcˇnost je veˇno tvé, both mortality and immortality are your portion, Dám ti, dám, I’ll give you one, pomoz mi, pomoz mi, zázracˇná ženo! help me, help me, wondrous woman! veˇz to rarach sám! the devil I will! Pomoz mi! Help me! Ale ty mi musísˇ dát But in return you must give me pru˚svitný svu˚j vodní ˇáts – your clear water veil – Ježibaba (s d˙ábelským smíchem) Ježibaba (with a diabolical laugh) a když lásky neokusísˇ na sveˇteˇ, and if by chance you fail to fi nd love on earth, 9 To ja znám, to já znám, I know that, I know that, zavržena žíti musísˇ you will be condemned to a life of rejection, s takovou se chodí k nám! people are always telling me that! v hlubinách zas prokleteˇ. cursed in the depths of the lake. Ale slysˇ, pilneˇ slysˇ, Now listen carefully Ztratísˇ-li tu lásku, If you lose this love nežli léku okusísˇ: before you try this potion: po niž cit tvu˚j prahne, for which you now pine, perly másˇ, krásu másˇ, you have pearls and beauty; kletba vodních mocí the curse of the watery powers pomohu-li, co mi dásˇ? but what will I get for helping you? zas teˇ v hloubku stáhne, will drag you down to the depths again, a než nabudesˇ jí, and even before you fi nd it Rusalka Rusalka trpeˇt budesˇ též, you’ll still have to suff er, Vsˇe, co mám, si vem, Take everything I have, pro vsˇechen lidský sluch for to all human beings ale udeˇlej mne cˇloveˇkem! but make me into a human being! neˇma zu˚stanesˇ. you will remain mute. Chcesˇ být neˇma, chcesˇ, Is that what you want, to be mute pro toho, jejž milujesˇ? to the one you love?

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 60-6160-61 220/11/070/11/07 17:01:4017:01:40 Rusalka Rusalka (Lesní žínky slysˇíce to vybíhají z lesa a postrasˇeneˇ (Th e Wood Nymphs come running out of the forest and Jeho-li lásku poznat smím, If only I can know his love, nahlížejí okénkem do chalupy.) fearfully peep through the window of the cottage.) ráda, veˇrˇ, ráda pro neˇj oneˇmím! I’ll gladly remain mute for him! Kapka krve dracˇí, A drop of dragon’s blood, deset kapek žlucˇe, ten drops of bile, Ježibaba Ježibaba teplé srdce ptacˇí, the warm heart of a bird, Strˇez si ho, strˇez, Make sure you watch over him, pokud jesˇteˇ tlucˇe! still beating! a veˇz to, veˇz: and know this: Skocˇ, mu˚j mourku, skocˇ a skocˇ, Jump, my tom-cat, jump, jump, prokleta-li se vrátísˇ if you should return accursed varem v kotli pozatocˇ! give it all a good stir! ve vodníkovu ˇísr ˇ, to the realm of the Water Sprite, Cˇury mury fuk, Abracadabra, milácˇka svého také zahubísˇ, your lover will also meet his end there! cˇury mury fuk, abracadabra, stane se navždy obeˇtí He will be forced to share your fate: nelekej se veˇtsˇích muk! no torture can ever be as bad as this! veˇcˇného, vkného tvého prokletí! eternal damnation! Tot˙ tvé lidské veˇno, Th is is your lot as a human a to musísˇ píti, and you must drink it; Rusalka Rusalka tím, co uvarˇeno, once you’ve tasted this brew, Cˇistou dusˇí, cˇistou lidskou dusˇí Armed with a pure human soul, jazyk zdrˇeveˇní ti. your tongue will feel as if turned to wood. moje láska vsˇechna kouzla zrusˇí! my love will defeat all such spells! Skocˇ, mu˚j mourku, hola hej, Jump, my tom-cat, hola, hey, , v hrdlo jí tu štávu vlej! pour this potion down her throat! Ježibaba Ježibaba Cˇury mury fuk, Abracadabra, Tedy pojd’, honem pojd’, Come quickly, then, cˇury mury fuk – abracadabra – do chaty mne vyprovod’! to my cottage! ale ted’ už ani muk! and from now on not a word out of you! V krbu jedy uvaříme, We’ll brew some poisons on the stove, Rusalku tím napojíme – give them to Rusalka to drink – (Divoký sykot v chalupeˇ zvolna slábne. Lesní žínky se (Th e manic hissing sound coming from the cottage ale potom ani muk, and then there won’t be another word out of her! rozprchly. Obloha se jasní, z daleka zneˇjí lovecké rohy. gradually dies down. Th e Wood Nymphs disperse. cˇury mury fuk! Abracadabra! Nad jezerem, rdí se jitrˇní zárˇe.) Th e sky clears, and hunting horns can be heard in the distance. Th e fi rst light of dawn spreads over the lake.) (Vejdou do chalupy, v jejímž okénku zaplane ˇervenác (Th ey enter the cottage, from which a red glow can be žárˇe. Proud jisker vyrazí komínem. Za chvíli lze slysˇet seen through the window. Th e chimney emits a stream Vodník (hluboko pod vodou) Water Sprite (from the depths of the lake) sykot v kotli. Do toho se mísí zaklínání Ježibaby.) of sparks. Soon the hissing of a kettle can be heard, Ubohá Rusalko bledá! My poor, wan Rusalka! mingled with Ježibaba’s incantations.) Beˇda! Beˇda! Beˇda! Woe! Woe! Woe!

Ježibaba Ježibaba (Lovecké rohy zneˇjí stále zrˇetelneˇji, lovci se blíží. (Th e hunting calls become more distinct as the hunters 10 Cˇury mury fuk, Abracadabra! Je slysˇet princova lovce, an zpívá.) approach. Th e song of a hunter can be heard.) cˇury mury fuk, Abracadabra, bílá pára vstává z luk! the mist is rising from the meadows!

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 62-6362-63 220/11/070/11/07 17:01:4117:01:41 Lovec (z daleka) Huntsman (in the distance) Lovec (nablízku) Huntsman (getting closer) 11 Jel mladý lovec, jel a jel, A young Huntsman was once out riding, Lanˇ nebyla to, lovcˇe, stu˚j, Th at was no doe – stop, Huntsman! lanˇ bílou v lese uvideˇl. when he saw a white doe in the forest, Bu˚h tvoji dusˇi opatruj! God protect your immortal soul! Hluboké ocˇi ta meˇla. a white doe with soulful eyes. Srdce tvé smutno je zcela! Your heart is numb with sorrow! – Zda-li ji stihne má strˇela? – Will my arrow strike her down? Koho ti stihla tvá strˇela? Who was it that your arrow pierced? Ó mladý lovcˇe, dále speˇj, Oh, young Huntsman, hurry on, tu bílou lanˇku nestrˇílej! do not take aim at that white doe! (Neˇkolik lovcu˚ vyjde z lesa.) (Several huntsmen emerge from the forest.) Varuj se jejího teˇla! Keep away from her body! – Zda-li ji stihne má strˇela? – Will my arrow strike her down? Princ Prince Ustanˇte v lovu, na hrad vrat’te se, Th e hunt is over, it’s time to return to the castle. (Lovecké rohy znovu zneˇjí Princ s kusˇí v ruce vybeˇhne (Th e hunting horns sound again. Th e Prince runs out of podivné cˇáry bloudí po lese, Th is forest is bewitched, z lesa a rozhlíží se.) the woods with a bow in his hand and looks around.) divneˇjší cˇáry and an even more mysterious magic v dusˇí mám; has entered my soul; Princ Prince domu˚ vrat’te se, chci býti sám! go back home, I want to be alone! Zde mihla se She came this way (Lovci odcházejí. Princ usedne na brˇehu jezera, (Th e huntsmen depart. Th e Prince sits down on the a zase zmizela! and then disappeared! ale když vzhlédne, spatrˇí Rusalku, ana prˇed ním shore of the lake, and when he looks up he sees Rusalka Horem a dolem, Up hill and down dale, stojí. Rusalka vyšla z chalupy. Je bosa, v popelavých standing in front of him. She has left the cottage in the lesem a polem through woods and fi elds, ˇatechs nuzného díteˇte. Krásné její zlaté vlasy meantime and is barefooted and dressed in the drab podivná zveˇrˇ ta míhá that wondrous creature hluboko splývají Je neˇma.) clothes of a poverty-stricken child. Her beautiful golden se kolem, has been leading me a merry dance, (Princ vyskocˇí) hair cascades down over her shoulders. She cannot a tady stopa but here the trail speak.) znikla docela! vanishes completely! (Th e Prince leaps to his feet.) A tajemným vlneˇním potají Th ese mysterious ripples lure me on, 12 Vidino divná, prˇesladká, Divine vision, sweetest being, are you ty vody mne v lokty své lákají, enticing me into the lake, jsi-li ty cˇloveˇk nebo pohádka? a real woman or something from a fairytale? jak bych meˇl divoký lovu cit as if inviting me to quench my thirst for hunting Prˇisˇla jsi chránit vzácné zveˇrˇi, Have you come to protect that rare creature v objetí jejich zas ochladit. in the water’s cool embrace. kterou jsem zahléd’ v lesa ˇers ˇi? I have just glimpsed in the forest gloom? Krok vázne mi, My steps falter, Prˇisˇla-lis prosit za ni, Have you come to intercede on her behalf, stesk cítím neznámý, I feel a strange longing, sestrˇicˇko bílých laní? sister of the white doe? zbranˇ z unavené ruky padá mi, my weapon falls from my weary hand. Anebo sama, jak vstrˇíc mi jdesˇ, Or, by coming to meet me, sotva lov zacˇal, Th e hunt has hardly begun, korˇistí lovcovou býti chcesˇ? do you wish to off er yourself as prey? unavil mne vráz, yet already I am tired, (Rusalka vztáhne k neˇmu své ruce, nemohouc (Instead of speaking, Rusalka stretches out her arms divné to kouzlo once more I am overcome promluvit.) to him.) zajalo mne zas! by a strange enchantment! Svírá ti ústa tajemství, What secret has sealed your lips, cˇi navždy jazyk tvu˚j ztich’? or has your tongue always been silent?

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 64-6564-65 220/11/070/11/07 17:01:4217:01:42 Neˇma-li ústa tvá, Bu˚h to ví, But even if you cannot speak, I swear to God, Princ Prince vylíbám odpoveˇd’s nich! my kiss will wring an answer from them! 13 Vím, že jsi kouzlo, I know you’re nothing but magic, Odpoveˇd’ záhadám, An answer to the mystery které mine and will fade away jež mne sem lákaly, which brought me here, a rozplyne se v mlžný rej, and be dispersed in the rolling mists – jež mne sem volaly which lured me lecˇ dokud cˇas násˇ neuplyne but while there is still time left to us, prˇes trní, prˇes skály, over thorns and rocks, ó pohádko má, neprchej! do not fl ee, my fairytale! abych tu konecˇneˇ until fi nally, Mu˚j skoncˇen lov, I’ve done with hunting, v blažený dnesˇní den, on this day of , nacˇ myslit nanˇ? what point is there in it now? díteˇ, tvým pohledem I fi nd myself basking in the enchantment Tys nejvzácneˇjsˇí moje lanˇ, For me, you are the most precious doe, náhle byl okouzlen! of your gaze, you lovely child! tys hveˇzdicˇka zlatá v noc temnou – you are a golden star shining in the night – Co v srdci tvém je ukryto, What is concealed in your heart? pohádko má, pojd’ se mnou! my fairytale, come with me! másˇ-li mne ráda, zjev mi to! If you love me, give me some sign! Pojd’ se mnou, pohádko, má! Come with me, my fairytale!

(Rusalka mu padne do nárucˇí.) (Rusalka throws herself into his arms.) (Princ zahaliv zatím Rusalku ve svu˚j plásˇt’ odvádí (Th e Prince wraps Rusalka up in his cloak and leads ji do lesa.) her away through the forest.) Rusalky (pod vodou) Water Nymphs (from under the water) Sestry, sestry, sestry, Sisters, sisters, sisters, jedna schází z nás! one of our number is missing! COMPACT DISC TWO (Rusalka polekána se vzchopí a naslouchá.) (Rusalka raises her head fearfully and listens.) Sestrˇicˇko, sestrˇicˇko, Sister dear, sister dear, 2. Jednání Act II kam odesˇlas? where have you gone? Sad na zámku princoveˇ. V pozadí slouporˇadí a A park surrounding the Prince’s palace. In the (Rusalka se chveˇje nerozhodností a bázní.) (Rusalka trembles with uncertainty and apprehension.) slavnostní sínˇ hodovní. V poprˇedí pod starými stromy background there is a gallery and a banqueting hall, in rybník. Odpoledne, chýlí se zrovna k vecˇeru a pak noc. the foreground is a pond under some old trees. It is late Vodník (pod vodou) Water Sprite (from under the water) afternoon, fading into evening and then night. Prˇes hory, doly a lesy! Up hill and down dale, through the woods! (Hajný prˇichází s kuchtíkem.) (Th e Gamekeeper enters with the Kitchen Boy.) Rusalky Water Nymphs Sestrˇicˇko, sestrˇicˇko, kde jsi? Sister dear, sister dear, where are you? Hajný Gamekeeper 1 Járˇku, járˇku, kloucˇe milé, Tell me all, dear boy, (Rusalka se stulí v svrchované úzkosti v nárucˇ (Overcome with anguish, Rusalka clings to the Prince.) dopoveˇz, dopoveˇz, dopoveˇz, don’t stint on the details, princovu.) jaká že to kratochvíle what are all these festivities in aid of na zámku se strojí dnes? that are taking place in the palace today?

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 66-6766-67 220/11/070/11/07 17:01:4317:01:43 To je hostí na sini, Th e hall is full of guests 2 U nás v lese strasˇí Our forest is haunted to je práce v kuchyni, and you are busy in the kitchen, ˇlakovités moci, by some sinister power, na stolích a na policích with all sorts of exotic utensils lesem divní brasˇi strange creatures podivného nácˇiní! set out on the tables and shelves! chodí o pu˚lnoci. wander about the woods at night. Je-li v teˇle dusˇe slabá Th ose who are weak in mind and body Kuchtík (s naivním úsmeˇvem) Kitchen Boy (with a simple smile) uhrane ji Ježibaba, risk falling under the spell of the witch Ježibaba, Máme ti ted’ shánˇku, We’re on the go the whole day, pode hrází tuze snadno and the Water Sprite lies in wait by the dam, milý strýcˇe Vanˇku, dear Uncle Vaněk, hastrman teˇ stáhne na dno. looking for a chance to drag you down. do vecˇera od svítání from dawn to dusk A kdo vidí Lesní žínky And he who sees the Wood Nymphs, neustanem v práci ani! there’s no time to rest! bez kosˇilky, bez sukýnky, prancing around with not a stitch on, Pomysli si, pomysli si, Just think, just think, omámí ho lásky chtícˇ, is in danger of losing his head completely – zdas to, strýcˇku, slysˇel kdysi? have you ever heard such a thing? Pánbu˚h s námi a zlé prycˇ! the Lord save us and deliver us from evil! Princ ti nasˇel v lese Th e Prince found in the forest divné stvorˇení, a mysterious being, Kuchtík (s úzkostí) Kitchen Boy (nervously) a s ním, podivme se, and now, would you believe it, Strýcˇku, strýcˇku, já se bojím! I’m scared, Uncle! snad se ožení! the chances are he could marry her! Nasˇel prý ji v lesích tvých, Th ey say he found her in your forest, Hajný Gamekeeper ve tvých lesích hlubokých, in the deepest part of the forest, Inu, není div, And no wonder, ale at’ ji vzal, kde vzal, but be that as it may, Pánbu˚h hrˇichu˚m tvojím may the Lord have mercy já bych se jí, strýcˇku, bál! I fi nd her a bit creepy, Uncle! budiž milostiv! on your sinful soul! Holka je ti neˇmá, She cannot speak, kapky krve nemá, there is no human blood in her veins, Kuchtík Kitchen Boy chodí jako vyjevená, she goes around as if in a trance – Násˇ princ vždy tak ˇvarnýs byl, Our Prince always used to be so dashing, to by byla cˇistá žena! a fi ne wife she’d make! kterak se ted’ promeˇnil! but now he’s completely changed! Není, jaký býval, není, He’s no longer the man he was, Hajný Gamekeeper bloudí jako omámen, but wanders around as if in a daze. Je to, pravda vskutku, Can it really be true, stará Háta na modlení Old Auntie Háta is so worried about him, co se mluví vsˇude? what everyone’s saying? dává za neˇj den co den. she has prayers said for him every day. Mu˚j ty milý smutku, Dear me, A pan farárˇ, jak to, slysˇel, And when the priest heard about it, už to takhle bude! it seems that it is! varovat ti prince prˇisˇel, he came to warn the Prince, At’ nás Pánbu˚h chrání, May the Lord preserve us! ale princ ne a ne, but our Prince wouldn’t hear a word of it, myslivec jsem starý, As an old Huntsman, holka prý tu zu˚stane! and insisted that the girl would stay! že v tom milování I feel some magic spell veˇzí divné cˇáry! lies behind this lovematch!

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 68-6968-69 220/11/070/11/07 17:01:4317:01:43 Hajný Gamekeeper (Princ prˇichází s Rusalkou. Rusalka krásneˇ odeˇna, (Th e Prince enters with Rusalka. She is beautifully Proto jsou tu hosté již! So that’s why there are so many guests here! ale stále smutná a bledá.) dressed, but still looks sad and pale.) Proto se tak prázdní spíž! Th at’s why the cupboards are almost bare! Proto jsem honem vlek’ Th at’s why I was ordered to bag so much game Princ Prince plno zveˇrˇe na zámek! and bring it to the palace at the double! 3 Již týden You have now been with me dlísˇ mi po boku, for a week, Kuchtík Kitchen Boy jak z báje zjev dlísˇ prˇede mnou, and you still seem like some fairytale creature. Na ˇtes ˇstí, jak zdá se Fortunately, it seems that a marneˇ v ocˇí hluboku In vain do I attempt to fathom your secret nemeˇlo to, být, help may be at hand. tvou bytost hledám tajemnou! by gazing deeply into your eyes! vsˇecko mu˚že zase, Another woman could well Má snˇatek dát mi teprve, When we are married, will I then experience zase jiná pokazit! restore him to his senses! co láska dávno chteˇla, that which my love longs to know? Stará Háta vypráví, Auntie Háta says by rozhorˇela jsi do krve Will you then be consumed with ardour jak prý je princ vrtkavý, that the Prince is fi ckle, a byla ženou mou zcela? and be a real wife to me? už prý jeho láska mizí, and that his love is already fading. (Kneˇžna vyjde pozadím a s hneˇvivou zásˇtí pozoruje (Th e Foreign Princess appears in the background and jinou prý zas v mysli má, It’s said his thoughts are turning to another – prince.) looks angrily at the Prince.) po jakési kneˇžneˇ cizí some Foreign Princess Procˇ chladí tvoje objetí, Why is your embrace so cold, hází prý už ocˇima! has now caught his eye! vzplát vásˇní procˇ se bojí? why are you afraid to surrender to passion? Procˇ úzkostí jen zachveˇti Why am I seized with anguish Hajný Gamekeeper mám v nárucˇi se tvojí? when I hold you in my arms? Pánbu˚h dej, Pánbu˚h dej, Praise to the Lord A marneˇ, marneˇ dusím smutný cit, I try in vain to put aside my melancholy mood, ve zdraví ho zachovej! for preserving him from evil! z nárucˇe tvé se nelze vyprostit, I cannot free myself from your embrace, Já být princem, bez okolku˚ If I were the Prince, I would chase out byt’ stokrát bylas chladná, nesmeˇlá, and no matter how cold and diffi dent you are, vyhnal bych tu cizí holku, that strange girl without further ado, mít musím tebe, musím tebe mít docela! I have to make you mine! než mne v peklo zamotá: before she drags me down into hell; at’ se klidí, žebrota! send that good-for-nothing on her way! Kneˇžna Princess (in the background) Ne, není to láska, No, it is not love I feel, Kuchtík (náhle) Kitchen Boy (abruptly) hneˇvivý je to cit, but anger, Hu, tam si vede princ Look out, here comes the Prince že jiná dlí, kde já jsem chteˇla být, that another takes what should be my place, tu obludu! with the monster herself! a že jsem jeho míti nemeˇla, but if I can’t have him myself, (Utecˇe.) (He runs away.) at’ ˇtes ˇstí obou then I don’t want them zhyne docela! to be happy either! Hajný Gamekeeper Já na ni také cˇekat nebudu! I’ve no intention of hanging around here either! Princ Prince (Utecˇe jinudy.) (He runs off in the opposite direction.) Mít musím tebe, I have to make you mine, tebe mít docela, completely mine,

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 70-7170-71 220/11/070/11/07 17:01:4417:01:44 byt’ stokrát bylas chladná, no matter how cold (Podává kneˇžne ruku. Rusalka pokrocˇí a krˇecˇoviteˇ se (He off ers the Princess his hand. Rusalka steps forward nesmeˇlá, and diffi dent you are, chytne ruky princovy.) and boldly takes hold of it.) mít musím tebe docela! I have to make you mine! Nacˇ rozpaky tvoje, What’s the matter? a procˇ se tolik chveˇjesˇ? Why are you trembling? Kneˇžna (jde ve poprˇedí) Princess (coming forward) V svou komnatu pospeˇsˇ Go now to your room Zda na chvíli princ It seems that the joy a stroj se k plesu již! and prepare for the ball! vzpomene si prˇec, of being a lover že hostitelem též je milenec? is causing you to neglect your duties as a host! Kneˇžna (k Rusalce, s víteˇzným úsmeˇsˇkem) Princess (to Rusalka, with a condescending sneer) (svu˚dneˇ) (seductively) Ó, vystrojte se v ˇatys prˇebohaté, Dress yourself in your fi nest clothes; Má na to ˇtes ˇstí, jímž vás blaží sveˇt, Must a foreign guest mám dvornost jeho, I have his gallantry, též cizí host observe in silence vy vsˇak srdce máte! though you may still have his heart! jen neˇmeˇ pohlížet? the happiness with which you have been blessed? (Stane mezi princem a Rusalkou.) (She interposes herself between the Prince and Rusalka.) (Princ odvádí kneˇžnu. Rusalka ztrnule hledí za nimi, (Th e Prince leads the Princess away. Rusalka watches jako by pohledem chteˇla prince zadržet, ale pak smutna them intently, as if hoping to hold the Prince back with Princ (vzrusˇí se, sotvaže spatrˇil kneˇžnu) Prince (becoming agitated as soon as he notices the a zlomena odchází sama slouporˇadím. Zatím se stále her gaze, but then, sad and broken-hearted, she herself Princess) ˇers ˇí, vecˇer hasne a pozdeˇji zasvitne meˇsíc.) leaves through the gallery. Night is falling and presently 4 Ach, výcˇitka to veˇru vcˇasná Ah, this reproach comes not before time, the moon appears.) a s vasˇich rtíku˚ rád ji snásˇím: and I am glad to hear it from your lips; i ženich veˇru, kneˇžno krásná, even a bridegroom, fair Princess, 5 Balet Ballet je prˇedevsˇím jen sluhou vasˇím! is, above all, only your servant! (V síni zazní slavnostní hudba a zaplanou sveˇtla. Je (Festive music can be heard from the hall, where lights videˇt v pozadí slavnostní ruch, hosté se scházejí a tvorˇí are now blazing. Guests are milling around in the Kneˇžna (jízliveˇ, pohlédnouc na Rusalku) Princess (spitefully, looking at Rusalka) skupiny. Pozdeˇji zpeˇv a tanec.) background, greeting each other and forming small A vasˇe kráska, citu˚ vasˇich paní, And this beauty, the lady of your heart – groups. Later there is singing and dancing.) vás nepokárá does she never utter za to slovem ani? a single word of reproach? (Vodník se vynorˇí rybníka a dívá se do síneˇ, kde vírˇí (Th e Water Sprite emerges from the pond and looks into (Rusalka na ni pohlédne s hneˇvnou bolestí.) (Rusalka looks at her with a pained expression.) veselí.) the hall, where the festivities are now in full swing.) Cˇi v pohledu svém tolik neˇhy má, Or is there so much tenderness in her glance že mluví s vámi that her eyes say Vodník Water Sprite pouze ocˇima? more than words can utter? Beˇda! Beˇda! Woe! Woe! Ubohá Rusalko bledá, Poor, wan Rusalka, Princ (v rozpacích) Prince (embarrassed) v nádheru sveˇta zakletá! Beˇda! caught up in this dazzling world! Woe! Lecˇ ocˇi její ˇícir zapomneˇly, Her eyes have omitted to tell me 6 Celý sveˇt nedá ti, nedá, No-one in the world can give you že hostitel se nepozorným stal. that I have become a careless host. vodní cˇím ˇísr ˇe rozkvétá! that which the watery realm abounds in! Necht’ nahradí ted’ rychle, svolíte-li, So now, allow me straightaway to make amends Stokrát bys byla cˇloveˇkem, For no matter how long you are human, co roztržit jen chvíli zanedbal. and to carry out the duties I neglected. ve jhu jsi spjatá odveˇkém. you can’t escape the bonds that tie you.

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 72-7372-73 220/11/070/11/07 17:01:4417:01:44 Byt’ meˇl teˇ cˇloveˇk stokrát rád, And no matter how much you are loved by a man, Vodník Water Sprite navždy ho nemu˚žesˇ upoutat! you can’t bind him to you for ever! Ubohá Rusalko bledá, Poor, wan Rusalka, (V loggii mihnou se tancˇící párý a zase zaniknou (Dancing couples come out onto the balcony and then v nádheru sveˇta zakletá! caught up in this dazzling world! v síni.) disappear back into the hall.) Beˇda! Beˇda! Woe! Woe! Ubohá Rusalko bledá, Poor, wan Rusalka, Na vodách bílý leknín sní White waterlilies dreaming on the water zajatá v kouzlo lidských pout! ensnared in the magic of human ties! smutným ti druhem bude – will be your sad companions – Voda tvá vsˇude teˇ hledá, Th e underwater world longs for you, pro tvoje lože svatební no red roses will ever adorn nadarmo chce teˇ obejmout! in vain your sisters try to embrace you! nekvetou ru˚že rudé! your bridal bed! Až se zas vrátísˇ k družkám svým, But when you return to them, budesˇ jen živlem smrtícím, you will be a mere mortal, Hosté Guests vrátísˇ se žitím uvadlá, you will come back worn out by life, Kveˇtiny bílé po cesteˇ atd. White blossoms along the road, etc. prokletí živlu˚ jsi propadla! with a curse hanging over your head! Ubohá Rusalko bledá, Poor, wan Rusalka, (Rusalka vybeˇhne zoufalá ze síneˇ do sadu a zmatena, (In despair, Rusalka runs out of the hall into the garden v nádheru sveˇta zakletá! caught up in this dazzling world! neveˇdouc kudy kam, rozbeˇhne se k vodeˇ.) and in a distracted state approaches the pond.)

Hosté (zpeˇv v síni) Guests (singing in the hall) Vodník Water Sprite 7 Kveˇtiny bílé po cesteˇ, White blossoms along the road, Rusalko, znásˇ mne, znásˇ? Rusalka, do you not recognise me? po cesteˇ vsˇude kvetly, fl owering everywhere, hoch jel a jel k své neveˇsteˇ a lad was riding to see his lass, Rusalka (zprvu jako by nemohla, ale pak se z ní Rusalka (at fi rst unable to speak, but then suddenly a den se smál tak sveˇtlý. and the day smiled so brightly. vyderou slova a náhle vykrˇikne) managing to tear the words out of herself) Kveˇtiny bílé po cesteˇ atd. White blossoms along the road, etc. Vodníku, tatícˇku drahý! Water Sprite, father dear! Nemesˇkej, hochu, k milé speˇsˇ, Do not tarry, young lad, hasten to your beloved, Vodníku, tatícˇku drahý! Water Sprite, father dear! dorostesˇ záhy v muže, soon you will reach man’s estate, zpátky až tudy pojedesˇ, and when you come back this way, Vodník Water Sprite pokvetou rudé ru˚že. red roses will be blooming. Proto jsem prˇisˇel v zámek vásˇ, Is that why I came to this palace of yours – Kveˇtiny bílé nejdrˇíve Th e white blossoms were the fi rst bych zrˇel teˇ truchlit tak záhy? to fi nd you weeping already? úpalem slunce zasˇly, to be scorched by the sun, ale ty ru˚že ohniveˇ but these fi ery roses Rusalka Rusalka svatební lože krásˇlí. adorn the bridal bed. Tatícˇku, vodnícˇku, spas mne, spas, Dear father Water Sprite, save me, save me, Kveˇtiny bílé po cesteˇ, atd. White blossoms along the road, etc. úzkost mne pojala hrozná! I am overcome with a terrible anguish! Beˇda, že chteˇ1a jsem zradit vás, Woe on me for having betrayed you, (Princ se objeví chvílemi v slavnostním ruchu, jenž vírˇí (From time to time the Prince emerges from the beˇda, kdo cˇ1oveˇka pozná! woe on him who knows a human being! sálem, a dvorˇí se okázale cizí kneˇžneˇ, nevsˇímaje si dancers, ostentatiously courting the Foreign Princess Beˇda, beˇda! Woe, woe! Rusalky.) and ignoring Rusalka.) Jiná jej krásou jala vráz, Another has ensnared him with her beauty, divokou lidskou krásou, with her fi erce human beauty.

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 74-7574-75 220/11/070/11/07 17:01:4517:01:45 a mne už nezná, nezná zas, He no longer wants to know me, Kneˇžna (princem provázena) Princess (accompanied by the Prince) Rusalku prostovlasou! his simple Rusalka! Vám v ocˇích divný žár se zracˇí A strange fi re burns in your eyes, a naslouchám vám zmámena. and I am enchanted by what you say. Vodník Water Sprite Jste stále vrˇelejsˇí a sladsˇí, You are becoming more ardent and more On že teˇ zavrh’, So he has already rejected you, ó princi, co to znamená? considerate; what does this mean, my Prince? jenž meˇ1 teˇ rád? he who loved you so? Kam prchla vasˇe vyvolená, Where has your chosen one disappeared to – Musísˇ ted’, musísˇ vytrvat! Surely you’re not going to give up so easily? ta bez ˇecr ˇi a beze jména, the mute girl, without a name? kam prchla, aby videˇla, Where has she gone? She should be here Rusalka Rusalka že princ je zmeˇneˇn docela? to see how her Prince is changed! 8 Ó marno, ó marno! Oh, it’s all in vain! Ó marno to je Th ere’s no point in going on, Princ Prince a prázdnota je v srdci mém, and my heart is now empty of feeling. Kam prchla? Milý Bu˚h to ví! Where has she gone? God only knows! jsou marny vsˇechny vdeˇky moje, All my charms are in vain, Lecˇ zmeˇnou mou jste sama vinna. But you alone have brought about this change. když zpola jsem jen cˇ1oveˇkem! as I am still only half human! A letní noc to nepoví, And this summer’s night will not reveal Ó marno to je, mne už nezná zas, It’s all in vain, he no longer wants to know me, že zajala mne kouzla jiná! that I have been ensnared by another’s charms. Rusalku prostovlasou. his simple Rusalka! Ó, nazvete to rozmarem, Call it a whim if you like, Ó marno to je, It’s all in vain, že miloval jsem jinou chvíli, that for a while I loved another, jsou marny vsˇechny vdeˇky moje! all my charms are in vain! a bud’te žhavým požárem, but from now on a blazing fi re will replace Jí horˇí v ocˇích vásˇneˇ síla, Her eyes burn with passion, kde dosud luny svit plál bílý! the pale moonlight that held my heart! té lidské vásˇneˇ prokleté, that accursed human passion, mne voda chladná porodila whereas I was born of cool water Kneˇžna Princess a nemám, nemám vásˇneˇ té! and such passion is alien to me! 10 Až požár mu˚j vás popálí But when my fi re has burnt you out Ó marno, ó marno… Oh, it’s all in vain!… a vsˇechny vasˇe vásˇneˇ zdeˇsí, and has put all your passion to fright, Prokleta vámi, pro neˇj ztracena, I am cursed by you, lost to him, až odejdu vám do dáli, when I am far away from you, odveˇkých živlu˚ hluchá ozveˇna. a faint echo of the elemental world. co s leskem luny pocˇnete si? what will you do with your moonlight then? Ženou ni vílou I am neither a woman Až obejmou vás lokty slicˇné When you are embraced by the lovely arms nemohu být nor a nymph, té neˇmé krásky námeˇsícˇné, of that mute sleepwalker of yours – nemohu zemrˇít, nemohu žít! I can neither live nor die! cˇim k vásˇni hrˇát se budete? who will infl ame your passions then? (Kleká k rybníku. Princ prˇichází s kneˇžnou z hodovní (She kneels down by the pond. Th e Prince and Princess Ó, ˇkoda,s ˇkodas vásˇneˇ‚ té! Oh, how I pity you in your passion! síneˇ do sadu.) come out of the banqueting hall into the garden.) 9 Vidísˇ je, vidísˇ? Jsou tu zas, Do you see them? Here they are again – Princ Prince tatícˇku, tatícˇku! Father, father! A kdyby celý sveˇt Even if the whole world Spas mne, spas! Save me, save me! chteˇl klnout mojí touze, were to condemn my desire – vy jste ten žhavý kveˇt, you are my blazing fl ower, byt’ kvetl chvíli pouze! even if you bloom for but a moment!

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 76-7776-77 220/11/070/11/07 17:01:4517:01:45 Ted’ teprve to vím, It’s only now I know (Vrhá se kneˇžneˇ k nohám a klesne na zemi (He falls at the Princess’s feet and prostrates himself cˇím mrˇelo moje teˇlo, why my body was ailing, omrácˇen.) before her.) když lásky tajemstvím when with love’s secret se uzdraviti chteˇlo! it sought to be revived! Kneˇžna (s divokým smíchem) Princess (with a wild laugh) (náhle obejme kneˇžnu) (suddenly embracing the Princess) V hlubinu pekla bezejmennou Into the nameless abyss of hell Co z lásky oné zbude, What will remain of that love pospeˇsˇte za svou vyvolenou! hasten after your chosen one! jíž v osidla jsem pad’? in whose snares I became entangled? (Odchází.) (She leaves.) Rád strhám vsˇecky svazky, I would gladly tear myself free of its bonds, bych vás moh’ milovat! if only I can love you! COMPACT DISC THREE Kneˇžna Princess (aside) Ó, teprve ted’ poznávám, Only now it dawns on me 3. Jednání Act III že námluvy that suddenly mi náhle kynou, it’s me he’s wooing – 1 Palouk na pokraji jezera, jako poprvé. Chýlí se k Th e same lakeside glade as in Act I. Night is drawing pan ženich, zdá se, neví sám it seems that even the bridegroom himself vecˇeru, obloha je pod mrakem, ale pozdeˇji zaplanou on and the sky is overcast, though it gradually becomes zda namlouvá si mne cˇi jinou! can’t decide whom to court! ˇervánky,c a konecˇneˇ nastane meˇsícˇná noc. suff used with an evening glow and eventually the moon appears. (Rusalka náhle se vytrhne vodníkovi, zoufale vybeˇhne (Rusalka suddenly tears herself away from the Water a vrhne se v nárucˇ princovu.) Sprite, rushes towards the Prince in despair and throws (Rusalka sedí nad jezerem, kde prve sedeˇla. Vsˇecka je (Rusalka is sitting suspended over the lake, just as she herself into his arms.) bílá a bledá. Vlas její zpopelaveˇl, ocˇi pohasly.) was in Act I. However, now she is drained of colour, her hair has turned grey and her eyes are dull.) Princ (na smrt podeˇsˇen) Prince (terrifi ed) Mrazí mne tvoje ramena, Your shoulders are as cold as ice, Rusalka Rusalka bílá ty kráso studená! you cold, white beauty! Necitelná vodní moci, Unfeeling watery power, (Odstrcˇí Rusalku.) (He pushes her away.) stáhlas mne zas v hlubinu, you have dragged me back down to the depths; procˇ v tom chladu, bez pomoci why can’t I, poor helpless one, expire Vodník (zjeví se v plném sveˇtle meˇsícˇním nad Water Sprite (the full moonlight revealing him on the nezhynu, ach, nezhynu? in your cold embrace? rybníkem) surface of the pond) Procˇ nezhynu, ach, procˇ nezhynu? Why can’t I die, ah, why can’t I die? V jinou speˇsˇ nárucˇ, speˇsˇ a speˇsˇ, You may hasten into another’s arms, 2 Mladosti své pozbavena, Deprived of my youth, objetí jejímu neujdesˇ! but you will never escape Rusalka’s embrace! bez radosti sester svých, of the company of my sisters, (Strhne Rusalku do rybníka.) (He drags Rusalka down into the pond.) pro svou lásku odsouzena I am condemned by my love teskním v proudech studených. to pine among these cold currents. Princ (omrácˇen a nic nechápaje) Prince (thunderstruck) Ztrativsˇi svu˚j pu˚vab sladký, I have lost my charms, Z objetí moci tajemné From the clasp of this mysterious power, milácˇkem svým prokleta, I am cursed by my beloved, spaste mne, spaste mne, spaste mne! save me, save me, save me! marneˇ toužím in vain I seek k sestrám zpátky, to rejoin my sisters, 78 79

CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 78-7978-79 220/11/070/11/07 17:01:4617:01:46 marneˇ toužím do sveˇta. in vain I long for the world of men. Rusalka Rusalka Kde jste, What has become Tetko má moudrá, tetko, rci, Dear, wise Auntie, tell me please, kouzla letních nocí of those magic charms of summer nights není mi, není pomoci? is there no hope for me? nad kalichy leknínu˚? where the waterlilies bloomed? Procˇ v tom chladu bez pomoci Why can’t I, poor helpless one, expire Ježibaba Ježibaba nezhynu, ach, nezhynu? in your cold embrace? Milácˇek teˇ zavrh’, prˇestal tě mít rád, Your lover has rejected you, ceased to love you, Ach, necitelná vodní moci, Ah, unfeeling watery power, you have dragged me a ted’ Ježibaba and now you want Ježibaba stáhlas mne zas v hlubinu, atd. back down to the depths, etc. má zas pomáhat? to help you again? Po záletech sveˇtských, dcerko rozmilá, After your worldly adventures, my dear girl, Ježibaba (vyjde z chalupy) Ježibaba (coming out of her cottage) bys ted’ k sestrám you now want to return 3 Aj, aj? Už jsi se navrátila? Aha! Are you back already? ráda se zas vrátila? to your sisters? No, tos tam dlouho nepobyla! Well, you didn’t stay there too long! Inu, mám já radu, dobrou radu mám, Well, I have some good advice to off er you, A jak másˇ bledé tvárˇicˇky, How pale your cheeks are, ale poslechnesˇ-li, ví to rarach sám, but whether or not you will take it, a jak tu truchlísˇ o samoteˇ! and now you’re mourning your lonely state! ví to rarach sám! that’s quite another matter! Což nechutnaly hubicˇky Did kisses not suit you, 4 Lidskou krví musísˇ smýti You must wash away Nature’s curse a lidské lože nehrˇálo teˇ? and a human bed fail to give you warmth? živlu˚ prokletí with human blood, za lásku, již chteˇlas míti you must purge yourself of the love you sought Rusalka Rusalka v lidském objetí. in a man’s embrace! Ach, beˇda, beˇda, tetko rozmilá, Ah, woe is me, dear Auntie, Budesˇ zas, cˇíms byla prve, Only then will you be as you were vsˇe zradilo mne, vsˇe jsem ztratila! I am betrayed, I have lost everything! než teˇ zklamal sveˇt, before the world deceived you, ale horkem lidské krve only hot, human blood Ježibaba Ježibaba lze jen ozdraveˇt. can restore you to health. Krátké bylo milováni, Your love lasted but a moment, Opustí teˇ vsˇechna muka, You will be free of all torment, dlouhé bude narˇíkání, now you may repent at leisure, budesˇ sˇt’astna, budesˇ hned, your happiness will be restored, po hubicˇkách the price you pay zahubí-li tvoje ruka if your hand slays mužských úst for human kisses toho, jenž teˇ oklamal, the one who seduced you, nekonecˇný, veˇcˇný pu˚st! is everlasting abstention! zahubí-li tvoje ruka if your hand slays Cˇloveˇk je cˇloveˇk, Man is an abomination toho, jenž teˇ sved’! the one who seduced you! živlu˚ vyvrhel, of nature, ž korˇenu˚ zemeˇ who has turned his back Rusalka (udeˇsˇeneˇ) Rusalka (aghast) dávno vyvrácen, on Mother Earth; Ježibabo, beˇda, co to chcesˇ? Ježibaba, what are you saying? beˇda kdo jeho lásku woe to the one who seeks to know a man’s love, poznat chteˇl, who is now cursed by man’s betrayal! Ježibaba (podává jí nu˚ž ze zánˇadrˇí) Ježibaba (extracting a knife and handing it to Rusalka) jeho kdo zradou je ted’ zatracen! Ten vezmi nu˚ž a slib, Take this knife že poslechnesˇ! and swear that you will do as I say!

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 80-8180-81 220/11/070/11/07 17:01:4617:01:46 Rusalka Rusalka Rusalky (pod vodou) Water Nymphs (under the water) Jde z tebe hru˚za, You horrify me, Odesˇla jsi do sveˇta, You went away into the world, nech mne, nech! let me be! uprchla jsi nasiˇm hrám, and fl ed from our games, (zahodí nu˚ž do jezera) (throwing the knife into the lake) sestrˇicˇko ty prokletá, accursed sister, Chci veˇcˇneˇ trpeˇt v úzkostech, I would rather suff er agonies for all eternity, nesestupuj k nám! don’t come near us! chci veˇcˇneˇ cítit kletbu svou, and languish for ever under this curse V nasˇe tance nesmí sem, She who has been embraced by man svou celou lásku zhrzenou, brought on by my unrequited love, koho cˇloveˇk objal již, can never join in our dancing, svou beznadeˇj chci vsˇechnu zrˇít, I would rather live a life of despair, rozprchnem se, rozprchnem, we’ll run away lecˇ on, on musí sˇt’asten být! if only he can be happy! jak se prˇiblížísˇ! if you come anywhere near us! Z tvého smutku vane strach Fear emanates from your sadness, Ježibaba (rozchechtá se) Ježibaba (with a mocking laugh) v radostný násˇ hravý rej, disturbing our fun and games, V lidský život potmeˇsˇilý Into the deceitful human world s bludicˇkami v bažinách you belong with the will-o’-the-wisps touha tvá teˇ vábila, your longing has led you astray – za nocí si hrej! who haunt the moors by night! a ted’ nemásˇ tolik síly do you really not have the strength Lákej lidi svitem svým, You entice people with your light, bys krev lidskou prolila? to spill a drop of human blood? na rozcestích teˇkej ted’, leading them astray, Cˇloveˇk je cˇloveˇkem teprve, A man becomes a man sveˇtýlkem svým modravým and with your pale bluish glow v cizí krev ruku když stopil, only when he has bathed in the blood of another, do hrobu jim sveˇt’! you lure them into the grave! zbrocen když vásˇní do krve when, goaded on by passion, Na hrobech a rozcestích In the graveyard, at the crossroads, bližního krví se opil. he has become drunk on the blood of another. jiných sester najdesˇ rej, you will fi nd your new companions; A ty žes chteˇla cˇloveˇkem být And you were the one who wanted to become v reje vodních sester svých but no more will you join in the games a cˇloveˇka vášní ornámit? human, to intoxicate a man with passion? už se nevracej! of your sisters, the water nymphs! Prázdná ty vodní bublinecˇko, You are nothing but an empty bubble of water, meˇsícˇní bledá zahalecˇko, a pale lunar good-for-nothing! (Ticho. Na západě rudnou cˇervánky. Hajný prˇivádí (Th ere is silence. A reddish evening glow can be seen jdi, trp, trp si z veˇku˚ do veˇku˚ – Go, then, and suff er for all eternity – kuchtíka.) in the west. Th e Gamekeeper enters, dragging the a seschni touhou po svém cˇloveˇku! and shrivel up with longing for this man! unwilling Kitchen Boy with him.) (Odbelhá se do chatupy.) (She hobbles back to her cottage.) Hajný Gamekeeper Rusalka Rusalka 6 Že se bojísˇ? Trˇesky, plesky, Are you afraid? Pull yourself together, 5 Vyrvána životu I am torn from life, vsˇak tu jiní bývávali! other people have been here before! v hlubokou samotu plunged into the depths of solitude, Zaklepej a poveˇz hezky, All you have to do is knock on the door bez družek, bez sester mám se brát; without even my sisters to comfort me; co ti doma prˇikázali! and say what you’ve been told to say: milácˇku, vím to, vím, my darling, I know Princ že nosí teˇžkou dumu, that our Prince is sick at heart, nikdy víc teˇ nespatrˇím, that never again will I see you, že se poplet’ na rozumu, that his senses have deserted him, ó beˇda, ó beˇda nastokrát! oh, woe is me a hundred times! jakás pekla stvu˚ra klatá that some accursed creature from hell (Ponorˇí se do jezera.) (She plunges into the lake.) že k nám prˇisˇla do hradu, came to his castle

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 82-8382-83 220/11/070/11/07 17:01:4717:01:47 a že prosí stará Háta and that Auntie Háta Hajný Gamekeeper Ježibabu o radu! now seeks Ježibaba’s advice! Stydeˇl bych se, stydeˇl I’d die of shame být já otcem tvým! if you were my son! Kuchtík (se vzpouzí) Kitchen Boy (struggling to escape) Ale abys videˇl, But just to show you Mneˇ už chromne noha, My legs have gone numb, že se nebojím! that I’m not afraid: vlcˇí mlhu mám, a mist hangs before my eyes, Ježibabo, Ježibabo, Ježibaba, Ježibaba, pro živého Boha, for God’s sake, Uncle, hola, hola, hola! hola, hola, hola! strýcˇku, jdi tam sám! why don’t you go there yourself? (Ježibaba vyjde z chalupy.) (Ježibaba comes out of her cottage.) Hajný Gamekeeper Kolikrát jsem tudy sˇel, I’ve been here plenty of times Ježibaba Ježibaba temno leckdy bývalo již, even at dead of night, Kdo to hlucˇí? Kdo to volá? Who’s that shouting? What’s all this noise? tys mi cˇistý strasˇpytel, you’re a real lily-livered že se staré babky bojísˇ! coward if you’re afraid of an old woman! (Kuchtík se skrývá za hajného.) (Th e Kitchen Boy hides behind the Gamekeeper.)

Kuchtík Kitchen Boy Hajný Gamekeeper Ondy, když jsi u nás byl, But the last time that you visited us, Stará Háta k tobeˇ posílá, Old Auntie Háta sent us here sáms mne, strýcˇku, postrasˇil, you scared the life out of me with your stories, abys, Ježibabo, radila! to ask your advice, Ježibaba! nediv se ted’, milý brachu, so you shouldn’t be surprised, dear Uncle, že mám v lese, plno strachu; that I’m now rigid with fright in the forest, Ježibaba Ježibaba nediv se, nediv se, nediv se! you shouldn’t be surprised! Za tu radu, za rozumu sˇpetku And in return for my advice, a piece of my mind, tohle vyžle posílá mi k sneˇdku? she sends me this puny thing for breakfast? Hajný Gamekeeper (Sáhne na kuchtíka.) (She touches the Kitchen Boy.) Rˇecˇi sem, rˇecˇi tam, I do sometimes exaggerate, Jen co vykrmí se, chudinka, He’ll need to be fattened up a bit, to tak neˇkdy prˇidávám! I must admit! bude z neˇho peˇkná pecˇínka! if I’m going to make a decent roast out of him! Ale ted’ honem hled’ But now, jump to it vyzveˇdeˇti odpoveˇd’! and get an answer from the witch! Kuchtík (zoufale se brání) Kitchen Boy (desperately trying to escape) Vzmuž se, hej, zaklepej, Pluck up your courage, knock at her door, Pust’ mne! Pust’ mne! Leave me alone! Leave me alone! na radu se babky ptej! and ask the old woman’s advice! Pust’ mne z teˇchto míst! I’ve got to get away from here! Strýcˇku, strýcˇku, ona mne chce sníst! Uncle, Uncle, she wants to eat me! Kuchtík Kitchen Boy Já bych jisteˇ breptal, I can hardly speak, Ježibaba (chechtá se) Ježibaba (laughing) jakou úzkost mám, I’m so terrifi ed; Ha, ha, ha, ha! Ha, ha, ha, ha! abys tedy zeptal you should be the one 1 ty malý zmetku, You pathetic freak of nature, se jí na to, sám! to ask her!

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 84-8584-85 220/11/070/11/07 17:01:4717:01:47 hloupé stvorˇení, you foolish creature, there’s not much meat Hajný (o prˇekot utíká) Gamekeeper (taking to his heels) to bych meˇla k sneˇdku on your bones! Hastrman! Hastrman! It’s the Water Sprite! cˇistou pecˇeni! Your accursed race is only fi t for hell! Pro peklo, at’ roste prokletý rod vásˇ! And now tell me quickly, Kuchtík (utíká za ním) Kitchen Boy (running after him) A ted’ poveˇz honem, what do you have to say? Strýcˇku! Strýcˇku! Pro Boha, strýcˇku! Uncle! Uncle! For God’s sake, Uncle! co mi rˇíci másˇ? Vodník Water Sprite Kuchtík (s úzkostí) Kitchen Boy (anxiously) Pomstím se, pomstím, I will be avenged 7 Násˇ princ teˇžce stu˚neˇ, prˇevelice, Our Prince has fallen dangerously ill, kam rˇísˇ má dosahá! wherever my power holds sway! uhranula srdce jeho a sorceress has cast a spell on him! (Ponorˇí se.) (He sinks below the water.) jakás kouzelnice! He brought her to the castle, Prˇived’ si ji na hrad, vsˇe jí dal, lavished favours on her, Ježibaba Ježibaba jako vlastní život sám ji miloval. and loved her like his own life. Ha, ha, ha, ha! Ha, ha, ha, ha! Jeho ženou byla by se stala, He would have taken her as his wife, (Odbelhá se do chalupy.) (She hobbles back to her cottage.) ale krásná kouzelnice but the fair sorceress svatby nedocˇkala. didn’t stay for the wedding. (Zatím zhasly již cˇervánky na západeˇ, setmeˇlo se a (Meanwhile, the reddish glow of the setting sun has Prince když už zmátla docela, As soon as she had woven her spell over him, záhy vyjde meˇsíc. Na polouku sbíhají se Lesní žínky.) faded, night has fallen and the moon has come out. Th e neveˇrná ta kouzelnice zmizela. the faithless enchantress vanished. Wood Nymphs gather in the forest glade.) Celý hrad je Th e entire castle now languishes kouzlem zmámen podnes, under her spell – První lesní žínka (tancˇíc) First Wood Nymph (dancing) d’ábel sám tu kouzelnici the devil himself must have carried her 8 Mám, zlaté vlásky mám, I have golden tresses, do pekla si odnes’! off to hell! svatojanské musˇky slétají se k nim, to which glow-worms are drawn; ruka moje bílá vlásky rozpustila, my pale, white hand has now untied the tresses (Th e Water Sprite suddenly emerges from the lake.) meˇsícˇek je cˇesˇe and the moon is combing them (Vodník vynorˇí se rázem z jézera.) svitem strˇíbrným. with its silver beams. Water Sprite Mám, zlaté vlásky mám! I have golden tresses! Vodník Who has carried her off ? Kdo že ji odnes’? Whom has she betrayed? Druhý žínka (tancˇíc) Second Wood Nymph (dancing) Koho že zradila? Accursed is the one Mám, bílé nožky mám, I have feet of alabaster, Prokleté plémeˇ, who sent you here, probeˇhla jsem palouk celicˇký, on which I skip around the glade, jež vás sem posílá, you wretched creatures, probeˇhla jsem bosa, I go barefoot tvorové bídní, he is the one who betrayed her, umyla je rosa, and they are bathed in dew, on sám ji zradil, who laid a curse on her! meˇsícˇek je obul and the moon has shod them uvrh’ji v prokletí! v zlaté strˇevícˇky. in golden slippers.

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 86-8786-87 220/11/070/11/07 17:01:4817:01:48 První žínka First Wood Nymph rodná voda nasˇe our watery home Mám, zlaté vlásky mám atd. I have golden tresses, etc. lidským rmutem zkalila se. has been sullied by human corruption.

Druhý žínka Second Wood Nymph Lesní žínky Wood Nymphs Mám, bílé nožky mám atd. I have feet of alabaster, etc. Cože nám rusˇí veselý rej? What is it that spoils our merry games? Povídej, mužícˇku, povidej! Tell us, dear man, tell us! Tretí žínka Th ird Wood Nymph Mám, krásné tílko mám, I have a beautiful, white body, Vodník Water Sprite na palouku v noci svítí jeho vdeˇk, all loveliness, it glows in the forest at night, Hluboko na dneˇ sténá, Far down below is lamenting, kudy beˇžím, vsˇudy moje bílé údy wherever I go, my pale, white limbs sestrami zavržená, rejected by her sisters, do strˇíbra a zlata sˇatí meˇsícˇek. are clothed in silver and gold by the moon. ubohá Rusalka bledá! poor, wan Rusalka! Mám, krásné tílko mám! I have a beautiful, white body! Beˇda! Ó beˇda! Ó beˇda! Woe! Oh woe! Oh woe!

Lesní žínky Wood Nymphs (Ponorˇí se do jezera. Meˇsíc zajde v mraky.) (He sinks below the surface of the lake. Th e moon is Do kola, sestrˇicˇky, do kola, Let us dance in a circle, sisters, obscured by clouds.) v lehounký nocˇní vánek, caressed by the gentle night breeze, za chvíli z rákosí zavolá in a moment the green Water Sprite První žínka First Wood Nymph zelený hastrmánek! will call to us from the reeds! Cítím slzu ve zraku, Tears are rising to my eyes, (vidouce Vodníka) (seeing the Water Sprite) chlad mne náhle ovál. a sudden chill has seized me. Už tu je, už tu je, Th ere he is already, už si síteˇ spravuje! mending his nets! Druhý žínka Second Wood Nymph (tancˇíce kolem neˇho) (dancing around him) Do sˇedivých oblaku˚ Behind threatening clouds Hastrmánku, heja hej, Water Sprite, hey, hey, meˇsícˇek se schoval. the moon is concealed. honem si nas nachytej, try and catch us if you can, kterou chytísˇ, mužícˇku, whichever one you catch, dear man, Trˇetí žínka Th ird Wood Nymph dá ti peˇknou hubicˇku. will give you a nice kiss! Tma se tiskne v skráneˇ mé, A dark mood oppresses me. Ale žena, hahaha, But your wife, ha ha ha, sestry, sestry, prchneˇme! Sisters, sisters, let us fl ee! hastrmánku, hahaha, Water Sprite, ha ha ha, za usˇi ty vytahá! will pull your ears for you! (Rozprchnou se. Princ vybeˇhne pomaten z lesa.) (Th ey run off in all directions. Th e Prince rushes in like Hastrmánku, heja hej, Water Sprite, hey, hey, a man possessed.) honem si nás nachytej! try and catch us if you can! Princ Prince Vodník Water Sprite 9 Bílá moje lani! Bílá moje lani! My white doe! My white doe! Nelasˇkujte plasˇe, Now is not the time for fooling, Pohádko! Neˇmý prˇelude! My fairytale! Mute vision! deˇti zlatovlasé, my dear, golden-haired children,

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 88-8988-89 220/11/070/11/07 17:01:4817:01:48 Mému narˇíkání, speˇchu bez ustání Is there to be no end to my lamentations, Rusalka Rusalka konec už nikdy nebude? to my fevered searching? Živa ni mrtva, I am neither dead nor alive, Ode dne ke dni touhou sˇtván Day after day, driven on by longing, žena ni víla, neither a woman nor a nymph, hledám teˇ v lesích udýchán, I frantically seek you in these forests. prokleta bloudím I am condemned to roam this earth noc-li se blíží tusˇím teˇ v ní, As night approaches, I feel you are there, mátohou! as a phantom! chytám teˇ v mlze meˇsícˇní, I seek you out in the moonlit mist, Marneˇ jsem chvíli v loktech tvých snila In vain I dreamt for a moment in your arms hledám teˇ sˇiré po zemi, I scour the entire world for you, ubohou lásku, lásku svou, of my poor, wretched love – pohádko, pohádko! my fairytale, my fairytale! milenkou tvojí kdysi jsem byla, I may once have been your beloved, Vrat’ se mi! Come back to me! ale ted’ jsem jen smrtí tvou! but now I can only bring you death! (Stane. Poznává krajinu z prvního deˇjství. Pojednou se (He comes to a halt and realises that he is in the same mu rozum rozjasnˇuje.) place as where he fi rst saw Rusalka in Act I. Suddenly Princ Prince Tady to bylo, he becomes more coherent) Bez tebe nikdy nelze žít, I can no longer live without you; mluvte, neˇmé lesy! Was it here? mu˚žesˇ mi, mu˚žesˇ odpustit? can you ever forgive me? Vidino sladká, milenko má, kde jsi? Tell me, silent forests! Bílá moje lani! kde jsi, kde jsi? Sweet vision, my dearest one, where are you? Rusalka Rusalka Prˇi vsˇem, co v mrtvém srdci mám, My white doe, where are you, where are you? 11 Procˇ volal jsi mne v nárucˇ svou, Why did you enfold me in your arms, nebe i zemi zaklínám, By all that lives on in my dead heart, procˇ ústa tvoje lhala? why did your lips lie to me? zaklínám Boha i beˇsy, I entreat both heaven and earth, Ted’ meˇsícˇní jsem vidinou Now I am nothing but a moonlit vision ozvi se, ozvi, kde jsi! God and all the devils, v tvá muka neskonalá. destined ever to torment you. Milenko má! speak to me, tell me where you are! Ted’ tebe sˇalím v nocˇních tmách, Now I must entice you at dead of night, My dearest one! je zneucteˇn mu˚j klín my womanhood is defi led, a s bludicˇkami na vodách and together with the will-o’-the-wisps (Meˇsíc vyjde z mraku˚. Rusalka se zjeví v meˇsícˇním (Th e moon emerges from behind the clouds. Rusalka teˇ svedu do hlubin! I am condemned to drag you into the depths! svitu nad jezerem.) appears in the moonlight over the lake.) Procˇ volal jsi mne v nárucˇ svou, Why did you enfold me in your arms, procˇ ústa tvoje lhala? why did your lips lie to me? Rusalka Rusalka Tys hledal vásˇenˇ, vím to, vím, You sought passion, I know, 10 Milácˇku, znásˇ mne, znásˇ? Beloved, do you recognise me? jíž já jsem nemeˇla, a passion that was alien to me, Milácˇku, jesˇteˇ vzpomínásˇ? Do you still remember me? a ted’-li teˇ políbím, but if I were to kiss you now, jsi ztracen docela. you would be lost for ever. Princ (užasne) Prince (startled) Mrtva-lis dávno, znicˇ mne vráz – If you are dead, then kill me right away – Princ (potácí se k ní) Prince (staggering towards her) živa-lis jesˇteˇ, spas mne, spas! but if you are alive, please save me! 12 Líbej mne, líbej, mír mi prˇej, Kiss me, kiss me, give me peace, nechci se vrátit ve sveˇta rej, the world is already lost to me, do smrti trˇeba mne ulíbej! I would gladly die of your kisses!

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 90-9190-91 220/11/070/11/07 17:01:4917:01:49 Rusalka Rusalka Vodník (hluboko pod vodou) Water Sprite (from deep under the water) A tys mi, hochu mu˚j, tolik dal, You who gave me so much – Nadarmo v loktech zemrˇe ti, In vain does he die in your arms, procˇ jsi mne, hochu mu˚j, oklamal? why did you betray me? marny jsou vsˇechny obeˇti, all your sacrifi ces are in vain, (Rozpíná nárucˇ.) (opening her arms to him) ubohá Rusalko bledá! poor, wan Rusalka! Zda to vísˇ, hochu, zda to vísˇ, Do you realise, my lad, Beˇda! Beˇda! Beˇda! Woe! Woe! Woe! z loktu˚ mých že se nevrátísˇ, that from my embrace there’s no return, že zkázou to that here you will pay for your treachery (Rusalka políbí naposled mrtvého prince.) (Rusalka kisses the dead Prince for the last time.) v loktech mých zaplatísˇ? with your life? Rusalka Rusalka Princ Prince Za tvou lásku, za tu krásu tvou, For your love, for your beauty, Vsˇechno chci ti, vsˇechno chci ti dát, I will give you everything you desire, za tvou lidskou vásˇenˇ nestálou, for your inconstant human passion, líbej mne, líbej tisíckrát! only kiss me, kiss me a thousand times! za vsˇecko, cˇím klet jest osud mu˚j, for everything which condemned me to my fate, Nechci se vrátit, zemru rád, I have no wish to return, I would gladly die, lidská dusˇe, Bu˚h teˇ pomiluj! may God have mercy on your human soul! líbej mne, líbej, mír mi prˇej, kiss me, kiss me, give me peace, Bu˚h teˇ pomiluj! May God have mercy on you! nechci se vrátit, zemru rád, I have no wish to return, I would gladly die, (Ponorˇí se do jezera.) (She sinks into the lake.) nemyslím, nemyslím na návrat! to return is now unthinkable! Libretto by Jaroslav Kvapil Translation by Paula Kennedy © Rusalka Rusalka Láska má zmrazí vsˇechen cit – All feeling will be frozen by my love, musím teˇ, musím zahubit, I must destroy you, musím teˇ v lednou nárucˇ vzít! I must clasp you in my icy embrace! (Obejme jej a líbá.) (She embraces and kisses him.)

Princ (omdlévaje) Prince (swooning) Líbej mne, líbej, mir mi prˇej! Kiss me, kiss me, give me peace! Polibky tvoje hrˇích mu˚j posveˇtí! Your kisses will redeem my sins! Umírám sˇt’asten, I die happy, umírám ve tvém objetí! happy in your embrace!

(Zemrˇe.) (He dies.)

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 92-9392-93 220/11/070/11/07 17:01:4917:01:49 Anne-Marie Owens as Ježibaba Elizabeth Whitehouse as the Foreign Princess and Rosario La Spina as the Prince

CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 94-9594-95 220/11/070/11/07 17:01:5017:01:50 Recorded by the Sydney Opera House Recording Studio, with the kind co-operation of the Sydney Opera House Trust. For Opera Australia’s production of Rusalka Director Olivia Fuchs Designer Niki Turner Lighting Designer Bruno Poet Choreographer Claire Gaskin Assistant Conductor Stephen Mould Assistant Director Luise Napier Musical preparation Stephen Walter and John Haddock Chorus Master Michael Black Assistant Chorus Master Kate Golla Czech Language Coach Adriana Hanic Stage Manager Zana Forster Lighting Supervisor Simon Lefort For Opera Australia Chief Executive Adrian Collette Music Director Richard Hickox CBE Executive Producer Stuart Maunder Artistic Administrator Ian McCahon Finance Director/Company Secretary Narelle Beattie Marketing and Communications Director Liz Nield General Manager, Melbourne/ Director of Development Carolyn Chard Director – Human Resources and Orchestral Services Vernon Winley Director – Technical Administration Chris Yates Director – Technical Production Chris Potter Manager – Opera Enterprises Alex Budd Coordinator – Opera Enterprises Samantha Russell www.opera-australia.org.au Opera Australia is assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and by the New South Wales Government through its Ministry for the Arts. Opera Australia acknowledges the support of the Victorian Government through Arts Victoria. © Opera Australia 2008 Members of Opera Australia Chorus 96

CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 96-9796-97 220/11/070/11/07 17:01:5217:01:52 CherylOn session: Barker Robert as Rusalka Brubaker and andRosario Peter La Hoare Spina as the Prince On session: Robert Brubaker and Peter Hoare

CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 98-9998-99 220/11/070/11/07 17:01:5417:01:54 Also available Also available

Prokofi ev Th e Love for Th ree Oranges Janácˇek CHAN 10347(2) Katya Kabanova CHAN 3145(2)

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CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 100-101100-101 220/11/070/11/07 17:01:5517:01:55 You can now purchase Chandos CDs online at our website: www.chandos.net To order CDs by mail or telephone please contact Liz: 0845 370 4994 For requests to license tracks from this CD or any other Chandos discs please fi nd application forms on the Chandos website or contact the Finance Director, Chandos Records Ltd, direct at the address below or via e-mail at [email protected]. Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201

Chandos 24-bit recording Th e Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit recording. 24-bit has a dynamic range that is up to 48 dB greater and up to 256 times the resolution of standard 16-bit recordings. Th ese improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’.

This recording has been made possible with the kind assistance of Philip Bacon Recording producer Ralph Couzens Sound engineer Allan Maclean Assistant engineers Tony David Cray (Manager, Opera House Recording Studio) and Jason Blackwell Editor Rachel Smith A&R administrator Mary McCarthy Recording venue Sydney Opera House; 21 – 29 March 2007 Front cover Photograph by Branco Gaica Back cover Photograh of Richard Hickox by Greg Barrett Production photographs Branco Gaica Photograph of Cheryl Barker (p. 16) by Keith Saunders Photography (PO Box 969 Bondi Jn. NSW 1355; 0418 497791; http://www.keithsaundersphotography.com Design and typesetting Cassidy Rayne Creative Booklet editor Elizabeth Long Copyright 1959 by Statni nakladatelstvi krasne literatury, hudby a umeni, Praha. Music Hire Boosey & Hawkes P 2008 Chandos Records Ltd © 2008 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Cheryl Barker as Rusalka (centre) with Taryn Fiebig, Sarah Crane and Printed in the EU Dominica Matthews as the Wood Nymphs 103

CCHANHAN 10449(3)10449(3) Booklet.inddBooklet.indd 102-103102-103 220/11/070/11/07 17:01:5617:01:56 CHANDOS DIGITAL 3-disc set CHAN 10449(3)

Dvor

Printed in the EU MCPS

Antonín Dvořák (1841 – 1904) ˇák

RUSALKA Cheryl Barker

0 95115 14492 3 RUSALKA LC 7038 DDD TT 152:37 An opera in three acts Recorded in 24-bit/96 kHz Libretto by Jaroslav Kvapil, after Undine by Friedrich Heinrich de la Motte Fouqué COMPACT DISC ONE Act I TT 54:04 COMPACT DISC TWO Act II TT 43:40 A production by Opera Australia recorded live at the COMPACT DISC THREE Act III TT 54:53 MAR HAYYÁM O K Sydney Opera House in March 2007 premiere recording Opera Australia

Wood Nymphs Sarah Crane soprano Taryn Fiebig soprano Dominica Matthews mezzo-soprano Water Sprite Bruce Martin bass Rusalka Cheryl Barker soprano Ježibaba Anne-Marie Owens mezzo-soprano

Prince Rosario La Spina tenor Richard Hickox Gamekeeper / Huntsman Barry Ryan baritone Kitchen Boy Sian Pendry soprano Dvorˇák Foreign Princess Elizabeth Whitehouse soprano Wedding Guests; Water Nymphs RUSALKA Opera Australia Chorus Michael Black chorus master Kate Golla assistant chorus master Australian Opera and Ballet Orchestra Richard Hickox Cheryl Barker Stephen Mould assistant conductor Aubrey Murphy concertmaster Opera Australia Richard Hickox p 2008 Chandos Records Ltd c 2008 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England

CCHANHAN 110449(3)0449(3) Clambox.inddClambox.indd 1 114/11/074/11/07 20:35:3220:35:32