CHAN 3145(2)

O PERA IN ENGLISH

JANÁCˇ EK Katya Kabanova

CHERYL BARKER • JANE HENSCHEL • ROBERT BRUBAKER

CHORUS AND ORCHESTRA OF WELSH NATIONAL CARLO RIZZI

CCHANHAN 3145(2)3145(2) CDCD 4-page4-page insert.in1insert.in1 1 22/9/07/9/07 20:39:0820:39:08 performances: ‘The Welsh National Opera orchestra members play as if their Enjoyed Katya Kabanova and want to discover more lives depended on it.’ Classic FM Magazine on Jenu˚fa from Chandos Opera in English? (CHAN 3106(2)) Why not visit www.chandos.net where you can listen to extracts Cheryl Barker performances: from all the and aria discs available on this acclaimed and ‘Barker conveys the title character’s coolness and vulnerability award-winning label? with real power, and she has excellent support from Brubaker

and Wegner as the men besotted with her.’ Classic FM on Janácˇek’s The Makropulos Case Recent operas such as Bartók’s Bluebeard’s Castle, Humperdinck’s (CHAN 3138(2)) Hansel and Gretel and Poulenc’s The Carmelites are sure to appeal and are certainly worth further exploration. We have also Jane Henschel performances: recorded classics of the opera repertoire such as Puccini’s Madam ‘Jane Henschel puts in a star performance…’ Butterfl y (starring Cheryl Barker), , Aida and Mozart’s The Telegraph Classical CD of the Week for Humperdinck’s which should be added to your opera collection. Hansel and Gretel (CHAN 3143(2))

CCHANHAN 3145(2)3145(2) CDCD 4-page4-page insert.in2insert.in2 2 22/9/07/9/07 20:39:2220:39:22 Leosˇ Janácˇek (1854 –1928) Katya Kabanova Opera in 3 acts Libretto by the composer after Ostrovsky’s play in the Czech translation by Cˇervinka, English translation by Norman Tucker, with revisions by Rodney Blumer and Henrietta Bredin © Lebrecht Music & Arts Library Photo Music © Lebrecht

Marfa Kabanova (Kabanicha), a rich merchant’s widow Jane Henschel mezzo-soprano Tichon Kabanov, her son Peter Hoare tenor Katerina (Katya), Tichon’s wife Cheryl Barker soprano Dikoi, a merchant Gwynne Howell Boris Grigoryevich, Dikoi’s nephew Robert Brubaker tenor Varvara, a foster child in the Kabanov household Victoria Simmonds mezzo-soprano Vanya Kudryash, teacher, chemist and engineer, employed by Dikoi Peter Wedd tenor Glasha, a servant in the Kababov household Kathleen Wilkinson mezzo-soprano Kuligin, a friend of Kudryash Owen Webb Feklusha, a servant Claire Hampton soprano Zena Sian Meinir mezzo-soprano Passer-by Philip Lloyd-Holtam tenor

Chorus of Welsh National Opera Simon Phillippo chorus master Orchestra of Welsh National Opera Gareth Jones assistant conductor Carlo Rizzi Leosˇ Janácˇek

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 2-32-3 22/9/07/9/07 20:33:0220:33:02 COMPACT DISC ONE Time Page Time Page

Act I Act II Scene 1 Scene 1 1 [Introduction] 4:19 [p. 80] 13 ‘There now, you’re always boasting’ 2:05 [p. 91] 2 ‘Marvellous! Really, just admit it’ 1:35 [p. 80] Kabanicha, Katya Kudryash, Glasha 14 ‘It’s so warm indoors’ 3:23 [p. 91] 3 ‘What d’you think you’re hanging around for? 0:57 [p. 80] Varvara, Katya, Dikoi, Kabanicha Dikoi, Boris 15 ‘No, no, no one, yet my heart was beating’ 2:13 [p. 92] 4 ‘Is your mistress at home?’ 3:23 [p. 81] Katya Dikoi, Glasha, Kudryash, Boris, Feklusha 16 ‘It’s nothing much’ 2:38 [p. 92] 5 ‘All of them so good and pious’ 2:03 [p. 82] Dikoi, Kabanicha Feklusha, Boris, Kudryash 17 Intermezzo II 0:56 [p. 93] 6 ‘If you want to obey your mother’ 4:31 [p. 83] Kabanicha, Tichon, Katya,Varvara Scene 2 7 Intermezzo I 1:04 [p. 85] 18 [Introduction] 1:05 [p. 93] 19 ‘Nobody here yet!’ 3:37 [p. 93] Scene 2 Kudyrash, Boris 8 ‘I’m always wondering’ 5:46 [p. 85] 20 ‘Far away my love is gone across the water’ 1:46 [p. 95] 9 ‘Madness? Oh, how I wish I really knew’ 2:57 [p. 86] Varvara, Kudyrash, Boris Katya, Varvara 21 ‘Is that you, Katerina Petrovna?’ 5:26 [p. 95] 10 ‘Ah, but you, what can you know of this?’ 1:56 [p. 87] Boris, Katya Katya, Varvara, Feklusha, Glasha, Tichon 22 ‘So you’ve found each other’ 5:45 [p. 97] 11 ‘Do you not love me any more? 2:52 [p. 87] Varvara, Boris, Kudyrash, Katya Katya, Tichon TT 64:33 12 ‘It’s time, Tichon’ 3:50 [p. 89] Kabanicha, Tichon, Katya

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 4-54-5 22/9/07/9/07 20:33:0820:33:08 COMPACT DISC TWO Time Page

Act III © Clive Barda © Clive Scene 1 1 ‘Raining!’ ‘There’s a storm coming’ 4:05 [p. 98] Kuligin, Kudyrash, Dikoi 2 ‘Psst! Psst! Boris, listen to me!’ 1:06 [p.101] Cheryl Barker as Katya in the Varvara, Boris Welsh National Opera’s production 3 ‘Oh, Varvara! I shall die!’ 2:44 [p.102] of Katya Kabanova Katya, Zena, Varvara, Chorus, Kudyrash, Dikoi, Kabanicha, Tichon

Scene 2 4 ‘Ah, Glasha! It’s awful to think of it’ 2:01 [p.103] Tichon, Glasha, Varvara, Kudryash 5 ‘No! Nobody here’ 5:20 [p.104] Katya, Kuligin 6 ‘And yet death won’t come to me’ 4:27 [p.104] Katya, Boris 7 ‘Thanks be to God!’ 1:50 [p.105] Boris, Katya 8 ‘No, not that!’ 2:42 [p.105] Katya, Boris 9 ‘Birds will sing as they fl y above me’ 0:49 [p.106] Katya 10 ‘Hey there, a woman has jumped in the river!’ 1:57 [p.106] Kuligin, Passer-by, Dikoi, Glasha, Tichon, Kabanicha TT 27:05

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 6-76-7 22/9/07/9/07 20:33:0920:33:09 On session: Cheryl Barker and Jane Henschel On session: Robert Brubaker and Cheryl Barker

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 8-98-9 22/9/07/9/07 20:33:1620:33:16 This is the fi fth Janácˇek opera to join our Opera in English catalogue. Following her gripping Emilia Marty in The Makropulos Case, Cheryl Barker here joins forces with Welsh National Opera’s Chorus and Orchestra, and a wonderful cast under Music Director Carlo Rizzi, to bring you the tragic story of Katya, told through a score of immense power and tenderness. Music to engulf the senses, indeed! Enjoy.

Sir Peter Moores, CBE, DL October 2007

Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 10 11

CCHANHAN 3145(2)3145(2) Book.inddBook.indd 10-1110-11 22/9/07/9/07 20:33:3620:33:36 work’s premiere, he searched within Russian woman can love her husband… that was the Janácˇek: Katya Kabanova literature for something similar, toying with reason why I turned to Katya Kabanova. Tolstoy’s Anna Karenina and The Living It contains much that is touching, soft (in the name and a concealed narrative with Tolstoy’s Corpse. It was only when Jenu˚fa was fi nally This was an odd way to express the dawning Slav manner); what depth of feeling! If only I can violent short story The Kreutzer Sonata. He presented in Prague and Janácˇek had become of a great passion, but even stranger was the fi nd the right expression, just as deep! wrote an equally savage symphonic suite based one of the artistic icons of newly independent musical end result. Katya is Janácˇek’s only on Gogol’s Taras Bulba. His fi nal opera, From Czechoslovakia that the composer fi nally truly tragic opera. Jenu˚fa ends in stoical Janácˇek to Vincenc Cˇervinka the House of the Dead, draws its inspiration from alighted on the perfect subject. In 1918 he resignation, despite the murder of the December 1919 Dostoyevsky’s semi-autobiographical novel. read a Czech translation of Ostrovsky’s play heroine’s illegitimate child. When the central Most of all, for his fi rst theatrical work since and he immediately approached the publishers character is killed in , Janácˇek’s sixth opera is a testament to the two the birth of the new Czech nation, he turned for the rights to set the play to music. He Janácˇek ends the work with an epic hymn great loves of his remarkable fi nal decade. The to a masterpiece by one of Russia’s greatest was so taken with the work that the opera to nature’s powers of eternal renewal. The fi rst love has become legendary – his long and dramatists, . was completed in full score in only thirteen Makropulos Case concludes with its 350-year- unrequited infatuation with Kamila Stösslová, Katya Kabanova is based on Ostrovsky’s months. old heroine released from the torments of the young married woman he met at the Czech The Storm, which had its premiere at the Maly The reason for this urgency lies of course eternal reincarnation. Even the bleak prison spa town of Luhacˇovice in 1917. The second is Theatre in in the mid 1860s. Like with that fi rst great love. He had launched chronicle From the House of the Dead sees its almost as important – his lifelong passion for all much Russian literature of the period, the into composing The Diary of One who central character released and a captive eagle things Russian. At a time when the Czech lands play was a harsh critique of contemporary Disappeared, the fi rst masterpiece inspired by set free in the fi nal bars. Only Katya is without were under Austrian rule he was a stubborn, society. After the emancipation of the serfs Kamila, only a fortnight after meeting her. redemption. She is crushed by the repressive almost wilful Slavophile. He studied Russian in 1861, the country was waking up to the In his mind, the vivacious brunette merged weight of the provincial society she inhabits literature in great depth and founded a Russian extensive social problems which lay under the with the gypsy temptress of the song cycle and her own self-lacerating guilt. circle in his native Brno. He visited Moscow and surface of the Tsarist Empire. In particular, the He made an equally impetuous connection Yet the opera is by no means uniformly dark. was overwhelmed by the experience, describing coarse and repressive values of the provincial between the heroine of The Storm and his new It contains the only human love scene in all the Kremlin as a fairy tale. At times his Slavic middle classes provoked fi erce criticism in friend. Indeed, he wrote to her that the opera of Janácˇek’s mature operas (the scene between obsession bordered on the self-destructive. He both literature and journalism.Janácˇek had was infused with his perception of Kamila’s the Fox and the Vixen is more carnal than refused to speak German to his in-laws, causing already dealt memorably with such a subject own love for her husband: emotional) and for added value, he gives us a frequent domestic rows. Yet his preoccupation in his fi rst great opera Jenu˚fa, based on a contrapuntal coupling between two pairs of with Russian culture lies behind some of his play by the contemporary Moravian author When I became acquainted with you in lovers. Although Katya’s passion is presented as greatest work. His First String Quartet shares a Gabriela Preissová. In the years following that Luhacˇovice…and saw for the fi rst time how a doomed from the opening bars, her personality

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 12-1312-13 22/9/07/9/07 20:33:4220:33:42 casts a radiant light over every scene in which Janácˇek lays out the musical and dramatic or rhythmic gestures which are then amplifi ed accompanies her words ‘and then at night’ is she appears, even the desperate moments argument of the piece with fi erce clarity from over the course of the opera. Boris’ uncle, the echoed in Varya’s ‘what do you dream about?’ which precede her suicide. Janácˇek achieves the very beginning. Four brooding string brutal drunken merchant Dikoi has a nervous, before being resolved in her reply ‘Varya, I this through some of his most transparent chords, eight quiet strokes on the timpani and edgy dotted rhythm which accompanies his cannot sleep.’ Then, after the erotic yearning orchestration, a new melodic fl uency and an anguished melisma on the strings drag us fi rst appearance on stopped horns. When it of the music which depicts her fantasies, the most of all the skill with which he juxtaposes into the harsh and oppressive world of the returns in the fi nal act as he shelters from suspension returns on the words ‘I go, I go’ Katya’s themes with the terse and brutal music Kabanov family. As the music gathers pace, the the storm which provides the work’s climax, and this time, as in the drama itself, there is no of her tormentors. Without imitating either timpani repeat their rhythm fortissimo until it it has grown into a theme as arrogant and resolution. Wagner or Strauss, he weaves and transposes transforms into a deceptively jaunty imitation hectoring as Dikoi himself. The depiction What follows in the succeeding scenes his musical material in a way which brings Russian folk tune accompanied by jingling of Kabanicha, Katya’s mother-in-law, is even is a series of masterstrokes. When Varya the harsh contrast between the two worlds of sleigh-bells. This little theme will recur at two more subtle. She has no musical material of suggests that perhaps Katya will meet Boris Ostrovsky’s drama into brilliant focus. And crucial moments in the drama. It accompanies her own but disrupts the musical stability of by chance, another little folk tune emerges in there is something more. During the eight the climax of the fi rst act when the mother- those around her. On her fi rst appearance, the orchestra, only to be rudely tossed aside years which had separated the composition dominated young merchant Tichon departs her insensitive interjections disturb the by Tichon’s Russian theme with its niggling of the fi rst two acts of Jenu˚fa, his operatic on a business trip, leaving his sensitive young tender fl owing melody on fl ute, strings and sleigh-bells. During the humiliating fi nal scene style had developed from bucolic folk opera wife Katya at home, a prey to her passion harps which has introduced Katya herself. By of the act, when Kabanicha forces Katya to in the style of Smetana and Dvorˇák to a for Boris Grigoryevich. It returns at the very contrasting this with the jagged asymmetry make a promise of fi delity to her husband, striking musico–dramatic naturalism. Now, end of the opera, after the affair between of Dikoi and Kabanicha’s music, Janácˇek Varya’s theme is forgotten. Yet in the following seventeen years after its completion, Janácˇek Katya and Boris has blossomed and then been places Katya as a still presence at the centre act, when the two young women prepare for took an even more radical journey – from poisoned by Katya’s suicidal guilt. Janácˇek uses of a dysfunctional world. When she returns their joint tryst in the nocturnal garden, it the fl uid speech-song in which the fi rst two this theme as a touchstone for the society in with her foster sister Varvara (Varya) in the dominates the musical material. Varya and her acts of Katya are composed to the hypnotic which his heroine lives. Its conventional Slavic following scene, Janácˇek expands this musical lover Kudryash exchange folksongs in a kind surrealism with which the opera ends. His tunefulness depicts the surface of Russian characterisation. The fl utes and strings now of melodic foreplay. By contrast, the music following three stage works – the strip- middle-class life. Pulled apart and twisted fl utter in imitation of her desire to fl y like a for Katya and her longed-for lover Boris is cartoon inspired Vixen, the expressionist into other shapes, it reveals the hypocrisy and bird, as if to escape the emotional prison of her all chromatic irresolution. This is not simply Makropulos Case and the jagged sketch-like cruelty beneath that surface. household. With prodigious fl uency, he unites a harmonic device for depicting character. It House of the Dead – abandon naturalism Janácˇek gives his characters musical life in Katya and Varya’s music without losing each binds together the personal and the social – the altogether. Katya is the fi rst staging post on an equally striking way. They are not identifi ed character’s individuality. In the climax of their immediacy of Katya’s unfulfi lled emotions and that journey. by Wagnerian leitmotifs but by tiny melodic scene together, the suspended cadence which the presentation of the unforgiving society

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 14-1514-15 22/9/07/9/07 20:33:4420:33:44 which precipitates her tragedy. There are a with yet another failed attempt at a love Ostrovsky’s grim social world with his own COMPACT DISC ONE dozen examples of the music underpinning the duet and ends with a harrowing farewell. desire to mirror his beloved Kamila in the protagonists’ emotional state throughout this Once again Boris has no music of his own, fragile vulnerable Katya, Janácˇek made an Act I act – the pre-echo of the storm as the two girls as if to imply that he has no will or strength exponential leap as a composer. In progressing Scene 1 go out into the garden, the passionate climax of character. Musically and dramatically, from the naturalistic vernacular fi rst act Outside the Kabanov house. Afternoon when Katya and Boris sing ‘my life’, promising Katya is isolated on the banks of the Volga through the intimate expressionism of the 1 – 2 Kudryash, a young teacher, admires a love duet but failing to deliver one and the and the wordless choir which calls to her is second to the surreal desperation of the third, the beauty of the river. The servant Glasha is desperate cello solo which precedes the post- the embodiment of her yearning for watery Katya Kabanova joins its near contemporary, unimpressed. 3 – 4 They are soon distracted coital tenderness of Kudryash and Varya and oblivion. In this last act, Janácˇek has parted Berg’s Wozzek, as the fi rst great modern music by Dikoi, who arrives, rebuking his nephew concludes the act not with consummation but company with naturalism. We are in psychic drama. Boris for his laziness. On learning that Katya despair. space. As the opera hurtles to its conclusion is still at church, Dikoi goes off to fi nd her. © 2007 Dennis Marks In this way Janácˇek prepares us for the accompanied by savage and plaintive Left alone with Kudryash, Boris explains that opera’s hallucinatory fi nal scenes. The music transformations of Tichon’s tune, we follow he only stays with his uncle because of the which accompanies the thunderstorm at the the composer into a new landscape. Argument conditions of his grandmother’s will: that beginning is mainly derived from Dikoi’s Katya Kabanova is a very strange love Kabanicha, widow of the merchant Kabanov, he and his sister will be able to claim their fi dgety triple time theme. It has the effect gift from a composer to his reluctant muse. dominates the lives of her son, Tichon, and inheritance at the age of twenty-one, and only of fragmenting the aural texture, as if we Its immediate predecessor, The Diary of his wife, Katya. On her orders he leaves if they do what their uncle tells them. 5 Boris were experiencing the action from Katya’s One who Disappeared, has a central piano home on a business trip, despite Katya’s fears then reveals that he has fallen in love with a increasingly disturbed viewpoint. Shards of interlude with the title Intermezzo Erotico of what might happen in his absence. His married woman – Katya Kabanova. melody appear and disappear. The calls of – a remarkable piece of musical wish departure does indeed prompt his foster sister ‘Katerina’ from the other characters searching fulfi lment – and it ends with the hero striding to persuade Katya to meet her lover. A terrible 6 The Kabanov family returns from church. for her are echoed by horns and strings and off into the woods to join his gypsy mistress. storm and Tichon’s unexpected return unnerve Kabanicha orders her son, Tichon, to leave at there is a vestigial return of Varya’s folksong in Katya, like the rejected subject of Tolstoy’s Katya, and she publicly confesses her adultery. once for the market at Kazan. She complains the darkness. Distorted versions of the musical Anna Karenina, treats adulterous love with She drowns herself, and Kabanicha presides bitterly that he neglects her for his wife, material of the fi rst two acts, like the fl uttering empathy tempered with harsh honesty. Yet over Tichon’s remorseful despair. rebuking Katya when she dares to answer. fl utes which depict the birds in the fi rst scene in some ways it was indeed a gift, although 7 Intermezzo. of Act Two, haunt Katya’s two monologues. perhaps not quite as Janácˇek intended. In this Synopsis These reminiscences even penetrate the fi nal instance, Kamila was the giver and Janácˇek The opera is set in a little town on the banks of Scene 2 encounter between the lovers, which begins the receiver. When he fused the depiction of the Volga, around 1860 Inside the Kabanov house, afternoon

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 16-1716-17 22/9/07/9/07 20:33:4620:33:46 8 Katya tells Varvara, a foster child in the goes out, longing for the evening. 16 Kabanicha the rain, and are soon joined by others. They uncle is sending him away. Katya remains at Kabanov household, of her happy childhood, and a slightly drunk Dikoi enter. He does not notice the old frescoes of hell and the damned the mercy of her mother-in-law and drunken and Varvara questions Katya about her dreams: want to go home, and sidles up to Kabanicha. still visible under the ruined apse. Dikoi also husband. 9 – 10 Katya says she hears a man’s voice She pushes him away. 17 Intermezzo II. arrives to shelter there. Kudryash talks about whispering in her ear, urging her to go off with the storm being ‘just electricity’, while Dikoi Boris leaves and Katya imagines her grave. him, which she does. Tichon appears, about to Scene 2 considers the storms a punishment from God. 9 Crossing her arms, she throws herself into leave for market as his mother has ordered, and Outside the Kabanovs’ garden gate the river. 10 A search party enters, and Dikoi Katya begs him not to leave her. But he has to 18 [Introduction] 19 Kudryash arrives at the The rain stops and Dikoi goes outside, arrives with Katya’s corpse. Tichon blames go, and cannot take her with him. 11 Katya gate, waiting for Varvara, and sings a song. followed by the others. 2 Varvara arrives and his mother for Katya’s death, but Kabanicha asks him to make her swear that she will not to Boris arrives and explains that he is waiting for attracts Boris’ attention. She tells him that simply thanks her neighbours for their look at or speak to another man. 12 Kabinicha someone: Katya, a married woman. Kudryash Tichon has returned unexpectedly and that kindness. enters and insists that Tichon gives his warns him of the risks involved. 20 Varvara Katya has become hysterical – even threatening instructions to Katya before he leaves: she must arrives, telling Boris that Katya is on her way. to confess everything. 3 When Katya enters, Australian-born Cheryl respect and obey Kabinicha, keep busy, and Then Kudryash and Varvara go off to the river. Borish and Kudryash hide, leaving Varvara to Barker (Katarina ‘keep her eyes off other men’. Katya embraces 21 – 22 Katya soon arrives and holds back from calm Katya. As Dikoi, Tichon and Kabanicha Kabanova (Katya))

her husband before he leaves. holding Boris’ hand. He declares his passion, arrive Katya falls on her knees and publicly Saunders Keith studied in Melbourne but Katya is more guarded in her admission confesses her infi delity. She collapses into her with Dame Joan Act II of love for him. They embrace. Kudryash and husband’s arms, but immediately tears herself Hammond and in Scene 1 Varvara are heard declaring their love. Katya away, and rushes out into the storm. with David Inside the Kabanov house, late afternoon goes back through the gate, leaving Boris Harper. In Australia, 13 Kabanicha reproaches Katya for not behind. Scene 2 she appears regularly displaying grief at Tichon’s departure. On the banks of the Volga, dusk turning to night with , Kabanicha leaves, asking not to be disturbed. COMPACT DISC TWO 4 Tichon and Glasha are searching for where her roles have included Nedda 14 Varvara arrives and reveals that she has the missing Katya. Varvara and Kudryash (), the Countess (The Marriage of managed to get hold of the key to the garden Act III determine to run away together to Moscow. Figaro), Mimì (La Bohème), Violetta gate; she says that if she sees Boris she will ask Scene 1 5 – 7 Katya enters alone. She regrets her (La traviata), Donna Elvira (), him to come to the gate to meet Katya. Katya Two days later, a ruined building overlooking the confession, but loves Boris and and longs for Tatyana () and the title roles in takes the key, and hurriedly hides it when she Volga; towards evening death. Suddenly he enters and they fall into both Madama Butterfl y and Tosca. She has also hears Kabanicha talking to Dikoi. 15 Katya 1 Kudryash and his friend Kuligin shelter from each other’s arms. 8 Boris tells her that his sung the roles of Mimì, Antonia (Les Contes

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 18-1918-19 22/9/07/9/07 20:33:4720:33:47 d’Hoffmann) and Tatyana for the Victoria and Madam Butterfl y as part of Chandos’ has sung Herodias (), and Cassandre has performed at the State Opera; Tatyana and Violetta for Opera Opera in English Series, Dyson’s Quo Vadis (Les Troyens). Her roles at the Bavarian Queensland; and Madama Butterfl y and for Chandos, and a solo CD featuring Puccini State Opera, include Herodias, (Mephistopheles in Violetta for . Arias. Klytemnestra, Ulrica, Mistress Quickly Doktor Faustus), the Internationally, Cheryl Barker is particularly (Falstaff ) and Ortrud (Lohengrin); at House, noted for her performances of Madama Jane Henschel Deutsche Oper, Klytemnestra, Herodias Covent Garden Butterfl y, singing this role for English National (Marfa Kabanova and Ortrud , and at the State Opera (Bacchus in Ariadne Opera, Houston Grand Opera, De Vlaamse (Kabanicha)) was born Klytemnestra, Fricka and Mistress Quickly. It auf Naxos), the Opera, Hamburg State Opera, Deutsche Oper, in Wisconsin, studied is the Amme () which Hamburg Staatsoper Berlin and most recently for The Netherlands at the University of has become her signature role, which she has (Gherman in Pique Opera. Other international appearances Southern California sung in Amsterdam, London, , Dame), the Teatro alla Scala (Guido Bardi in include Jenifer (A Midsummer Marriage) for and subsequently Munich, , Vienna, Berlin and at the Zemlinsky’s Florentine Tragedy and Golitsin in the Royal Opera, Covent Garden; Tatyana moved to Germany. Metropolitan Opera. Khovanshchina), the Glyndebourne Festival and Adina (L’elisir d’amore) for Scottish Roles include Baba Jane Henschel’s recordings include Hansel (Laca in Jenu˚fa), the Salzburg Festival (the Opera; Oksana (Rimsky Korsakov’s Christmas the Turk (The Rake’s and Gretel as part of Chandos’ Opera in title role in Zemlinsky’s Der König), the Eve), The Governess (The Turn of the Screw), Progress) at Glyndebourne, Saito Kinen and English series, Krasa’s Verlobung im Traum, Liceu in Barcelona (Golitsin, and Erik in The Musetta (La Bohème), and Donna Elvira Salzburg Festivals; Brangäne (Tristan and Isolde) The Rake’s Progress, Albéniz’ , Britten’s Flying Dutchman) and the Opéra de Paris- for ; the title role in for the and the Paris Opéra; The Turn of the Screw, and Mahler’s Eighth Bastille (Count Pierre Bezukhov in War and Maria Stuarda for the Nationale Reisoper in Klytemnestra (Elektra) for the San Francisco Symphony. Peace, Dimitri in Boris Godunov, Golitsin, the Netherlands; Violetta for Hamburg State Opera; the Principessa () with the and the title role in Der Zwerg). He has also Opera and the Deutsche Oper; the title role Royal Concertgebouw Orchestra under Chailly; American tenor Robert Brubaker (Boris performed with Houston Grand Opera, in Katya Kabanova in Geneva and for Welsh Dialogues des Carmélites in Amsterdam; the Grigoryevich) has established himself as a Canadian Opera Company, Montpellier National Opera; and for De Vlaamse Opera Kostelnicˇka (Jenu˚fa) under Ozawa in Japan, leading tenor in opera companies throughout Opera, Dallas Opera, and the Deutsche Oper the title roles in Suor Angelica and The Merry and Kabanicha (Katya Kabanova) for the the United States and Europe. Born in Berlin. Recordings include Albert Gregor (The Widow, Mimì, Desdemona () and Liù Salzburg Festival. Pennsylvania, he received his degree from the Makropulos Case) as part of Chandos’ Opera (). For The Royal Opera, Covent Garden she Hartt College of Music in Hartford, where he in English series. She appears regularly on the recital and has sung Fricka and Waltraute, Ulrica (Un studied with David Ray Smith. concert platform and her many recordings ballo in maschera), Klytemnestra, Mrs Grose He has become a regular guest of the leading Peter Hoare (Tichon Kabanov) was born include Emilia Marty (The Makopulos Case) (The Turn of the Screw); at La Scala, Milan she opera houses in the past seasons where he in Bradford and studied percussion at

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 20-2120-21 22/9/07/9/07 20:34:0120:34:01 the Huddersfi eld Peter Wedd (Vanya Chevalier de la Force (The Carmelites) with (A Midsummer Night’s Dream) and Zerlina School of Music. Kudryash) studied at English National Opera. (Don Giovanni). Following several Tarr Brian the Guildhall School of Outside the UK Peter Wedd has sung for Festival engagements include Wellgunde years as a freelance Music and Drama with European Chamber Opera, Singapore Lyric () under Sir Simon Rattle at percussionist, he William McAlpine Theatre, Opera Australia, and Limoges Opera, the Aix Festival, Handel’s La Lucrezia at the embarked on a and subsequently at and has made appearances at the Maribor Batignano festival, the title role in La Perichole professional singing the National Opera Festival, Slovenia and the Cernier Festival in and Ines (Maria Padilla) at the Buxton Festival, career. Operatic roles Studio where he was Switzerland. the title role of Carmen for Raymond Gubbay for Welsh National supported by the Peter at the Royal Albert Hall, Isolier (Le Comte Ory) Opera include Bacchus Moores Foundation. Victoria Simmonds for Garsington Opera and Olga (Eugene Onegin) (Ariadne auf Naxos), Captain (), He was a Company Principal at the Royal (Varvara) studied with for Opera Holland Park. She made her debut Vaudemont (), Titus (La clemenza di Opera, Covent Garden from 1999 to 2001 David Pollard at the at the Netherlands Opera singing Lucienne Tito), Narraboth (Salome), Simpleton (Boris and is a regular guest artist for Welsh National Guildhall School of (Korngold’s ). Godunov), Witch (Hansel and Gretel ), Tichon Opera. At Welsh National Opera his roles have Music and Drama. She (Katya Kabanova); Bardolfo (Falstaff ), included Don José (Carmen), Tamino (Die is a recipient of the The Welsh bass Valzacchi () and Goro Zauberfl öte), Don Ottavio (Don Giovanni) Countess of Munster Gwynne Howell

(Madama Butterfl y) for the Royal Opera Alfredo (La traviata), Števa ( Jenu˚fa), and Prize. In 2000 she Gravett Guy (Dikoi) studied at House, Covent Garden; Mr Upfold (Albert Steersman (The Flying Dutchman). appeared at the Royal the Royal Northern Herring), Idomeneo and Arbace in Idomeneo, Other appearances in the UK and Ireland Opera House in the College of Music. He and Brother Elusaf (A Betrothal in the have included Boris (Katya Kabanova) English Bach Festival’s production of Handel’s became a member Monastery) for Glyndebourne Festival and Tamino (Die Zauberfl öte) for Opera Oreste and made her English National Opera of the Royal Opera Opera; as well as performances with the North, Lensky (Eugene Onegin), Federico debut as Nancy T’ang, First Secretary to Mao in 1972, and has Orchestra conducted (L’Arlesiana) and Pluto (Orphée aux enfers) in John Adams’ Nixon in China. She was a sung most of the by Sir Simon Rattle in Berlin, Lucerne, and for Opera Holland Park, Kyska (Šarlatán) company principal at English National Opera major bass roles with at the Salzburg Festival. He has also and Julius (I cavalieri di Ekebu) at the from 2000 to 2005 where her roles included the company. He has also enjoyed a long performed for Opera North, Scottish Opera, Wexford Festival, Rodolfo (La Bohème) at Cherubino (), Mercedes association with English National Opera, the Grand Théâtre de Genève, Opéra de London’s Royal Albert Hall, Tamino for (Carmen), Zaida (The Turk in Italy), Pitti-Sing where his many successes have included Lausanne, and at the Théâtre des Champs Glyndebourne On Tour, Lensky (Eugene (), Rosina (The Barber of Seville), Hans Sachs, Gurnemanz, King Philip, and Elysées. Onegin) for Opera Holland Park and, Dorabella (Così fan tutte), Hermia Bluebeard. His international career has

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 22-2322-23 22/9/07/9/07 20:34:0620:34:06 included appearances in New York, Chicago, and won several Roles include Schaunard (La Bohème), won the Royal Philharmonic Society Music San Francisco, Santa Fe, Paris, Geneva, awards. Masetto (Don Giovanni), Marullo (), Award, in the Large Ensemble category, and Hamburg, Munich, and Cologne. In concert She has sung with Papageno (The Magic Flute), Zurga (The WNO as a company has won four further he has worked throughout the world with Scottish Opera, Opera Pearlfi shers), Escamillo (Carmen), Guglielmo major awards from the Royal Philharmonic conductors such as Claudio Abbado, Carlo Ireland, Holland Park, (Così fan tutte), and Dr. Falke (Die Fledermaus). Society, as well as an Evening Standard Award Maria Giulini, , Leonard Grange Park and at the for Best Opera Production, a Laurence Olivier Bernstein, Pierre Boulez, Daniel Barenboim, Glyndebourne Festival, The Chorus of Welsh National Opera began Award for the Best New Opera Production, James Levine, Bernard Haitink, Zubin Mehta in roles including as a professional body in 1968, working and the Barclays Theatre Award for and . His many recordings include Madame de la Haltière alongside the company’s celebrated Voluntary Outstanding Achievement in Opera. Mahler’s Eighth Symphony with Seiji Ozawa, (Cendrillon), Britten’s Chorus until 1973, when the latter was Messiah with Sir Georg Solti, Lucretia, Mercedes and the title role in Carmen, disbanded. The Voluntary Chorus had been The Orchestra of Welsh National Opera under Sir , and Beethoven’s Filipyevna (Eugene Onegin), Suzuki (Madama made up of amateur singers who gathered was founded in 1970. Since then it has Ninth Symphony with Kurt Masur. Butterfl y), Martha (Faust), Azucena (), together in 1943 to form the nucleus of what established itself as an extremely fi ne and Recent engagements include for English and Madam By-Ends in the RNCM staging and became Welsh National Opera, and it was the versatile orchestra, highly praised as much National Opera Schigolch () (also recording of The Pilgrim’s Progress. success of the Chorus in early productions for its distinction in a wide-ranging operatic recorded as part of Chandos’ Opera in which put WNO fi rmly on the operatic map. repertoire as for its concert work and extensive English series) and Dansker (); Brought up in Pontlliw, In the late 1960s, WNO moved to become portfolio of recordings for many different for Glyndebourne, productions of Pelléas et South Wales, Owen fully professional, and the Voluntary Chorus recording companies. Mélisande, , Don Giovanni, Tarr Brian Webb (Kuligin) was replaced by the Chorus of Welsh National Former Music Directors include Richard Figaro and Otello; for Covent Garden Old studied at the Royal Opera. The Chorus has performed in concert Armstrong (1973 – 86), Sir Convict in Lady Macbeth of Mtsensk and the College of Music and tours around South Wales in recent years. (1987– 92) and Tugan Sokhiev (2002–2004). world première of The Tempest by Thomas Drama with Beatrice The Orchestra and Chorus have made Carlo Rizzi, who was Musical Director from Adès, which he also sang in Santa Fe in 2006. Unsworth where he many recordings (under many distinguished 1992 to 2001 returned to Welsh National Gwynne Howell was awarded the CBE in 1998. won numerous awards. conductors including Sir Reginald Goodall, Opera as Music Director in 2004 and has He currently studies Sir Charles Mackerras, Carlo Rizzi, Richard conducted performances of La traviata and Kathleen Wilkinson (Glasha) was born with Stephen Roberts. Bonynge, Pierre Boulez), in repertory ranging Cavalleria rusticana and Pagliacci in Welsh in Lancashire and studied with Barbara He is a WNO Associate Artist and the recipient from Bellini to Maxwell Davies, by way of National Opera’s opening season at Wales Robotham at the Royal Northern College of of the Welsh National Opera Schäfer and Chris Verdi, Wagner and . Millennium Centre. More recently he has Music, where she was a Peter Moores Scholar Ball Bursaries The Orchestra of Welsh National Opera has conducted the critically acclaimed ,

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 24-2524-25 22/9/07/9/07 20:34:1420:34:14 The Flying Dutchman with Bryn Terfel in the Angeles Philharmonic and St Louis, Dallas Cavalleria rusticana, Pagliacci, Aida, Turandot conducted La traviata and La Bohème at the title role in Cardiff, London and Birmingham and Atlanta Symphony Orchestras, as well and Nabucco). He opened the new opera house Metroplolitan Opera, Don Carlos in Zurich, and the Autumn 2006 revival of WNO’s classic as the Orchestre National de France and the in Cardiff (Wales Millennium Centre) with and Aida in Houston. La Bohème. Orchestra of La Scala, Milan. La traviata. Recordings include Respighi’s Tone Poems In addition to their main theatrical remit, His repertoire at Welsh National Opera In September 2004 he was appointed Chief and Bizet’s L’Arlesienne with the London the Orchestra of WNO gives many concerts has included , Boris Godunov, Peter Guest Conductor of the Teatro Comunale, Philharmonic Orchestra, and operas including in venues, both large and small, throughout Grimes, Tristan und Isolde, The Turn of the Bologna with whom he conducted Il trovatore La traviata, Rigoletto, Faust, La Cenerentola and England and Wales, including appearances at Screw, The Rake’s Progress, Der Rosenkavalier, and Andrea Chénier. Most recently he has Un ballo in maschera. major festivals including the BBC Proms at the Katya Kabanova, Salome, Ariadne auf Naxos, Royal Albert Hall in London. Don Carlo and The Flying Dutchman. In the Orchestra of Welsh National Opera 100th season of the BBC Proms he conducted Carlo Rizzi was born the Orchestra of Welsh National Opera in in Milan and studied their fi rst symphonic Promenade concert. piano, composition During his conductorship the Orchestra also and conducting at the won may awards including that of the Royal Milan Conservatoire. Philharmonic Society. Since 1996, he has been He was re-appointed a regular guest in concerts at the Edinburgh Music Director of International Festival. Welsh National Opera In other opera houses, he has conducted at for the second time in La Scala (Madama Butterfl y, Turandot), Covent August 2004 having Garden (La traviata, Madama Butterfl y, Così held the position between 1992 and 2001. fan tutte, Otello, Aroldo, Il trovatore); Opéra He has appeared in an extensive repertoire Bastille (Rigoletto, , La (from Gluck to Berio) with many orchestras Cenerentola); Deutsche Oper Berlin (L’italiana in Europe, North America, the far East and in Algeri, Macbeth), Munich (La Bohème, Australia including the London Symphony, La traviata) and Zurich (Tosca and I vespri London Philharmonic, Philharmonia and Siciliani); and for the Metropolitan Opera, Royal Philharmonic Orchestras, Chicago Lucia di Lammermoor, Il trovatore, Norma, Symphony, , Los Madama Butterfl y, La Bohème, La traviata,

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 26-2726-27 22/9/07/9/07 20:34:1720:34:17 British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 to University (providing the lead donation which paved the way for the development of the realise his charitable aims and, to fulfi ll one of these, the Compton Verney House Trust in Said Business School). 1993 to create a new art gallery in the country. Through his charities he has disbursed many millions to a wide variety of arts, environmental and social causes ‘to get things done and In 1993 the Foundation bought Compton Verney, a Grade I Georgian mansion in open doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world- Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a class art gallery that would provide an especially welcoming environment for the ‘fi rst-time’ number of young artists in the crucial, early stages of their careers, several of whom – Dame gallery visitor. The gallery, which houses six permanent collections, a Learning Centre for all Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – became ages, and facilities for major visiting exhibitions, was opened in March 2004 by HRH the world-famous. Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk

Today, the Peter Moores Foundation supports talented young singers with scholarships, Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, has made it possible for Chandos Records to issue the world’s largest catalogue of operas Oxford. He was a student at the Vienna Academy of Music, where he produced the Austrian recorded in English translation, and enabled Opera Rara to record rare bel canto repertoire premiere of Benjamin Britten’s The Rape of Lucretia, and at the same time was an assistant which would otherwise remain inaccessible to the general public. producer with the Vienna State Opera, working with Viennese artists in Naples, Geneva and Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He In live performance, the Foundation has encouraged the creation of new work and schemes was Vice-Chairman of Littlewoods in 1976, Chairman from 1977 to 1980 and remained a to attract new audiences, fi nanced the publication of scores, especially for world premieres director until 1993. of modern operas, and enabled rarely heard works to be staged by British opera companies and festivals. He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern Projects supported by the Foundation to help the young have ranged from a scheme College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by to encourage young Afro-Caribbeans ‘stay at school’ for further education, to the HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for his endowment of a Faculty Directorship and Chair of Management Studies at Oxford charitable services to the arts.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 28-2928-29 22/9/07/9/07 20:34:2720:34:27 Aufhebung der Leibeigenschaft im Jahre 1861 Der Grund für diese Eile ist natürlich Janácˇek: Katja Kabanowa nahm das Land allmählich Kenntnis von in jener ersten großen Liebe begründet. Er den erheblichen sozialen Problemen, die im hatte sich kaum vierzehn Tage nach dem Sie enthält viel Ergreifendes, Sanftes (nach seine Besessenheit mit allem Slawischen ans Zarenreich unter der Oberfl äche schwelten. ersten Zusammentreffen mit Kamila daran slawischer Art); welche Gefühlstiefe! Wenn ich Selbstzerstörerische. Er weigerte sich, mit Insbesondere die rohen und repressiven Werte gemacht, sein Tagebuch eines Verschollenen nur die rechte Ausdrucksform fi nden kann, die seinen Schwiegereltern Deutsch zu reden, der provinziellen Mittelschicht wurden in zu schreiben, sein erstes von ihr inspiriertes ebenso tief geht! was oft zu Familienkrach führte. Doch Literatur und Journalismus heftig kritisiert. Meisterwerk. In seinen Gedanken verschmolz seine Beschäftigung mit russischer Kultur Janácˇek hatte in seiner ersten großen Oper die muntere Brünette mit der verführerischen Janácˇek an Vincenc Cˇervinka liegt einigen seiner besten Werke zugrunde. Jenu˚fa bereits ein verwandtes Thema auf Zigeunerin des Liederzyklus. Eine ebenso Dezember 1919 Sein Erstes Streichquartett verdankt seinen bemerkenswerte Weise behandelt – das impulsive Verbindung stellte er zwischen der Titel und die untergründige Fabel Tolstois Werk beruhte auf einem Schauspiel der Protagonistin des Gewitters und seiner neuen Janácˇeks sechste Oper zeugt von den zwei gewaltsamer Novelle Die Kreutzersonate. Er zeitgenössischen mährischen Schriftstellerin Freundin her. In der Tat schrieb er ihr, die großen Lieben seines bemerkenswerten letzten schrieb eine ebenso schonungslose sinfonische Gabriela Preissová. In den Jahren nach der Oper sei erfüllt von seiner Wahrnehmung der Lebensjahrzehnts. Seine größte Liebe ist zur Suite auf der Grundlage von Gogols Taras Uraufführung dieser Oper suchte er nach Liebe Kamilas zu ihrem Gatten: Legende geworden – seine lang währende, Bulba. Seine letzte Oper Aus einem Totenhaus einer Entsprechung in der russischen Literatur, unerwiderte Vernarrtheit in Kamila Stösslová, bezieht ihre Inspiration aus Dostojewskis auf wobei er mit dem Gedanken an Werke wie Als ich Sie in Luhacˇovice kennen lernte…und die junge verheiratete Frau, die er 1917 im eigenen Erfahrungen beruhendem Roman. Anna Karenina und Der lebende Leichnam erstmals sah, wie eine Frau ihren Mann lieben mährischen Heilbad Luhacˇovice kennen Und vor allem wandte er sich für sein erstes von Tolstoi spielte. Erst als Jenu˚fa schließlich kann,…das war der Grund, warum ich mich lernte. Die zweite Liebe ist fast genauso Bühnenwerk nach der Gründung der neuen in Prag aufgeführt wurde und Janácˇek zu Katja Kabanowa zuwandte. wichtig – seine lebenslange Leidenschaft tschechischen Nation einem Meisterwerk einem der künstlerischen Vorbilder der für alles Russische. Zu einer Zeit, als die von Alexander Ostrowski zu, der als einer der neuerdings unabhängigen Tschechoslowakei Es war eine seltsame Art, das Erwachen tschechischen Lande unter österreichischer bedeutendsten Dramatiker Russlands gilt. geworden war, fand der Komponist endlich einer großen Leidenschaft zum Ausdruck Herrschaft standen, war er ein hartnäckiger, Katja Kabanowa beruht auf Ostrowskis den idealen Stoff. 1918 las er eine tschechische zu bringen, aber noch seltsamer war das fast starrsinniger Slawophile. Er studierte Gewitter, dessen Uraufführung um die Mitte Übersetzung von Ostrowskis Drama und musikalische Endergebnis. Katja ist Janácˇeks eingehend die russische Literatur und gründete der 1860er-Jahre am Moskauer Maly- trat sofort an den Verlag heran, um sich die einzige wahrhaft tragische Oper. Jenu˚fa im heimatlichen Brünn einen russischen Theater stattfand. Wie ein erheblicher Teil Rechte für eine Vertonung zu sichern. Er war endet in stoischer Resignation, trotz des Zirkel. Er besuchte Moskau und ließ sich der russischen Literatur jener Zeit war das von dem Werk so angetan, dass die Oper in Mordes am unehelichen Kind der Heldin. von dem Erlebnis überwältigen – den Kreml Stück eine harsche Kritik der damaligen nur dreizehn Monaten vollständig orchestriert Nachdem die zentrale Gestalt im Schlauen beschrieb er als märchenhaft. Zeitweise grenzte gesellschaftlichen Verhältnisse. Nach der vorlag. Füchslein umkommt, beschließt Janácˇek

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 30-3130-31 22/9/07/9/07 20:34:2820:34:28 das Werk mit einem epischen Hymnus auf durch die geschickte Gegenüberstellung von Streicherakkorde, acht leise Paukenschläge Janácˇek verleiht seinen Figuren auf ebenso die ewigen Erneuerungskräfte der Natur. Katjas Themen mit der kurz angebundenen und ein qualvolles Melisma der Streicher bemerkenswerte Weise ihr musikalisches Die Sache Makropulos endet damit, dass die und brutalen Musik ihrer Peiniger. Ohne führen uns in die raue und bedrückende Leben. Sie werden nicht durch Leitmotive dreihundertfünfzig Jahre alte Protagonistin von Wagner oder Strauss zu imitieren, verwebt und Welt der Familie Kabanow ein. Wenn das im Sinne Wagners identifi ziert, sondern den Qualen ewiger Reinkarnation befreit wird. transponiert er sein musikalisches Material Tempo der Musik zunimmt, wiederholen die durch winzige melodische oder rhythmische Selbst in der düsteren Gefängnischronik Aus auf eine Weise, die den schroffen Kontrast Pauken ihren Rhythmus fortissimo, bis er sich Gesten, die dann im Laufe der Oper einem Totenhaus wird mit den letzten Takten zwischen den beiden Welten in Ostrowskis in die vordergründig kecke Imitation einer verstärkt werden. Boris’ Onkel, der brutale, die Hauptfi gur entlassen und ein gefangener Drama brillant auf den Punkt bringt. Und russischen Volksweise verwandelt, begleitet von betrunkene Kaufmann Dikoj, weist einen Adler befreit. Nur bei Katja kommt es zu da ist noch etwas. Im Verlauf der acht Jahre, bimmelnden Schlittenglocken. Dieses kleine nervösen punktierten Rhythmus auf, der auf keiner Erlösung. Sie wird von der provinziellen die zwischen der Entstehung der ersten Thema wird an zwei wesentlichen Stellen gedämpften Trompeten seinen ersten Auftritt Gesellschaft, in der sie lebt, und ihrer eigenen beiden Akte von Jenu˚fa lagen, hatte sich sein des Dramas wiederkehren. Es begleitet den begleitet. Wenn das Motiv im letzten Akt zutiefst empfundenen Schuld erdrückt. Opernstil von der bukolischen Volksoper Höhepunkt des ersten Akts, wenn der von wiederkehrt, als er Schutz vor dem Gewitter Doch ist die Oper keineswegs durchweg im Stil von Smetana und Dvorˇák zu einem seiner Mutter beherrschte junge Kaufmann sucht, das den Höhepunkt der Oper bildet, düster. Sie enthält die einzige Liebesszene bemerkenswerten musikalisch-dramatischen Tichon zu seiner Geschäftsreise aufbricht ist es zu einem Thema angeschwollen, das zwischen Menschen in Janácˇeks reifem Naturalismus hin entwickelt. Jetzt, siebzehn und seine empfi ndsame junge Frau Katja zu so arrogant und überheblich ist wie Dikoj Opernschaffen (die Szene zwischen dem Jahre nach der Vollendung jener Oper, Hause zurücklässt, wo sie ihrer Leidenschaft selbst. Die Darstellung der Kabanicha, Fuchs und der Füchsin ist eher fl eischlich als unternahm Janácˇek eine noch kühnere für Boris Gregorjewitsch ausgeliefert ist. Es Katjas Schwiegermutter, ist noch subtiler. emotional), und als wäre das nicht genug, Reise – vom fl üssigen Sprechgesang der ersten kehrt ganz am Schluss der Oper zurück, Sie verfügt nicht über eigenes musikalisches liefert er uns gleich ein kontrapunktisches beiden Katja-Akte hin zum hypnotischen nachdem das Verhältnis zwischen Katja und Material, sondern beeinträchtigt vielmehr Zusammenkommen zweier Liebespaare. Surrealismus, in dem die Oper endet. Boris erst erblüht ist und dann durch Katjas die musikalische Stabilität der Personen in Obwohl Katjas Leidenschaft von den ersten Seine folgenden drei Bühnenwerke – das selbstmörderische Schuldgefühle ruiniert ihrem Umfeld. Bei ihrem ersten Auftritt stören Takten an als zum Scheitern verurteilt vom Comicstrip inspirierte Füchslein, die wurde. Janácˇek benutzt dieses Thema als ihre gefühllosen Einwürfe die zart fl ießende dargestellt wird, wirft ihre Persönlichkeit expressionistische Sache Makropulos und das Prüfstein der Gesellschaft, in der seine Heldin Melodie der Flöten, Streicher und Harfen, die doch ein strahlendes Licht auf jede Szene, in Totenhaus im Stile einer krassen Skizze – geben lebt. Seine konventionell slawische Melodik Katja selbst eingeführt hat. Indem er sie der der sie auftritt, selbst in den Augenblicken jeglichen Naturalismus auf. Katja ist die erste stellt die Oberfl äche des bürgerlichen Lebens kantigen Asymmetrie der Musik von Dikoj der Verzweifl ung vor ihrem Freitod. Janácˇek Zwischenstation auf dieser Reise. in Russland dar. Auseinander genommen und der Kabanicha entgegenstellt, platziert erreicht das mittels seiner transparentesten Janácˇek legt die musikalische und und in neue Formen verbogen enthüllt es die Janácˇek Katja als stille Präsenz im Zentrum Orchestrierung, einer neu erworbenen dramaturgische Argumentation des Werks von Heuchelei und Grausamkeit, die unter dieser einer gestörten Welt. Als sie in der folgenden melodischen Gewandtheit und vor allem Anfang an in aller Klarheit dar. Vier lastende Oberfl äche liegen. Szene mit ihrer Pfl egeschwester Barbara

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 32-3332-33 22/9/07/9/07 20:34:3020:34:30 (Warja) zurückkehrt, erweitert Janácˇek diese zu geloben. Doch als die beiden jungen Frauen der Oper vor. Die Musik, die anfangs das befi nden uns im Reich der Psyche. Wenn die musikalische Charakterisierung noch. Die sich im folgenden Akt auf ihr gemeinsames Gewitter begleitet, ist im Wesentlichen aus Oper ihrem Schluss entgegen eilt, begleitet Flöten und Streicher fl attern nun als Imitation Stelldichein im nächtlichen Garten vorbereiten, Dikojs nervösem Thema im Dreiertakt von wilden und klagenden Abwandlungen von ihres Verlangens, wie ein Vogel fl iegen zu bestimmt es das musikalische Material. Warja abgeleitet. Sie hat den Effekt, die akustische Tichons Melodie, folgen wir dem Komponisten können, als wolle sie dem emotionalen Kerker und ihr Liebhaber Kudrjasch tauschen in Textur zu fragmentieren, als erlebten wir das auf dem Weg in eine neue Landschaft. ihres Haushalts entfl iehen. Ausgesprochen einer Art musikalischen Vorspiels miteinander Geschehen aus Katjas zunehmend verwirrter Katja Kabanowa ist ein ausgesprochen gewandt verbindet er die Musik von Katja und Volkslieder. Im Gegensatz dazu besteht Sicht. Melodiebruchteile tauchen auf und seltsames Liebesgeschenk eines Komponisten an Warja, ohne die Individualität der Figuren die Musik für Katja und ihren ersehnten verschwinden wieder. Die “Katarina”-Rufe seine widerstrebende Muse. Sein unmittelbarer aufzuheben. Auf dem Höhepunkt ihrer Geliebten Boris ganz aus chromatischer der Anderen, die nach ihr suchen, hallen in Vorgänger, Das Tagebuch eines Verschollenen, gemeinsamen Szene spiegelt sich der Halbschluss Unentschlossenheit. Dies ist nicht bloß ein den Hörnern und Streichern nach, und in der hat ein zentrales Klavierzwischenspiel mit dem bei ihren Worten “und dann bei Nacht” in harmonisches Mittel zur Charakterdarstellung, Dunkelheit kehrt ein Bruchteil von Warjas Titel Intermezzo Erotico – ein außerordentlicher Warjas “wovon träumst du?” wider, ehe er mit sondern verbindet das Persönliche mit dem Volkslied wieder. Verzerrte Versionen des Akt musikalischer Wunscherfüllung – und ihrer Antwort “Warja, ich kann nicht schlafen” Sozialen – die Unmittelbarkeit von Katjas musikalischen Materials der ersten beiden Akte, endet damit, das der Held in die Wälder davon aufgelöst wird. Dann nach dem erotischen unerfüllten Emotionen mit der Darstellung der z.B. die fl atternden Flöten, die in der ersten schreitet, um sich zu seiner Zigeunergeliebten Sehnen der Musik, die ihre Phantasien darstellt, unversöhnlichen Gesellschaft, die ihre Tragödie Szene des zweiten Akts die Vögel darstellen, zu gesellen. Katja behandelt, wie das kehrt der Vorhalt bei den Worten “ich gehe, ich auslöst. Es gibt in diesem Akt ein dutzend durchziehen Katjas beide Monologe. Diese zurückgewiesene Subjekt von Tolstois Anna gehe” zurück, und wie das Drama selbst fi ndet Beispiele dafür, wie die Musik die Gemütslage Reminiszenzen dringen sogar in das letzte Karenina, die ehebrecherische Liebe mit die Musik hier keine Aufl ösung. der Protagonisten untermauert – die Andeutung Zusammentreffen der beiden Liebenden ein, erheblichem Einfühlungsvermögen, versetzt In den anschließenden Szenen kommt es zu des kommenden Unwetters, als die beiden das mit einem weiteren gescheiterten Versuch mit schroffer Ehrlichkeit. Doch in mancherlei einer Reihe von meisterhaften Wendungen. Mädchen in den Garten hinaustreten, der eines Liebesduetts beginnt und mit einem Beziehung handelte es sich wahrhaftig um ein Wenn Warja andeutet, Katja werde Boris leidenschaftliche Höhepunkt, wenn Katja und grausigen Abschied endet. Wiederum verfügt Geschenk, wenn auch womöglich nicht ganz so, vielleicht ganz zufällig treffen, erklingt im Boris “mein Leben” singen (er verspricht ein Boris über keine eigene Musik, wie um darauf wie Janácˇek es sich vorgestellt hatte. In diesem Orchester eine weitere kleine Volksweise, Liebesduett, das jedoch vorenthalten wird), und hinzuweisen, dass er keine Willenskraft oder Fall war Kamila die Gebende und Janácˇek der nur um von Tichons russischem Thema das verzweifelte Cellosolo, das den postkoitalen Charakterstärke aufbieten kann. Musikalisch Empfänger. Als er Ostrowskis Darstellung einer mit den irritierenden Schlittenglocken Zärtlichkeiten von Kudrjasch und Warja wie dramaturgisch ist Katja am Wolga-Ufer trostlosen Gesellschaft mit seinem eigenen rüde unterbrochen zu werden. Im Laufe vorangeht und den Akt nicht in Erfüllung, isoliert, und der wortlose Chor, der sie ruft, ist Bestreben verschmolz, seine geliebte Kamila der demütigenden Szene, mit der der Akt sondern mit Verzweifl ung beendet. die Verkörperung ihres Sehnens nach Vergessen in der zerbrechlichen, verwundbaren Katja schließt, wird Warjas Thema vergessen, als die Auf diese Weise bereitet uns Janácˇek in den Wassern. In diesem letzten Akt hat sich widergespiegelt zu sehen, vollzog Janácˇek als Kabanicha Katja zwingt, ihrem Gatten Treue auf die halluzinatorischen Schluss-Szenen Janácˇek vom Naturalismus verabschiedet. Wir Komponist einen exponentiellen Sprung. In der

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 34-3534-35 22/9/07/9/07 20:34:3220:34:32 Progression vom naturalistisch volkstümlichen COMPACT DISC ONE Szene 2 ihr gelungen ist, den Schlüssel zum Gartentor ersten Akt über den intimen Expressionismus Im Kabanowschen Haus, Nachmittag zu ergattern; falls sie Boris treffe, werde sie ihn des zweiten bis hin zu surrealen Verzweifl ung Erster Akt 8 Katja erzählt Barbara, einer Pfl egetochter bitten, sich mit Katja am Tor zu treffen, sagt des dritten gesellt sich Katja Kabanowa zu Szene 1 im Hause Kabanow, von ihrer glücklichen sie. Katja nimmt den Schlüssel und verbirgt Bergs fast zeitgleich entstandenem Wozzek Vor dem Kabanowschen Haus, Nachmittag Kindheit, und Barbara fragt Katja nach ihren ihn hastig, als sie die Kabanicha mit Dikoj als eines der ersten großen modernen 1 – 2 Kudrjasch, ein junger Lehrer, Träumen: 9 – 10 Katja sagt, sie höre die reden hört. 15 Katja tritt hinaus – sie sehnt Musikdramen. bewundert die Schönheit des Flusses. 3 – 4 Stimme eines Mannes, die ihr ins Ohr fl üstert, sich nach dem Abend. 16 Die Kabanicha und Die Dienerin Glascha ist nicht beeindruckt. sie möge mit ihm davongehen, und sie folge der beschwipste Dikoj treten auf. Er will nicht © 2007 Dennis Marks Bald werden sie von Dikoj abgelenkt, der ihm. Tichon tritt auf – er ist im Begriff, zum heimgehen und macht sich an die Kabanicha im Herankommen seinen Neffen Boris ob Markt aufzubrechen, wie es ihm seine Mutter heran. Sie weist ihn von sich. 17 Intermezzo II. Aussage dessen Faulheit beschimpft. Als er erfährt, befohlen hat. Katja fl eht ihn an, sie nicht Marfa Kabanicha, die Witwe des Kaufmanns dass Katja noch in der Kirche ist, macht sich zu verlassen, aber er muss gehen und kann Szene 2 Kabanow, beherrscht das Dasein ihres Dikoj auf die Suche nach ihr. Boris bleibt mit sie nicht mitnehmen. 11 Katja bittet ihn, sie Vor dem Gartentor der Kabanows Sohnes Tichon und dessen Frau Katja. Auf Kudrjasch allein zurück und erklärt, dass er schwören zu lassen, dass sie keinen anderen 18 [Einleitung]. 19 Kudrjasch kommt auf der ihre Anweisung hin begibt er sich auf eine nur wegen der Bestimmungen im Testament Mann ansehen oder ansprechen werde. 12 Die Suche nach Barbara ans Tor und singt ein Geschäftsreise, obwohl Katja befürchtet, in seiner Großmutter bei seinem Onkel bleibe: Kabanicha kommt und besteht darauf, dass ihr Lied. Boris tritt auf und erklärt, er warte auf seiner Abwesenheit könne etwas Schreckliches Seine Schwester und er werden ihr Erbe mit Sohn vor der Abreise Katja seine Anweisungen jemanden, nämlich auf Katja, eine verheiratete passieren. In der Tat veranlasst Tichons einundzwanzig Jahren antreten, aber nur, wenn gibt: Sie muss die Kabanicha achten und ihr Frau. Kudrjasch warnt ihn wegen der damit Abreise seine Pfl egeschwester, Katja zu einem sie bis dahin ihrem Onkel gehorchen. 5 Dann gehorchen, fl eißig sein und “und ihre Blicke verbundenen Risiken. 20 Barbara kommt Stelldichein mit ihrem Liebhaber zu überreden. verrät Boris, dass er sich in eine verheiratete von anderen Männern fern halten”. Katja und teilt Boris mit, dass Katja unterwegs Ein furchtbares Unwetter und Tichons Frau verliebt hat, nämlich in Katja Kabanowa. umarmt ihren Mann, ehe er geht. sei. Kudrjasch und Barbara begeben sich ans unerwartete Rückkehr entnerven Katja, und sie Flussufer. 21 – 22 Bald darauf erscheint Katja; bekennt sich öffentlich zu ihrem Ehebruch. Sie 6 Die Familie Kabanow kehrt aus der Kirche Zweiter Akt sie weigert sich, Boris’ Hand zu halten. Er ertränkt sich, und die Kabanicha überwacht zurück. Die Kabanicha befi ehlt ihrem Sohn Szene 1 tut seine Leidenschaft kund, aber Katja ist Tichons reuige Verzweifl ung. Tichon, sich sofort zum Markt in Kasan Im Kabanowschen Haus, Spätnachmittag zurückhaltender im Eingeständnis ihrer Liebe aufzumachen. Sie beschwert sich bitterlich 13 Die Kabanicha rügt Katja, weil sie Tichons zu ihm. Sie umarmen sich. Man hört, wie Inhaltsangabe darüber, dass er sie zugunsten seiner Frau Abreise nicht ausreichend betrauert. Die Kudrjasch und Barbara ihre Liebe zueinander Die Oper spielt um 1860 in einer kleinen Stadt vernachlässigt, und weist Katja zurecht, als sie Kabanicha geht und verlangt, nicht gestört zu bekunden. Katja tritt wieder durchs Gartentor an der Wolga. zu widersprechen wagt. 7 Intermezzo I. werden. 14 Barbara kommt und verrät, dass es und lässt Boris draußen zurück.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 36-3736-37 22/9/07/9/07 20:34:3320:34:33 COMPACT DISC TWO Szene 2 wo sie unter anderem die Rollen der Nedda der Deutschen Oper, die Titelrolle der Katja Am Ufer der Wolga, bei Einbruch der Nacht (Pagliacci), der Gräfi n (Die Hochzeit Kabanowa in Genf und an der Welsh National Dritter Akt 4 Tichon und Glascha suchen nach der des Figaro), Mimì (La Bohème), Violetta Opera, sowie an der Vlaamse Opera die Szene 1 verschwundenen Katja. Barbara und Kudrjasch (La traviata), Donna Elvira (Don Giovanni), Titelrollen in Suor Angelica und der Lustigen Zwei Tage später; eine Ruine am Wolga-Ufer, beschließen, zusaamen nach Moskau zu Tatjana (Eugen Onegin) und die Titelrollen Witwe, außerdem Mimì, Desdemona (Otello) gegen Abend entfl iehen. 5 – 7 Katja tritt alleine auf. Sie in Madama Butterfl y und Tosca sang. Sie hat und Liù (Turandot). 1 Kudrjasch und sein Freund Kuligin bereut ihr Geständnis, doch sie liebt Boris außerdem die Partien der Mimì, Antonia Cheryl Barker tritt regelmäßig in Recitals suchen Schutz vor dem Regen, und bald und sehnt sich nach dem Tod. Plötzlich (Les Contes d’Hoffmann) und Tatjana an der und Konzerten auf, und ihre zahlreichen kommen andere hinzu. Sie bemerken die alten kommt ihr Geliebter herbei, und sie sinken gegeben, Tatjana und Aufnahmen auf Tonträger umfassen Emilia Fresken mit Darstellungen der Hölle und der sich in die Arme. 8 Boris teilt ihr mit, dass Violetta an der Opera Queensland sowie Marty (Die Sache Makropulos) und Madama Verdammten, die noch unter der eingefallenen sein Onkel ihn fortschicken will. Katja bleibt Madama Butterfl y und Violetta an der Butterfl y im Rahmen der Chandos-Reihe Apsis zu erkennen sind. Auch Dikoj kommt, ihrer Schwiegermitter und dem betrunkenen New Zealand Opera. “Opera in English“, Dysons Quo Vadis für um sich unterzustellen. Kudrjasch erklärt, das Ehemann ausgeliefert. International ist Cheryl Barker insbesondere Chandos und eine Solo-CD mit Puccini-Arien. Unwetter sei “nichts als Elektrizität”, während für ihre Darbietungen der Madama Butterfl y Dikoj es als Strafe Gottes ansieht. Boris geht, und Katja stellt sich ihr Grab vor. bekannt – sie hat die Rolle an der English Jane Henschel (Marfa Kabanowa (Kabanicha)) 9 Sie verschränkt die Arme und wirft sich National Opera, der Houston Grand Opera, wurde im US-Staat Wisconsin geboren, studierte Es hört auf zu regnen, und Dikoj tritt hinaus, in den Fluss. 10 Ein Suchtrupp kommt, und der Vlaamse Opera, der Hamburger Staatsoper, an der University of Southern California und gefolgt von den anderen. 2 Barbara kommt Dikoj tritt mit Katjas Leiche auf. Tichon gibt der Deutschen Oper Berlin und jüngst an ließ sich dann in Deutschland nieder. Ihre und macht Boris auf sich aufmerksam. Sie teilt seiner Mutter die Schuld für Katjas Tod, aber der Nederlands Opera gesungen. Zu ihren Rollen umfassen Baba the Turk (The Rake’s ihm mit, dass Tichon unerwartet zurückgekehrt die Kabanicha dankt nur den Nachbarn für Darbietungen in aller Welt zählen daneben Progress) bei den Festspielen von Glyndebourne, ist und Katja hysterisch reagiert hat – sie droht ihre Hilfe. Jenifer (A Midsummer Marriage) am Royal Saito Kinen und Salzburg, Brangäne (Tristan sogar, alles zu gestehen. 3 Als Katja kommt, Opera House Covent Garden, Tatjana und und Isolde) an der Los Angeles Opera und der Übersetzung: Bernd Müller verstecken sich Boris und Kudrjasch, während Adina (L’elisir d’amore) an der Scottish Opera, Pariser Opéra, Klytemnestra (Elektra) an der Barbara Katja zu beruhigen versucht. Als Dikoj, Oksana (in Rimski- Korsakows Weihnacht), die San Francisco Opera, die Principessa (Suor Tichon und die Kabanicha auftreten, fällt Katja Die aus Australien stammende Cheryl Barker Gouvernante (The Turn of the Screw), Musetta Angelica) mit dem Concertgebouw-Orchester auf die Knie und beichtet in aller Öffentlichkeit (Katarina Kabanowa (Katja)) studierte in (La Bohème), und Donna Elvira an der English unter , Dialogues des Carmélites ihre Untreue. Sie bricht in den Armen ihres Melbourne bei Dame und National Opera, die Titelrolle in Maria Stuarda in Amsterdam, die Küsterin (Jenu˚fa) under Seiji Mannes zusammen, reißt sich aber sofort wieder in London bei David Harper. In Australien für die Nationale Reisoper der Niederlande, Ozawa in Japan und die Kabanicha bei den los und eilt in das Unwetter hinaus. tritt sie regelmäßig an der Opera Australia auf, Violetta an der Hamburger Staatsoper und Salzburger Festspielen.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 38-3938-39 22/9/07/9/07 20:34:3620:34:36 Am Royal Opera House Covent Garden am Hartt College of Music in Hartford, wo er Schlagzeug an der Musikschule von anschließend am National Opera Studio, wo hat sie Fricka und Waltraute, Ulrica (Un ballo bei David Ray Smith studierte. Huddersfi eld. Er war mehrere Jahre lang als er von der Peter Moores Foundation gefördert in maschera), Klytemnestra sowie Mrs. Grose In den vergangenen Spielzeiten hat er freischaffender Schlagzeuger tätig, ehe er die wurde. Er war von 1999 bis 2001 als Solist im (The Turn of the Screw) gesungen, an der regelmäßig an der Metropolitan Opera berufl iche Laufbahn eines Sängers einschlug. Ensemble der Royal Opera Covent Garden Mailänder Scala die Herodias (Salome) und (Mephistopheles in Doktor Faustus) gastiert, am Zu seinen Opernpartien an der Welsh engagiert und gasiert regelmäßig an der Cassandre (Les Troyens). Zu ihren Rollen an der Royal Opera House Covent Garden (Bacchus National Opera gehören Bacchus (Ariadne Welsh National Opera. Seine dortigen Rollen Bayerischen Staatsoper in München gehören in Ariadne auf Naxos), an der Hamburger auf Naxos), der Hauptmann (Wozzeck), umfassen Don José (Carmen), Tamino (Die Herodias, Klytemnestra, Ulrica, Mistress Staatsoper (Hermann in Pique Dame), am Vaudemont (Iolanta), Titus (La clemenza di Zauberfl öte), Don Ottavio (Don Giovanni), Quickly (Falstaff ) und Ortrud (Lohengrin), Teatro alla Scala (Guido Bardi in Zemlinskys Tito), Narraboth (Salome), der Gottesnarr Alfredo (La traviata) und Štewa (Jenu˚fa) sowie an der Deutschen Oper Berlin sang sie Florentinischer Tragödie und Golizyn in (Boris Godunow), die Knusperhexe (Hänsel und den Steuermann (Der fl iegende Holländer). Klytemnestra, Herodias und Ortrud, an der Chowanschtschina), bei den Festspielen von Gretel), Tichon (Katja Kabanowa), Bardolfo Des weiteren ist er in Großbritannien Wiener Staatsoper Klytemnestra, Fricka und Glyndebourne (Lacˇa in Jenu˚fa) und Salzburg (Falstaff ), Valzacchi (Der Rosenkavalier) und und Irland in den Rollen des Boris (Katja Mistress Quickly. Die Amme (Die Frau ohne (mit der Titelrolle in Zemlinskys Der König Goro (Madama Butterfl y) am Royal Opera Kabanowa) und Tamino (Die Zauberfl öte) für Schatten) ist zu ihrer Paraderolle geworden, Kandaules), am Liceu in Barcelona (Golizyn, House Covent Garden, Mr. Upfold (Albert Opera North aufgetreten, als Lenski (Eugen die sie in Amsterdam, London, Los Angeles, außerdem Erik im Fliegenden Holländer) und Herring), Idomeneo und Arbace in Idomeneo Onegin), Federico (L’Arlesiana) und Pluto München, Paris, Wien, Berlin und an der an der Opéra de Paris-Bastille (Graf Pierre sowie Vater Eustaph (Die Verlobung im Kloster) (Orphée aux enfers) an der Opera Holland Metropolitan Opera in New York gegeben hat. Besuchow in Krieg und Frieden, Dimitri in für die Glyndebourne Festival Opera; hinzu Park, Kyska (Šarlatán) und Julius (I Cavalieri Jane Henschels Aufnahmen auf Tonträger Boris Godunow, Golizyn, sowie die Titelrolle in kommen Darbietungen mit den Berliner di Ekebu) bei den Festspielen von Wexford, als umfassen Hänsel und Gretel im Rahmen der Der Zwerg). Er ist außerdem an der Houston Philharmonikern unter der Leitung von Sir Rodolfo (La Bohème) in der Londoner Royal Chandos-Reihe “Opera in English”, Krasas Grand Opera, der Canadian Opera Company, Simon Rattle in Berlin, Luzern, und bei den Albert Hall, Tamino für Glyndebourne On Verlobung im Traum, The Rake’s Progress, der Montpellier Opera, Dallas Opera und Salzburger Festspielen. Er ist außerdem an Tour, Lenski (Eugen Onegin) an der Opera Albéniz’ Merlin, Brittens The Turn of the Screw an der Deutschen Oper Berlin aufgetreten. der Opera North, der Scottish Opera, am Holland Park und als Chevalier de la Force und Mahler’s Achte Sinfonie. Zu seinen Partien auf Tonträger gehört Grand Théâtre de Genève, an der Opéra de (Gespräche der Karmeliterinnen) an der English auch Albert Gregor (Die Sache Makropulos) Lausanne und am Théâtre des Champs Elysées National Opera. Der amerikanische Tenor Robert Brubaker im Rahmen der Chandos-Reihe “Opera in aufgetreten. Außerhalb Großbritanniens hat Peter Wedd (Boris Grigorjewitsch) hat sich als führender English”. an der European Chamber Opera, am Lyric Tenor an Opernhäusern in den USA und in Peter Wedd (Wanja Kudrjasch) studierte In Theatre in Singapur, mit der Opera Australia ganz Europa etabliert. Im US-Staat Pennsylvania Peter Hoare (Tichon Kabanow) wurde im London an der Guildhall School of Music und am Opéra-Théâtre de Limoges gesungen, geboren, erwarb er seinen Hochschulabschluss englischen Bradford geboren und studierte and Drama bei William McAlpine und außerdem ist er bei den Festspielen von

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 40-4140-41 22/9/07/9/07 20:34:3820:34:38 Maribor in Slowenien und von Cernier in der an der Opera Holland Park. Sie gab ihr Debüt der Chandos-Reihe “Opera in English”) und Aufführung und Einspielung von The Pilgrim’s Schweiz aufgetreten. an der Nederlandse Opera als Lucienne (in Dansker (Billy Budd) an der English National Progress des Royal Northern College of Music. Korngolds Die tote Stadt). Opera, in Glyndebourne Inszenierungen Victoria Simmonds (Barbara) studierte bei von Pelléas et Mélisande, Manon Lescaut, Don Owen Webb (Kuligin) wuchs in Pontlliw im David Pollard an der Londoner Guildhall Der walisische Bass Gwynne Howell (Dikoj) Giovanni, Figaro und Otello, am Royal Opera Süden von Wales auf und studierte bei Beatrice School of Music and Drama. Sie wurde mit studierte am Royal Northern College of Music. House Covent Garden der Alte Zwangsarbeiter Unsworth am Royal College of Music and dem Countess of Munster Prize ausgezeichnet. Er trat 1972 dem Ensemble des Royal Opera in Lady Macbeth von Mzensk und die Drama, wo er mit mehreren Auszeicnungen Im Jahre 2000 trat sie am Royal Opera House House Covent Garden bei und hat dort die Uraufführung von The Tempest von Thomas bedacht wurde. Gegenwärtig nimmt er im Rahmen des English Bach Festival in meisten bedeutenden Basspartien gesungen. Adès – die gleiche Rolle sang er auch 2006 in Unterricht bei Stephen Roberts. Er ist Händels Oreste auf und gab ihr Debüt an Daneben pfl egte er eine langjährige Verbindung Santa Fe. Gwynne Howell wurde 1998 mit assoziierter Künstler der Welsh National Opera der English National Opera als Maos Erste zur English National Opera, wo Hans Sachs, dem Orden Commander of the British Empire und erhielt dort die Schäfer- und Chris-Ball- Sekretärin Nancy T’ang in John Adams’ Nixon Gurnemanz, König Philipp II. und Blaubart (CBE) ausgezeichnet. Stipendien zugesprochen. in China. Sie war von 2000 bis 2005 Solistin zu seinen zahlreichen Erfolgspartien gehörten. Seine Rollen umfassen Schaunard im Ensemble der English National Opera und Seine internationale Karriere umfasst Auftritte Kathleen Wilkinson (Glascha) wurde in (La Bohème), Masetto (Don Giovanni), Marullo sang dort Cherubino (Die Hochzeit des Figaro), in New York, Chicago, San Francisco, Santa Fe, der nordenglischen Grafschaft Lancashire (Rigoletto), Papageno (Die Zauberfl öte), Zurga Mercedes (Carmen), Zaida (Der Türke in Paris, Genf, Hamburg, München und Köln. geboren und studierte bei Barbara Robotham (Die Perlenfi scher), Escamillo (Carmen), Italien), Pitti-Sing (The Mikado), Rosina (Der Auf dem Konzertpodium hat er weltweit mit am Royal Northern College of Music, wo sie Guglielmo (Così fan tutte), und Dr. Falke Barbier von Sevilla), Dorabella (Così fan tutte), Dirigenten wie Claudio Abbado, Carlo Maria ein Peter-Moores-Stipendium und mehrere (Die Fledermaus). Hermia (A Midsummer Night’s Dream) und Giulini, Riccardo Muti, Leonard Bernstein, Auszeichnungen erhielt. Zerlina (Don Giovanni). Pierre Boulez, Daniel Barenboim, James Levine, She hat an der Scottish Opera, der Der Chor der Welsh National Opera begann Zu ihren Festspielengagements gehören Bernard Haitink, Zubin Mehta und Seiji Ozawa Opera Ireland, bei den Opernfestivals von seine Tätigkeit als professionelles Ensemble im die Rollen der Wellgunde (Das Rheingold) gearbeitet. Zu seinen vielfältigen Aufnahmen Holland Park und Grange Park sowie bei den Jahre 1968 und sang solange zusammen mit dem unter Sir Simon Rattle in Aix, Händels La auf Tonträger zählen Mahlers Achte Sinfonie Festspielen von Glyndebourne gesungen, gefeierten Freiwilligenchor (Voluntary Chorus) Lucrezia beim Festival von Batignano, die mit Seiji Ozawa, der Messias mit Sir Georg Solti, wo ihre Rollen die Madame de la Haltière des Hauses, bis der 1973 aufgelöst wurde. Der Titelrolle in La Perichole und Ines (Maria Tristan und Isolde unter Sir Reginald Goodall (Cendrillon), Brittens Lucretia, Mercedes Freiwilligenchor hatte aus Amateuren bestanden, Padilla) in Buxton, die Titelrolle der Carmen sowie Beethovens Neunte Sinfonie mit Kurt und die Titelrolle in Carmen umfassten, die sich 1943 zusammentaten, um den Kern der für Raymond Gubbay in der Londoner Royal Masur. dazu Filipjewna (Eugen Onegin), Suzuki späteren Welsh National Opera zu bilden, und Albert Hall, Isolier (Le Comte Ory) an der Seine jüngsten Engagements umfassen (Madama Butterfl y), Martha (Faust), Azucena es war der Erfolg dieses Chors, der die WNO in Garsington Opera und Olga (Eugen Onegin) Schigolch (Lulu) (auch eingespielt im Rahmen (Il trovatore) und Madam By-Ends in der der Opernwelt etablierte.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 42-4342-43 22/9/07/9/07 20:34:3920:34:39 Gegen Ende der 1960er-Jahre ging die Ensemble etabliert, das ebenso hohes Lob Carlo Rizzi wurde in Mailand geboren seiner Leitung hat das Orchester außerdem WNO insgesamt in ein Berufsensemble über, für seine Leistungen im breit gefächerten und studierte am dortigen Konservatorium zahlreiche Preise gewonnen, darunter den und der Freiwilligenchor wurde durch den Opernrepertoire wie für seine Konzerte Klavier, Komposition und Orchesterleitung. der Royal Philharmonic Society. Seit 1996 Chor der Welsh National Opera ersetzt. Dieser und die zahlreichen Aufnahmen für viele Er wurde im August 2004 erneut zum hat Carlo Ricci regelmäßig bei Konzerten des Chor hat in den letzten Jahren Konzertreisen verschiedene Plattenfi rmen geerntet hat. Musikdirektor der Welsh National Opera Edinburgh International Festival gastiert. durch Südwales unternommen. Orchester und Zu seinen ehemaligen Musikdirektoren ernannt, nachdem er diese Position schon Neben seiner Tätigkeit an der Welsh Chor haben (unter renommierten Dirigenten gehören Richard Armstrong (1973–1986), einmal von 1992 bis 2001 innegehabt hatte. National Opera hat er als Operndirigent an wie Sir Reginald Goodall, Sir Charles Sir Charles Mackerras (1987 – 1992) und Er hat sein umfangreiches Repertoire (von der Mailänder Scala (Madama Butterfl y, Mackerras, Carlo Rizzi, Tugan Sokhiev (2002 – 2004). Carlo Rizzi, Gluck bis Berio) bei zahlreichen Orchestern Turandot), dem Royal Opera House Covent und Pierre Boulez) zahlreiche Einspielungen der von 1992 bis 2001 Musikdirektor des in Europa, Nordamerika, dem Fernen Garden (La traviata, Madama Butterfl y, vorgenommen, wobei das Repertoire von Orchesters war, kehrte 2004 in gleicher Osten und Australien dirigiert, darunter das Così fan tutte, Otello, Aroldo, Il trovatore), Bellini über Verdi, Wagner, Gilbert und Funktion an die Welsh National Opera London Symphony, London Philharmonic, an der Opéra Bastille (Rigoletto, Simone Sullivan bis Maxwell Davies reicht. zurück und hat in deren erster Saison Philharmonia und Royal Philharmonic Boccanegra, La Cenerentola), an der Deutschen Das Orchester der Welsh National Opera im neuen Wales Millennium Centre Orchestra, das Chicago Symphony Orchestra, Oper Berlin (L’italiana in Algeri, Macbeth), hat den Musikpreis der Royal Philharmonic Aufführungen von La traviata, Cavalleria Philadelphia Orchestra, das Los Angeles in München (La Bohème, La traviata) und Society in der Kategorie Großensemble rusticana und Pagliacci dirigiert. Jüngst leitete Philharmonic sowie die Sinfonieorchester Zürich (Tosca und I vespri Siciliani) gewirkt; gewonnen, und die WNO hat insgesamt er die von der Kritik gelobte Inszenierung von St. Louis, Dallas und Atlanta, außerdem an der New Yorker Metropolitan Opera hat vier weitere bedeutende Auszeichnungen der von Don Carlos, den Fliegenden Holländer das Orchestre National de France und das er Lucia di Lammermoor, Il trovatore, Norma, Philharmonic Society erhalten, außerdem mit Bryn Terfel in der Titelrolle in Cardiff, Orchester der Mailänder Scala. Madama Butterfl y, La Bohème, La traviata, den Preis für die Beste Operninszenierung London und Birmingham sowie im Herbst Sein Repertoire an der Welsh National Cavalleria rusticana, Pagliacci, Aida, Turandot der Zeitung The Evening Standard, einen 2006 die Wiederaufnahme der viel geliebten Opera umfasst Fidelio, Boris Godunow, Peter und Nabucco gegeben. In der vergangenen Laurence-Olivier-Preis für die beste neue WNO-Inszenierung von La Bohème. Grimes, Tristan und Isolde, The Turn of the Saison eröffnete er das neue Opernhaus in Operninszenierung sowie den Barclays Zusätzlich zu seiner Hauptaufgabe im Screw, The Rake’s Progress, Der Rosenkavalier, Cardiff (im Wales Millennium Centre) mit Theaterpreis für hervorragende Leistungen im Bühnenbereich gibt das Orchester der WNO Katja Kabanowa, Salome, Ariadne auf Naxos, La traviata. Opernbereich. Konzerte in zahlreichen kleinen und großen Don Carlos und Der fl iegende Holländer. Im September 2004 wurde er zum Ersten Sälen in ganz England und Wales, darunter Im Zuge der 100sten Saison der BBC- Gastdirigenten des Teatro Comunale von Das Orchester der Welsh National Opera auch Auftritte bei bedeutenden Festivals Promenadenkonzerte dirigierte er das Bologna bestellt und hat dort Il trovatore und wurde 1970 gegründet. Seither hat es sich wie den BBC-Promenadenkonzerten in der Orchester der Welsh National Opera in seinem Andrea Chénier aufgeführt. Jüngst dirigierte er als ausgesprochen gutes und vielseitiges Londoner Royal Albert Hall. ersten Sinfoniekonzert der Festspiele. Unter La traviata und La Bohème an der Metropolitan

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 44-4544-45 22/9/07/9/07 20:34:4120:34:41 Opera, Don Carlos in Zürich und Aida in L‘Arlesienne mit dem London Philharmonic On session: Robert Brubaker and Peter Hoare Houston. Orchestra, außerdem Opern wie La traviata, Zu seinen Aufnahmen auf Tonträger Rigoletto, Faust, La Cenerentola und Un ballo in zählen Respighis Tondichtungen und Bizets maschera.

Chorus of Welsh National Opera

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 46-4746-47 22/9/07/9/07 20:34:4320:34:43 bourgeoisie provinciale soulève en particulier de L’Orage et sa nouvelle amie. En effet, il lui Janácˇek: Kátya Kabanová de vives critiques chez les écrivains et les confi e dans une lettre que l’opéra est inspiré journalistes. Janácˇek a déjà abordé ce sujet par sa perception de l’amour de Kamila pour Il renferme tant d’éléments touchants et doux parler allemand à sa belle-famille, ce qui de façon mémorable dans son premier grand son mari: (dans le style slave); quelle profondeur d’émotion! cause de fréquentes disputes de ménage. Et opéra, Jenu˚fa, basé sur une pièce d’un auteur Pourvu que je trouve l’expression juste, la même pourtant cette obsession pour la culture russe morave contemporain, Gabriela Preissová. Lorsque j’ai fait ta connaissance à Luhacˇovice... profondeur! est à la base de certaines de ses plus grandes Durant les années qui suivent la création et que j’ai vu pour la première fois combien une Janácˇek à Vincenc Cˇervinka œuvres. Son Premier Quatuor à cordes de cet opéra, il recherche un sujet similaire femme peut aimer son mari... c’est alors que j’ai décembre 1919 emprunte son nom et son histoire tacite à une dans la littérature russe et envisage un temps décidé d’aborder Kátya Kabanová. nouvelle très violente de Tolstoï, La Sonate à Anna Karénine et Le Cadavre vivant de Le sixième opéra de Janácˇek rend témoignage Kreutzer. Il compose une suite symphonique Tolstoï. Ce n’est que lorsque Jenu˚fa est enfi n Etrange façon d’exprimer la naissance d’une des deux grands amours des dix dernières tout aussi féroce sur Taras Boulba de Gogol. monté à Prague et qu’il devient l’une des grande passion... encore plus étrange l’œuvre années si remarquables de la vie du Son ultime opéra, De la Maison des morts, fi gures de proue artistiques de la nouvelle musicale qui en résulte. Kátya est le seul opéra compositeur. Le premier de ces amours est puise son inspiration dans le roman semi- Tchécoslovaquie indépendante que Janácˇek vraiment tragique de Janácˇek. Jenu˚fa s’achève aujourd’hui légendaire – sa longue passion autobiographique de Dostoïevski. Mais le plus trouve enfi n le sujet parfait. En 1918 il lit dans sur un ton de résignation stoïque, malgré le sans retour pour Kamila Stösslová, la jeune signifi catif, c’est que pour sa première œuvre une traduction tchèque la pièce d’Ostrovski meurtre de l’enfant illégitime de l’héroïne. femme mariée qu’il rencontre dans la station pour la scène depuis la naissance de la nouvelle et contacte immédiatement les éditeurs pour Lorsque le personnage principal est tué dans thermale tchèque de Luhacˇovice en 1917. nation tchèque, il choisit un chef d’œuvre obtenir le droit de mettre la pièce en musique. La Petite Renarde rusée, Janácˇek conclut Le second est presque aussi important – sa de l’un des plus grands dramaturges russes, Il est tellement inspiré par cette œuvre que l’œuvre avec un immense hymne à la nature et passion de toute une vie pour tout ce qui est Alexander Ostrovski. l’opéra est achevé et orchestré en l’espace de à ses pouvoirs de renouveau éternel. L’Affaire russe. A une époque où les terres tchèques sont Kátya Kabanová est basé sur L’Orage treize mois. Makropoulos s’achève sur la libération de notre sous contrôle autrichien, il reste un slavophile d’Ostrovski, pièce créée au Théâtre Maly à Cette urgence, il la doit bien entendu à son héroïne de plus de trois cent-cinquante ans du invétéré, voire obstiné. Il étudie la littérature Moscou au milieu des années 1860. Comme premier grand amour. Il s’est lancé dans la joug de la réincarnation éternelle. Même dans russe en profondeur et fonde un cercle russe tant d’œuvres littéraires russes de l’époque, la composition du Journal d’un disparu, premier la lugubre chronique basée dans un pénitentier dans sa ville natale de Brno. Il visite Moscou pièce est une critique sévère de la société de chef d’œuvre inspiré par Kamila, seulement qu’est De la Maison des morts, le personnage et en revient bouleversé, décrivant le Kremlin son temps. Après l’émancipation des serfs en quinze jours après avoir rencontré la jeune principal et un aigle prisonnier retrouvent la comme un conte de fées. Par moments son 1861, le pays s’éveille aux immenses problèmes femme. Dans son esprit, la vive brunette se liberté dans les dernières mesures. Seule Kátya obsession pour toute chose slave l’entraîne sociaux prêts à émerger dans l’Empire des mêle à la gitane tentatrice du cycle de mélodies. ne peut être sauvée. Elle est écrasée par le poids aux bords de l’autodestruction. Il refuse de Tsars. L’attitude vulgaire et répressive de la Il rapproche avec la même fougue l’héroïne répressif de la société provinciale dont elle fait

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 48-4948-49 22/9/07/9/07 20:34:5220:34:52 partie et par le sentiment de culpabilité qui la Jenu˚fa, Janácˇek fait un voyage encore plus lorsque l’amour qui a fl euri entre Kátya et Boris à la fl ûte, aux cordes et aux harpes, mélodie qui déchire. radical – depuis le chant parlé fl uide des deux est fi nalement empoisonné par la culpabilité introduit Kátya elle-même. En opposant son Mais l’opéra n’est certainement pas noir premiers actes de Kátya jusqu’au surréalisme suicidaire de Kátya. Pour Janácˇek ce thème est thème à l’asymétrie de la musique de Kabanicha de bout en bout. Il renferme l’unique scène envoûtant dans lequel s’achève l’opéra. Les la pierre de touche de la société dans laquelle et Dikoy, Janácˇek établit Kátya comme d’amour humain des opéras de la maturité trois œuvres pour la scène qui suivront – son héroïne évolue. Sa grâce mélodique une présence calme au centre d’un monde de Janácˇek (la scène entre le renard et la La Renarde rusée, inspiré de la bande dessinée, typiquement slave dépeint la surface de la disfonctionnel. Lorsqu’elle revient sur scène renarde est plus charnelle qu’émotionnelle) L’Affaire Makropoulos au ton expressionniste et bourgeoisie russe. Ecartelé et reformé, il révèle avec sa sœur adoptive Barbara dans la scène et de plus il associe en contrepoint deux De la Maison des morts, esquisse irrégulière – l’hypocrisie et la cruauté qui se cachent sous suivante, Janácˇek développe ce portrait musical. couples d’amants. Si la passion de Kátya renonceront carrément au naturalisme. Kátya cette surface. Les fl ûtes et les cordes palpitent pour imiter son nous apparaît condamnée dès les premières est la première étape de ce voyage. Par la musique, Janácˇek donne vie à ses désir de voler comme un oiseau, comme pour mesures, sa personnalité illumine chacune des Dès les premières mesures Janácˇek expose personnages de façon tout aussi remarquable. échapper à la prison émotionnelle qu’est son scènes dans lesquelles elle intervient, même l’argument musical et dramatique de l’œuvre Ils ne sont pas associés à des leitmotifs foyer. Avec une éloquence prodigieuse, il unit la ces moments de désespoir qui précèdent son avec une clarté implacable. Quatre accords wagnériens mais à de brefs gestes mélodiques musique de Kátya et celle de Barbara sans pour suicide. Luminosité que Janácˇek obtient grâce menaçants aux cordes, huit coups discrets ou rythmiques qui sont amplifi és au fur et à autant faire perdre à chacune son individualité. à une orchestration des plus transparentes, aux timbales et un mélisme angoissé des mesure du déroulement de l’opéra. L’oncle de Dans l’apogée de cette scène, la cadence à une nouvelle éloquence mélodique mais cordes nous entraînent dans le monde dur et Boris, le commerçant Dikoy, ivrogne brutal, suspendue qui accompagne les mots de Kátya aussi grâce au talent avec lequel il juxtapose oppressant de la famille Kabanov. Comme la est accompagné pour sa première entrée en “et puis la nuit” a son écho dans “à quoi rêves- les thèmes de Kátya et la musique laconique musique accélère, les timbales répètent leur scène par un rythme pointé nerveux aux tu?” de Barbara avant de trouver sa résolution et brutale de ceux qui la persécutent. Sans rythme fortissimo jusqu’à ce qu’il se transforme cors bouchés. Ce motif revient au dernier dans la réponse de Kátya: “Barbara, je ne peux imiter Wagner ou Strauss, il tisse et transpose en une copie en apparence fort enjouée d’un acte quand Dikoy vient s’abriter de cet pas dormir”. Puis, après l’ardeur érotique de son matériau musical de façon à faire ressortir air populaire russe sur fond de clochettes de orage qui fournit l’apogée de l’œuvre, mais la musique qui accompagne ses fantasmes, la le plus vivement possible le contraste brutal traîneau. Ce petit thème reviendra à deux il s’est développé en un thème aussi arrogant suspension revient sur les mots “j’y vais, j’y vais” entre les deux mondes du drame d’Ostrovski. moments forts du drame. Il accompagne et tyrannique que Dikoy lui-même. La et cette fois-ci, comme dans le drame, il n’y a Mais ce n’est pas tout. Durant les huit années l’apogée du premier acte lorsque le jeune représentation de Kabanicha, la belle-mère de pas de résolution. qui séparent la composition des deux premiers commerçant Tikhon, dominé par sa mère, Kátya, est encore plus subtile. Aucun thème Les scènes suivantes enchaînent coup de actes de Jenu˚fa, son style lyrique a évolué de part en voyage d’affaires, laissant chez eux musical ne lui est associé mais elle perturbe maître sur coup de maître. Lorsque Barbara l’opéra bucolique et populaire à la manière Kátya, sa jeune épouse si impressionnable, en la stabilité musicale de ceux qu’elle côtoie. A laisse entendre que Kátya rencontrera peut- de Smetana et Dvorˇák au drame musical proie à sa passion pour Boris Grigoryevich. sa première entrée, ses interjections cruelles être Boris par hasard, un autre air populaire naturaliste. Et dix-sept ans après avoir achevé Ce thème reviendra tout à la fi n de l’opéra, troublent la mélodie tendre et gracieuse confi ée émerge à l’orchestre avant d’être grossièrement

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 50-5150-51 22/9/07/9/07 20:34:5420:34:54 balayé par le thème russe de Tikhon avec ses Janácˇek nous prépare ainsi pour les dernières précipite vers sa conclusion accompagné par des œuvre quasi-contemporaine, le premier grand clochettes insinuantes. Durant la dernière scènes hallucinantes de l’opéra. La musique transformations violentes et plaintives de l’air drame musical moderne. scène humiliante de l’acte, lorsque Kabanicha qui accompagne l’orage au début s’inspire de Tikhon, nous pénétrons avec le compositeur © 2007 Dennis Marks force Kátya à promettre de rester fi dèle à son principalement du thème ternaire fi évreux dans un nouveau paysage. mari, le thème de Barbara est oublié. Mais dans de Dikoy. Il en résulte une fragmentation Kátya Kabanová est un cadeau d’amour l’acte suivant, lorsque les deux jeunes femmes de la texture orale, comme si nous suivions certes fort étrange d’un compositeur à sa muse Argument se préparent pour leur double rendezvous l’action du point de vue de Katya et de sa folie hésitante. L’œuvre qui l’avait tout juste précédé, Kabanicha, veuve du commerçant Kabanov, nocturne au jardin, ce thème domine la grandissante. Des éclats de mélodie apparaissent Le Journal d’un disparu, renferme en son centre domine la vie de son fi ls, Tikhon et de son musique. Barbara et son amant Kudrjáš et disparaissent. Les “Kateˇrina” lancés par ceux un interlude au piano intitulé Intermezzo épouse, Katyá. Sur les ordres de sa mère échangent des airs populaires dans une sorte partis à sa recherche sont repris aux cors et aux Erotico – remarquable exemple de vœu exaucé Tikhon part en voyage d’affaires, malgré une de prélude musical à l’amour. Par contraste, cordes et l’air populaire de Barbara revient, par la musique – et le cycle s’achève sur le Katyá inquiète de ce qui risque de se passer la musique pour Kátya et Boris, l’amant tant atrophié, dans la nuit. Des versions déformées héros s’éloignant dans la forêt pour rejoindre en son absence. En effet, dès qu’il est parti, la désiré, n’est qu’incertitude chromatique. Il ne du matériau musical des deux premiers actes, sa maîtresse gitane. Kátya, comme Anna sœur adoptive de Tikhon persuade Katyá de s’agit pas là simplement d’un effet harmonique telles les fl ûtes palpitantes symbolisant les Karénine de Tolstoï, sujet qu’il avait décidé rencontrer son amant. Un orage terrible et le pour dépeindre un personnage. C’est une oiseaux dans la première scène de l’Acte Deux, de rejeter, traite de l’amour adultère avec une retour inattendu de Tikhon font perdre la tête façon de lier vie personnelle et vie sociale – hantent les deux monologues de Kátya. Ces empathie tempérée par une cruelle honnêteté. à Katyá qui avoue à tous son adultère. Elle se l’urgence des émotions inassouvies de Kátya réminiscences s’immiscent même dans la Et pourtant par certains côtés il s’agit bel et jette dans le fl euve et Kabanicha préside au et l’illustration d’une société impitoyable qui dernière rencontre des amants, qui commence bien d’un cadeau, mais peut-être pas celui remords et au désespoir de Tikhon. hâte la tragédie. Cet acte contient des dizaines par un autre essai manqué de duo d’amour envisagé au départ par Janácˇek. Dans le cas d’exemples de la musique étayant les émotions et s’achève par un adieu déchirant. Une fois présent, c’est Kamila qui donne et Janácˇek L’action des protagonistes – l’avant-goût de l’orage encore aucun thème particulier n’est associé qui reçoit. Lorsqu’il mêle la peinture de cette L’opéra se déroule dans une petite ville sur la quand les deux femmes sortent dans le jardin, à Boris, suggérant qu’il n’a aucune volonté, société sinistre évoquée par Ostrovski à son Volga, vers 1860. l’apogée passionnée lorsque Kátya et Boris aucune force de caractère. Sur le plan musical désir personnel de refl éter sa chère Kamila dans chantent “ma vie”, annonçant un duo d’amour comme sur le plan dramatique, Kátya se la fragile et vulnérable Kátya, Janácˇek fait un COMPACT DISC ONE qu’ils n’arrivent pas à formuler et le solo retrouve seule aux bords de la Volga et le chœur saut important en tant que compositeur. En désespéré au violoncelle qui précède la tendresse sans paroles qui l’appelle est l’incarnation de progressant de l’idiome naturaliste du premier Acte Premier de Kudriash et Varya après l’amour et conclut son désir d’oubli par la noyade. Dans ce dernier acte à l’expressionnisme intime du second Scène 1 l’acte non pas avec un amour consommé mais acte, Janácˇek a abandonné le naturalisme pour jusqu’au désespoir surréaliste du troisième, Devant la maison des Kabanov, l’après-midi avec le désespoir. un espace psychique. Tandis que l’opéra se Kátya Kabanová devient avec Wozzeck de Berg, 1 – 2 Kudrjás, un jeune professeur, admire la

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 52-5352-53 22/9/07/9/07 20:34:5520:34:55 beauté du fl euve. La servante Glaša quant à elle lui et qu’elle fi nit par céder. Tikhon apparaît, glisse vers Kabanicha qui le repousse. ruine. Dikoy entre lui aussi pour s’abriter. y reste indifférente. 3 – 4 Ils sont dérangés sur le point de se rendre au marché sur les 17 Intermezzo II. Kudrjáš explique qu’un orage, ce n’est “que de par l’arrivée de Dikoy et de son neveu Boris ordres de sa mère, et Katyá le supplie de ne pas l’électricité” tandis que Dikoy y voit pour sa dont il déplore la paresse. Lorsqu’il apprend la quitter. Mais il doit y aller et ne peut pas Scène 2 part le châtiment divin. que Katyá est toujours à l’église, Dikoy part à l’emmener. 11 Katyá lui demande alors de lui Devant la grille du jardin des Kabanov sa rencontre. Seul avec Kudrjás, Boris explique faire prêter serment: elle ne devra ni regarder 18 Introduction. 19 Kudrjaš arrive à la grille La pluie cesse et Dikoy sort, suivi des autres. que la seule raison qui le pousse à rester avec ni parler à un autre homme. 12 Kabanicha et attend Barbara en chantant une chanson. 2 Barbara arrive et attire l’attention de Boris. son oncle est le testament de sa grand-mère: entre et insiste pour que Tikhon donne ses Boris arrive à son tour et explique qu’il attend Elle lui révèle que depuis le retour imprévu son argent doit lui revenir, ainsi qu’à sa sœur, instructions à Katyá avant de partir: elle doit quelqu’un: Katyá, une femme mariée. Kudrjáš de Tikhon Katyá a perdu la tête – et menace à l’âge de vingt et un ans, à condition qu’ils respecter Kabanicha et lui obéir, s’occuper, et essaie de la mettre en garde. 20 Barbara arrive même de tout avouer. 3 Lorsque Katyá entre, fassent ce que veut leur oncle. 5 Boris avoue “ne pas regarder les autres hommes”. Katyá et dit à Boris que Katyá ne tardera pas. Kudrjáš Boris et Kudrjáš se cachent, laissant à Barbara alors qu’il est tombé amoureux d’une femme étreint son mari avant son départ. et Barbara s’éloignent alors vers le fl euve. le soin de la calmer. Lorsque Dikoy, Tikhon et mariée – Katyá Kabanová. 21 – 22 Katyá arrive et se retient de prendre la Kabanicha entrent, Katyá tombe à genoux et Acte Deux main de Boris. Ce dernier déclare sa passion avoue devant tous son infi délité. Elle s’effondre 6 La famille Kabanov revient de l’église. Scène 1 mais Katyá est plus retenue dans sa déclaration dans les bras de son mari mais immédiatement Kabanicha ordonne à son fi ls, Tikhon, d’aller A l’intérieur de la maison des Kabanov, plus tard d’amour. Ils s’étreignent. On entend Kudrjáš s’échappe de son emprise et se précipite sous sur le champ au marché à Kazan. Elle se dans l’après-midi et Barbara se déclarer leur amour. Katyá rentre l’orage. plaint âprement qu’il la néglige au profi t de 13 Kabanicha reproche à Katyá de ne pas par la grille du jardin, laissant Boris seul. son épouse Katyá et injurie cette dernière affi cher son chagrin après le départ de Scène 2 lorsqu’elle ose lui répondre. 7 Intermezzo I. Tikhon. Kabanicha sort, ordonnant qu’on COMPACT DISC TWO Sur les bords de la Volga, le crépuscule tourne à ne la dérange pas. 14 Barbara arrive et révèle la nuit Scène 2 qu’elle a réussi à obtenir la clef de la grille du Acte Trois 4 Tikhon et Gláša sont à la recherche de Katyá A l’intérieur de la maison des Kabanov, l’après- jardin; si elle voit Boris, elle lui demandera de Scène 1 qui a disparu. Barbara et Kudrjáš décident de midi se rendre à la grille pour y rencontrer Katyá. Deux jours plus tard, dans un bâtiment en ruines s’enfuir ensemble à Moscou. 5 – 7 Katyá 8 Katyá confi e à Barbara, enfant adoptif des Katyá prend la clef et s’empresse de la cacher dominant la Volga; le soir entre, seule. Elle regrette son aveu mais aime Kabanov, combien son enfance a été heureuse, lorsqu’elle entend Kabanicha parler avec 1 Kudrjáš et Kuligin, son ami, s’abritent de Boris et ne désire que la mort. Soudain Boris et Barbara l’encourage à raconter ses rêves: Dikoy. 15 Katyá sort, impatiente de voir le soir la pluie et sont bientôt rejoints par d’autres. entre et ils tombent dans les bras l’un de 9 – 10 Katyá explique qu’elle entend une voix tomber. 16 Kabanicha entre avec un Dikoy un Ils regardent les fresques dépeignant l’enfer l’autre. 8 Boris lui dit que son oncle l’envoie d’homme lui chuchoter à l’oreille de partir avec peu ivre. Il ne veut pas rentrer chez lui et se et les damnés encore visibles sous l’abside en loin d’ici. Katyá reste donc à la merci de sa

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 54-5554-55 22/9/07/9/07 20:34:5720:34:57 belle-mère et de son ivrogne de mari. Opera, le Houston Grand Opera, De Vlaamse études à l’Université de Californie du sud Parmi les enregistrements de Jane Henschel, Boris part et Katyá imagine sa tombe. 9 Les Opera, l’Opéra de Hambourg, le Deutsche avant de s’installer en Allemagne. Elle est notons entre autres Hansel and Gretel dans bras croisés, elle se jette dans le fl euve. Ceux Oper, Berlin et plus récemment pour l’Opéra entre autres Baba la Turque (Le libertin) le cadre de la série de Chandos “Opera in qui la recherchaient entrent, et Dikoy s’avance Néerlandais. Elle tient aussi le rôle de Jenifer aux festivals de Glyndebourne, Saito Kinen English”, Verlobung im Traum de Krasa, portant le corps de Katyá. Tikhon reproche (A Midsummer Marriage) pour le Royal et Salzbourg; Brangäne (Tristan and Isolde) Le Libertin, Merlin d’Albeniz, The Turn of à sa mère la mort de Katyá, mais Kabanicha Opera, Covent Garden; ceux de Tatiana et pour le Los Angeles Opera et l’Opéra de the Screw de Britten et la Huitième se contente de remercier ses voisins de leur Adina (L’elisir d’amore) pour Scottish Opera; Paris; Clytemnestre (Elektra) pour le San Symphonie de Mahler. gentillesse. d’Oksana (La Nuit de Noël de Rimski- Francisco Opera; la princesse (Suor Angelica) Korsakov), de la gouvernante (The Turn of avec l’Orchestre Royal du Concertgebouw Le ténor américain Robert Brubaker (Boris Traduction: Nicole Valencia the Screw), de Musetta (La Bohème) et Donna sous Chailly; elle interprète Les Dialogues des Grigorievitch) s’affi rme comme un artiste de Elvira pour l’English National Opera; le Carmélites à Amsterdam; Kostelnicˇka ( Jenu˚fa) premier plan aux Etats-Unis et dans l’Europe Née en Australie, Cheryl Barker (Katarina rôle-titre de Maria Stuarda pour le Nationale sous Ozawa au Japon et Kabanicha (Katya entière. Né en Pennsylvanie, il fait ses classes Kabanova (Katyá)) étudie à Melbourne avec Reisoper aux Pays-Bas; Violetta pour l’Opéra Kabanova) au festival de Salzbourg. musicales au Hartt College of Music à Dame Joan Hammond et à Londres avec de Hambourg et le Deutsche Oper; le rôle- Pour le Royal Opera, Covent Garden, elle Hartford où il étudie avec David Ray Smith. David Harper. En Australie, elle se produit titre de Katya Kabanova à Genève et pour le est Fricka et Waltraute, Ulrica (Un ballo in Depuis quelques saisons il est régulièrement régulièrement avec Opera Australia, pour qui Welsh National Opera; et pour De Vlaamse maschera), Clytemnestre, Mrs Grose (The invité à chanter dans les plus grands elle chante entre autres Nedda (Pagliacci), la Opera le rôle-titre dans Suor Angelica et Turn of the Screw); à La Scala de Milan, elle théâtres lyriques: au Metropolitan Opera comtesse (The Marriage of Figaro), Mimì La Veuve joyeuse, Mimì, Desdémone (Otello) est Hérodiade (Salome) et Cassandre (Les (Méphistopheles dans Doktor Faustus), au (La bohème), Violetta (La traviata), Donna et Liù (Turandot). Troyens). A l’Opéra de Munich elle chante Royal Opera House, Covent Garden Elvira (Don Giovanni), Tatiana (Eugène Elle se produit régulièrement en récital et entre autres Hérodiade, Clytemnestre, (Bacchus dans Ariadne auf Naxos), à l’Opéra Onéguine) et le rôle-titre de Madama Butterfl y dans la salle de concert. Parmi ses nombreux Ulrica, Mistress Quickly (Falstaff ) et Ortrud de Hambourg (Hermann dans Pique Dame), et Tosca. Elle est également Mimì, Antonia enregistrements notons Emilia Marty (L’Affaire (Lohengrin); au Deutsche Oper, Berlin elle à la Scala (Guido Bardi dans La Tragédie (Les Contes d’Hoffmann) et Tatiana pour le Makropoulos) et Madama Butterfl y dans incarne Clytemnestre, Hérodiade et Ortrud, et fl orentine de Zemlinski et Golitsine dans Victoria State Opera; Tatiana et Violetta pour le cadre de la série de Chandos “Opera in pour l’Opéra de Vienne, Clytemnestre, Fricka La Khovanchtchina), au festival de Opera Queensland; Madama Butterfl y et English”, Quo Vadis de Dyson pour Chandos et Mistress Quickly. Elle a fait sien le rôle de Glyndebourne (Laca dans Jenu˚fa), au festival Violetta pour New Zealand Opera. et un CD en soliste d’arias de Puccini. la Nourrice (Die Frau ohne Schatten) qu’elle de Salzbourg (le rôle-titre de Der König de Sur la scène internationale, Cheryl Barker interprète à Amsterdam, Londres, Los Angeles, Zemlinski), au Liceu à Barcelone (Golitsine se fait remarquer dans le rôle de Madama Née dans le Wisconsin, Jane Henschel Munich, Paris, Vienne, Berlin ainsi qu’au ainsi que Erik dans Le Vaisseau fantôme) et Butterfl y qu’elle chante pour l’English National (Marfa Kabanova (Kabanicha)) fait ses Metropolitan Opera. à l’Opéra de Paris-Bastille (le comte Pierre

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 56-5756-57 22/9/07/9/07 20:35:0020:35:00 Bezoukhov dans Guerre et paix, Dimitri dans Berlin sous la direction de Sir Simon Rattle à Holland Park et le Chevalier de la Force (Das Rheingold ) sous Sir Simon Rattle au Boris Godounov, Golitsine et le rôle-titre du Berlin, Lucerne et au festival de Salzbourg. Il (Les Dialogues des Carmélites) avec l’English festival d’Aix-en-Provence, La Lucrezia de Nain). Il chante également avec le Houston se produit avec Opera North, Scottish Opera, National Opera. Handel au festival de Batignano, le rôle-titre de Grand Opera, la Canadian Opera Company, le Grand Théâtre de Genève, l’Opéra de Hors du Royaume-Uni, Peter Wedd La Périchole et Ines (Maria Padilla) au festival de l’Opéra de Montpellier, le Dallas Opera et le Lausanne et au Théâtre des Champs Elysées. chante pour le European Chamber Opera, le Buxton, le rôle-titre de Carmen pour Raymond Deutsche Oper, Berlin. Il a enregistré entre Singapore Lyric Theatre, Opera Australia et Gubbay au Royal Albert Hall, Isolier (Le Comte autres Albert Gregor (L’Affaire Makropoulos) Peter Wedd (Vanya Kudrjáš) fait ses études l’Opéra de Limoges; il se produit également au Ory) pour Garsington Opera et Olga (Eugène pour Chandos dans le cadre de la série “Opera à la Guildhall School of Music and Drama festival de Maribor, en Slovénie et au Festival Onéguine) pour Opera Holland Park. Elle fait in English”. avec William McAlpine puis au National de Cernier en Suisse. ses débuts à l’Opéra Néerlandais dans le rôle de Opera Studio où il bénéfi cie d’une bourse de Lucienne (Die tote Stadt de Korngold). Né à Bradford, Peter Hoare (Tikhon Kabanov) la Peter Moores Foundation. Il est l’une des Victoria Simmonds (Barbara) étudie avec étudie la percussion au conservatoire de têtes d’affi che de la companie du Royal Opera, David Pollard à la Guildhall School of Music La basse galloise Gwynne Howell (Dikoy) fait Huddersfi eld. Il travaille plusieurs années Covent Garden de 1999 à 2001 et chante and Drama. Elle reçoit le Prix de la comtesse ses études au Royal Northern College of Music. comme percussionniste avant de se lancer dans régulièrement avec le Welsh National Opera. de Munster. En 2000 elle se produit au Royal Il devient membre du Royal Opera en 1992 une carrière de chanteur professionnel. Au Welsh National Opera il est entre autres Opera House dans le cadre de l’English Bach et chante les principaux rôles de basse avec la Parmi ses rôles lyriques pour le Welsh Don José (Carmen), Tamino (Die Zauberfl öte), Festival dans Oreste de Handel et fait ses companie. Il travaille aussi régulièrement avec National Opera, notons Bacchus (Ariadne Don Ottavio (Don Giovanni), Alfredo débuts à l’English National Opera dans le rôle l’English National Opera où il triomphe en auf Naxos), le Capitaine (Wozzeck), (La traviata), Števa ( Jenu˚fa) et le Timonier de Nancy T’ang, première secrétaire de Mao tant que Hans Sachs, Gurnemanz, le roi Philip Vaudemont (Iolanta), Titus (La clemenza di (Le Vaisseau fantôme). dans Nixon in China de John Adams. Elle est et Barbe-Bleue. Sa carrière internationale Tito), Narraboth (Salome), l’Innocent (Boris Au Royaume-Uni et en Irlande il chante membre de la troupe de l’English National l’entraîne à New York, Chicago, San Francisco, Godounov), la Sorcière (Hansel and Gretel ), également Boris (Kátya Kabanová) et Tamino Opera de 2000 à 2005 et y tient les rôles de Santa Fe, Paris, Genève, Hambourg, Munich Tikhon (Katya Kabanova); il chante Bardolfo (Die Zauberfl öte) pour Opera North, Lensky Chérubin (The Marriage of Figaro), Mercedes et Cologne. En concert il se produit dans le (Falstaff ), Valzacchi (Der Rosenkavalier) et (Eugène Onéguine), Federico (L’Arlesiana) (Carmen), Zaida (The Turk in Italy), Pitti-Sing monde entier avec des chefs comme Claudio Goro (Madama Butterfl y) pour le Royal Opera et Pluton (Orphée aux Enfers) pour Opera (The Mikado), Rosina (The Barber of Seville), Abbado, Carlo Maria Giulini, Riccardo Muti, House, Covent Garden; Mr Upfold (Albert Holland Park, Kyska (Sarlatán) et Julius Dorabella (Così fan tutte), Hermia Leonard Bernstein, Pierre Boulez, Daniel Herring), Idoménée et Arbace dans Idomeneo, (I cavalieri di Ekebu) au festival de Wexford, (A Midsummer Night’s Dream) et Zerlina Barenboim, James Levine, Bernard Haitink, ainsi que frère Elustaphe (Les Fiançailles au Rodolfo (La Bohème) au Royal Albert Hall (Don Giovanni). Zubin Mehta et Seiji Ozawa. Parmi ses couvent) pour Glyndebourne Festival Opera. à Londres, Tamino pour Glyndebourne On Elle se produit souvent dans le cadre de nombreux enregistrements notons la Huitième Il chante également avec la Philharmonie de Tour, Lensky (Eugène Onéguine) pour Opera festivals, chantant entre autres Wellgunde Symphonie de Mahler avec Seiji Ozawa, le

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 58-5958-59 22/9/07/9/07 20:35:0220:35:02 Messie avec Sir Georg Solti, Tristan und Isolde que Madam By-Ends dans la mise en scène Welsh National Opera sa place sur la scène L’Orchestre du Welsh National Opera est sous Sir Reginald Goodall et la Neuvième et l’enregistrement du Pilgrim’s Progress par le lyrique mondiale. fondé en 1970. Il est aujourd’hui considéré Symphonie de Beethoven avec Kurt Masur. Royal Northern College of Music. Vers la fi n des années 1960 le Welsh comme un ensemble de grande qualité dans Récemment il est Schigolch (Lulu) National Opera se dirige vers un statut les domaines les plus variés, reconnu pour son (également enregistré par Chandos dans le Elevé à Pontlliw au Pays de Galles, Owen professionnel et le Voluntary Chorus fait excellence dans un vaste répertoire lyrique, cadre de la série “Opera in English”) et Dansker Webb (Kuligin) étudie avec Beatrice Unsworth place au Chœur du Welsh National Opera. dans la salle de concert et au disque, ayant (Billy Budd ) pour l’English National Opera; au Royal College of Music and Drama où il Le Chœur fait des tournées de concerts dans enregistré pour de nombreuses maisons pour Glyndebourne, il chante dans Pelléas et remporte de nombreux prix. Il étudie à présent le sud du Pays de Galles depuis plusieurs différentes. Mélisande, Manon Lescaut, Don Giovanni, Figaro avec Stephen Roberts. Il est artiste associé du années. L’Orchestre et le Chœur font de Parmi ses directeurs musicaux, notons et Otello; pour Covent Garden il tient le rôle du Welsh National Opera et titulaire de bourses, nombreux enregistrements (sous des chefs Richard Armstrong (1973 – 86), Sir Charles Vieux Déporté dans Lady Macbeth de Mzensk et les Welsh National Opera Schäfer et Chris Ball réputés tels Sir Reginald Goodall, Mackerras (1987– 92) et Tugan Sokhiev participe à la création mondiale de The Tempest Bursaries. Sir Charles Mackerras, Carlo Rizzi, (2002– 04). Carlo Rizzi, directeur musical par Thomas Adès, qu’il chante aussi à Santa Parmi ses rôles notons Schaunard Richard Bonynge, Pierre Boulez), dans de 1992 à 2001, retrouve le Welsh National Fe en 2006. Gwynne Howell reçoit le titre de (La Bohème), Masetto (Don Giovanni), Marullo un répertoire allant de Bellini à Maxwell Opera en tant que directeur musical en 2004 Compagnon de l’Empire Britannique en 1998. (Rigoletto), Papageno (The Magic Flute), Zurga Davies en passant par Verdi, Wagner et et dirige La traviata, Cavalleria rusticana et (Les Pêcheurs de perles), Escamillo (Carmen), Gilbert and Sullivan. Pagliacci durant la toute première saison du Native du Lancashire, Kathleen Wilkinson Guglielmo (Così fan tutte) et Dr. Falke L’Orchestre du Welsh National Opera Welsh National Opera au Wales Millennium (Glasha) étudie avec Barbara Robotham au (Die Fledermaus). a remporté le Royal Philharmonic Society Centre. Plus récemment il dirige une mise en Royal Northern College of Music où elle Music Award, dans la catégorie ‘Grand scène fort prisée de Don Carlos, Le Vaisseau bénéfi cie d’une bourse de la Peter Moores Le Chœur du Welsh National Opera ensemble’, et le Welsh National Opera en fantôme avec Bryn Terfel dans le rôle du Foundation et remporte plusieurs prix. commence sa vie d’ensemble professionnel tant que compagnie lyrique a remporté Hollandais à Cardiff, Londres et Birmingham Elle chante avec Scottish Opera, Opera en 1968, travaillant aux côtés du fameux quatre autres prix importants de la Royal et se charge de la reprise de la célèbre mise en Ireland, dans le cadre des festivals de Holland Voluntary Chorus jusqu’en 1973, date à Philharmonic Society, ainsi qu’un Evening scène du Welsh National Opera de La bohème Park, Grange Park et de Glyndebourne et ses laquelle ce dernier est dispersé. Le Voluntary Standard Award pour la meilleure mise en à l’automne 2006. rôles comprennent Madame de la Haltière Chorus est formé de chanteurs amateurs qui scène à l’opéra, un Laurence Olivier Award Outre son travail à la scène, l’Orchestre du (Cendrillon), la Lucrèce de Britten, Mercedes, se réunissent en 1943 pour former le noyau pour la meilleure nouvelle mise en scène à National Welsh Opera donne de nombreux le rôle-titre de Carmen, Filipievna (Eugène de ce qui deviendra le Welsh National Opera, l’opéra, ainsi que le Barclays Theatre Award concerts dans des salles de toutes tailles, à Onéguine), Suzuki (Madama Butterfl y), et c’est le succès du Chœur dans les toutes pour sa contribution exceptionnelle au monde travers l’Angleterre et le Pays de Galles, se Martha (Faust), Azucena (Il trovatore) ainsi premières mises en scène qui assurera au de l’opéra. produisant entre autres dans le cadre des

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 60-6160-61 22/9/07/9/07 20:35:0620:35:06 grands festivals comme les BBC Promenade National Opera dans leur première incursion On session: Victoria Simmonds and Peter Wedd Concerts au Royal Albert Hall à Londres. symphonique aux Proms. Sous sa direction, l’Orchestre remporte de nombreux prix dont Le Milanais Carlo Rizzi étudie le piano, la celui de la Royal Philharmonic Society. Depuis composition et la direction d’orchestre au 1996 il est régulièrement invité à diriger en Conservatoire de Milan. En août 2004, il concert dans le cadre du Festival International est nommé pour la seconde fois directeur d’Edimbourg. musical du Welsh National Opera, un poste Il dirige également à La Scala (Madama qu’il a déjà tenu de 1992 à 2001. Il se produit Butterfl y, Turandot), à Covent Garden dans un vaste répertoire (de Gluck à Berio) (La traviata, Madama Butterfl y, Così fan tutte, avec de nombreux orchestres en Europe, en Otello, Aroldo, Il trovatore); à l’Opéra Bastille Amérique du Nord, en Extrême-Orient et en (Rigoletto, Simon Boccanegra, La Cenerentola); Australie, entre autres le London Symphony au Deutsche Oper, Berlin (L’italiana in Algeri, Orchestra, le London Philharmonic Orchestra, Macbeth), à Munich (La Bohème, La traviata, le Philharmonia et le Royal Philharmonic Cavalleria rusticana, Pagliacci, Aida, Turandot Orchestra, le Chicago Symphony Orchestra, et Nabucco). La saison dernière il inaugure le Philadelphia Orchestra, le Los Angeles le nouveau théâtre lyrique à Cardiff (Wales Philharmonic Orchestra et les Orchestres Millennium Centre) avec La traviata. Symphoniques de St Louis, Dallas et Atlanta, En septembre 2004 il est nommé chef invité ainsi que l’Orchestre National de France et principal du Teatro Comunale à Bologne et l’Orchestre de La Scala à Milan. dirige cet orchestre dans Il trovatore et Andrea A son répertoire avec le Welsh National Chenier. Plus récemment il dirige La traviata et Opera, il inscrit Fidelio, Boris Godounov, Peter La Bohème au Metropolitan Opera, Don Carlos Grimes, Tristan und Isolde, The Turn of the à Zurich et Aida à Houston. Screw, The Rake’s Progress, Der Rosenkavalier, Parmi ses enregistrements, notons les Poèmes Katya Kabanova, Salome, Ariadne auf Naxos, symphoniques de Respighi et L’Arlésienne de Don Carlos et Le Vaisseau fantôme. Pour la Bizet avec le London Philharmonic Orchestra, centième saison des Promenade Concerts et plusieurs opéras dont La traviata, Rigoletto, de la BBC, il dirige l’Orchestre du Welsh Faust, La Cenerentola et Un ballo in maschera.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 62-6362-63 22/9/07/9/07 20:35:0720:35:07 giornalismo. Janácˇek aveva già affrontato in altrettanto trascinante. Il compositore arrivò a Janácˇek: Kát’a Kabanová maniera memorabile un soggetto del genere scriverle che l’opera era permeata dalla propria nella sua prima grande opera, Jenu˚fa, basata su percezione dell’amore di Kamila per il marito: Ha un contenuto molto toccante, delicato frequenti dissapori domestici. Eppure la sua un lavoro teatrale di Gabriela Preissová, una (alla maniera slava); che profondità di preoccupazione per la cultura russa è la pietra drammaturga morava contemporanea. Negli Quando vi conobbi a Luhacˇovice… vidi per sentimento! Se solo potessi trovare la giusta angolare delle opere più grandi. Il primo anni successivi alla prima rappresentazione la prima volta come una donna può amare il espressione, altrettanto profonda! Quartetto per archi ha in comune il nome e di quest’opera il compositore cercò nella marito…fu per quella ragione che mi rivolsi a Janácˇek a Vincenc Cˇervinka una vicenda segreta con la Sonata a Kreutzer, il letteratura russa un tema analogo e prese Kát’a Kabanová. dicembre 1919 breve e violento racconto di Tolstoj. Una suite in considerazione Anna Karenina e Il sinfonica altrettanto selvaggia fu creata per cadavere vivente di Tolstoj. Solo quando Era un modo inconsueto di descrivere il germe La sesta opera di Janácˇek testimonia i due il Taras Bul’ba di Gogol’. L’ultima opera, Da Jenu˚fa fu presentata a Praga, decretando la di una grande passione, ma il risultato musicale grandi amori dell’ultimo importante decennio una casa di morti, si ispira a un romanzo semi trasformazione di Janácˇek in icona artistica fi nale fu ancora più strano. Kát’a è l’unica vera della sua vita. Il primo è ormai leggendario: autobiografi co di Dostoevskij. Soprattutto, per della nuova Cecoslovacchia indipendente, il opera tragica di Janácˇek. Jenu˚fa termina con la lunga e non ricambiata infatuazione per la prima opera teatrale creata dopo la nascita compositore fi nalmente trovò l’argomento stoica rassegnazione, nonostante l’infanticidio Kamila Stösslová, la giovane donna sposata che della nuova nazione ceca, il compositore si ideale. Nel 1918 lesse una traduzione in del fi glio illegittimo dell’eroina. Quando il il compositore aveva conosciuto nella cittadina rivolse al capolavoro di uno dei più grandi ceco del dramma di Ostrovskij e si rivolse carattere principale viene ucciso nella Volpe termale ceca di Luhaûovicenel 1917. Il secondo drammaturghi russi: Alexander Ostrovskij. immediatamente all’editore per ottenere il astuta, Janácˇek termina il lavoro con un epico è quasi altrettanto importante: la sua inveterata Kát’a Kabanová è ispirata a Uragano di diritto di musicarlo. Fu talmente conquistato inno ai poteri di eterno rinnovamento della passione per la cultura russa. In un’epoca in Ostrovskij, un dramma che fu allestito per la dal lavoro che la partitura completa dell’opera natura. L’affare Makropulos si conclude con cui la terra ceca si trovava sotto la dominazione prima volta al teatro Maly di Mosca nella metà fu pronta in soli tredici mesi. la liberazione dell’eroina, dopo 350 anni, austriaca, il compositore fu un ostinato e del decennio del 1860. Come gran parte della Il motivo di questa urgenza sta naturalmente dal tormento di un’eterna reincarnazione. intransigente amante dello spirito slavo. Aveva letteratura russa dell’epoca, il dramma rivolge in quel primo, grande amore. Il compositore Persino la cronaca desolata della prigione studiato a fondo la letteratura russa e fondò una dura critica alla società contemporanea. si era lanciato a comporre Diario di uno in Da una casa di morti vede la liberazione un circolo russo nella sua città natale, Brno. Dopo l’abolizione della servitù della gleba nel scomparso, il primo capolavoro ispirato da del protagonista e il rilascio di un’aquila Visitò Mosca e, conquistato dall’esperienza, 1861, il Paese scopriva i grandi problemi sociali Kamila, solo quindici giorni dopo il suo prigioniera nelle battute fi nali. Solo in Kát’a descrisse il Cremlino con accenni fi abeschi. In che erano rimasti occultati sotto la superfi cie primo incontro con lei. Nella sua mente, la non esiste redenzione e la donna rimane alcuni momenti questa ossessione confi nò con dell’impero zarista. In particolare, i valori vivace brunetta si fondeva con la tentatrice schiacciata dalla pesante repressione di una l’autodistruzione. Janácˇek si rifi utò di parlare in rozzi e repressivi delle classi medie provinciali zingara del ciclo di liriche. Il collegamento tra società provinciale e da un senso di colpa che la tedesco con la famiglia della moglie, suscitando suscitarono serie critiche nella letteratura e nel l’eroina dell’Uragano e la sua nuova amica fu spinge all’estremo.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 64-6564-65 22/9/07/9/07 20:35:1820:35:18 Eppure l’opera non è sempre cupa. Contiene fl uidità dello sprech-gesang dei primi due atti Janácˇek utilizza questo tema come termine di con l’asimmetria irregolare della musica di l’unica scena di amore umano di tutte le opere di Kát’a Kabanová all’ipnotico surrealismo paragone della società in cui vive la sua eroina. Dikoj e della Kabanicha trasforma Kát’a mature di Janácˇek (quella tra le due volpi è dell’epilogo. Le tre successive opere teatrali – la La sua convenzionale armoniosità slava dipinge in una presenza immobile, al centro di un più carnale che emotiva) a cui il compositore fumettistica Volpe astuta, l’espressionista Affare la vita esteriore della classe media russa. La sua mondo disfunzionale. Quando ritorna con la aggiunge una scena di convegno amoroso Makropulo e gli schizzi irregolari di Da una lacerazione e distorsione in altre forme rivela cognata Varvara (Varja, sorellastra del marito) contrappuntistico tra due coppie. Sebbene casa di morti – abbandonano completamente il l’ipocrisia e la crudeltà che si celano sotto nella scena seguente, Janácˇek amplia questa la passione di Kát’a venga condannata fi n naturalismo. Kát’a è il primo segnale teatrale di quella superfi cie. caratterizzazione musicale. Adesso i fl auti e dalle battute di apertura, la sua personalità questo distacco. Janácˇek anima di vita musicale in maniera gli archi palpitano, mimando il suo desiderio ammanta di luce radiosa ogni scena in Janácˇek espone l’argomento musicale e altrettanto manifesta i suoi personaggi, che di poter volare come un uccello, quasi per cui la donna compare, persino i momenti drammatico dell’opera con spietata chiarezza non vengono identifi cati da leitmotif di stile sfuggire da una casa in cui i sentimenti disperati che precedono il suicidio. Janácˇek fi n dall’inizio. Cinque tristi accordi d’archi, wagneriano, ma da minuscoli gesti melodici vengono imprigionati. La musica di Kát’a e di riesce a realizzare tutto questo attraverso otto colpi silenziosi di timpani e un melisma o ritmici, poi amplifi cati nel corso dell’opera. Varja si unisce con straordinaria fl uidità, senza un’orchestrazione estremamente trasparente, angoscioso degli archi ci trascinano nel mondo Lo zio di Boris, il brutale mercante ubriacone perdere l’individualità di ciascun personaggio. un nuovo fl usso melodico e soprattutto l’abilità duro e opprimente della famiglia Kabanov. Dikoj è descritto con un ritmo puntato Al culmine del dialogo, la cadenza sospesa che con cui effettua la giustapposizione tra i temi Mentre la musica si anima, i timpani ripetono nervoso, teso, che accompagna la sua prima accompagna le parole di Kát’a “Di notte…” di Kát’a e la musica essenziale e brutale dei il loro ritmo con un fortissimo che lo trasforma apparizione sui corni con sordina. Ritornerà trova eco in quella di Varya’s “anche di notte?” suoi persecutori. Senza imitare né Wagner né nell’imitazione ingannevolmente disinvolta nell’ultimo atto, quando l’uomo si ripara prima di risolversi nella sua risposta “Varja, Strauss, il compositore tesse e traspone il suo di un motivo popolare russo, accompagnato dalla tempesta del momento culminante non posso dormire”. Poi, dopo il desiderio materiale musicale in maniera tale da mettere dal suono delle campanelle di una troika. dell’opera, ma ampliato e trasformato in erotico della musica che illustra le sue fantasie, brillantemente a fuoco il duro contrasto tra i Questo piccolo tema ricorre in due momenti un tema arrogante e tirannico quanto il ritorna la sospensione sulle parole “E io, la due mondi del dramma di Ostrovskij. E non cruciali del dramma: uno è la scena culminante personaggio. La descrizione della suocera seguo” e questa volta, come nel dramma, non è tutto. Durante gli otto anni intercorsi tra la del primo atto, quando il giovane mercante di Kát’a, è ancora più sottile. La Kabanicha c’è risoluzione. composizione dei primi due atti di Jenu˚fa, il Tichon, succube della madre, parte per un non ha materiale musicale proprio, ma Quanto segue nei quadri successivi è suo stile operistico si era sviluppato, passando viaggio d’affari, lasciando la sensibile giovane scombussola la stabilità musicale di coloro una serie di colpi magistrali. Quando Varja dall’opera popolare bucolica alla maniera di moglie Kát’a in casa, preda della sua passione che la circondano. Alla sua prima apparizione, suggerisce a Kát’a di incontrare Boris per caso, Smetana e Dvorˇák a un suggestivo naturalismo per Boris Grigorevic. Il secondo è alla fi ne le sue interiezioni insensibili disturbano la nell’orchestra emerge un altro piccolo motivo drammatico-musicale. A diciassette anni dal dell’opera, quando il fi orire della relazione tenera melodia scorrevole del fl auto, degli popolare, solo per essere accantonato senza suo completamento, Janácˇek si incamminò tra Kát’a e Boris è ormai avvelenato dal senso archi e delle arpe che ha presentato Kát’a. Il tanti complimenti dal tema russo di Tichon verso un viaggio ancora più radicale: dalla di colpa di Kát’a, che la porterà al suicidio. contrasto che nasce da questo accostamento e delle campanelle della sua troika. Durante

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 66-6766-67 22/9/07/9/07 20:35:2020:35:20 l’ultimo quadro umiliante dell’atto, quando prevalentemente dal tema irrequieto in ritmo Kát’a Kabanová è lo stranissimo dono Argomento Kabanicha obbliga Kát’a a promettere fedeltà ternario, che riesce a frammentare la tessitura d’amore di un compositore a una musa Kabanicha, la vedova del mercante Kabanov, al marito, il tema di Varja viene dimenticato. per l’orecchio, come se sperimentassimo l’azione riluttante. Il suo immediato predecessore, domina la vita di suo fi glio Tichon e di sua Ma nell’atto successivo, quando le due giovani dal punto di vista sempre più inquieto di Kát’a. Diario di uno scomparso, ha un interludio moglie Kát’a. Tichon è costretto da lei a partire donne si preparano per il convegno amoroso Schegge di melodie compaiono e scompaiono. centrale di pianoforte dal titolo Intermezzo per il mercato, nonostante le preoccupazioni notturno nel giardino, la musica trionfa. Varja Il richiamo “Katerina” da parte dei personaggi Erotico – un suggestivo brano di soddisfazione manifestate da Kát’a su quello che potrebbe e il suo amante Kudrjásch si scambiano motivi che vanno in cerca di lei è echeggiato dai corni musicale del desiderio – e termina quando accadere durante la sua assenza. Dopo la sua popolari in una sorta di foreplay melodico. Per e dagli archi e c’è un rudimentale ritorno del l’eroe si allontana nei boschi per raggiungere partenza, la sorellastra dell’uomo convince contro, la musica di Kát’a e dell’atteso amante motivo popolare di Varja nell’oscurità. Versioni la sua amante zingara. Kát’a, come Anna Kát’a a incontrare il proprio amante. Un Boris è tutta esitazione cromatica. Non si tratta distorte del materiale musicale dei primi due Karenina di Tolstoj, parla dell’adulterio terribile temporale e l’improvviso ritorno semplicemente di un espediente armonico per atti, come il palpito dei fl auti che imitano gli con una partecipazione misurata da severa di Tichon spaventano Kát’a che confessa descrivere un personaggio. Unisce insieme il uccelli nel primo quadro dell’Atto secondo, onestà. Eppure per certi versi si trattò proprio pubblicamente il proprio adulterio e poi si personale e il sociale – l’immediatezza delle ritornano nei due monologhi di Kát’a. Queste di un dono, anche se forse non proprio suicida, gettandosi nel fi ume, e lasciando la emozioni inappagate di Kát’a e la presentazione reminiscenze penetrano persino nell’incontro come Janácˇek avrebbe desiderato. In questo Kabanicha a osservare la disperazione e il della società spietata che farà precipitare la sua fi nale tra i due amanti, che inizia con un altro caso, la donatrice è Kamila e Janácˇek è il rimorso di Tichon. tragedia. Gli esempi di musica che sorregge lo tentativo fallito di duetto d’amore e fi nisce con destinatario. Fondendo la descrizione del stato emotivo dei protagonisti nel corso di questo un devastante addio. Ancora una volta Boris cupo mondo sociale di Ostrovskij con il La trama atto sono decine: l’eco anticipato della tempesta non ha musica propria, come per rivelare la proprio desiderio di rispecchiare la persona L’azione si svolge in un paesino sulle rive del mentre le due ragazze escono in giardino, il sua mancanza di volontà o di carattere. Kát’a dell’amata Kamila nella fragile e vulnerabile Volga, negli anni Sessanta dell’Ottocento. culmine appassionato quando Kat’a e Boris è isolata sulle rive del Volga sia dal punto di Kát’a, il compositore Janácˇek compie un cantano “Oh, vita mia!”, che promette un duetto vista musicale sia da quello drammatico, e il balzo artistico esponenziale. Procedendo dal COMPACT DISC ONE d’amore, ma non lo concretizza, e il disperato coro senza parole che la chiama rispecchia il suo primo atto popolare e naturalistico attraverso assolo di violoncello che precede la tenerezza desiderio di oblio tra le acque. In quest’ultimo l’espressionismo intimo del secondo per Atto I di Kudrjásch e Varja dopo l’accoppiamento e atto Janácˇek si allontana dal naturalismo. Siamo raggiungere la disperazione surreale del terzo, Quadro primo conclude l’atto non con la consumazione del in uno spazio psichico. Mentre l’opera viene Kát’a Kabanová si affi anca a un altro dei primi Davanti alla casa di Kabanov, di pomeriggio rapporto, ma con disperazione. lanciata verso la conclusione, accompagnata da grandi melodrammi moderni: Wozzek di 1 – 2 Kudrjásch, un giovane insegnante, In questo modo Janácˇek ci prepara per le trasformazioni selvagge e lamentose del motivo Alban Berg. ammira la bellezza del fi ume, mentre il suo allucinatorie scene fi nali dell’opera. La musica di Tichon, seguiamo il compositore in un nuovo servitore Glascha rimane indifferente. 3 – 4 che accompagna la tempesta all’inizio deriva paesaggio. © 2007 Dennis Marks Ben presto vengono distratti da Dikoj, che

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 68-6968-69 22/9/07/9/07 20:35:2320:35:23 arriva rimbrottando il nipote Boris per la sua deve andare e rifi uta di portarla con sé. 18 [Introduzione]. 19 Kudrjásch attende La pioggia si interrompe e Dikoj esce, seguito pigrizia. Quando viene a sapere che Kát’a è 11 Kát’a gli chiede di obbligarla a giurare di Varvara, cantando una canzone. Arriva Boris e dagli altri. 2 Arriva Varvara e richiama ancora in chiesa, Dikoj si allontana per andare non guardare o parlare con un altro uomo. spiega che aspetta qualcuno: Kát’a, una donna l’attenzione di Boris. Gli racconta che a cercarla. Rimasto solo con Kudrjásch, Boris 12 Entra la Kabanicha e insiste che Tichon dia sposata. Kudrjásch lo ammonisce del rischio Tichon è ritornato all’improvviso, che Kát’a racconta che vive ancora con suo zio solo le sue istruzioni a Kát’a prima di partire: la che questo comporta. 20 Entra Varvara e è diventata isterica e minaccia di confessare perché così gli viene imposto dalle condizioni donna deve rispettare e obbedire la Kabanicha, comunica a Boris che Kát’a sta per venire, poi tutto. 3 All’arrivo di Kát’a, Boris e Kudrjásch del testamento di sua nonna: lui e la sorella lavorare e “non guardare altri uomini”. Kát’a si dirige verso il fi ume insieme con Kudrjásch. si nascondono, lasciando che Varvara provi avranno diritto all’eredità a ventun anni e solo abbraccia suo marito prima che parta. 21 – 22 Poco dopo arriva Kát’a, che cerca di a calmarla. Mentre sopraggiungono Dikoj, se obbediscono agli ordini dello zio. 5 Boris dominarsi e non tenere la mano di Boris. Il Tichon e la Kabanicha, Kát’a cade in ginocchio quindi rivela di essersi innamorato di una Atto II giovane le dichiara la sua passione, ma Kát’a e confessa pubblicamente la propria infedeltà, donna sposata: Kát’a Kabanová. Quadro primo è più cauta nell’ammettere di amarlo. Si poi cade tra le braccia del marito, ma se ne In casa dei Kabanov, nel tardo pomeriggio abbracciano. Si sentono Kudrjásch e Varvara allontana immediatamente e corre via sotto la 6 I Kabanov rientrano dalla chiesa. La 13 La Kabanicha rimprovera Kát’a di non che si dichiarano amore reciproco. Kát’a rientra tempesta. . Kabanicha ordina al fi glio Tichon di andare manifestare suffi ciente dolore per la partenza dal cancello, lasciando Boris. immediatamente al mercato di Kazan, di Tichon e poi esce, chiedendo di non essere Quadro secondo lamentandosi amaramente di essere trascurata a disturbata. 14 Arriva Varvara, rivela di essere COMPACT DISC TWO Sulle rive del Volga, mentre si fa sera favore della moglie, e rimprovera Kát’a che ha riuscita a procurarsi la chiave del cancello 4 Tichon e Glascha cercano Kát’a. Varvara l’ardire di replicare. 7 Intermezzo I. del giardino e aggiunge che se vedrà Boris Atto III e Kudrjásch decidono di fuggire insieme a gli chiederà di venire a incontrare qui la Quadro primo Mosca. 5 – 7 Kát’a entra, da sola. Si è pentita Quadro secondo cognata. Kát’a prende la chiave e la nasconde Due giorni dopo, un edifi cio in rovina sul Volga, della confessione, ma ama Boris e desidera la In casa dei Kabanov, di pomeriggio precipitosamente quando sente le voci verso sera morte. L’uomo entra all’improvviso e i due 8 Kát’a parla con Varvara, fi glia adottiva dei della Kabanicha e di Dikoj, 15 quindi esce, 1 Kudrjásch e il suo amico Kuligin si riparano cadono l’uno tra le braccia dell’altra. 8 Boris Kabanov, descrivendole la sua infanzia felice, e pregustando la serata. 16 Entrano la Kabanicha dalla pioggia e ben presto vengono raggiunti annuncia che suo zio lo manda via. Kát’a dovrà Varvara le fa domande sui suoi sogni: 9 – 10 e Dikoj; l’uomo è leggermente ubriaco, non da altre persone. Guardano gli antichi affreschi rimanere in balia della suocera e del marito Kát’a dice di sentire la voce di un uomo che le vorrebbe andare a casa e si aggrappa alla donna, dell’inferno e dei dannati ancora visibili sotto ubriaco. sussurra all’orecchio e la convince ad andare ma lei lo respinge. 17 Imtermezzo II. le rovine. Arriva anche Dikoj per ripararsi. con lui. Entra Tichon, pronto ad andare al Kudrjásch parla del temporale e dice che si Boris si allontana e Kát’a immagina la propria mercato come aveva ordinato sua madre, e Quadro secondo tratta solo di “elettricità”, mentre Dikoj lo con- tomba. 9 Incrocia le braccia e si getta nel Kát’a lo supplica di non lasciarla. Ma l’uomo Davanti al cancello del giardino dei Kabanov sidera un castigo di Dio. fi ume. 10 Entra un gruppo di persone che la

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 70-7170-71 22/9/07/9/07 20:35:2520:35:25 cerca e Dikoj arriva con il cadavere della don- Royal Opera, Covent Garden, Tatiana e Adina Isolde) per la Los Angeles Opera e l’Opéra The Rake’s Progress, Merlin di Albéniz, The Turn na. Tichon addossa alla madre la colpa della (L’elisir d’amore) per la Scottish Opera, Oksana di Parigi; Klytemnestra (Elektra) per la San of the Screw di Britten e l’Ottava sinfonia di morte di sua moglie, ma la Kabanicha si limita (La vigilia di Natale di Rimskij-Korsakov), la Francisco Opera; la Principessa (Suor Angelica) Mahler. a ringraziare i vicini della loro bontà. Governante (The Turn of the Screw), Musetta con l’Orchestra del Concertgebouw diretta (La Bohème), e Donna Elvira per English da Chailly; ha interpretato Dialogues des Il tenore americano Robert Brubaker (Boris Traduzione: Emanuela Guastella National Opera; è stata protagonista di Carmélites ad Amsterdam; ha vestito i panni Grigorjevic) si è affermato nei teatri lirici degli Maria Stuarda per la Nationale Reisoper nei della Kostelnicˇka ( Jenu˚fa) con Ozawa in Stati Uniti e in Europa. Nato in Pennsylvania, L’australiana Cheryl Barker (Katarina Kaba- Paesi Bassi, Violetta per l’Opera di Amburgo Giappone e di Kabanicha (Kát’a Kabanová) si è diplomato presso l’Hartt College of Music nová (Kát’a)) ha studiato a Melbourne con e la Deutsche Oper; ha cantato il ruolo di al Festival di Salisburgo. di Hartford, dove ha studiato con David Ray dame Joan Hammond e a Londra con David protagonista in Kat’á Kabanová a Ginevra e con Per la Royal Opera, Covent Garden ha Smith. Harper. In Australia collabora regolarmente la Welsh National Opera; con la De Vlaamse cantato Fricka e Waltraute, Ulrica (Un ballo È diventato ospite regolare dei principali con Opera Australia, in ruoli tra cui Nedda Opera è stata protagonista di Suor Angelica in maschera), Klytemnestra, Mrs Grose teatri lirici nelle ultime stagioni, comparendo (Pagliacci), la Contessa (Le nozze di Figaro), e La vedova allegra, oltre a vestire i panni di (The Turn of the Screw); alla Scala di Milano è alla Metropolitan Opera (Mephistopheles in Mimì (La Bohème), Violetta (La traviata), Mimì, Desdemona (Otello) e Liù (Turandot). stata Herodias (Salome) e Cassandre Doktor Faustus), Royal Opera House, Covent Donna Elvira (Don Giovanni), Tatiana (Eu- Cheryl Baker compare regolarmente (Les Troyens). I suoi ruoli per l’Opera nazionale Garden (Bacchus in Ariadne auf Naxos), genio Onieghin) e i ruoli di protagonista in nelle sale da concerto e in recital e la sua bavarese di Monaco comprendono Herodias, Opera di Amburgo (Gherman nella Dama di Madama Butterfl y e Tosca. Ha cantato inoltre ricca discografi a comprende Emilia Marty Klytemnestra, Ulrica, Mistress Quickly picche), Teatro alla Scala (Guido Bardi in Eine Mimì, Antonia (Les Contes d’Hoffmann) e (The Makropulos Case) e Madama Butterfl y (Falstaff ) e Ortrud (Lohengrin); alla Deutsche fl orentinische Tragödie di Zemlinsky e Golitzin Tatiana per la Victoria State Opera, Tatiana nell’ambito della serie Opera in English di Oper di Berlino ha cantato Klytemnestra, nella Kovàncina di Musorgskij), Festival di e Violetta per Opera Queensland e Madama Chandos, Quo Vadis di Dyson per Chandos, Herodias e Ortrud e all’Opera di Vienna Glyndebourne (Laca in Jenu˚fa), Festival di Butterfl y e Violetta per la New Zealand Opera. e un CD solistico di arie pucciniane. Klytemnestra, Fricka e Mistress Quickly. Salisburgo (il ruolo di protagonista in Der A livello internazionale Cheryl Barker è nota Il suo nome è indissolubilmente legato al König di Zemlinsky), Liceu di Barcellona soprattutto per le interpretazioni di Madama Jane Henschel (Marfa Kabanova (Kabanicha)) ruolo di Amme (Die Frau ohne Schatten), da (Golitzin ed Erik in Der fl iegende Holländer) Butterfl y con English National Opera, è nata nel Wisconsin e ha studiato presso lei interpretato ad Amsterdam, Londra, Los e Opéra de Paris-Bastille (Conte Pierre Houston Grand Opera, De Vlaamse Opera, la University of Southern California prima Angeles, Monaco, Parigi, Vienna, Berlino e alla Bezukhov in Guerra e pace, Dimitri in Boris Opera di Amburgo, Deutsche Oper di Berlino di trasferirsi in Germania. I suoi ruoli Metropolitan Opera. Godunov, Golitzin, e il protagonista di Der e più di recente con la Netherlands Opera. A comprendono Baba la turca (The Rake’s La discografi a di Jane Henschel comprende Zwerg). Si è inoltre esibito con la Houston livello internazionale è inoltre comparsa nelle Progress) ai festival di Glyndebourne, Saito Hansel and Gretel per la serie Opera in English Grand Opera, la Canadian Opera Company, vesti di Jenifer (A Midsummer Marriage) per la Kinen e Salisburgo; Brangäne (Tristan und di Chandos, Verlobung im Traum di Krasa, l’Opéra di Montpellier, la Dallas Opera e

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 72-7372-73 22/9/07/9/07 20:35:3020:35:30 la Deutsche Oper di Berlino. La discografi a Peter Wedd (Vána Kudrjásch) ha studiato di Maribor, in Slovenia, e il Festival di Cernier Olga (Eugenio Onieghin) per Opera Holland comprende Albert Gregor (The Makropulos presso la Guildhall School of Music and Drama in Svizzera. Park. Ha debuttato alla Netherlands Opera nelle Case) nell’ambito della serie Opera in English con William McAlpine e successivamente vesti di Lucienne (Die tote Stadt di Korngold). di Chandos. presso il National Opera Studio con l’appoggio Victoria Simmonds (Varvara) ha studiato della Peter Moores Foundation. È stato solista con David Pollard presso la Guildhall School Il basso gallese Gwynne Howell (Dikoj) ha Peter Hoare (Tichon Kabanov) è nato a della Royal Opera, Covent Garden dal 1999 of Music and Drama. Ha ricevuto il premio studiato presso il Royal Northern College of Bradford e ha studiato percussione presso la al 2001 ed è regolarmente ospite della Welsh Countess of Munster. Nel 2000 è comparsa Music. Nel 1972 entrava alla Royal Opera, per Huddersfi eld School of Music. Dopo diversi National Opera, per cui ha interpretato, tra alla Royal Opera House nell’Oreste di Handel cui h a interpretato moltissimi dei principali anni come percussionista freelance ha iniziato l’altro, i ruoli di Don José (Carmen), Tamino allestito dall’English Bach Festival e ha ruoli per basso. Ha al suo attivo inoltre una una carriera di cantante professionista. (Die Zauberfl öte), Don Ottavio (Don Giovanni) debuttato alla English National Opera nel lunga collaborazione di successo con la English I suoi ruoli lirici per la Welsh National Alfredo (La traviata), Števa (Jenu˚fa), e Pilota ruolo di Nancy T’ang, prima segretaria di Mao National Opera, per cui ha cantato Hans Opera comprendono Bacchus (Ariadne auf (Der fl iegende Holländer). nell’opera Nixon in China di John Adams. Sachs, Gurnemanz, re Filippo e Barbablù. Naxos), il Capitano (Wozzeck), Vaudemont Altre apparizioni nel Regno Unito e in Dal 2000 al 2005 è stata solista della English La sua carriera internazionale lo ha portato a (Iolanta), Tito (), Irlanda lo hanno visto indossare i panni National Opera per cui ha interpretato, tra New York, Chicago, San Francisco, Santa Fe, Narraboth (Salome), l’Innocente (Boris di Boris (Kat’a Kabanová) e Tamino (Die l’altro, Cherubino (The Marriage of Figaro), Parigi, Ginevra, Amburgo, Monaco e Colonia. Godunov), la strega (Hansel and Gretel), Zauberfl öte) per Opera North, Lenskij (Eugenio Mercedes (Carmen), Zaida (The Turk in Italy), In concerto ha lavorato in tutto il mondo con Tichon (Katya Kabanova); Bardolfo Onieghin), Federico (L’Arlesiana) e Pluto Pitti-Sing (The Mikado), Rosina (The Barber direttori quali Claudio Abbado, Carlo Maria (Falstaff ), Valzacchi (Der Rosenkavalier) e (Orphée aux enfers) per Opera Holland Park, of Seville), Dorabella (Così fan tutte), Hermia Giulini, Riccardo Muti, Leonard Bernstein, Goro (Madama Butterfl y) per la Royal Opera Kyska (Šarlatán) e Giosta (I Cavalieri di Ekebù) (A Midsummer Night’s Dream) e Zerlina Pierre Boulez, Daniel Barenboim, James House, Covent Garden; Mr Upfold (Albert al Wexford Festival, Rodolfo (La Bohème) (Don Giovanni). Levine, Bernard Haitink, Zubin Mehta e Seiji Herring), Idomeneo e Arbace in Idomeneo, e alla Royal Albert Hall di Londra, Tamino per Gli impegni ai festival comprendono Ozawa. La sua ricca discografi a comprende Frate Elixir (Matrimonio in convento) per la Glyndebourne On Tour, Lenskij (Eugenio Wellgunde (Das Rheingold) per la direzione l’Ottava Sinfonia di Mahler con Seiji Ozawa, Glyndebourne Festival Opera. Ha collaborato Onieghin) per Opera Holland Park e Chevalier di sir Simon Rattle al Festival di Aix, il Messiah con sir Georg Solti, Tristan und con i Berliner Philharmoniker diretti da sir de la Force (The Carmelites) con la English La Lucrezia di Handel al festival di Batignano, Isolde diretto da sir Reginald Goodall e la Nona Simon Rattle a Berlino, Lucerna e al festival National Opera. il ruolo di protagonista ne La Périchole e Ines sinfonia di Beethoven con Kurt Masur. di Salisburgo. Si è esibito inoltre per Opera Al di fuori del Regno Unito Peter Wedd (Maria Padilla) al Buxton Festival, il ruolo I suoi ultimi impegni comprendono North, Scottish Opera, il Grand Théâtre de ha cantato con la European Chamber Opera, di protagonista nella Carmen per Raymond Schigolch (Lulu) (registrato anche per la serie Genève, l’Opéra de Lausanne e il Théâtre des il Singapore Lyric Theatre, Opera Australia e Gubbay alla Royal Albert Hall, Isolier Opera in English di Chandos) e Dansker (Billy Champs Elysées. l’Opera di Limoges e ha partecipato al Festival (Le Comte Ory) per la Garsington Opera e Budd) per English National Opera; allestimenti

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 74-7574-75 22/9/07/9/07 20:35:3120:35:31 di Pelléas et Mélisande, Manon Lescaut, Don il Royal College of Music and Drama con loro attivo numerose incisioni (con direttori Sokhiev (2002 – 2004). Carlo Rizzi, Direttore Giovanni, Figaro e Otello per Glyndebourne; Beatrice Unsworth, vincendo numerosi illustri, tra cui sir Reginald Goodall, sir Charles Musicale dal 1992 al 2001, ha fatto ritorno Old Convict in Lady Macbeth of Mtsensk e la riconoscimenti. Oggi studia con Stephen Mackerras, Carlo Rizzi, Richard Bonynge, alla Welsh National Opera nel 2004, dirigendo prima mondiale di The Tempest di Thomas Roberts. È un Artista associato della Welsh Pierre Boulez), in un repertorio che va da allestimenti de La traviata, Cavalleria rusticana Adès per il Covent Garden; in quest’ultimo National Opera che gli ha assegnato le borse di Bellini a Maxwell Davies passando per Verdi, e Pagliacci durante la stagione inaugurale del ruolo l’artista si è esibito anche a Santa studio Schäfer e Chris Ball. Wagner e Gilbert e Sullivan. Wales Millennium Centre, seguiti da due Fe nel 2006. Gwynne Howell ha ricevuto I suoi ruoli comprendono Schaunard L’Orchestra della Welsh National Opera opere che hanno riscosso un notevole successo l’onorifi cenza di Commander of the British (La Bohème), Masetto (Don Giovanni), ha vinto il Premio musicale della Royal di critica: Don Carlos e L’olandese volante con Empire nel 1998. Marullo (Rigoletto), Papageno (Il fl auto Philharmonic Society nella categoria Large Bryn Terfel nel ruolo di protagonista a Cardiff, magico), Zurga (I pescatori di perle), Escamillo Ensemble. La Welsh National Opera Londra e Birmingham, e il revival di un Kathleen Wilkinson (Glascha) è nata (Carmen), Guglielmo (Così fan tutte), e il ha conquistato altri quattro importanti classico della WNO, La Bohème, nell’autunno nel Lancashire e ha studiato con Barbara Dr. Falke (Die Fledermaus). riconoscimenti della Royal Philharmonic del 2006. Robotham presso il Royal Northern College of Society, oltre a un premio dell’Evening Oltre alla sua attività teatrale di base, Music, dove ha ottenuto una borsa di studio Il Coro della Welsh National Opera si è Standard per il migliore allestimento l’Orchestra si esibisce spesso in concerto in sale della Peter Moores Foundation e ha vinto formato come ente professionale nel 1968, operistico, un Laurence Olivier Award per il grandi e piccole di tutta l’Inghilterra e il Galles numerosi riconoscimenti. accanto al famoso Voluntary Chorus fi no migliore allestimento di una nuova opera e il e partecipa a importanti festival, per esempio i Ha collaborato con Scottish Opera, Opera all’anno dello scioglimento di quest’ultimo, il Barclays Theatre Award per il suo contributo BBC Proms alla Royal Albert Hall di Londra. Ireland, Holland Park, Grange Park e il Festival 1973. Il Voluntary Chorus era stato costituito alla lirica. di Glyndebourne, in ruoli che comprendono nel 1943 da cantanti dilettanti che avevano Carlo Rizzi è nato a Milano e ha studiato Madame de la Haltière (Cendrillon), Lucretia creato il nucleo della futura Welsh National L’Orchestra della Welsh National Opera, pianoforte, composizione e direzione di Britten, Mercedes e il ruolo di protagonista Opera. Il successo del Coro nei primi fondata nel 1970, si è affermata per il suo d’orchestra presso il Conservatorio della sua in Carmen, Filipyevna (Eugene Onegin), allestimenti contribuì ad assegnare un posto valore e la sua versatilità, distinguendosi non città. Nell’agosto del 2004 è stato nominato Suzuki (Madama Butterfl y), Martha (Faust), alla WNO tra i teatri lirici. solo per l’articolato repertorio operistico ma Direttore Musicale della Welsh National Opera Azucena (Il trovatore), e Madam By-Ends Alla fi ne degli anni Sessanta, la WNO passò anche per le esecuzioni concertistiche e per per la seconda volta, dopo un primo periodo nell’allestimento del Pilgrim’s Progress registrato completamente allo stadio professionistico e la vasta e approfondita collaborazione con in carica dal 1992 al 2001. Ha diretto un dal Royal Northern College of Music. il Coro Volontario fu sostituito dal Coro della numerose case discografi che. vasto repertorio di opere (da Gluck a Berio) Welsh National Opera che, negli ultimi anni, I Direttori musicali del passato con numerose orchestre in Europa, America Owen Webb (Kuligin) è cresciuto a Pontlliw, ha svolto diverse tournée di concerti nel Galles comprendono Richard Armstrong (1973 – 86), del Nord, Estremo Oriente e Australia, tra cui nel Galles meridionale, ha studiato presso meridionale. L’Orchestra e il Coro hanno al sir Charles Mackerras (1987– 92) e Tugan la London Symphony Orchestra, la London

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 76-7776-77 22/9/07/9/07 20:35:3220:35:32 Philharmonic Orchestra, la Philharmonia e Così fan tutte, Otello, Aroldo, Il trovatore); On session: Gwynne Howell and Kathleen Wilkinson la Royal Philharmonic Orchestra, la Chicago l’Opéra Bastille (Rigoletto, Simon Boccanegra, Symphony Orchestra, la Philadelphia La Cenerentola); la Deutsche Oper di Berlino Orchestra, la Filarmonica di Los Angeles e (L’italiana in Algeri, Macbeth), l’Opera di le Orchestre sinfoniche di St Louis, Dallas e Monaco (La Bohème, La traviata) e di Zurigo Atlanta, oltre all’Orchestre National de France (Tosca e I vespri siciliani); per la Metropolitan e l’Orchestra della Scala di Milano. Opera ha diretto Lucia di Lammermoor, Il suo repertorio alla Welsh National Opera Il trovatore, Norma, Madama Butterfl y, include Fidelio, Boris Godunov, , La Bohème, La traviata, Cavalleria rusticana, Tristan und Isolde, The Turn of the Screw, Pagliacci, Aida, Turandot e Nabucco. Durante The Rake’s Progress, Der Rosenkavalier, Kát’a la scorsa stagione ha inaugurato il nuovo teatro Kabanová, Salome, Ariadne auf Naxos, Don lirico di Cardiff (Wales Millennium Centre) Carlo e Der fl iegende Holländer. In occasione con La traviata. della centesima stagione dei BBC Proms ha Nel settembre 2004 Carlo Rizzi è stato diretto l’Orchestra della Welsh National Opera nominato Direttore Ospite Principale del nel primo concerto sinfonico in quella sede. Teatro Comunale di Bologna dove ha diretto Durante il suo periodo in carica, l’Orchestra Il trovatore e Andrea Chénier. Ultimamente ha inoltre vinto numerosi riconoscimenti, ha diretto La traviata e La bohème alla compreso quello assegnato dalla Royal Metropolitan Opera, Don Carlos a Zurigo e Philharmonic Society. Dal 1996 è ospite Aida a Houston. regolare dei concerti del Festival Internazionale La discografi a comprende un CD di poemi di Edimburgo. sinfonici di Respighi e L’Arlésienne di Bizet con Carlo Rizzi ha collaborato con La Scala la London Philharmonic Orchestra, oltre a (Madama Butterfl y, Turandot), il Covent varie opere tra cui La traviata, Rigoletto, Faust, Garden (La traviata, Madama Butterfl y, La Cenerentola e Un ballo in maschera.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 78-7978-79 22/9/07/9/07 20:35:3420:35:34 COMPACT DISC ONE Glasha Dikoi Kudryash Why argue? You are always right. You’d fi nd some work there if you tried! Yes, but why must you, if I may ask? Act I You’re the clever one: chemist, scientist. You have heard me say, Scene 1 not once, not twice, ten times, Boris There’s no secret about it. Kudryash ‘Just keep away from me, keep away from me.’ 1 Do you remember my grandmother? [Introduction] Tell me, Glasha, who is it that’s But you never listen. waving his arms about? Have you nowhere to go? A park above the steep Volga bank with a distant Every second here at my elbow. Kudryash view of the countryside. To the right the Kabanovs’ Pah! Damn you! Don’t just stand there! Anfi sa Michailovna? house. Seats beside the path, shrubbery. Afternoon Glasha Can you hear me or not? Boris sun. It’s Dikoi, bullying his nephew again. Father married well above his station. Boris That offended my grandmother, Kudryash (seated, gazing at the river) Kudryash I’m listening! What do you want then? and that’s why my parents went to Moscow. 2 Marvellous! Really, just admit it, it’s marvellous! Here, where it’s so peaceful. Mother used to say to me: Glasha, just think of it, Dikoi on no account would she ever live with those day after day I sit here and gaze at the river, Why don’t you go to hell? Look at him, Glasha provincials! and still I never weary of it. You know what he’s like, always fi nding fault lounging about here all day! 4 with poor Boris Grigoryevich. Is your mistress at home? Kudryash Glasha Who could blame her? What’s so special? Glasha Kudryash She’s at church still. What a savage brute he is! Boris Kudryash Roaring like a beast in the forest. She thought of them as philistines. Loveliest of rivers! It’s lovely, (Dikoi spits and walks off.) Don’t let him see us or he’ll turn on us as well. fi lls me with happiness. Kudryash Kudryash (taking a step towards Boris) They’d take some getting used to, I can see that. Glasha Dikoi (to Boris) You and your uncle never get on. Stuff and nonsense! Lazy devil! None of us can understand why you should Boris 3 What d’you think you’re hanging around for? choose to live with him and put up with his Our parents were not rich but they spent all they Kudryash Get off back home with you! bullying. had on us,stinting themselves so that we’d want Lovely! And you say: stuff and nonsense! for nothing. Take a good look at it. See what beauty’s hidden Boris Boris I was sent to a business college; my sister went in nature. What would I do at home on Sunday? Not because I choose to – I must! away to boarding school.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 80-8180-81 22/9/07/9/07 20:35:4020:35:40 And then suddenly they both died of cholera. Kudryash Boris (Boris and Kudryash disappear behind the house.) We two were left alone in the world, my With that bullying monster! Kabanicha! little sister and I. And then I heard that my (Glasha goes up to Feklusha as she enters.) Kabanicha (to Tichon) 6 grandmother too had died here and left us both What is it? Oh, it must be the people (Feklusha goes off into the house with Glasha.) If you want to obey your mother, some money. coming back from evening service. then you will go as your father used to, to Kazan, to the market there, and today. We were to inherit it when we had come of age, Goodbye then. I must go. Kudryash on one condition. She’s a hypocrite, generous with her charities, Tichon but at home she rules with a rod of iron. Boris Of course! I’ll do as you ask. Kudryash Wait a bit. Stay for a moment. What was that? How my youth is passing, Boris Kabanicha oh how quickly it is passing! Is it a dream that I’m living? I would believe you, but I see quite the opposite Boris Am I crazy? Why must I fall in love? every day, see it and hear it every day. That we did what Uncle Dikoi said. Feklusha (to Glasha) You can’t deny it, you put your wife above your Lovely, isn’t it? Yes, Glasha. Kudryash own mother. Kudryash Lovely! Wonderful! But who with? It’s very plain you do not care for me Oh, then I’m afraid you won’t see much of your as you used to, before you were married. legacy. Boris Boris Tichon Year in, year out, no happiness, no happiness. She’s married. Look, she’ll be here shortly, What gives you that idea? Boris Has life no joy in it? complete with husband. If it were just me, I would have left here long Oh, I must be crazy, I must be crazy. ago, but I’m thinking of my sister. He wants her Kabanicha Feklusha Everything! In my heart I know at once here. Kudryash That’s all I can say! when you keep things from me. But till now my mother’s family have stopped her You had better forget her, if you don’t want to coming. ruin her. Tichon What a life for a girl like my sister! Boris Oh but mother dear, that’s no way to talk. Grasp it and suddenly it vanishes! Boris Kudryash Come on, let us take just one look at her. Katya What a life! Feklusha (Boris and Kudryash step back to the side of yhe I respect and honour you just like my own That’s all I can say! house. Enter from the other direction Katya, mother. Boris 5 All of them so good and pious, most of all Varvara, Kabanicha and Tichon.) Why do you say such things? And Tichon loves I can hardly even bear to think of it. Kabanicha! And then go back home. Ha! Ha! Ha! you just as I do.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 82-8382-83 22/9/07/9/07 20:35:4320:35:43 Kabanicha Kabanicha Mother just nags at her always, just as you do. So often I imagine I’m a bird, You can keep your mouth shut, keep your mouth So you would treat your wife as my equal? Then you come and tell me how much you love and can spread my wings and fl y. shut. A wife should know her place! her. Shall I show you? Nobody has asked you. If you’re soft with her, how can she ever respect Why stand there doing nothing? (She makes gestures.) Why should you defend him? you? I can see so clearly, what’s on your mind – You’d give in to her? What if she takes a lover? drinking! Varvara Varvara (Tichon lounges off in silence.) What are you saying? Oh, what a place to choose for a sermon. Tichon She is unhappy, she is so unhappy. Oh, but Maminka, Katya loves me. (She hesitates at the door.) Katya Kabanicha How I love her. Oh, how could anyone not love I used to be so free and happy, Nothing will happen to him. He is my son, after Kabanicha her? but since I came here to live that’s all changed. all. Would you just accept it? Would you say Interfering like that! Making yourself nothing? 7 Intermezzo I Varvara conspicuous, so that all may see how much you Katya, d’you think I did not know? love your husband! Scene 2 Tichon Katya A room in the Kabanovs’ house Katya Oh, but Maminka! Ah, then it was all so different. Words like these were best unspoken. Life seemed so easy and carefree then. Katya (laying her embroidery aside) Why do you insult me? Kabanicha Freely as a bird I wandered; 8 I’m always wondering. For no reason at all, in front of others, And I, I too, I say nothing! Mother knew nothing of my inmost longings. or on my own, I am the same still. I was just her baby daughter. Varvara (exit into the house) Tichon D’you know how I spent my What? This is really too much! days at home before I married? Kabanicha I would get up early, and if it were summer, Katya Always self-important! She takes offence so Kabanicha run to the spring nearby and wash myself. Why can’t we fl y away? quickly. Stupid boy! You watch her. I’m going in. Then I would bring water and water all the (to Tichon) (exit into the house) fl owers, every single one of them. Once perhaps you loved me, before you were Varvara married, ah but now, you’ve a wife. Tichon (to Varvara) I don’t know what you mean. Varvara You see now! Always on at her! Just as you do here, Katya. Tichon Katya Mother, I have not changed towards you, I love Varvara Tell me this, why can’t we fl y away, Katya you both. Well, is that your wife’s fault? just spread our wings and fl y as birds do? Then it would be time for church.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 84-8584-85 22/9/07/9/07 20:35:4520:35:45 I always felt so happy when I was in church. Varvara so warmly, so warmly, calling me to go away with Varvara It was as if I were entering paradise. Katya, this is madness! him and – And why? Then I would see no one, hear no one, and I (Enter Tichon,. Katya embraces him.) never knew when the service was really over. Katya Varvara Oh, she must be mad! Afterwards, Mother told me how all the people …slipping, falling, pushed by unseen hands to And you? stared at me,seeing me act so strangely. destruction! Katya And then, on a fi ne summer day, when columns Katya Tichon, Tichon! Never leave me! of golden light would stream from the dome, Varvara I, and I go, I go with him! (enter Glasha and Feklusha, carrying his luggage) And the incense in clouds, fl oating heavenwards, This is madness! 10 Ah, but you, what can you know of this? I used to imagine I could see angels fl ying aloft A child still. Feklusha (to Glasha) in the golden haze, to heaven! Katya Will he be gone for long? I would fall down on my knees and cry so. 9 Madness? Oh, how I wish I really knew. Varvara But I never knew what used to make me cry so. Deep in my inmost heart such strange desires are Oh tell me, please. I’m far worse than you! Glasha That’s how they’d fi nd me. stirring! Far worse than you! Tell me. No, not long. And all the dreams I used to have, what dreams! My will is powerless against them all. (exit with Feklusha) Lofty golden cathedrals, high in the heavens, and When I try to think my mind is confused and Katya mountains and forests. bewildered. I am too ashamed. Don’t ask me. Katya I felt as if I were fl ying, soaring and fl ying! When my tongue mutters a prayer, all the time Tichon, do not leave me! And all around me the sound of heavenly voices. my mind’s on something very different. Varvara Don’t go, my darling! Never leave me! It’s as if the devil came to tempt me, so softly What need you be ashamed of? Varvara whispering horrible things. Who am I to be your judge? Tichon Katya, oh, what is this? It is too shameful even to think of it! I have my sins too. How can I, Katya? At night time... How can I not go when Maminka told me to? Katya Katya Katya The scent of the cypress! Varvara It is a terrible sin, to love another man. Then take me with you, Tichon! Take me too! What do you dream about? Who can help me? What will become of me? Varvara Tichon Oh, what is this? Katya Varvara I cannot do that! Varya, I cannot sleep! Who can tell – perhaps one day you’ll see him? Katya There it is, all the time, someone near, someone Katya A dreadful sin threatens me, whispering, someone speaking so lovingly to me, Katya Oh, but why on earth can’t you? like an abyss that yawns before me, and I am… words so soft and tender, someone embracing me No, no, no, no, no, never! God help me! 11 Do you not love me any more?

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 86-8786-87 22/9/07/9/07 20:35:4720:35:47 Tichon Katya Katya Tichon Love? Yes of course! Tichon, don’t leave me here without you! Do just this one thing for me, set my soul at rest! I have no need to tell her that. But in this kind of slave existence even a man with the loveliest wife in the world cannot bear it. Tichon Tichon Kabanicha So when a man has lived all his life as I have I have never seen you act so strangely before, and How could anyone keep such promises? I want no excuses! done, he runs away and leaves his wife! now? Give your orders clearly Katya so I too can hear just what you tell her. Katya Katya May I never see my mother or see my father And then, when you’re home again If you say such cruel things to me, Tichon, do not abandon me! again, may no priest absolve me when I die, you can fi nd out how well she’s obeyed them. oh, how am I still to love you? if I should... Tichon Tichon Tichon You know I cannot help it. Tichon Do just what mother says. Only words, only talk. It’s no use complaining. Don’t say that. How can you? It is a terrible sin. What am I to make of you? Kabanicha Katya Kabanicha Make it clear she must always respect me. Katya (in tears) If you go, something dreadful will happen, 12 It’s time, Tichon. It’s time. What will become of me when you’ve gone? something will happen. The carriage is at the gate. Everything’s ready Who will protect me? You know what you must do? now. Tichon Make me swear an oath to you, a terrible oath. And respect her. Tichon Tichon Stop it! Tichon I know, Mamma, now it is time to go. Kabanicha What kind of oath? And must honour me as she would her own Katya Kabanicha mother. (She goes up to her husband and nestles against Katya Well then, don’t just stand there. him.) Yes, make me swear that while you are gone Tichon, darling, won’t you stay here with me on your journey I will never for any reason Tichon Tichon or let me go with you? either speak to a stranger or even look at one. What are your wishes? Katya, honour Mamma as you would your own This is how I’d love and hold you, love you so That I will never dare to think of another man mother. tenderly. but only you, Tichon. Kabanicha Don’t you know what’s proper? Kabanicha Tichon Tichon Tell your wife how she must behave herself while And not sit around all the time with her hands I don’t understand you, Katya. But why should I? Why should I? you’re away. in her lap.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 88-8988-89 22/9/07/9/07 20:35:4820:35:48 Tichon Kabanicha Act II Mother has locked it and taken the key away, And be sure to help Mamma while I am away. And now have a word together. Scene 1 and she’s hidden it, hidden it, so she imagines. (exit) Working alcove set back from a room at the I’ve put another one where I found it Kabanovs’. Late afternoon. Kabanicha, Katya and so that she would not see it’s gone. Kabanicha Tichon Varvara sit at their embroidery. If I should see him, I’ll tell him: And don’t stare out of the window. Are you cross with me? come to the garden gate and wait there. Kabanicha (She offers Katya the key.) Katya 13 There now, you’re always boasting Tichon No. Goodbye! how you love your husband. Oh, but Maminka! Katya Most wives, if they are good wives, But why? Kabanicha (returning with Varvara and Glasha) when they see their husbands off, (She refuses to take it.) Now, Tichon, it is time. God be with you. Kabanicha stay in their room for the rest of the day, I don’t want it – keep it. Make it clear. (She rises, the others likewise. Tichon approaches sobbing their poor hearts out. her.) Ah, but you don’t seem to care. Varvara Sit down, all of you. God be with you. You say you don’t want it... I fi nd it handy. Katya Tichon (She points to the ground. Tichon bows down to his Take it, it won’t bite you. Don’t look out of the window. knees, then kisses his mother.) Well I am what I am. I am not that kind of woman. Katya Tichon Why should I weep just for others to see me? Kabanicha Why are you tempting me? Have you no shame? Mamma, God be with you. And keep her eyes off other men. Kabanicha You know that I could not. You must be crazy! If you really loved your husband Kabanicha Varvara then you would have learnt to weep for him. Kneel down, say your goodbyes to her. I can’t stay here all night talking. Tichon And if you cannot do it, you might at least Oh, but Maminka, how could I? Shameless girl. pretend a little. Katya Tichon It would look much better. Really, you’re crazy! Kabanicha Goodbye, Varvara. But you don’t want to be like the others. What’s all the fuss about? I’m going. See that I’m not disturbed. Varvara It’s just as well to say everything. Kabanicha (exit) I’ve other things to do. He’s not your lover! (She runs off.) Varvara (adjusting her headscarf ) Tichon Tichon 14 It’s so warm indoors. Katya (her eyes fi xed on the key she is holding) Keep your eyes off other men. Goodbye, Glasha. Glasha will make up our beds in the garden. Here’s the key! (Katya breaks down.) (He hurries off.) You know the gate by the summerhouse? Sin and shame! How can I escape from it?

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 90-9190-91 22/9/07/9/07 20:35:5020:35:50 (rushing to the window) Kabanicha Dikoi 18 [Introduction] Throw it away. Throw it away in the river. Then go to bed. Oh be quiet! Listen! Then I would never see it again. One day during Lent I had done my penance, It burns my hand, burns me like fi re. Dikoi after my confession, a peasant came up and spoke Kudryash (with guitar) Someone’s coming here. Where shall I go? to me, 19 Nobody here yet! Then I’ll sing a song while I’m (She hurriedly hides the key.) must have been the devil that had sent him, waiting. Kabanicha said he’d come for money that I owed him. ‘One day early by the river walked a lovely Kabanicha (to Dikoi, off-stage) Go home. Where else? Satan must have sent him there to tempt me. maiden. If you want something, you just ask me. Then I sinned, swore at him and nearly killed Came a young and handsome suitor, with Dikoi Don’t shout. him. rich presents laden: But I don’t want to go home. And you know I’ve a soft heart. Fur-lined shoes and silken kerchiefs for a Katya Kabanicha (sidling closer to Kabanicha) maiden’s pleasure, 15 No, no, no one, yet my heart was beating so fast. Well, what do you want then? Out with it. So after that I begged his forgiveness. Rings of gold and blood-red rubies worth a No, no one! Why should it frighten me so? I went down on my knees to him. rich man’s treasure. Why did I hide the key? I know now, fate has Dikoi Now you see what my soft heart leads me to. “Take the gifts your true love brings you”, decided. Listen! I’ll tell you. Speak to me harshly. (falling at Kabanicha’s feet) vainly he besought her. And where is the sin in taking a look at him from It is good for my soul when you treat me like On my knees in the mud before a peasant! She gazed only at her image mirrored in the a distance? that. Kneeling! Oh! water.’ We could just talk a little – You, only you understand me. (whining) She’s not here yet. What’s keeping her? there surely could not be much harm in that. You know how to handle me. (He sits down.) What am I saying? ‘Take your rings and take your rubies; riches I am lying to myself. Even if it kills me Kabanicha Kabanicha (pushing Dikoi away) cannot buy me. I long to see him. I will see him! I suppose they’ve asked you for money? That’s enough. Calm yourself! I will rise tomorrow early, to the fi elds will Live or die, I will see Boris! You should learn better manners! Better manners! hie me. Oh, how I wish it were night. Dikoi I will pick sweet scented violets, thyme and (exit, throwing a shawl over her shoulders. Money, money, always money! 17 Intermezzo II purple clover, Kabanicha comes into the main room with a lamp; If you say that word it’s as if, as if my belly were I will make a posy with them for my own Dikoi follows. The room is now light, the alcove in set on fi re. true lover. darkness.) Scene 2 Though all day beneath my window, though Kabanicha Night. A steep bank, overgrown; above, the all night you tarry, Dikoi You have no one to cross you, Kabanovs’ garden fence and gate. A path leads down You will never be my true love; you I’ll never 16 It’s nothing much. You see I’m just a little drunk. That’s why you’re a bully. the slope. marry.’

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 92-9392-93 22/9/07/9/07 20:35:5120:35:51 (enter Boris. Kudyrash sees him.) Kudryash Boris and I dare not even think about it. What’s this? Someone out for a walk as well? Listen, I’m warning you, falling in love can be so Yes. Oh, how my heart beats. What am I to say to dangerous. her? Boris Kudryash She’s here. Is that you, Kudryash? Boris Be careful, watch out. (Katya approaches down the path.) I know, but I can’t help loving her. 21 Is that you, Katerina Petrovna? Kudryash Varvara (coming through the gate, singing) I cannot fi nd the words to thank you. 20 Yes, it’s me, Boris Grigoryevich. Kudryash Far away my love is gone across the water. Oh, if you knew, Katerina Petrovna, oh if you Although she’s married. only knew, Kudryash (walking towards Varvara) Boris (He tries to take her hand.) Buying presents for a maid of high degree. And why are you here? Boris how much I love you! Yes. Varvara Kudryash I am not a lady, not a rich man’s daughter. Katya (without raising her eyes) I’ve reasons of my own. If I hadn’t I’d be home Kudryash Stay away from me, oh, stay away from me. in bed. Do you really want to ruin her? Kudryash Leave me here alone. And what have you come here for? Rich or poor man’s daughter, I love none but Boris thee, Boris Boris Don’t try to scare me off. Rich or poor man’s daughter, I love none but How much I love you! Look, Kudryash, it’s like this. thee. (He looks around furtively.) Kudryash Katya I have just been told to be here. Do you know if she loves you? Varvara (She walks down the path, her face hidden You know for such a sin there’s no forgiveness. Somebody told me or I should never have dreamt in her scarf. She goes up to Boris.) No, there’s no forgiveness. of coming. Boris Friend, don’t get impatient, she’s coming. Like a stone, it lies upon my heavy heart, lies so No. I only met her once, at my uncle’s house. (to Kudyrash) heavy. Kudryash But I’ve watched her every day in church. Come to the river! But who was it sent you here? Oh, Kudyrash! If you could see her when’s (She slips off with Kudyrash.) Boris praying... Don’t send me away, don’t send me away so Boris Then she smiles and it’s just as if an angel smiled, Boris heartlessly. It was a girl who told me. I didn’t know her. and shed all around a radiant light! This night! Singing! And lovers meeting! Yes, this is the place – by the garden of Kabanov’s And there they go so happily. Katya house, Kudryash While I wait here, and don’t know what I wait Why did you come here? where the pathway leads. Yes, that must be Kabanov’s wife. for, You know I am married, and until I die

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 94-9594-95 22/9/07/9/07 20:35:5220:35:52 I must honour and love my husband. Katya Varvara (returning with Kudyrash) Varvara So what is it you want then? You must want my It would be perfect to die now... 22 So you’ve found each other. Even so the gate that leads from here to the ruin. garden Boris Boris is always locked at night-time. Boris Why talk of dying when it is sweet to live? Yes. She will knock and go away. How could I want your ruin? Next day I’ll tell her that we both slept soundly. When to me you are more than all the world Katya And old Dikoi had come to call on her. Varvara itself! No, no, no, I cannot live. Then go for a walk. Vanya will call when it’s time Yes, to me you are more than all the world itself. Katya and Boris (in the distance) to go back. Boris For ever I am yours! Katya Never say such terrible words. Ah, you’ll destroy yourself, yes, both of us! Can’t you see how much I suffer with you? (exeunt Katya and Boris) Varvara They are such brutes, they suit each other well. Boris Katya Kudryash (to Varvara) Anyway, Glasha is on the look-out, and if there’s But how could I? Do not pity me. No one’s guilty but I, yes, This way, it’s ever so much easier. any danger she’ll call us. I alone have brought you here. Out by the gate in the garden. Katya Kill me, but don’t pity me, (He sits down on a rock with Varvara.) Boris (in the distance) When I left my home to come here in the night so that all may see me, all may know me, the Until the end of time my love will be with you! and secretly, guilty one! Varvara I denied my own free will. Yes, thanks to me. Varvara If my will were free any longer, Boris Anyway, where is the fun without danger? I would not have come to meet you here. You make too much of it! If you don’t take care then you’re in for trouble. Kudryash You must see that. How are we going to know what the time is? (raising her eyes and gazing at Boris) Katya So, I imagined. But suppose that your mother should fi nd you out. It is your will conquering my will! It is I who have sinned by loving you! Kudryash You must surely see! One o’clock. (She throws her arms around Boris’ neck.) Boris Varvara Light of my life! You make too much of it. Oh, mother will never get round to it. She’s a Varvara very heavy sleeper. How d’you know? Boris Katya Light of my life! And must suffer. Kudryash Kudryash (They remain in an embrace.) (They embrace impetuously.) But suppose the devil should wake her just once? Heard the night-watchman,

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 96-9796-97 22/9/07/9/07 20:35:5320:35:53 Katya (in the distance) Kudryash Kudryash Kudryash Light of my life! So we stayed, my love and I, What a crowd there on the promenade. Yes, and that’s how they say it is. Until the world’s end I will be with you! till the dawn was in the sky, Ei leli, leli, leli, till the dawn was in the sky. Kuligin Kuligin Boris (in the distance) You’ll see, they will all come rushing in here. There are black men as well there. Light of my life! (Katya and Boris hurry up the path.) (Passers-by come running in from the rain.) Kudryash Yes. There are black men as well there. Varvara Varvara (calling to them) Kudyrash It’s time. You’d better call them. Time to say goodbye to each other. The merchants’ wives all dressed in their fi nery. (Dikoi enters. All the others bow.)

Boris (in the distance) (Katya goes up the path alone; Boris stays behind.) Kuligin For ever, light of my life! Hey, Vanya, this was all covered with paintings! Dikoi Here and there you can see. Out of my way, I’m soaked to the skin. COMPACT DISC TWO Kudryash (inspecting the walls) Kudryash Homeward all good people, Savol Prokefyevich. Homeward all good people, but myself, I will Act III Kudryash not go. Scene 1 A fi re destroyed them. A ruined building with colonnades and vaulted Dikoi Kuligin Get away from me, get away! Cheeky young Boris (off-stage) ceilings; around it grass and bushes. Through the That’s a picture of hell and the damned! upstart. Coming! arches a view of the Volga and its banks. Late afternoon on a dull day with rain clouds. Kuligin I suppose you are after me for something. and Kudyrash come into the ruin for shelter. Kudryash Running round me and poking your nose in my Kudryash (He and Varvara climb up the path to Afterwards they never restored it. business. the gate.) It is night and far from home Kuligin 1 Kuligin Kudryash maidens should no longer roam, Raining! Every kind of sinner burning away in there. We get so many storms here. Ei leli, leli, leli, maidens should no longer roam. Kudryash Kudryash Dikoi Varvara There’s a storm coming. Yes, that’s the way it is! Nonsense! I am young and I am fair, stay with me till day is here. Kuligin Kuligin Kudryash Ei leli, leli, leli, stay with me till day is here. Look, there’s a place to shelter. All sorts of people! We need lightning conductors.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 98-9998-99 22/9/07/9/07 20:35:5420:35:54 Dikoi Dikoi (stamping his foot) (Dikoi walks out of the building, the rest following. Varvara Nonsense! Well, and what are they like, Just electricity? Just electricity! Varvara appears under one of the arches, looking Oh, you! Listen to me now! Katya is ill and your lightning conductors? Look at him! He’s a common charlatan. out into the open.) shaking as if she’d a fever. She wanders through the Storms are sent as a warning, so that we house not hearing or seeing me, just like a mad Kudryash mortals know God is all-powerful. You with your Kudryash (still outside) woman! Rods made of steel. rods of steel! The rain has stopped. Then suddenly she’s sobbing and moaning: You’d defy the fury of the thunder and the ‘Oh, tell me please, lightning! what am I to do?’ She is doing such crazy things. Dikoi (In the background, Kudryash accosts Boris.) Do you think we’re heathens? Heathens are we? What else? Heathens? Varvara (making a sign to Boris) Boris Kudryash Kudryash 2 Psst! Pssst! Boris, listen to me! Oh my God, what will happen? All made of steel, long rods. Savol Prokofyevich, surely you must know the (He approaches her.) words of the poet: What are we to do with Katya? Varvara Dikoi ‘My fl esh will crumble into dust, but the thunder And then she says she’ll tell him, tell her husband, I heard you, long rods. bends to my will.’ Boris confessing everything. Dikoi Why, what is it? Kudryash (explaining with gestures) Listen to him! What a thing to say! Fixed to the roof. Lock him up then! He’s just a commonplace Varvara Boris charlatan! Oh, it really is terrible, Would she do that? Dikoi (turning to bystanders) terrible! Tichon’s come back now, surely you What else? What else? As for all of you, you good-for-nothings, you just knew! make trouble. Varvara I cannot answer for her, Maminka’s starting to Kudryash (to Kudyrash) Boris notice, That’s all. Has it stopped raining? No! watches her like a serpent, watches like a serpent. Kudryash That makes her all the worse! Dikoi (rolling his sleeves up menacingly) Seems so. Varvara Here she comes. Maminka is with her. Hide What is a storm by your way of reckoning? Poor Katerina’s out of her senses. yourself! Dikoi Kudryash Seems so. I just asked him a question. Boris Just electricity. And all he says is ‘Seems so’! Oh, how can I bear it? (Boris and Kudyrash hide. Distant thunder)

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 100-101100-101 22/9/07/9/07 20:35:5520:35:55 Katya (Rushing in, taking Varvara’s hand and Kudryash Tichon Kabanicha gripping it frenziedly.) Every blade of grass rejoices. Don’t be so sad No, I won’t listen. Son, your mother warned you! 3 Oh, Varvara! I shall die! about it. Varvara Tichon Zena (from the crowd ) Katya (seeing Boris) She doesn’t mean it. Katerina! Look at that woman! Something has frightened Ah! Why has he come here? her. (She leans towards Varvara and sobs.) Katya (Thunder. Katya tears herself away and rushes off Oh, can he really care so little about how much I left the house that night. into the storm. The rest run in all directions.) Varvara (to Katya) I suffer? Watch what you’re saying! Kabanicha Scene 2 Varvara Go on then, say what you have to say. A lonely spot on the bank of the Volga. Dusk, Chorus Calm yourself, kneel down and say a prayer. turning to night Look there! What a beauty! Katya No one can run away from the wrath of God! That night and every night I’ve spent with him. Tichon (followed by Glasha, running with a lamp (Enter Dikoi with Kabanicha and Tichon.) and looking everywhere) Varvara Kabanicha 4 Ah, Glasha! It’s awful to think of it. Calm yourself! Dikoi (to Kabanicha, pointing at Katya) Who? Beating her would be too easy. Something is troubling that woman’s conscience. You heard what mother said: Katya Dikoi ‘Women like her should be buried alive. How can I? Kabanicha Who? That is the way to punish them.’ In her soul there’s something dark. But I love her the same. Varvara Kabanicha Oh, how could I then do anything to harm her? Don’t be frightened. Katya (suddenly falling to her knees) Who? Maminka! Tichon! Glasha (running after Tichon) Katya Look at this sinner and pity her. Look at me! Varvara Katerina! My heart is bursting! Ah, did I not swear an oath to you? No, she is lying, she doesn’t mean it! (distant thunder) (She rushes off. Enter Kudyrash in haste, followed Kudryash (to Boris, who is just behind him) That I’d speak to no man, Katya by Varvara.) Don’t be afraid, you are safe with us. that I’d look at no man while my husband was Boris Grigoryevich! absent? Varvara Chorus Would you know then all my wickedness, (Thunder. She falls senseless into her husband’s Mother tried to lock me up, cursed me! Oh, what a beauty! what I did when you left me, that very night? arms.) So I told her ‘Something bad will happen,

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 102-103102-103 22/9/07/9/07 20:35:5620:35:56 something bad, something bad, something bad!’ Kuligin (just off-stage, back) All I see around me, all I hear around me, Boris Vanya, what shall I do? La la la la. only hurts here, hurts me here so badly. 7 Thanks be to God! (He crosses the stage, peering at Katya.) (her hand to her heart) Kudryash La la la! Ah, if I could be with him, Katya Come with me! Yes, come with me! perhaps I’d fi nd a little happiness. You did not forget me? Katya (shrinking) Oh, how I long to see him, Varvara I’ve forgotten, what he would say to me, but if I cannot see him, Boris Come with you? how he’d look at me, all forgotten. let him hear me calling from far away. How could I forget you? How could I? And the nights, oh how I dread them, Oh mighty stormwind, Kudryash when all the world lies sleeping, the whole world. bear my grief and longing to my love! Katya We’ll go to Moscow! But I shall not sleep again in this life. Oh, how I still long to see him. No, no! It was something else I wanted to ask I dread the darkness. I hear this noise. (She approaches the steep bank.) you. Have I made you angry? Varvara (chorus in the distance, wordless) Light of my life, joy of my soul, Moscow! Away to a new life! And there’s singing too. dearest heart, oh how I love you! Boris (They run off together.) Voices that haunt me like funeral chanting! (Enter Boris. At fi rst he does not see her.) How could I be angry? Oh, I am so glad when daylight comes again! Answer me! Oh, answer me! Why do they stare at me? Katya Tichon (from a distance) Long ago for sins like mine they would kill a Boris I never meant any harm. Katerina! woman. That is her calling me! I had simply lost my senses when I told them They would take her down to the Volga and everything. Glasha (from a distance) throw her in. Katya 8 No, not that! No, not that! Katerina! But I must live, live! Live, live! Answer me! Oh, answer me! It was something else I wanted to ask you. And let my sins torment me! Why must I suffer so? (She runs up to Boris.) (coming suddenly back to the present) (Katya enters slowly from the other side.) How long shall I have to suffer? Boris But what of you now? Tell me that. What more can I live for now? What? Katya! What more? No, I want nothing more. Katya (They fall into each other’s arms.) Boris 5 No! Nobody here. Oh, where can he be now? Nothing can make me happy. My uncle has told me I must go away, leave this If I saw him just once more I would die happy. Even the warmth of sunshine seems cold and Katya and Boris town for ever. It was no help to tell my secret for now I’ve made cheerless. Now once again I see you! him suffer with me. 6 And yet death won’t come to me. Katya I have brought this shame on him too. Death won’t take me, death won’t come and (Katya weeps on his breast; they remain locked Then take me with you. Ah, no! Yes, shame and ruin on myself and him too. take me. together in an embrace. Then awareness returns.) Go and forget all about me.

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 104-105104-105 22/9/07/9/07 20:35:5720:35:57 Boris Never refuse them. Glasha Kabanicha Life’s easier for a man. (The chorus intones a vowel sound, like to Volga Hey, get a boat! I must thank you, I must thank you, friends and I shall be free to do as I wish, but you... sighing. Complete darkness) neighbours, for your kindness. What of Kabanicha? What will she do? Look in my eyes, as this is the last time I’ll ever Tichon (She bows to this side and that. The chorus intones see you. Quickly, come quickly. wordlessly as before.) Katya What’s that song they sing? So go now. (People rush up with lanterns from all sides.) Mother will torture me and the people will stare Goodbye. God be with you. It surely must be her! Janácˇek after Ostrovsky. English translation at me (Kabanicha enters, following Dikoi. She grabs hold by Norman Tucker, © Universal Edition when I walk through the streets, pointing and Boris of Tichon.) (London) Ltd. Revisions by Rodney Blumer and laughing at me. Oh, if they only knew how cruel parting is. Let me go! Henrietta Bredin (as he walks away) Boris Cruel! Kabanicha And your husband? Katya No, my son. Let her alone, she isn’t worth it. Katya And still I hear that song. Sometimes he is gentle, (crawling on hands and knees to the edge of the Tichon but then he gets angry, drinks, and beats me. bank) You are the one who killed her! 9 No, not that! I keep forgetting what I meant to say. Birds will sing as they fl y above me when You, you, and you alone! It was something else I wanted to tell you. I am buried, It is a strange fact of life that translations tend I was so sick with longing for you. and fl owers will blossom there, purple fl owers, Kabanicha to date more quickly than original librettos. And now, now at last I see you once again. blue fl owers, yellow fl owers, What’s this? Have you lost your mind? Norman Tucker’s classic version of Katya was Listen, listen, something I had to tell you... so peaceful, so lovely, Don’t speak to me like that! made for the fi rst UK performances at Sadler’s everything is confused. so lovely, and I must die! Wells in 1951. More than half a century later, (She crosses her arms and leaps into the river.) one or two lines in the more conversational (Dikoi enters carrying Katya’s corpse. He lays it on exchanges have been adjusted to make them Boris the ground.) Kuligin (on the far bank) sound more natural to twenty-fi rst-century I must go. 10 Hey there, a woman has jumped in the river! ears; the purely lyrical passages, rendered by Dikoi Tucker with quite extraordinary sensitivity, Katya Passer-by (on the far bank) Here’s your Katerina for you. are left virtually untouched. I can no longer remember it. Hey, get a boat! Wait a moment and I’ll tell you. When you have left me, give money to anyone Dikoi (running past with a lantern) Tichon Rodney Blumer and Henrietta Bredin begging. Who’s that calling? Katya! Katya!

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 106-107106-107 22/9/07/9/07 20:35:5820:35:58 Gwynne Howell as Dikoi in The Royal Opera's production of Katya Kabanova

Front cover of the score of Katya Kabanova, illustrated by Vladimir Hrska,

© Catherine Ashmore © Catherine designer of the fi rst production of the opera

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 108-109108-109 22/9/07/9/07 20:35:5920:35:59 On session Clockwise from top left: Philip Lloyd-Holtam and Claire Hampton, Cheryl Barker, Gwynne Howell, Jane Henschel, Peter Wedd, Victoria Simmonds, Owen Webb, Carlo Rizzi, Robert Brubaker

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 110-111110-111 22/9/07/9/07 20:36:0720:36:07 The Opera In English Series Great Operatic Arias

CHAN 3011(2) Donizetti: Don Pasquale CHAN 3079(2) Verdi: Falstaff CHAN 3057(3) Mozart: Don Giovanni CHAN 3127 Christine Brewer CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3116(2) Verdi: A Masked Ball CHAN 3103(2) Mozart: Idomeneo CHAN 3096 Elizabeth Futral CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3136(2) Verdi: Nabucco CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3035 Yvonne Kenny CHAN 3017(2) Donizetti: Mary Stuart CHAN 3068(2) Verdi: Otello CHAN 3121(2) Mozart: The Magic Flute CHAN 3099 Yvonne Kenny 2 CHAN 3073 Janet Baker sings scenes from Mary CHAN 3030(2) Verdi: Rigoletto CHAN 3022 Strauss: Der Rosenkavalier (The CHAN 3049 Della Jones Stuart CHAN 3023(2) Verdi: La traviata Knight of the Rose, highlights) CHAN 3142 Jennifer Larmore CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3119(2) Wagner: The Flying Dutchman CHAN 3010 Diana Montague Company) CHAN 3067 A Verdi Celebration CHAN 3054(3) Wagner: The Rhinegold CHAN 3093 Diana Montague 2 CHAN 3004 Mascagni: Cavalleria rusricana CHAN 3091(2) Bizet: Carmen CHAN 3038(4) Wagner: The Valkyrie CHAN 3112 Barry Banks (Rustic Chivalry) CHAN 3014(3) Gounod: Faust CHAN 3045(4) Wagner: Siegfried CHAN 3006 Bruce Ford CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3089(2) Gounod: Faust (abridged) CHAN 3060(5) Wagner: Twilight of the Gods CHAN 3100 Bruce Ford 2 CHAN 3008(2) Puccini: La bohème CHAN 3033(2) Massenet: Werther CHAN 3065(16) Wagner: Complete Ring Cycle CHAN 3088 Bruce Ford sings Viennese Operetta CHAN 3070(2) Puccini: Madam Butterfl y CHAN 3134(2) Poulenc: The Carmelites CHAN 3133 Bartók: Bluebeard’s Castle CHAN 3013 Dennis O’Neill CHAN 3000(2) Puccini: Tosca CHAN 3130(3) Berg: Lulu CHAN 3101(2) Janácˇek: The Cunning Little Vixen CHAN 3105 Dennis O’Neill 2 CHAN 3066 Jane Eaglen sings Tosca CHAN 3094(2) Berg: Wozzeck CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3085 Alan Opie CHAN 3086(2) Puccini: Turandot CHAN 3019(3) Handel: Julius Caesar CHAN 3106(2) Janácˇek: Jenu˚fa CHAN 3077 Andrew Shore CHAN 3025(2) Rossini: The Barber of Seville CHAN 3072 Janet Baker sings scenes from Julius CHAN 3138(2) Janácˇek: The Makropulos Case CHAN 3032 Alastair Miles CHAN 3097(2) Rossini: The Thieving Magpie Caesar CHAN 3007 Mussorgsky: Boris Godunov CHAN 3044 John Tomlinson CHAN 3074(2) Verdi: Aida (highlights) CHAN 3143(2) Humperdinck: Hansel and Gretel CHAN 3076 John Tomlinson 2 CHAN 3052(2) Verdi: Ernani CHAN 3128(2) Smetana: The Bartered Bride CHAN 3081(2) Mozart: The Abduction from the CHAN 3118 Sir Thomas Allen Seraglio CHAN 3042(2) Tchaikovsky: Eugene Onegin CHAN 3078 Baroque Celebration

112 113

CCHANHAN 3145(2)3145(2) Book.inddBook.indd 112-113112-113 22/9/07/9/07 20:36:4620:36:46 Also AvailableOn session: Richard Farnes and Brian Couzens Also AvailableOn session: Richard Farnes and Brian Couzens CHAN 3029 CHAN 3070(2)

114 115

CCHANHAN 3145(2)3145(2) Book.inddBook.indd 114-115114-115 22/9/07/9/07 20:36:4720:36:47 Also AvailableOn session: Richard Farnes and Brian Couzens Also AvailableOn session: Richard Farnes and Brian Couzens CHAN 3101(2) CHAN 3106(2)

116 117

CCHANHAN 3145(2)3145(2) Book.inddBook.indd 116-117116-117 22/9/07/9/07 20:36:4920:36:49 Also AvailableOn session: Richard Farnes and Brian Couzens

Vocal and language consultant: Ludmilla Andrew Stage direction: Charles Kilpatrick Translation research: Henrietta Bredin

Music hire: Music Distribution Services Ltd, agent for Universal Edition AG, Vienna

Session photos by Bill Cooper

Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer & editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Brangwyn Hall, Swansea; 11–15 December 2006 Front cover Photo of Cheryl Barker in Welsh National Opera's production of Katya Kabanova by Clive Barda Back cover Session photo of Carlo Rizzi by Bill Cooper Design Cassidy Rayne Creative Booklet editor Kara Reed Copyright WNO/Chandos version 2006 © 1964 Universal Edition. Norman Tucker translation © Universal Edition (London) Ltd

CHAN 3138(2) P 2007 Chandos Records Ltd © 2007 Chandos Records Ltd

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CCHANHAN 3145(2)3145(2) Book.inddBook.indd 118-119118-119 22/9/07/9/07 20:36:5420:36:54 8

JANÁCˇ EK: KATYA KABANOVA – SOLOISTS / WNO / RIZZI 1 :

CHAN 3145(2) 8 0 : 6 1

7 0 / 8 / 4 114/8/07 16:08:18 England • TT 64:33 TT 27:05 mezzo-soprano CHAN 3145(2) CHAN

mezzo-soprano

Essex • tenor bass

Recorded in 24-bit/96kHz Recorded COMPACT DISC ONE COMPACT COMPACT DISC TWO COMPACT LC 7038 in the EU Printed DDD TT 91:38 soprano mezzo-soprano

baritone tenor

tenor

Colchester • 2-disc set 2-disc Jane Henschel Jane Simmonds Victoria Peter Hoare Hoare Peter Cheryl Barker Gwynne Howell Robert Brubaker Robert Peter Wedd Peter Owen Webb Owen Kathleen Wilkinson Rizzi Carlo

ervinka, , her son ˇ DIGITAL DIGITAL , a merchant , a merchant Opera in 3 acts Opera (1854 –1928) (1854 , Dikoi’s nephew , Dikoi’s , employed by Dikoi Dikoi by , employed ˇek (Katya), Tichon’s wife (Katya), Tichon’s , a friend of Kudryash , a friend of Kudryash Tichon Kabanov Tichon 2007 Chandos Records Ltd Chandos Records Ltd Ltd Chandos Records 2007 Chandos Records c Janác

Katya Kabanova ˇ Kuligin CHANDOS CHANDOS Katerina Leos , a servant in the Kababov household , a servant in the Kababov Vanya Kudryash Vanya Chorus of Welsh National Opera National Welsh Chorus of in the Czech translation by C translation by in the Czech (Kabanicha), a rich merchant’s widow widow (Kabanicha), a rich merchant’s by Rodney Blumer and Henrietta Bredin and Henrietta Blumer Rodney by , a foster child in the Kabanov household household , a foster child in the Kabanov Glasha Orchestra of Welsh National Opera National Welsh of Orchestra 1

Libretto by the composer after Ostrovsky’s play composer after Ostrovsky’s the by Libretto d The Storm d 2007 Chandos Records Ltd 2007 Chandos Records Varvara n p i . y a l English translation by Norman Tucker, with revisions with revisions Tucker, Norman translation by English n I

) Marfa Kabanova Marfa 2 ( 5 4 1

3

N A

Boris Grigoryevich Boris Dikoi

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ˇ CCHAN 3145(2) Inlay.indd 1 JANÁCEK: KATYA KABANOVA – SOLOISTS / WNO / RIZZI CHAN 3145(2)