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Home , Griffelkin, Richard Conrad, Samuel Barber, The Consul, The Crucible (opera), Vanessa (opera)

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AMERICANOPERACLASSICS Also available in this series: Chickering • Matthews • Dry • Bauwens • Conrad • Lima National Symphony of Ukraine • Capella Dumka Gil Rose

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Samuel (She kisses the Baroness.) (to the Baroness) Do you really think she believes what I said? ANATOL BARBER Goodbye, Erika. When I see you again (The Baroness pauses.) perhaps you will have learned to smile. (1910-1981) Grandmother? (Pause) Oh, I forgot that you will not ERIKA speak to me either now. I am truly alone! Vanessa I hope you will still be smiling (An in three acts) when I see you again. Goodbye, Anatol. (The Baroness sits by the fire.) DOCTOR (The Major-Domo comes in.) Vanessa, a lady of great beauty, in her late thirties ...... Ellen Chickering Goodbye, goodbye, my dear ones! (wiping his eyes) Will you please cover all the mirrors in this house Erika, her niece, a young girl of twenty ...... Andrea Matthews VANESSA (gently to Doctor) again. The Old Baroness, Vanessa’s mother and Erika’s grandmother . . . Marion Dry Please, please, no tears! Come in the sleigh with us, MAJOR-DOMO Anatol, a handsome young man in his early twenties ...... Ray Bauwens we shall drop you in the village. (astounded) What, Mademoiselle? The Old Doctor ...... Richard Conrad (The Major-Domo and a maid enter with coats and ERIKA Nicholas, the Major-Domo ...... Philip Lima wraps.) Yes, just as before. Begin with these now. ERIKA Footman, The Young Pastor, Servants, Guests, Peasants, their Children, Musicians. I shall wave goodbye from here. (The Major-Domo bows and exits.)

The action takes place at Vanessa’s country house in a northern country about 1905. (Vanessa turns back and embraces Erika, then, after a (Erika fetches a veil similar to the one worn by last look, quickly leaves the room with Anatol and the Vanessa at the beginning of Act I. The Major-Domo Doctor. The Major-Domo closes the door and Erika is enters from the hall, followed by a servant with a left alone with the Baroness. She goes to the jardin stepladder and some drapes.) National Symphony Orchestra of Ukraine d’hiver and looks out into the snow. One can see that she is making desperate efforts to control her inner From now on I shall receive no visitors. Ukrainian National Capella “Dumka” (Director: Yevhen Savchuk) agony. At the sound of the departing sleigh she weakly Tell the gatekeeper that the gate to the park raises her hand to wave goodbye.) must remain locked at all times. Thank you. Gil Rose (The Major-Domo leaves. (with a cry) Anatol, Anatol! Erika sits by the fire next to her grandmother.)

This recording was made possible by a grant from Randolph Fuller. (She comes back into the room, leans against a chair Ah, that is good. as if she were about to collapse, but quickly Additional acknowledgments: Carole Charnow, Clive Grainger, Iona Grainger, Tania M. D’Avignon, straightens herself with a great determination and (The Major-Domo and the lackey drape the mirror.) goes to the wall to pull a bell-chord. The Baroness Now it is my turn to wait! and Christine Norman of Charles River Colpitts Travel. slowly moves toward her usual chair.) ¡ No, I must never say that name again. (Erika slowly covers her head with the veil, hiding her Lucky those people who are so anxious to believe! face.)

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ANATOL To love is all of this CD 1 55:08 CD 2 65:51 You must hurry if we wish to reach the station before and none of it is love. dark. The light is not the sun 1 Opening 1:30 ACT II (Vanessa goes near the door where a group of nor the tide the moon. servants has assembled to bid her ACT I 1 Entr’acte - The Count and Countess d’Albany 3:34 goodbye.) ANATOL Scene 1 2 I should never have been a doctor 3:21 To leave, to break ... 3 Here you are! 1:33 VANESSA 2 Potage crème aux perles 2:13 4 At last I found you 1:29 (to a maid) Bring me down my things, Clara. THE OTHERS 3 No, I cannot understand 5:36 5 Love has a bitter core, Vanessa 4:53 (embracing her) Oh, do not cry, silly thing. Ah, Anatol, how hard it will be, 4 Must the winter come so soon? 2:19 6 Nothing to worry about 6:51 (She talks to each one of the servants who, in turn, the backward road of regret! 5 Listen...they are here! 1:48 kisses her hand.) 6 Do not utter a word, Anatol 5:07 ACT III VANESSA 7 Yes, I believe I shall love you 2:04 Scene 1 ANATOL To find, to keep ... 8 Who are you? 5:53 (who has remained downstage next to Erika) 7 Why did no one warn me? 5:06 There was a time, Erika, when I thought THE OTHERS Scene 2 8 Why must the greatest sorrows come 2:27 that it would be with you Ah, poor Vanessa, only to die 9 There, look! 3:25 that I should leave this house. empty-handed! 9 And then? 4:15 0 On the path to the lake 3:08 (Vanessa takes the Major-Domo in her arms 0 No, you are not as good a skater ! Anatol, tell me the truth! 1:14 affectionately. The Doctor comes ERIKA as your father was 3:02 @ Take me away 1:28 back into the room and stops by Vanessa’s side.) To stay, to wait ... ! Under the willow tree 2:45 # Grandmother! Yes, Erika 2:59 @ Erika, I am so happy 0:56 $ Intermezzo 4:18 ERIKA (to Anatol) THE OTHERS # I must tell you what happened 2:50 Please forget me. Erika, Erika, only to kiss the impostor! $ Did you hear her? 4:10 Scene 2 Make her happy, Anatol. % Outside this house the world has changed 5:29 Remember that she loves you the way I never could. DOCTOR AND BARONESS ^ Orchestral interlude; Hymn 5:12 % By the time we arrive in Paris 1:10 (Vanessa comes back into the middle of the room, To weep, to hope ... ^ For every love there is a last farewell 2:10 followed by the Doctor.) & And you, my friend 2:33 THE OTHERS * Erika, before I leave you 4:09 VANESSA And you old people, ( To leave, to break 3:56 Let me look around once more. may Death release you ) Goodbye, be happy, Aunt Vanessa 2:39 Who knows when I shall see this house again! before you too clearly remember ¡ No, I must never say that name again 3:31 (She looks around her. There is a long silence.) or cease to dream!

(The Baroness has risen and they all stand quite VANESSA motionless.) Goodbye, Erika. (kisses her)

( ALL ) ERIKA To leave, to break, Goodbye, be happy, to find, to keep, Aunt Vanessa, please be happy. to stay, to wait, to hope, to dream, VANESSA to weep and remember. Goodbye, Mother. 8.669140-41 34 3 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 4

Samuel Barber (1910-1981) ERIKA Tell me, Erika, was it because of Anatol? Vanessa You, too, were young when you came back here. ERIKA Samuel Barber was almost 48 years old when his first works; in fact, this is probably the only instance of a VANESSA Anatol? opera, Vanessa, was produced by the Metropolitan providing a for another composer Oh, but that was different. Oh no, no! Opera Company on 23rd January, 1958. His success as since the Boito-Verdi collaborations late in the a composer had come to him as a very young man, in nineteenth century. It was agreed that the Seven Gothic ERIKA VANESSA the late 1930s, mainly through his orchestral works. Tales of Isak Dinesen would provide the inspiration for Someone must take your place now. Swear! Yet, his love of the human voice (he studied singing at the story, yet Barber would have to wait two years for (looking at the Baroness) the Curtis Institute and thought seriously of becoming a even the first scene to materialise. He composed it She cannot be left alone. ERIKA professional singer) inspired him to compose a great during the summer of 1954, and begged his collaborator I swear. number of songs, many of which are standard repertory for more, but social and professional distractions VANESSA today. As a passionate devotee of opera from the age of prevented Menotti from further work on the libretto. I shall think of you always. VANESSA (turning her around to face her) six, when he was taken to the Metropolitan to hear The frustrated Barber then delivered an ultimatum: until Do take care of my azaleas and the parakeets Then what was it? Verdi’s Aida, with Caruso and with his aunt, Louise he had the full libretto in hand, he would not compose and don’t forget. . . . Do not torment me, Erika. Homer, as Amneris, it does seem strange that it took another note. He later wrote in Opera News: “My tactic him so long to tackle the composition of an opera succeeded brilliantly; it made him so nervous that he sat ERIKA ERIKA himself, although there was the earlier work The Rose on a rock by the Mediterranean every morning until, by Do not worry, Aunt Vanessa. You would laugh if I were to tell you Tree, an unfinished work, written when he was nine to summer’s end, what I think is perhaps the finest and It shall all be as if you were here. as I myself have laughed since then. a libretto by his family’s Irish cook. Barber had most chiselled of his libretti was finished.” expressed interest as early as 1934 in composing an Barber began concentrated work on Vanessa, a (Pause) VANESSA opera on an American libretto. In 1942 he received two name he took from a book, How to Name Your Child, But why? operatic commissions, one from the Metropolitan, during the winter of 1956, when the Metropolitan * VANESSA (uncertainly) which he refused, as the Met had already chosen a announced that it would produce the opera. In October Erika, before I leave ERIKA libretto that he found unsuitable, the other, which he of 1957, Barber played (and sang) the completed you must tell me the truth about that night. I thought I loved someone who did not love me. accepted, from for a chamber opera sections for representatives of the Met and its General to be produced at the Berkshire Festival. Dylan Thomas Manager, . Immediately discussions about ERIKA VANESSA eventually agreed to provide a libretto, but both Thomas casting began, and Barber attended many Met I have told you the truth, Aunt Vanessa. But whom? The young Pastor, perhaps? and Barber became involved with the war effort, and performances listening to singers who might possibly The gamekeeper? finally, nothing came of the chamber opera. The fill the various parts. , then at the height of VANESSA (rising and going to Erika) commission eventually became The Prayers of her fame, was his preferred choice for the title rôle. No, no, you are hiding something ERIKA Kierkegaard, a work for chorus and orchestra. Barber invited her to Capricorn, the home he and and now I must know. What does it matter? It was a foolish thing: After the War, the again Menotti had built in Mt. Kisco, NY, and played through I cannot live with that thorn in my heart. it is all over now. approached Barber, and he renewed his search for a the score for her. Callas was unimpressed, feeling that librettist. In 1952, after unsuccessfully attempting to the rôle of Erika was stronger than that of the ERIKA VANESSA interest Thornton Wilder, , and Stephen protagonist, and she refused to consider it. It was finally There was no reason for it; Perhaps he was not the man for you! Spender in the project, Barber’s life-long friend and decided that Sena Jurinac, the Yugoslavian star it was a foolish thing to do; companion, , suggested that he of the Vienna State Opera and the Glyndebourne it was the end of my youth. ERIKA would provide the libretto. An extraordinarily Festival would make her Met début as Vanessa. A lyric (Pause) Yes, I know now; he is not the man for me. successful operatic composer in his own right, with soprano renowned for her Mozart interpretations, (Anatol enters with a lackey, who removes two pieces Amelia al Ballo, The Old Maid and the Thief, The Jurinac was also an extraordinary linguist and spoke VANESSA of luggage left in the room.) Telephone, , and to his credit, excellent English. So too did the Swedish , Nicolai (suddenly approaching Erika, torn between mounting Menotti had previously only written texts for his own Gedda, whom Barber had heard in Paris and felt was suspicion and the desire to avoid the truth) 8.669140-41 4 33 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 32

DOCTOR Will you ever think of your old doctor now - perfect for the rôle of Anatol. The other principals, not tailored to her soaring soprano. With only five Think of it, to live in Paris! now that the pulse of your heart takes you so far away , , and , were weeks to learn this fiendishly difficult part, Steber How I shall miss you both! from him? American, and Metropolitan veterans. The première called upon every vocal and musical resource at her (Vanessa enters from the jardin d’hiver, followed was announced for the 1957-58 season with Dimitri command. Much of her performing schedule was ANATOL shortly after by Erika from the hall; the latter is simply Mitropoulos . Menotti would be the stage arranged and rescheduled, but many commitments, such We shall miss you, too, dear friend. dressed and looks very pale and tense.) director, and the English designer, Cecil Beaton, whose as her annual Christmas Voice of Firestone television costumes for the musical, My Fair Lady, were so broadcast, had to be honoured. Then, in the middle of it DOCTOR & VANESSA (to Doctor) successful they started a fashion trend, would create all, she announced that she was getting married. Barber I know you will make a happy couple. And you, my friend, what are you mumbling about? both sets and costumes. begged her to wait until after the première, fearing that Barber spent the summer of 1957 in Italy, working the distraction would ruin his opera, but the soprano ANATOL DOCTOR (with tears in his voice) together with Mitropoulos on the orchestration, and announced passionately that if she did not get married, Yes, we shall have the most beautiful house in Paris. Oh, my dear, I just wanted to tell you coaching Rosalind Elias in Rome and Jurinac in Vienna. “there wouldn’t be an opera!” And so, marry she did, (Vanessa, in travelling costume, with hat and veil, In the fall, construction of sets and costumes started, with Barber and Menotti providing Capricorn for a comes into the room.) VANESSA (interrupting him) and musical rehearsals began at the Opera House. By quick honeymoon. Yes, yes, dear Doctor ... early December everything was in place and on At the première, the new opera and its heroic VANESSA Come, you go and help Anatol. schedule, when Jurinac sent word that she was ill, and heroine were rapturously received by a sold-out, I am almost ready. (She leads him gently towards the door which she cancelled her engagement. One can imagine the despair celebrity-filled audience. Barber’s music and Menotti’s closes after him. Vanessa sits on the sofa.) which everyone involved with the project must have libretto and production were lavishly praised by the ANATOL (kissing her) felt. There was talk of postponement when Edgar press, and Steber’s seemingly impossible feat was How lovely you look! VANESSA (returning into the room) Vincent, press agent to many operatic personalities, appreciated and lauded by everyone, including Rudolf Erika, sit down here next to me. contacted Max Rudolf, the Met’s Coordinator, Bing. Elias, Resnik, Tozzi, and Mitropoulos were VANESSA (Erika sits next to her, but all through the scene avoids suggesting that there was one person who could “save singled out for enthusiastic praise, and the opera played Be sure that they put everything in the sleigh looking at her.) the day”: . “She should have done it in to sold-out houses for the rest of the season, winning the and tell them to be careful with the hat boxes. the first place,” said Vincent. A star at the Met for 1958 . It was in the Met’s (trying desperately to keep her composure) fifteen years, Steber had often “come to the rescue” repertory for the following season as well, and then (She goes out into the jardin d’hiver to help the maid Now that I am married and going to Paris, who knows before. She had not sung at the House the previous performed in Baltimore and in Boston on their annual pack a small suitcase. Anatol exits.) when we shall see each other again! You can live here season owing to a disagreement with Rudolf Bing over spring tour. The summer after the première, Vanessa as long as you wish; as I have told you, I have willed repertoire and the fact that she was being paid far less became the first American opera to be presented at the ^ DOCTOR (musingly) the house to you; but do not tell Anatol, please. than European singers who sang her rôles. In September , with most of the same cast, Menotti’s For every love there is a last farewell; she had returned in triumph as Donna Anna in a new production, and Beaton’s sets and costumes. Although a for each remembered day an empty room. ERIKA production of Don Giovanni, but she still felt that Bing great success with the public, the German and Austrian Many are the children I bring into the world No. was intent on easing her out of the company. press were vicious in their organized condemnation, but no one takes the place of those who are lost. Barber and Steber already had made an historical though they praised the singers, especially Steber and You, too, were once a child, Vanessa. VANESSA collaboration ten years earlier with Knoxville, Summer Gedda. Do you remember? The mumps, We may not come back for years. of 1915, which the soprano commissioned, and of Menotti mounted the opera, in Italian, at his Spoleto the chicken pox, the scarlatina? We may never come back. which she gave the first performance with the Boston Festival in 1961, and in 1965 the Met revived its How many times I cooled your burning cheek Symphony Orchestra. There was also a somewhat production in a revised version by Barber. Steber was, and fought the grinning dwarfs leering at the foot of ERIKA (rises and steps away from the sofa) subliminal connection in that Steber’s singing teacher, by this time, long out of the Company, and the title rôle your bed! I choose to stay. I am not afraid. William L. Whitney, had been, early in his career, the was assigned to Mary Costa, for whom Barber cut the (Vanessa gives the maid a small farewell present. The teacher of Barber’s Aunt Louise. When Steber sang impossibly difficult coloratura in the second act. maid exits tearfully carrying the suitcase.) VANESSA through the rôle with the composer, she felt “the part After this, the opera lay dormant for over a decade until But you are too young to stay here alone. was made for me.” Indeed, listening to the original-cast Menotti again revived it, this time in English, for the recording, it is difficult to believe that every note was 1978 American Spoleto Festival in South Carolina; this 8.669140-41 32 5 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 6

production starring Johanna Meier was shown on Public sang with incredible passion and intensity. It was such a Oh, help me tear these bonds, ERIKA Television. Since then the opera has been seen in riveting experience... so overwhelming... indeed, almost help me take flight! I was with child ... Washington, St. Louis, Seattle, and recently in too much to bear. Years later, when I recounted this to Darmstadt, London, Monte Carlo, Strasbourg and Eleanor Steber, she exclaimed, “How do you think we ANATOL BARONESS (though not at the Met) New York. felt!” Yes, Vanessa, every day of waiting ... with child! As a young student, I saw the Met production in roots you deeper in the past. Boston. It remains one of the great operatic experiences Hide in my love! Brief is the day for blindness, ERIKA of my life. In the grand third-act duet, Steber and Gedda Richard Conrad and brief the day for madness. never reached the lake; Hide in my love; only the mad, only the blind can fly! by the ravine I fainted.

Synopsis (The Baroness has reached a small chair BARONESS near Erika’s bed.) And your child? Time: the early 20th century; winter Servants rush back and forth, carrying in the Place: An aristocratic country house in a northern traveler’s luggage. Finally the door of the drawing room DOCTOR (coming out of the alcove) ERIKA European country opens, and a man appears silhouetted there. Nothing to worry over; she will be all right. It will not be born. 6 Vanessa, with her back turned to him, tells him that, (stopping Vanessa and Anatol, who had started to [Opening 1] unless he still loves her, she will not let him look on her walk over to the alcove) (With one violent rap of her cane on the floor, the face and will ask him to leave at once. 7 The man replies No, no, not yet. Baroness suddenly gets up from her chair and slowly ACT I, Scene 1 simply, “Yes, I believe I shall love you.” But when She wants to be alone with her grandmother. walks toward the door. She stops at the sound of On a stormy winter evening, three women wait in a richly Vanessa turns around, she sees that he is a stranger. She Erika’s voice, then continues.) furnished drawing room for the arrival of a guest. They rushes out of the room in distress, calling for Erika. VANESSA are Vanessa, a still-beautiful woman of middle age who, 8 After helping her aunt out, Erika returns to confront But why? ERIKA twenty years before had been involved in a passionate the impostor. He explains that he is Anatol–the son of the Grandmother, why are you leaving me? affair with a married man, Anatol. When he refused to man whom Vanessa had loved. All through his youth he DOCTOR (Without answering, the Baroness leaves the room.) leave his wife for her, she shut herself up in her elegant has heard so much about this woman that, when his father Come, come, we must not upset her now. house, and covered all the mirrors so as not to observe in died, he decided that he had to meet her. Erika (He gently accompanies them outside, closing the door ERIKA (always from the alcove) her own countenance the passage of time. Now she sympathizes with Vanessa who, after so much waiting, softly behind them. There is a long silence in the room. Grandmother, grandmother! Answer me! awaits Anatol’s return with nervous impatience. She is will never see her lover again. Anatol sees the supper that The Baroness, seated by Erika, still has not moved.) joined in her vigil by her mother, the Baroness, who has was set for him, including his father’s favorite wine, and % Scene II not spoken to Vanessa since her return, and by her niece he sits down to eat it, inviting Erika to join him. # ERIKA (from inside the alcove) Erika, an attractive inexperienced young woman. Grandmother! The drawing room as in ACT I, a month later. The 2 They plan the dinner menu for the morrow. Scene 2 Baroness is sitting in her usual place; Anatol, in 3 Erika attempts to while away the time by reading to 9 A month later, on a sunny Sunday morning, Erika is BARONESS traveling clothes, enters upstage and goes down to the others. She chooses a passage from Sophocles’s explaining to the Baroness, her grandmother, that on the Yes, Erika. speak to the Doctor who is standing by the table. A maid Oedipus, but Vanessa insists that Erika does not know night of Anatol’s arrival, he seduced her. It was the only is in the jardin d’hiver packing a small suitcase. The how to express the passion of a tragic hero and recites the night she slept with him and now she finds that she both ERIKA main door at the back of the room is open. Through it passage herself. Vanessa tells the others to go to bed, hates and loves him. Though Anatol has told her he loves Do they know? one sees servants carrying trunks and other luggage while she waits alone. 4 Erika muses sadly on the early her, she finds his words facile. In any case, he is presently across the hall. arrival of winter. Finally they hear the sound of an ice-skating with Vanessa. 0 They come in for breakfast, BARONESS approaching sleigh. 5 Vanessa sends the others out of glowing with happiness. The old family doctor arrives, How can I tell? ANATOL the room, in order to be alone with Anatol when he happy to see the house “alive again,” and ! recalling Why did you wish to die? By the time we arrive in Paris the new house should be arrives. some of the parties in days gone by with a snatch of a ready.

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VANESSA VANESSA waltz. @-# When the men leave, Vanessa offers a the winter night, wearing just her ball dress, murmuring Where did you find her? Do you know why she did this strange thing? gushing confession to Erika: She has fallen in love with that Anatol’s child “must not be born.” The old Baroness young Anatol and he, it seems, with her. She feels she has comes down the stairs and goes to the door. She believes 0 ANATOL ANATOL kept her youth just for him. $ After Vanessa leaves, the she has heard Erika’s steps in the snow, and she is afraid. On the path to the lake; Why should I? Baroness tells Erika that she will have to fight to win she was hidden in a small ravine Anatol, but Erika wants his love, not his capture. When ACT III, Scene 1 like a wounded bird. VANESSA Anatol enters, Erika demands to talk to him immediately, Erika’s bedroom, a few hours later. 7-8 Vanessa She must have fallen Anatol, you must not lie to me. explaining that her grandmother knows everything and is torments herself for not having guessed at Erika’s love for for her frost-white dress was torn (She takes his arm and stares into his eyes.) utterly discreet. She demands to know if he has in fact Anatol. Search parties are out looking for her. and damp with blood. Look me in the eyes. implied to Vanessa that he wishes to marry her. He points 9 They see a group of men coming back together. There she lay, in the snow Does she love you? out that he has asked Erika to marry him, and does so 0 Anatol has found her on the path to the lake and has like a Christmas rose; again in the presence of the Baroness. % But he also carried her back to the house, unconscious but alive. the bitter cold had glazed her lovely face ANATOL makes it clear that his idea of love is easy-going, and most ! Vanessa asks Anatol if he knows why Erika acted so into deep and opaque sleep. This much I know; likely temporary. He is waiting for her answer when rashly. He is evasive, but when she attempts to pin him The faint beat of her heart she does not love me. Vanessa comes to summon everyone to the chapel for down, he says, “This much I know; she does not love me.” was like an undeciphered signal from another world. Sunday service. Erika promises to join them shortly. ^ As @ When they have left, # Erika calls her grandmother and I lifted her into my arms, VANESSA the sound of the first hymn swells in the distance, Erika tells her that the child will not be born. Silently the old warmed her against my breast. Swear! makes up her mind. “Let Vanessa have you–she who for Baroness rises and walks to the door. I called her name and kissed her eyelids., so little had to wait so long.” only then she sighed a little. ANATOL [$ – Intermezzo] I swear. CD 2 VANESSA ACT II Scene 2 (The Doctor comes out of the alcove) VANESSA 1 New Year’s Eve. The house has been decorated for a The drawing room, two weeks later. % Anatol and How is she? How do you know? grand party, as in the old days. 2 The doctor is a bit tipsy Vanessa are going to live in Paris. ^-& The doctor recalls and fears that he will muddle up the announcement he has events in Vanessa’s childhood, as he bids her farewell. DOCTOR ANATOL agreed to make: the engagement of Anatol and Vanessa. * Vanessa has willed the house to Erika (but asks her not Leave me alone with her; Did I not know that you loved me 3 Vanessa herself is upset that her mother and Erika have to tell Anatol). Erika promises to keep the house just as it she is not ready to see you yet. long before you spoke? refused to join the party. As the doctor goes upstairs to try was. Vanessa still seeks to know the truth about Erika’s (As the Doctor goes back into the alcove, Vanessa and But Erika, she chose to judge me to persuade Erika to join them, 4-5 Anatol and Vanessa actions on the night of her engagement. At Vanessa’s Anatol move to the opposite side of the stage and stand before she could learn to love. share their thoughts on love’s “bitter core.” 6 The doctor probing, Erika insists that it had nothing to do with Anatol. by the fireplace.) returns, saying that Erika may come down a little later – She says simply and evasively, “I thought I loved someone VANESSA (turning away from him) but he tells Anatol privately that she had refused to speak who did not love me.” ( Vanessa, Anatol, Erika, the VANESSA (with a tormented expression) Can I believe you? to him at all. doctor, and the Old Baroness pause to consider that life is Anatol ... The guests are shepherded off to the ballroom. As the filled with love and with loss, with dreams and with ANATOL hallway clears, Erika slowly begins to make her way down partings. ) Vanessa, Anatol, and the doctor leave. Finally ANATOL You must ask Erika yourself; the stairs, listening to the announcement that the doctor is Erika is left alone with her grandmother, who no longer Yes, Vanessa. she never lies. making to the assembled guests. Suddenly, as if very ill, speaks to her. ¡ She summons the Major-Domo and asks Erika clutches at her stomach. When the doctor makes the him to make everything as it was before. All the mirrors ! VANESSA (taking his hand) @ VANESSA (falls into his arms pleadingly) engagement official, Erika faints on the steps. The Major- are to be covered. She will receive no one. It is now her Anatol, tell me the truth! Take me away from this house, Domo finds her there and offers to fetch the doctor, but she turn to wait. Anatol; we must quickly leave! asks him to leave. She wants to be alone. Once he has left, ANATOL For the sorrows of others raise dark walls reluctantly, Erika opens the front door and runs out into Steven Ledbetter Yes, Vanessa. between our hearts. 8.669140-41 30 7 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 8

Ellen Chickering DOCTOR (The door of the bedroom is thrown open and Erika is Come, come, you must not despair carried in by Anatol, a group of peasants and men The soprano Ellen Chickering has sung the leading rôle in Verdi’s Un ballo in nor jump to conclusions. from among the guests, followed by the Doctor. maschera, Aida, La forza del destino and Il trovatore, Strauss’ Arabella, Donizetti’s It may all be very innocent. They place her, still wearing her ball dress, Anna Bolena, Lucrezia Borgia and Elisabetta in , Donna Anna in Don They found no trace of her steps near the lake on the bed in the alcove.) Giovanni, and Rosalinda in Die Fledermaus. Puccini’s heroines, Tosca, Suor and the ice was unbroken. Angelica and Minnie in La fanciulla del West are also in her repertoire. She has sung DOCTOR with the Minnesota Opera, Boston Academy of Music, Santa Fe Opera, Kansas City 8 VANESSA There, there, gently. Lyric Opera and Connecticut Concert Opera, and has appeared in Carnegie Hall Why must the greatest sorrows come singing the first soprano in Mahler’s Eighth Symphony, at the Kennedy Center in from those we most love? VANESSA Beethoven’s Missa solemnis, and at the Boston Symphony Hall with the Handel and Erika, Erika, my sweet Erika, Doctor, how is she? Haydn Society in Beethoven’s Ninth Symphony. Her concert repertoire includes why have you done this, why? Verdi’s Requiem, Britten’s War Requiem, Vaughan Williams’ Sea Symphony and you who are only as wild as the wild dove DOCTOR Strauss’ Four Last Songs. and no prouder than the rose? She seems to be all right. (to Anatol) I love you, Erika, I have always loved you Send them all out. as if you were my own child, my own daughter. Why break my heart just now ANATOL (to the group of peasants) as it started to beat again? You had better go now. Andrea Matthews Come back, Erika, come back! Thank you all. (She goes to Erika’s bed and sits down, weeping.) You will find wine downstairs The soprano Andrea Matthews has received critical acclaim in opera, concert and and a blazing fire in the kitchen. recitals across the United States and Europe. In appearances with such groups as the 9 DOCTOR (excitedly) Atlanta, Detroit, Cincinnati, Houston, Utah, New Jersey, and Baltimore Symphonies, There, look! ... a group of men is coming (The Baroness slowly approaches the bed. The Buffalo Philharmonic, St Paul Chamber Orchestra, the , New towards the house. peasants tiptoe out of the room, followed a little later York’s Mostly Mozart Festival Orchestra and 92nd St. Y Chamber Symphony and the by the guests. The Doctor remains in the alcove with Stuttgart Philharmonic, she has worked with many renowned conductors, including VANESSA (turns slowly, then runs to the window) Vanessa. Two maids enter hurriedly and go into the Sir Neville Marriner, Hugh Wolff, Charles Dutoit, Robert Shaw, Dennis Russell Do you suppose ... alcove to help undress Erika and put her to bed. Care Davies, Rafael Frühbeck de Burgos, Neeme Järvi, JoAnn Falletta, and Gerard should be taken, however, that Erika, sheltered by the Schwarz. This is her first recording for Naxos, and she has also been featured on DOCTOR (opens the window) figures of the maid and the Doctor, remain unseen by Newport Classic, Vox Cum Laude, Vox Classic, Premier, and Polygram CDs. A Yes, they are carrying her; they have found her! the audience.) graduate of Princeton University, she teaches voice and Alexander Technique at (He rushes out of the room.) Wellesley College privately, and currently performs with and serves on the Board of VANESSA The Bostonian Opera and Concert Ensemble. VANESSA (opening the window and crying outside) (coming out of the alcove and leaning against Anatol Photograph by Lisa Kohler Anatol, Anatol, is she alive? who embraces her tenderly) Oh, in what terror I have been! Anatol, Anatol ... (She listens for an answer and then closes the window (She bursts into tears.) slowly, leaning against it in order not to faint. The Baroness, who has gotten up out of her chair, ANATOL stares at her imploringly.) Poor Vanessa, what an endless night! Come into my arms, my dearest. VANESSA Yes, weep, weep in my arms. Yes, yes, she is alive; thank God, oh thank you, God! 8.669140-41 8 29 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 28

encircling the Baroness, they quickly exit, always barking of dogs are heard outside. Marion Dry laughing. The dances in the ballroom continue.) Oh, if only I could call someone! Erika! VANESSA Marion Dry is a leading artist in the rarely heard vocal category of the true . Why did no one warn me? With an extensive repertoire of opera, oratorio and chamber music, and as an VANESSA (suddenly entering) Could everyone be as blind as I was accomplished interpreter of twentieth-century music and art songs, she has elicited What are you doing here? not to see the sorrow in her face? high praise from audiences and critics alike for her beautiful voice and fine (She listens to the howling of dogs in the distance.) musicianship. She has appeared with Netherlands Opera, Seattle Opera, Houston BARONESS It is almost dawn and they have not found her yet. Grand Opera, the Tanglewood Festival, Boston Lyric Opera, Boston Academy of Erika ... Erika! Erika, Erika, what made you do this? Music, Cleveland Orchestra, the Boston Pops Orchestra, Madison Symphony, the (to the Doctor) National Symphony of Ukraine and Panama, the Boston Modern Orchestra VANESSA You are her doctor and her lifelong friend. Project, at the Edinburgh Festival and the Kennedy Center. She is a member of the Are you out of your mind? Is it possible that you suspected nothing? Jubilee Trio and she can be heard on the Chandos, Nonesuch, Koch and CRI recording (The dancing and laughter inside have stopped labels. She is a member of the Music Department of Wellesley College. and a few groups of dancers come into the hall in DOCTOR amazement. Anatol has followed Vanessa into the I have always known I am a bad doctor hall.) and now I know that I am a bad poet as well, for I have never learned to read the human heart. ANATOL Erika? what of Erika? VANESSA (suddenly turning to the Baroness) Photograph by Susan Wilson And you, you must surely know something. BARONESS But, oh no, you will not talk. Ray Bauwens She must be saved. . . . Whatever have I done to you to have to bear your Someone go after her. . . awful silence? Ray Bauwens has been characterized by the Boston Globe as “the closest thing to an Toward the lake . . . Oh, I would hate you if you were not my mother. Italian tenor New England has produced” in over fifty years. His operatic Hurry, please hurry! (She goes to the window.) performances have included Jean in Massenet’s Jongleur de Notre Dame, Cavaradossi in Tosca, Nemorino in L’elisir d’amore, Dick Johnson in La fanciulla del West, (Anatol quickly snatches a cape from the rack, throws DOCTOR Riccardo in Un ballo in maschera, Rinuccio in Gianni Schicchi, Edgardo in Lucia di it over his shoulders and rushes out the open door, Do not speak like this. Lammermoor, Don Alvaro in La forza del destino, Leicester in Maria Stuarda, followed by several men from among the guests.) Pollione in Norma, Ferrando in Così fan tutte, Matteo in Arabella, the title rôle in VANESSA Donizetti’s Roberto Devereux, Canio in Pagliacci, and the role of Don José in Bizet’s VANESSA (trying to stop him) Why can they not find her? Carmen. His concert and oratorio performances include Beethoven’s Ninth Symphony Anatol, Anatol! The whole village is looking for her. with the Mexico State Symphony Orchestra under the direction of Enrique Batiz, Handel’s Messiah with Boston’s Handel and Haydn Society, Verdi’s Requiem and the ACT III DOCTOR Evangelist in Bach’s St John Passion. She cannot have wandered very far 7 Scene 1 in this cutting cold. Erika’s bedroom. A few hours later. At the right side of the room, a small alcove in which part of the bed is VANESSA seen. It is dawn. The Baroness is sitting by a small What if they do find her! fireplace with her back to the audience. The Doctor is She will not be alive. standing by a window, peering out anxiously through (She sinks on to a chair and bursts into tears.) the panes. Vanessa, in a dressing gown, is pacing nervously up and down the room. Cries and calls and 8.669140-41 28 9 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 10

Richard Conrad The music inside fades; only the hum of conversation Answer me! What can it be? is now heard.) Richard Conrad has enjoyed equal success as singer, actor, impresario, stage director, ERIKA (returning to consciousness) and teacher. As a young student, his ability to meet the technical and stylistic demands VOICE OF DOCTOR (inside) Oh, it is nothing, nothing ... really. of the florid music of the eighteenth and nineteenth centuries resulted in an invitation Silence, everybody, silence, please. to make a series of now-classic recordings singing tenor repertoire with Joan (At the sound of the Doctor’s voice, Erika stops short, MAJOR-DOMO Sutherland, , and , which brought him into halfway down the stairway, as if suddenly taken very Shall I fetch the Doctor? international prominence. He has performed in opera, concert, plays, operettas and ill. She clutches her stomach.) musicals, and on radio and television in the United States, Canada, Central America, ERIKA Europe, Africa, Scandinavia, and the former , and has made many VOICE OF DOCTOR No, please, do not tell anyone. recordings. In the mid-1980s he retrained his natural , and now specializes in Ladies and gentlemen, I have the great honor, as an I shall come down at once. the of and . As Founder and, for 23 old friend of this noble and distinguished family, years, Artistic Director of Boston Academy of Music, he presented many Boston which for many years has been a shining example to MAJOR-DOMO (helping her to her feet) operatic premières, and a revival of Barber’s Vanessa with the present cast. He is all of us of what is finest in the traditions of our May I bring you something? Artistic Director of the Bostonian Opera and Concert Ensemble. country, to announce the engagement of our dear Baroness Vanessa von ... ERIKA No, thank you. (Erika suddenly faints an the steps. A burst of music Leave me now, I wish to be alone. from the orchestra drowns out the last words of the (The Major-Domo leaves her reluctantly.) Philip Lima Doctor. As the music dies down, applause is heard inside.) ERIKA With opera companies in Germany and across the United States, the baritone Philip (always clutching her stomach) Lima has performed such diverse opera rôles as those of the High Priest in Samson et VOICE OF DOCTOR (spoken) Dalila, Johann Mattes in ’s Die Bürgschaft, Cadmus in Handel’s Semele, Now let us all drink to the happy couple. His child! ... his child! ... John Proctor in , Alidoro in La Cenerentola, and the title characters in (Vanessa and Anatol appear from the ballroom; The Mikado and Viktor Ullmann’s Der Kaiser von Atlantis. He has also appeared as Vanessa is carrying a tray of sweets for the peasant (She makes her way to the entrance door, opens it and a featured concert soloist in Italy, Ukraine, South Korea and the United States, in children.) goes out into the night. The door is left open. Inside recital and in the Fauré and Brahms Requiems, Beethoven’s Ninth Symphony, the St the ballroom, the dances go on, an occasional couple John Passion, Carmina Burana, Belshazzar’s Feast and Vaughan Williams’ Sea CHORUS (inside) of guests dancing briefly in and out of the hall. The Symphony. Praised for his commanding, intelligent stage presence, he received his Now to your health! Major-Domo enters with a glass of water for Erika. undergraduate degree in literary theory from Yale University and worked for several Not seeing her, he exits into the ballroom. After a years as a financial consultant and a freelance violist before studying singing. (One of the peasant children does a dance and the while, the Baroness, disheveled and clad in an old violinist and accordionist play upstage right, so that in dressing gown, appears at the top of the stairway.) watching them everyone is facing away from the steps where Erika is lying. While the dance takes place, the BARONESS Photograph by Lynn McCann Major-Domo enters the hall from the ballroom. The Erika, Erika! peasants, musicians, guests, Vanessa and Anatol drift (She begins to descend the stairway.) back into the ballroom.) Where are you going, Erika? I saw her running to the lake! MAJOR-DOMO Please, someone, stop her! (On seeing Erika, Nicholas rushes up the stairs.) Mademoiselle, mademoiselle! (A chain of dancers, laughing loudly and wildly, runs (He shakes her gently.) in from the ballroom and invades the hall. After 8.669140-41 10 27 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 26

Is there something you have not told me, Anatol? ANATOL National Symphony Orchestra of Ukraine (She buries her head on his shoulder.) Then scatter the ashes to the wind. Follow my flight, Vanessa! Established in 1937, the National Symphony Orchestra of Ukraine, formerly known as the Ukrainian State 5 ANATOL Symphony Orchestra, is recognised as one of the most accomplished symphonic ensembles of the former Soviet Love has a bitter core, Vanessa. VANESSA Union. The orchestra’s change of status was declared by President Leonid Kuchma in mid-1994, reaffirming its Do not taste too deep. (impulsively kisses his hand; he embraces her) reputation as Ukraine’s première orchestra. The orchestra’s first chief conductor was Nathan Rachlin, who Do not search into the past. I follow, I follow! conducted the world première of Shostakovich’s Eleventh Symphony, and who remained in this position for the He who hungers for the past will be fed on lies. next 25 years until 1962. His successors as music directors have included Stepan Turchak, Feodor Gluschenko and Let your love be new 6 DOCTOR (coming down the stairs) Igor Blazhkov. In 1994 the Ministry of Culture of Ukraine appointed Theodore Kuchar as the orchestra’s Artistic as were we born today. Nothing to worry about; Director and Principal Conductor. In 2000, Kuchar was awarded the title Conductor Laureate for Life and My love has only begun. (They turn to him. Guests begin to fill the ballroom Volodymyr Sirenko was appointed the orchestra’s Principal Conductor. During the past five decades, the orchestra which during the duet was almost empty.) has worked under a number of this century’s most recognised conductors including Kirill Kondrashin, Igor VANESSA a little frightened perhaps. Markevitch, Evgeny Mravinsky, Gennady Rozhdestvensky, Kurt Sanderling, and Evgeny Love has a bitter core, Anatol, She will come down, she says, but later. Svetlanov. Distinguished soloists who have collaborated with the orchestra include Emil Gilels, Leonid Kogan, but let me taste this bitterness with you. Yehudi Menuhin, David Oistrakh, Sviatoslav Richter, Mstislav Rostropovich, Artur Rubinstein and . I shall never take too much (The Major-Domo enters.) The orchestra has held a special relationship with distinguished composers including Aram Khachaturian, Boris if you will offer all. Lyatoshynsky, Sergey Prokofiev and Dmitry Shostakovich, each having collaborated with the orchestra on a My love cannot begin VANESSA number of occasions as either conductor or soloist in their own compositions. Naxos and Marco Polo recordings nor grow nor die Ah, well, let us proceed then; we can wait no longer. include the complete symphonies of Prokofiev, Kalinnikov, Martinu˚ and Boris Lyatoshynsky, orchestral works of for it has always been. (to the Major-Domo who is standing by the door) Shostakovich, Shchedrin, Tchaikovsky and Glazunov; and for the Naxos American Classics Series, major Call our people in; have them stand by the door. orchestral works by , Roy Harris, Paul Creston, , and Benjamin ANATOL They should begin their dances right after the Lees. For every question announcement. let my kiss be an answer. (She goes inside the ballroom. The Major-Domo exits Gil Rose VANESSA by a small side door.) Ah, but is a kiss an answer? Gil Rose is the founding Artistic Director of the Boston Modern Orchestra Project ANATOL (to the Doctor, while following Vanessa) (BMOP), and the Music Director of Opera Boston as well as a Co-Director of the ANATOL What did she really say? Opera Unlimited Festival. Active as a guest conductor, he has led the West Bohemian I did not ask for whom you were waiting Symphony Orchestra, the Warsaw Philharmonic, the American Composers Orchestra, that night when first we met. DOCTOR the Cleveland Chamber Symphony, the National Symphony Orchestra of Ukraine, the She would not speak to me. Netherlands Radio Symphony Orchestra and the Boston Symphony Orchestra VANESSA Chamber Players. He made his Tanglewood Festival début conducting Lukas Foss’ For you, Anatol, for you. (They go inside the ballroom. A group of peasants opera Griffelkin, a work he has recorded for Chandos. Other recent recordings include including a violinist, an accordionist and a group of music by George Rochberg for Naxos, the complete orchestral works of Arthur Berger ANATOL children, is ushered in by a lackey. They cross the hall for New World, and Tod Machover’s Hyperstring Trilogy for Oxingale, with Not, not for me, for I was born that night. and stand by the door leading into the ballroom, scheduled recordings of music by Lee Hyla, Steven Mackey, Stephen Paulus, Bernard making a solid wall with their backs to the audience. Rands and Gunther Schuller. Gil Rose received his undergraduate training at the VANESSA Music inside. Suddenly, Erika appears at the top of the Cincinnati College Conservatory of Music. His Master of Fine Arts degree and Artist For you, Anatol, for you. staircase in a white ball dress; she seems weak and Diploma are from Carnegie Mellon University. Like the burning phoenix you flew very pale, desperately battling to master herself. After Photograph by Liz Linder out of the ashes of my shattered dreams. a little hesitation she begins to descend the stairs.

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Libretto A sweet idea. . .very touching. she will not answer. (feeling in his coat pockets) ACT I VANESSA Good heavens, where is my speech? DOCTOR Sick of pheasant ... Canard! I should not have drunk so much; I will see what I can do. 2 Scene 1 I shall muddle up everything. (going upstairs and talking to himself as he runs out of A night in early winter in Vanessa’s luxurious drawing ERIKA Will you lend me your comb, Nicholas? breath) room. A small table is laid for supper. All the mirrors in Canard farci sauce Savoie. “Doctor, dear Doctor, not quite so fast, dear Doctor!” the room and one large painting over the mantlepiece (As he starts to comb his hair in front of a mirror, (Enter Anatol, from the ballroom.) are covered with cloth. There is a large French window VANESSA Vanessa comes in, resplendent in a ball dress, looking at the back which leads into a darkened jardin d’hiver. Too many sauces. very nervous and agitated. The two maids leave 4 ANATOL Vanessa is sitting by the fire, stage left, her face hurriedly. At last I found you. shadowed by a veil. The Baroness is sitting in front of ERIKA The Major-Domo gives the Doctor his speech and (Vanessa sits on the steps and covers her face with her her and remains immobile throughout the scene until Palombes rôties nature? exits.) hands as if she were about to cry.) her exit. In the middle of the room a group of servants, What is wrong, Vanessa? headed by Nicholas, the Major-Domo, is standing in VANESSA 3 VANESSA (to Doctor) front of Erika; she is giving them orders, a notebook in Better. Here you are! VANESSA her hand. There is a snowstorm outside. (Erika nods to the Major-Domo to put it down. I feel so weak, Anatol, so afraid. He does so, murmuring.) DOCTOR ERIKA Yes, yes, I am ready. Don’t worry, I know it by heart. ANATOL Potage crème aux perles. ERIKA (beginning to declaim) Ladies and gentlemen ... Afraid of what, my darling? Gâteau d’amandes au miel. MAJOR-DOMO (repeats order to servants, speaking) VANESSA VANESSA (with sudden rage) Potage crème aux perles. MAJOR-DOMO (interrupting him) Oh, be quiet. Why will those two not come down? Gâteau d’amandes au miel. (She looks toward the room upstairs.) They sit up there like brooding harpies, ERIKA Can’t you see how upset I am? ready to feed on carrion. Écrevisses à la bordelaise. ERIKA (significantly) One bottle of Montrachet; They will not come down. ANATOL MAJOR-DOMO two bottles of Romanée-Conti. That’s all. Do not be afraid. Écrevisses à la bordelaise. DOCTOR Erika will come, I know. VANESSA Zut alors. She promised me she would. VANESSA Don’t forget the camellias. We shall announce the engagement without them. Find something better than that! VANESSA ERIKA VANESSA Why, then, have they built this wall of silence ERIKA (to servants) Oh yes, from the greenhouse, one fresh I quite expected it of Mother, but Erika ... all around my happiness? Alors ... langoustines grillées sauce aux huitres. camellia on his dressing table every morning. Why, why? What will people think ... my own niece ... ANATOL MAJOR-DOMO MAJOR-DOMO Forget, forget. I like you most Langoustines grillées sauce aux huitres. Oui, Mademoiselle. DOCTOR when you forget A little shy, a little shy, that’s all. and smile. ERIKA ERIKA Faisan braisé au porto. A centerpiece of Christmas roses for lunch; VANESSA VANESSA of green orchids for dinner. Please, Doctor, you go up. What is there I do not know? She will not open the door for me, Could I have been wrong for twenty years? 8.669140-41 12 25 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 24

(She puts on her shawl and starts out to chapel, then This is all I shall ever know of such women ... MAJOR-DOMO VANESSA stops and turns as if suddenly struck by a cry of inner Oui, Mademoiselle. I shall not until he comes. indignation.) (The Doctor, a little tipsy, comes in from the ballroom My heart, my heart, I can wait no longer. holding two glasses of champagne. He looks at VANESSA ERIKA Nicholas in great astonishment.) Don’t forget the bell. ERIKA No, Anatol, my answer is no. Shall I read to you? (ablaze with scorn) DOCTOR ERIKA Let Vanessa have you, You rascal, you! I never knew you had a soul. Oh yes, have the gatekeeper ring the tower bell all VANESSA she who for so little What an evening! What women, what champagne! night should the sleigh be lost in the storm. Thank (sinks exhausted on to the sofa) had to wait so long! But what am I doing with two glasses? you. You all may go. (Servants exeunt.) Yes, Erika, read to me. (A lackey enters, carrying a tray of empty glasses.) (Erika sits by the fire. Outside the tower bell begins to (Sobbing hysterically she falls on a sofa.) I must have been carrying one to some charming lady; 3 VANESSA ring at regular intervals.) who was she? Oh well ... (rising and tearing off her veil; 1 ACT II (He drinks both glasses himself, then follows the almost anguished in her intensity) ERIKA New Year’s Eve. Entrance hall to the castle. Stage left, lackey and attempts to put the glasses on the tray. He No, I cannot understand Here it is – a stairway leading to the rooms upstairs. At the back, a misses it and the glasses crash to the floor. The lackey why he has not arrived yet. Has no message come? (reads, spoken) very large archway through which one sees part of the picks up the pieces disapprovingly and exits.) Oedipus: “Woe, woe is me, ballroom. At the left, the main entrance to the castle. 2 I should never have been a doctor, Nicholas. ERIKA Sorrowful that I am! When the curtain goes up, the entrance hall is almost a gentleman, a poet, that’s what I am. (imperturbed) They left the village at dawn; (picks up Where am I, where am I going? empty except for a few guests who are greeting each A naked body, what is it to a doctor? Vanessa’s veil and puts it on a chair) perhaps they Where am I cast away?” other on their way into the ballroom, Nicholas, the We see them every day. stopped on their way to let the storm die down. Major-Domo, who is arranging all the fur coats, cloaks, But under a chandelier, with the right music, the right (Vanessa gets up and snatches the book away from hats, etc., on the racks by the door, and a footman, who perfume, VANESSA Erika.) is standing at the entrance to the ballroom. In the a naked arm, a shoulder - My guest is not one to let a storm stand in his way ballroom one sees couples dancing to an off-stage Oh God, I lose my mind! and Karl should know the road blindfolded. VANESSA orchestra. More guests descend the stairway and are I shall have him dismissed if they are lost. You do not know how to read. greeted as they enter the ballroom. Nicholas opens the (Two maids are seen on the stairway giggling at the You have never known what love is! door and helps a couple of late comers to dispose of Doctor.) ERIKA (reading as she paces up and down the room) their wraps. (has picked up her needlework and sits on the couch Did you see me dance with Mademoiselle Doriat? calmly sewing) “Woe, woe is me, FOOTMAN (ushering the couple into the ballroom) She is not so young, I know that, The snow is so deep Sorrowful, sorrowful that I am! The Count and Countess d’Albany. a bit too plump, perhaps, a bit too tall for me. it is hard on the horses. Where am I? Where am I going? But, oh, so light on her feet, Where am I cast away?” MAJOR-DOMO (to a footman and maid at the door) so soft, so blonde. VANESSA Almost everyone is here now. Tra la la la la (turns from the window and starts to go (The book falls from her hand.) Go and help inside. I’ll watch the door. “Doctor, dear Doctor, not quite so fast, dear Doctor!” back to the sofa) Why does he not come? Her blue scarf floating over my head Oh, I shall die if anything happens to him! (As the footman disappears inside, Nicholas her bosom heaving under my chin (clasping her breast) (The Baroness slowly gets up, as does Erika.) approaches the rack where the women’s fur coats are “Doctor, dear Doctor, not quite so fast, dear Doctor. My heart, my heart, I can wait no longer. hanging and rubs his cheek against one of them with a (losing his balance) Oh la la! I must stop drinking. ERIKA deep sigh.) I still have to announce the engagement. ERIKA (kissing her) Good night. Yes, Nicholas, yes, they chose the old family doctor (goes to get a book) Ah, these lovely furs ... so soft, so sweetly scented. to make the announcement. You have not eaten today. 8.669140-41 24 13 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 14

VANESSA It is a long winter here. VANESSA VANESSA (turns toward her mother) (Far away the sound of a sleigh is heard.) Here I am! Let us hurry, You must call me Vanessa. Even now you will not speak to me! let us not keep the poor Pastor waiting. (For a few seconds they look at each other in silence.) 5 Listen! ... They are here ... I can see the lights. (She pulls a bell cord.) (The two couples walk out into the jardin d’hiver, and (The lower bell begins to ring faster and louder. Erika (approaching the Baroness) disappear in the direction of the chapel. The servants VANESSA rises and goes to the window. Vanessa rises and runs Here is your shawl, mother, follow. Erika, left alone, walks around the room in (sits despondently on a chair near the table) across to the window, then enters the jardin d’hiver, and your prayer book. hysterical anguish. As if to follow the others, she goes Go, go; good night. peering out.) Doctor, will you give her your arm? toward the jardin d’hiver but returns into the room and begins pacing nervously back and forth. She (Erika, in the meantime, has pulled a bell cord, then VANESSA (returning, almost hysterically) (The Major-Domo comes in.) moves toward a covered mirror, approaching it slowly leads the Baroness to the door; as they reach it He has come, he has come! fearfully, then uncovers it. She goes to the fireplace, a maid comes in and accompanies the Baroness out of Go and call all the servants. DOCTOR pondering, and climbs up on a chair before the picture the room. Erika goes and stands by the French Light up the courtyard. Yes, Baroness. which hangs over the mantelpiece. With a quick window which looks out on the park. Vanessa rises I shall wait here. And Erika, motion, she uncovers a portrait of Vanessa in a ball and returns to her chair by the fire. The tower bell (grasping her) VANESSA dress, in all the pride of her youth. From outside one continues to sound in the courtyard.) let me be alone with him Call the servants for chapel. hears the strains of the first hymn coming from the when he comes in. Erika, aren’t you ready yet? chapel.) VANESSA Is it still snowing? (Erika exits. In great agitation Vanessa paces up and ERIKA ^ HYMN (from the chapel) down the room. She goes to the mirror, as if to Do not wait for me, Aunt Vanessa; In morning light let us rejoice, ERIKA uncover it, but hesitates and turns away. Outside are I shall join you later. Thy love is our salvation; Yes, Vanessa. heard the bustle and turmoil of arrival, servants In praise of Thee we raise our voice. rushing to and fro. She sits down by the fire with her (Meanwhile the Baroness slowly puts on her shawl. A VANESSA back to the door. Suddenly, the door is thrown open. maid enters with a shawl for Erika.) (Erika descends from the chair and backs away, her Look, look well, deep into the woods; In the semi-darkness, the figure of Anatol is seen eyes always fixed on the portrait.) don’t you see the light of lanterns? standing silhouetted in the lighted doorway.) VANESSA Are you ready? Now let us sing in the Light, ERIKA 6 VANESSA Our smiles trembling in the heart: No, Vanessa. (with restrained emotion, and without looking or (Chimes from the nearby chapel are heard.) Our fears lost in the night, moving toward him) Joyously this day we start. VANESSA Do not utter a word, Anatol, (The Baroness has gotten up from her chair, and one For joy created from Go to bed. I shall wait alone. do not move; by one the servants follow the Major-Domo. The Thy tears you may not wish to stay. Baroness gives her arm to the Doctor.) Fills hearts with adoration 4 ERIKA For over twenty years (has slowly turned from the window and stands in stillness, in silence, DOCTOR (Erika runs quickly over to the mirror and looks at her by the table) I have waited for you. (as they stop at the door of the jardin d’hiver) reflection, first with morbid fascination as she Must the winter come so soon? I have always been sure, Even to your old Doctor you will no longer speak. compares it with the figure in the portrait, then with Night after night I hear the hungry deer wander I have always known you would come back to me, How will you call him sudden defiance as she unbuttons her blouse to imitate sweeping in the woods, and from his house of brittle Anatol; when the time comes? the extreme décolletage of Vanessa’s dress in the bark hoots the frozen owl. Must the winter come so I have scarcely breathed so that (The Baroness and Doctor exeunt.) portrait.) soon? Here in this forest neither dawn nor sunset Life should not leave its trace marks the passing of the days. and nothing might change in me ANATOL (offering his arm to Vanessa) And in Thy Light we shed all fears. (puts out candles and sits by the table) that you loved; May I take your arm, Baroness? Amen. 8.669140-41 14 23 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 22

if you are not bound by memories. ERIKA alone, apart, unseen, (Erika runs in.) Has then the human heart so changed? I have waited for you. ANATOL (goes to Erika) (She sits on a chair.) It is not he, it is not he. How could I forget that night? (Anatol slowly approaches her and takes her hand. I do not know him. The night that made you since so dark and bitter? % ANATOL She rises suddenly, always with her back to him.) I never have seen him. Outside this house the world has changed. Oh, how dark, Have him put out of the house. BARONESS Time flies faster than before; how desperate to let the days go by Help me, help me upstairs; That night! there is no time for idle gestures. unmarked, unheeded! I think I shall faint. I cannot offer you eternal love How endless, how lonely, how wrong ERIKA for we have learned today such words are lies. to rob a beating heart (Erika supports her as they exit. Left alone, Anatol, What has become of you since then? But the brief pleasure of passion, yes, of Time and Space! who has never moved during the previous scene, (approaching her) Beauty is the hardest gift to shelter, casually walks to the middle of the room, turns on BARONESS and sweet, long friendship. harder than Death to stay. several lights and looks curiously about him. Noticing Careful, Erika, or he will leave you! Who can resist your gentle beauty, Erika? All this I have done for you! Vanessa’s handkerchief which she has dropped, he (caressing her from behind the chair.) picks it up and puts it on a chair. He lifts the cover on ANATOL Oh, how happy we could be together! Erika! (She releases her hand.) the mirror. He approaches the supper-table, appraises I have not been silent. (Erika abandons herself to him, then rises and moves Now listen, listen, listen well: the wine and table setting and is not displeased. Erika I asked you before and now, with your grandmother as away, as if to escape him. He follows and embraces (very tenderly) hurriedly enters. Anatol turns to her with an ironic witness, her.) Unless you still love me bow.) I do not want you to see me, Anatol. (takes Erika by the arm and leads her to the Baroness) Do you know Paris and Rome Without love 8 ERIKA I ask you again. and Budapest and Vienna? do not dare look in my eyes Who are you? Why did you come here? Will you marry me? The gilded Grand Hotels for dancing, because all change begins You must leave at once. the coast of Spain for solitude, when Love has died. ERIKA the velvet rooms for jeweled suppers, Tell me, Anatol, do you love me? ANATOL And what will you do if I should answer, no? the glass and marble stations for goodbyes? Do you still love me as once you did? But I did not lie. (turning away) This we could share together, Erika, For if you do not, I shall ask you I am Anatol. if you accept my love to leave my house this very night! When my father died ... ANATOL and, who knows What do you want me to say? my love might last forever, Erika. (Vanessa does not move.) ERIKA That I should slash my throat like this? (with unexpected irony) When your father died ... Oh no! Or spend my days as a monk Life is so brief. 7 ANATOL Poor Vanessa! (mockingly) (simply) Yes, I believe I shall love you. After so many dreams, after so long a waiting! chanting Te Deum laudamus? ERIKA (suddenly wounded by his last phrase) (Vanessa turns around and looks at him.) Oh, how unfair a game Life can be Ah, what a meager offer yours is! when Death can tally the score at will. ERIKA I wish I could be blinded by your love; VANESSA Why did you not let her know? I hate your laughter! instead, I see you only too well, too well. (For a moment she is frozen in horror, Why did you not write her? then staggers back.) ANATOL ANATOL Ah no, ah no! ANATOL (pensively picks up Vanessa’s handkerchief) What a sentimental child you are! What is your answer, then? My God, who are you? All through my youth You belong to another age. (Vanessa comes into the room dressed for chapel.) Impostor, cheat! I heard that name, Vanessa. (screaming) Like a burning flame Erika, Erika, help me! it used to scorch my mother’s lips 8.669140-41 22 15 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 16

and light my father’s eyes with longing. ERIKA Pastor has just arrived and is seen conversing with the ERIKA (desperately) Now that I am alone That place was not set for me. Doctor and Anatol) Why waste my time on him then when I have been driven here Besides it is not with me Dear me, here is the Pastor; I am dying of love? to meet at last the woman that you come from so far I must hurry. who haunted so my house: Vanessa. to drink your wines. Good morning, Pastor, we shall soon be ready. (Anatol, a coffee cup in his hand, runs into the room But who are you? Have some coffee with us. from the jardin d’hiver where the Doctor and the ANATOL (She re-enters the room and exits inside.) Pastor are seen in a heated discussion.) ERIKA Nor was I the one who was expected. Oh, how happy I feel this morning, how happy! Sometimes I am her niece (laughing lightly) (Exit.) ANATOL (laughingly) but mostly her shadow. I am the false Dimitri, the Pretender; Help, help! Save me from their talk. Now you must leave; (He kneels with comic exaggeration and $ ERIKA Between a doctor and a minister you heard what she said. offers her the flower from his lapel.) (She has silently observed Vanessa’s departure and a man will lose both body and soul! be my Marina! now runs and embraces her grandmother, who has ANATOL (throws over his shoulder the flower she has not taken) watched the preceding without visible emotion.) ERIKA (He goes to the table, breaks off a flower from the You never smile. Did you hear her? I must speak to you, Anatol. center-piece and puts it in his lapel.) (He rises and takes her hand, You are not going to send me leading her slowly to the table. BARONESS ANATOL out into the storm again! She follows, fascinated and reluctant.) You must speak out or you will lose him. What is it, then? Tell her who I am Sit down. and she will let me stay the night. (Erika sits down. He turns down the lamp.) ERIKA ERIKA This is a wild and solitary place It is his love I want and not his capture. Is it true ... what you said to Vanessa this morning? (He approaches one of the covered mirrors and lifts to pass one’s youth in. the drape.) It is as if we had been always alone! BARONESS ANATOL (He pours two glasses of wine, offering her one.) Even for love one must fight. This morning? - I? - ERIKA (lifting his glass) What is your name? Do not touch it; ERIKA ERIKA she cannot bear the sight of mirrors. ERIKA Should he not fight for mine? For God’s sake, stop lying! Erika. Vanessa or I, it is the same to him. ANATOL (He approaches the table laid for supper.) ANATOL Was the supper laid for him? (They touch glasses, looking at each other. He reaches BARONESS Aha, the little sphinx begins to clamor for her answers. (picking up a bottle of wine) for her hand across the table; she hesitates, then He saw your money before he met your eyes. Ah, Romanée-Conti. timidly gives it to him.) ERIKA My father loved this wine. ERIKA I have the right to claim them! May I light the candles? Scene 2 And still, and still ... the way he kissed that night ... BARONESS (While lighting them he reflects.) The same. A month later on a sunny Sunday morning. A how can I forget those kisses! Listen to him, Erika; be patient with him! I, too, love good food and wine ... breakfast table is laid in the jardin d’hiver where, but my father lost his fortune dreaming, through the gleaming panes of glass, one sees the BARONESS ANATOL while my mother bought subtle poisons distant park covered with snow. The Baroness and He is the man of today; Have you not told me I am free? to destroy his dreams. Erika are sitting in the main room. he only sees what is offered him; Now I can only drink the wine of others. (with scorn) ERIKA Will you join me for supper? 9 BARONESS he will choose what is easier. Of course, of course. And then? I shall not bind you 8.669140-41 16 21 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 20

DOCTOR (on the way out) ERIKA ERIKA so that my love stay aflame! Do you play a good game of chess, sir? Did he say that? (standing by the Baroness, but looking away from her) He made me drink too much wine. . . . BARONESS ANATOL VANESSA I showed him to his room. . . . Does he not love you? I’m afraid I don’t play at all. Yes, those very words. I stayed with him all night. ERIKA DOCTOR ERIKA BARONESS He says he does, How the world has changed! I can’t imagine what And then? The very night you met him? but I feel he is incapable of love. young people do to pass the evenings nowadays. His words are as easy as his kisses. VANESSA ERIKA (They go out and are seen outside by the breakfast Then I asked: “What makes you so weak?” The only night. BARONESS table, serving themselves.) It is too late ERIKA BARONESS to measure or to weigh; @ VANESSA What did he say? Erika, Erika, you so proud, so pure! you must do what must be done. Erika, I am so happy. I know now ... it was he I was waiting for. VANESSA ERIKA ERIKA I kept my youth for him; he sent me his younger self. He took my hand ... I was neither proud nor pure that night; (rises and steps away from the Baroness) Anatol, Anatol! once he kissed me it seemed so natural to obey. Must I? ERIKA Has not each woman the right to wait ERIKA He took your hand? BARONESS for her true love to come? Aunt Vanessa, don’t be fooled by a name. What could you have seen in such a rnan? The first and last, the only love? It is another man who has come. VANESSA When I was young a man came into the house Ah, if I were sure of him ... and he answered: “I came as a guest.. I am foolish like a conqueror I should fly to him VANESSA enough to want to leave as the master.” carrying his love with pride; and leave behind the world to burn. No, no, Erika. but this Anatol, oh this cautious knight But no, he does not tremble He carries his father’s destiny ERIKA who entered our house like a thief, as I do when our eyes meet; with him and he knows it, he knows it. Did he say that? what kind of a man is he? nor has the memory of that night erased the mocking laughter from his lips. ERIKA VANESSA (rising and going to Erika) ERIKA What makes you say that? Ah, yes, Erika. (runs to the Baroness, kneels at her feet and puts her BARONESS head in her lap) You do not love him, then? # VANESSA ERIKA If I only knew I would also know I must tell you what happened out skating. Then ... why I both hate and love him. ERIKA (runs again to the Baroness, and, sobbing, puts her ERIKA VANESSA BARONESS head in her grandmother’s lap) What happened? There was a long silence. And now will he do the honorable thing? Oh yes, I love someone like him!

VANESSA ERIKA ERIKA BARONESS He stopped me ... and looked in my eyes; And then ... Yes, he will marry me My poor child, love never bears and then he said: “Christmas is near if I so wish; the image that we dream of; and the winter will pass. VANESSA (she gets up, laughing) but I do not want his honor when it seems to, It is time for me to leave now Ha, ha, what a curious niece I have! so that mine be saved. beware of the disguise! but I cannot find the strength to go.” (going toward the jardin d’hiver where the young I want his love 8.669140-41 20 17 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 18

ERIKA VANESSA VANESSA the green toad has swallowed But then, grandmother, to hold Save your breath. (returns from the jardin d’hiver with a cup of coffee) the key to my door.” what I feel is of small worth, She has become so old that The day may be near have I the right to break another woman’s heart? she only understands the language of the young. to open all the rooms ANATOL and give the greatest ball this county has ever seen. Ah, charming, charming; I wish I could compete with BARONESS ANATOL you, Doctor. Whose heart? Are we not young? DOCTOR (One hears the laughter of Vanessa and Anatol in the Do you remember, as a young girl, DOCTOR jardin d’hiver.) VANESSA the garden parties and the games? Nonsense, young man; give me your hand (teasingly) We lost our innocence long ago, my dear. (Erika stands behind the sofa. Anatol kneels on the and I’ll show you the steps. ERIKA (rises) (Ushered in by the Major-Domo, the Doctor comes sofa, gently caressing her.) Right foot first. Hers, Of course. into the room.) Have you not noticed? VANESSA VANESSA (seated), ERIKA AND DOCTOR She loves him more than I do DOCTOR Yes, yes, (Back, then left,) because she loves him blindly. Good morning, good morning. I shall light the lake “Under the willow tree with Chinese lanterns (forward, slide.) BARONESS VANESSA and the hills with bonfires; two doves cry,” etc. The fool! Good morning, Doctor. I shall call the peasants (One, two, three, reverse, (Vanessa and Anatol, in skating togs, appear in the with their accordions and fiddles. two, three, one. jardin d’hiver carrying their skates.) DOCTOR Two, three, right, What a pretty pair you made skating on the lake! DOCTOR two, three, left, 0 VANESSA (ringing a bell-cord for the servants) (with a twinkle) I saw you, I saw you. Do you still remember our country dances, Milady? left foot, right foot. No, you are not as good a skater as your father was. Two, three, forward, (In the meantime, two butlers have appeared in the VANESSA two, three, backward.) ANATOL jardin d’hiver bringing in breakfast and coffee.) Are you too old to dance them, dear Doctor? But I am a luckier man, perhaps. (They all laugh as they see Anatol completely VANESSA DOCTOR confused.) (They come into the main room. During the following You must breakfast in a hurry What impertinence! dialogue they will be taking off their scarves, skating or we shall be late for chapel. (trying out a few steps and singing) DOCTOR clothes, etc., which will then be collected by the (Anatol stands by the fireplace, leaning on the mantel. No, no! What do they teach you in school today? Major-Domo.) A butler has entered with a bunch of flowers which “Under the willow tree. . . .” Erika places in various vases.) (turning to Vanessa) ANATOL ANATOL (to Erika) One, two, right, Good morning, Erika, why didn’t you join us? DOCTOR Come, come, let us show them who is the best dancer one, two, left. Ah, how good it is to see this house alive again! here! ERIKA (He begins to dance with Vanessa while singing.) DOCTOR Because you forgot to ask me. VANESSA That’s better. Yes, dear Doctor. Perhaps the day is near ! “Under the willow tree ANATOL when I shall unveil the mirrors and the portraits. two doves cry, two doves cry. VANESSA Did I? Where shall we sleep, my love, Stop this nonsense and hurry to your breakfast! (going up to the Baroness) DOCTOR whither shall we fly? I must go up and change. Ah, good morning, Baroness. (holding his pipe and reminiscing) The wood has swallowed the moon, (The Doctor takes Anatol by the arm and they go out (to Anatol) Ah, sir, this used to be a gay house once. the fog has swallowed the shore, to the jardin d’hiver.) 8.669140-41 18 19 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 18

ERIKA VANESSA VANESSA the green toad has swallowed But then, grandmother, to hold Save your breath. (returns from the jardin d’hiver with a cup of coffee) the key to my door.” what I feel is of small worth, She has become so old that The day may be near have I the right to break another woman’s heart? she only understands the language of the young. to open all the rooms ANATOL and give the greatest ball this county has ever seen. Ah, charming, charming; I wish I could compete with BARONESS ANATOL you, Doctor. Whose heart? Are we not young? DOCTOR (One hears the laughter of Vanessa and Anatol in the Do you remember, as a young girl, DOCTOR jardin d’hiver.) VANESSA the garden parties and the games? Nonsense, young man; give me your hand (teasingly) We lost our innocence long ago, my dear. (Erika stands behind the sofa. Anatol kneels on the and I’ll show you the steps. ERIKA (rises) (Ushered in by the Major-Domo, the Doctor comes sofa, gently caressing her.) Right foot first. Hers, Of course. into the room.) Have you not noticed? VANESSA VANESSA (seated), ERIKA AND DOCTOR She loves him more than I do DOCTOR Yes, yes, (Back, then left,) because she loves him blindly. Good morning, good morning. I shall light the lake “Under the willow tree with Chinese lanterns (forward, slide.) BARONESS VANESSA and the hills with bonfires; two doves cry,” etc. The fool! Good morning, Doctor. I shall call the peasants (One, two, three, reverse, (Vanessa and Anatol, in skating togs, appear in the with their accordions and fiddles. two, three, one. jardin d’hiver carrying their skates.) DOCTOR Two, three, right, What a pretty pair you made skating on the lake! DOCTOR two, three, left, 0 VANESSA (ringing a bell-cord for the servants) (with a twinkle) I saw you, I saw you. Do you still remember our country dances, Milady? left foot, right foot. No, you are not as good a skater as your father was. Two, three, forward, (In the meantime, two butlers have appeared in the VANESSA two, three, backward.) ANATOL jardin d’hiver bringing in breakfast and coffee.) Are you too old to dance them, dear Doctor? But I am a luckier man, perhaps. (They all laugh as they see Anatol completely VANESSA DOCTOR confused.) (They come into the main room. During the following You must breakfast in a hurry What impertinence! dialogue they will be taking off their scarves, skating or we shall be late for chapel. (trying out a few steps and singing) DOCTOR clothes, etc., which will then be collected by the (Anatol stands by the fireplace, leaning on the mantel. No, no! What do they teach you in school today? Major-Domo.) A butler has entered with a bunch of flowers which “Under the willow tree. . . .” Erika places in various vases.) (turning to Vanessa) ANATOL ANATOL (to Erika) One, two, right, Good morning, Erika, why didn’t you join us? DOCTOR Come, come, let us show them who is the best dancer one, two, left. Ah, how good it is to see this house alive again! here! ERIKA (He begins to dance with Vanessa while singing.) DOCTOR Because you forgot to ask me. VANESSA That’s better. Yes, dear Doctor. Perhaps the day is near ! “Under the willow tree ANATOL when I shall unveil the mirrors and the portraits. two doves cry, two doves cry. VANESSA Did I? Where shall we sleep, my love, Stop this nonsense and hurry to your breakfast! (going up to the Baroness) DOCTOR whither shall we fly? I must go up and change. Ah, good morning, Baroness. (holding his pipe and reminiscing) The wood has swallowed the moon, (The Doctor takes Anatol by the arm and they go out (to Anatol) Ah, sir, this used to be a gay house once. the fog has swallowed the shore, to the jardin d’hiver.) 8.669140-41 18 19 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 20

DOCTOR (on the way out) ERIKA ERIKA so that my love stay aflame! Do you play a good game of chess, sir? Did he say that? (standing by the Baroness, but looking away from her) He made me drink too much wine. . . . BARONESS ANATOL VANESSA I showed him to his room. . . . Does he not love you? I’m afraid I don’t play at all. Yes, those very words. I stayed with him all night. ERIKA DOCTOR ERIKA BARONESS He says he does, How the world has changed! I can’t imagine what And then? The very night you met him? but I feel he is incapable of love. young people do to pass the evenings nowadays. His words are as easy as his kisses. VANESSA ERIKA (They go out and are seen outside by the breakfast Then I asked: “What makes you so weak?” The only night. BARONESS table, serving themselves.) It is too late ERIKA BARONESS to measure or to weigh; @ VANESSA What did he say? Erika, Erika, you so proud, so pure! you must do what must be done. Erika, I am so happy. I know now ... it was he I was waiting for. VANESSA ERIKA ERIKA I kept my youth for him; he sent me his younger self. He took my hand ... I was neither proud nor pure that night; (rises and steps away from the Baroness) Anatol, Anatol! once he kissed me it seemed so natural to obey. Must I? ERIKA Has not each woman the right to wait ERIKA He took your hand? BARONESS for her true love to come? Aunt Vanessa, don’t be fooled by a name. What could you have seen in such a rnan? The first and last, the only love? It is another man who has come. VANESSA When I was young a man came into the house Ah, if I were sure of him ... and he answered: “I came as a guest.. I am foolish like a conqueror I should fly to him VANESSA enough to want to leave as the master.” carrying his love with pride; and leave behind the world to burn. No, no, Erika. but this Anatol, oh this cautious knight But no, he does not tremble He carries his father’s destiny ERIKA who entered our house like a thief, as I do when our eyes meet; with him and he knows it, he knows it. Did he say that? what kind of a man is he? nor has the memory of that night erased the mocking laughter from his lips. ERIKA VANESSA (rising and going to Erika) ERIKA What makes you say that? Ah, yes, Erika. (runs to the Baroness, kneels at her feet and puts her BARONESS head in her lap) You do not love him, then? # VANESSA ERIKA If I only knew I would also know I must tell you what happened out skating. Then ... why I both hate and love him. ERIKA (runs again to the Baroness, and, sobbing, puts her ERIKA VANESSA BARONESS head in her grandmother’s lap) What happened? There was a long silence. And now will he do the honorable thing? Oh yes, I love someone like him!

VANESSA ERIKA ERIKA BARONESS He stopped me ... and looked in my eyes; And then ... Yes, he will marry me My poor child, love never bears and then he said: “Christmas is near if I so wish; the image that we dream of; and the winter will pass. VANESSA (she gets up, laughing) but I do not want his honor when it seems to, It is time for me to leave now Ha, ha, what a curious niece I have! so that mine be saved. beware of the disguise! but I cannot find the strength to go.” (going toward the jardin d’hiver where the young I want his love 8.669140-41 20 17 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 16

and light my father’s eyes with longing. ERIKA Pastor has just arrived and is seen conversing with the ERIKA (desperately) Now that I am alone That place was not set for me. Doctor and Anatol) Why waste my time on him then when I have been driven here Besides it is not with me Dear me, here is the Pastor; I am dying of love? to meet at last the woman that you come from so far I must hurry. who haunted so my house: Vanessa. to drink your wines. Good morning, Pastor, we shall soon be ready. (Anatol, a coffee cup in his hand, runs into the room But who are you? Have some coffee with us. from the jardin d’hiver where the Doctor and the ANATOL (She re-enters the room and exits inside.) Pastor are seen in a heated discussion.) ERIKA Nor was I the one who was expected. Oh, how happy I feel this morning, how happy! Sometimes I am her niece (laughing lightly) (Exit.) ANATOL (laughingly) but mostly her shadow. I am the false Dimitri, the Pretender; Help, help! Save me from their talk. Now you must leave; (He kneels with comic exaggeration and $ ERIKA Between a doctor and a minister you heard what she said. offers her the flower from his lapel.) (She has silently observed Vanessa’s departure and a man will lose both body and soul! be my Marina! now runs and embraces her grandmother, who has ANATOL (throws over his shoulder the flower she has not taken) watched the preceding without visible emotion.) ERIKA (He goes to the table, breaks off a flower from the You never smile. Did you hear her? I must speak to you, Anatol. center-piece and puts it in his lapel.) (He rises and takes her hand, You are not going to send me leading her slowly to the table. BARONESS ANATOL out into the storm again! She follows, fascinated and reluctant.) You must speak out or you will lose him. What is it, then? Tell her who I am Sit down. and she will let me stay the night. (Erika sits down. He turns down the lamp.) ERIKA ERIKA This is a wild and solitary place It is his love I want and not his capture. Is it true ... what you said to Vanessa this morning? (He approaches one of the covered mirrors and lifts to pass one’s youth in. the drape.) It is as if we had been always alone! BARONESS ANATOL (He pours two glasses of wine, offering her one.) Even for love one must fight. This morning? - I? - ERIKA (lifting his glass) What is your name? Do not touch it; ERIKA ERIKA she cannot bear the sight of mirrors. ERIKA Should he not fight for mine? For God’s sake, stop lying! Erika. Vanessa or I, it is the same to him. ANATOL (He approaches the table laid for supper.) ANATOL Was the supper laid for him? (They touch glasses, looking at each other. He reaches BARONESS Aha, the little sphinx begins to clamor for her answers. (picking up a bottle of wine) for her hand across the table; she hesitates, then He saw your money before he met your eyes. Ah, Romanée-Conti. timidly gives it to him.) ERIKA My father loved this wine. ERIKA I have the right to claim them! May I light the candles? Scene 2 And still, and still ... the way he kissed that night ... BARONESS (While lighting them he reflects.) The same. A month later on a sunny Sunday morning. A how can I forget those kisses! Listen to him, Erika; be patient with him! I, too, love good food and wine ... breakfast table is laid in the jardin d’hiver where, but my father lost his fortune dreaming, through the gleaming panes of glass, one sees the BARONESS ANATOL while my mother bought subtle poisons distant park covered with snow. The Baroness and He is the man of today; Have you not told me I am free? to destroy his dreams. Erika are sitting in the main room. he only sees what is offered him; Now I can only drink the wine of others. (with scorn) ERIKA Will you join me for supper? 9 BARONESS he will choose what is easier. Of course, of course. And then? I shall not bind you 8.669140-41 16 21 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 22

if you are not bound by memories. ERIKA alone, apart, unseen, (Erika runs in.) Has then the human heart so changed? I have waited for you. ANATOL (goes to Erika) (She sits on a chair.) It is not he, it is not he. How could I forget that night? (Anatol slowly approaches her and takes her hand. I do not know him. The night that made you since so dark and bitter? % ANATOL She rises suddenly, always with her back to him.) I never have seen him. Outside this house the world has changed. Oh, how dark, Have him put out of the house. BARONESS Time flies faster than before; how desperate to let the days go by Help me, help me upstairs; That night! there is no time for idle gestures. unmarked, unheeded! I think I shall faint. I cannot offer you eternal love How endless, how lonely, how wrong ERIKA for we have learned today such words are lies. to rob a beating heart (Erika supports her as they exit. Left alone, Anatol, What has become of you since then? But the brief pleasure of passion, yes, of Time and Space! who has never moved during the previous scene, (approaching her) Beauty is the hardest gift to shelter, casually walks to the middle of the room, turns on BARONESS and sweet, long friendship. harder than Death to stay. several lights and looks curiously about him. Noticing Careful, Erika, or he will leave you! Who can resist your gentle beauty, Erika? All this I have done for you! Vanessa’s handkerchief which she has dropped, he (caressing her from behind the chair.) picks it up and puts it on a chair. He lifts the cover on ANATOL Oh, how happy we could be together! Erika! (She releases her hand.) the mirror. He approaches the supper-table, appraises I have not been silent. (Erika abandons herself to him, then rises and moves Now listen, listen, listen well: the wine and table setting and is not displeased. Erika I asked you before and now, with your grandmother as away, as if to escape him. He follows and embraces (very tenderly) hurriedly enters. Anatol turns to her with an ironic witness, her.) Unless you still love me bow.) I do not want you to see me, Anatol. (takes Erika by the arm and leads her to the Baroness) Do you know Paris and Rome Without love 8 ERIKA I ask you again. and Budapest and Vienna? do not dare look in my eyes Who are you? Why did you come here? Will you marry me? The gilded Grand Hotels for dancing, because all change begins You must leave at once. the coast of Spain for solitude, when Love has died. ERIKA the velvet rooms for jeweled suppers, Tell me, Anatol, do you love me? ANATOL And what will you do if I should answer, no? the glass and marble stations for goodbyes? Do you still love me as once you did? But I did not lie. (turning away) This we could share together, Erika, For if you do not, I shall ask you I am Anatol. if you accept my love to leave my house this very night! When my father died ... ANATOL and, who knows What do you want me to say? my love might last forever, Erika. (Vanessa does not move.) ERIKA That I should slash my throat like this? (with unexpected irony) When your father died ... Oh no! Or spend my days as a monk Life is so brief. 7 ANATOL Poor Vanessa! (mockingly) (simply) Yes, I believe I shall love you. After so many dreams, after so long a waiting! chanting Te Deum laudamus? ERIKA (suddenly wounded by his last phrase) (Vanessa turns around and looks at him.) Oh, how unfair a game Life can be Ah, what a meager offer yours is! when Death can tally the score at will. ERIKA I wish I could be blinded by your love; VANESSA Why did you not let her know? I hate your laughter! instead, I see you only too well, too well. (For a moment she is frozen in horror, Why did you not write her? then staggers back.) ANATOL ANATOL Ah no, ah no! ANATOL (pensively picks up Vanessa’s handkerchief) What a sentimental child you are! What is your answer, then? My God, who are you? All through my youth You belong to another age. (Vanessa comes into the room dressed for chapel.) Impostor, cheat! I heard that name, Vanessa. (screaming) Like a burning flame Erika, Erika, help me! it used to scorch my mother’s lips 8.669140-41 22 15 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 14

VANESSA It is a long winter here. VANESSA VANESSA (turns toward her mother) (Far away the sound of a sleigh is heard.) Here I am! Let us hurry, You must call me Vanessa. Even now you will not speak to me! let us not keep the poor Pastor waiting. (For a few seconds they look at each other in silence.) 5 Listen! ... They are here ... I can see the lights. (She pulls a bell cord.) (The two couples walk out into the jardin d’hiver, and (The lower bell begins to ring faster and louder. Erika (approaching the Baroness) disappear in the direction of the chapel. The servants VANESSA rises and goes to the window. Vanessa rises and runs Here is your shawl, mother, follow. Erika, left alone, walks around the room in (sits despondently on a chair near the table) across to the window, then enters the jardin d’hiver, and your prayer book. hysterical anguish. As if to follow the others, she goes Go, go; good night. peering out.) Doctor, will you give her your arm? toward the jardin d’hiver but returns into the room and begins pacing nervously back and forth. She (Erika, in the meantime, has pulled a bell cord, then VANESSA (returning, almost hysterically) (The Major-Domo comes in.) moves toward a covered mirror, approaching it slowly leads the Baroness to the door; as they reach it He has come, he has come! fearfully, then uncovers it. She goes to the fireplace, a maid comes in and accompanies the Baroness out of Go and call all the servants. DOCTOR pondering, and climbs up on a chair before the picture the room. Erika goes and stands by the French Light up the courtyard. Yes, Baroness. which hangs over the mantelpiece. With a quick window which looks out on the park. Vanessa rises I shall wait here. And Erika, motion, she uncovers a portrait of Vanessa in a ball and returns to her chair by the fire. The tower bell (grasping her) VANESSA dress, in all the pride of her youth. From outside one continues to sound in the courtyard.) let me be alone with him Call the servants for chapel. hears the strains of the first hymn coming from the when he comes in. Erika, aren’t you ready yet? chapel.) VANESSA Is it still snowing? (Erika exits. In great agitation Vanessa paces up and ERIKA ^ HYMN (from the chapel) down the room. She goes to the mirror, as if to Do not wait for me, Aunt Vanessa; In morning light let us rejoice, ERIKA uncover it, but hesitates and turns away. Outside are I shall join you later. Thy love is our salvation; Yes, Vanessa. heard the bustle and turmoil of arrival, servants In praise of Thee we raise our voice. rushing to and fro. She sits down by the fire with her (Meanwhile the Baroness slowly puts on her shawl. A VANESSA back to the door. Suddenly, the door is thrown open. maid enters with a shawl for Erika.) (Erika descends from the chair and backs away, her Look, look well, deep into the woods; In the semi-darkness, the figure of Anatol is seen eyes always fixed on the portrait.) don’t you see the light of lanterns? standing silhouetted in the lighted doorway.) VANESSA Are you ready? Now let us sing in the Light, ERIKA 6 VANESSA Our smiles trembling in the heart: No, Vanessa. (with restrained emotion, and without looking or (Chimes from the nearby chapel are heard.) Our fears lost in the night, moving toward him) Joyously this day we start. VANESSA Do not utter a word, Anatol, (The Baroness has gotten up from her chair, and one For joy created from Go to bed. I shall wait alone. do not move; by one the servants follow the Major-Domo. The Thy tears you may not wish to stay. Baroness gives her arm to the Doctor.) Fills hearts with adoration 4 ERIKA For over twenty years (has slowly turned from the window and stands in stillness, in silence, DOCTOR (Erika runs quickly over to the mirror and looks at her by the table) I have waited for you. (as they stop at the door of the jardin d’hiver) reflection, first with morbid fascination as she Must the winter come so soon? I have always been sure, Even to your old Doctor you will no longer speak. compares it with the figure in the portrait, then with Night after night I hear the hungry deer wander I have always known you would come back to me, How will you call him sudden defiance as she unbuttons her blouse to imitate sweeping in the woods, and from his house of brittle Anatol; when the time comes? the extreme décolletage of Vanessa’s dress in the bark hoots the frozen owl. Must the winter come so I have scarcely breathed so that (The Baroness and Doctor exeunt.) portrait.) soon? Here in this forest neither dawn nor sunset Life should not leave its trace marks the passing of the days. and nothing might change in me ANATOL (offering his arm to Vanessa) And in Thy Light we shed all fears. (puts out candles and sits by the table) that you loved; May I take your arm, Baroness? Amen. 8.669140-41 14 23 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 24

(She puts on her shawl and starts out to chapel, then This is all I shall ever know of such women ... MAJOR-DOMO VANESSA stops and turns as if suddenly struck by a cry of inner Oui, Mademoiselle. I shall not until he comes. indignation.) (The Doctor, a little tipsy, comes in from the ballroom My heart, my heart, I can wait no longer. holding two glasses of champagne. He looks at VANESSA ERIKA Nicholas in great astonishment.) Don’t forget the bell. ERIKA No, Anatol, my answer is no. Shall I read to you? (ablaze with scorn) DOCTOR ERIKA Let Vanessa have you, You rascal, you! I never knew you had a soul. Oh yes, have the gatekeeper ring the tower bell all VANESSA she who for so little What an evening! What women, what champagne! night should the sleigh be lost in the storm. Thank (sinks exhausted on to the sofa) had to wait so long! But what am I doing with two glasses? you. You all may go. (Servants exeunt.) Yes, Erika, read to me. (A lackey enters, carrying a tray of empty glasses.) (Erika sits by the fire. Outside the tower bell begins to (Sobbing hysterically she falls on a sofa.) I must have been carrying one to some charming lady; 3 VANESSA ring at regular intervals.) who was she? Oh well ... (rising and tearing off her veil; 1 ACT II (He drinks both glasses himself, then follows the almost anguished in her intensity) ERIKA New Year’s Eve. Entrance hall to the castle. Stage left, lackey and attempts to put the glasses on the tray. He No, I cannot understand Here it is – a stairway leading to the rooms upstairs. At the back, a misses it and the glasses crash to the floor. The lackey why he has not arrived yet. Has no message come? (reads, spoken) very large archway through which one sees part of the picks up the pieces disapprovingly and exits.) Oedipus: “Woe, woe is me, ballroom. At the left, the main entrance to the castle. 2 I should never have been a doctor, Nicholas. ERIKA Sorrowful that I am! When the curtain goes up, the entrance hall is almost a gentleman, a poet, that’s what I am. (imperturbed) They left the village at dawn; (picks up Where am I, where am I going? empty except for a few guests who are greeting each A naked body, what is it to a doctor? Vanessa’s veil and puts it on a chair) perhaps they Where am I cast away?” other on their way into the ballroom, Nicholas, the We see them every day. stopped on their way to let the storm die down. Major-Domo, who is arranging all the fur coats, cloaks, But under a chandelier, with the right music, the right (Vanessa gets up and snatches the book away from hats, etc., on the racks by the door, and a footman, who perfume, VANESSA Erika.) is standing at the entrance to the ballroom. In the a naked arm, a shoulder - My guest is not one to let a storm stand in his way ballroom one sees couples dancing to an off-stage Oh God, I lose my mind! and Karl should know the road blindfolded. VANESSA orchestra. More guests descend the stairway and are I shall have him dismissed if they are lost. You do not know how to read. greeted as they enter the ballroom. Nicholas opens the (Two maids are seen on the stairway giggling at the You have never known what love is! door and helps a couple of late comers to dispose of Doctor.) ERIKA (reading as she paces up and down the room) their wraps. (has picked up her needlework and sits on the couch Did you see me dance with Mademoiselle Doriat? calmly sewing) “Woe, woe is me, FOOTMAN (ushering the couple into the ballroom) She is not so young, I know that, The snow is so deep Sorrowful, sorrowful that I am! The Count and Countess d’Albany. a bit too plump, perhaps, a bit too tall for me. it is hard on the horses. Where am I? Where am I going? But, oh, so light on her feet, Where am I cast away?” MAJOR-DOMO (to a footman and maid at the door) so soft, so blonde. VANESSA Almost everyone is here now. Tra la la la la (turns from the window and starts to go (The book falls from her hand.) Go and help inside. I’ll watch the door. “Doctor, dear Doctor, not quite so fast, dear Doctor!” back to the sofa) Why does he not come? Her blue scarf floating over my head Oh, I shall die if anything happens to him! (As the footman disappears inside, Nicholas her bosom heaving under my chin (clasping her breast) (The Baroness slowly gets up, as does Erika.) approaches the rack where the women’s fur coats are “Doctor, dear Doctor, not quite so fast, dear Doctor. My heart, my heart, I can wait no longer. hanging and rubs his cheek against one of them with a (losing his balance) Oh la la! I must stop drinking. ERIKA deep sigh.) I still have to announce the engagement. ERIKA (kissing her) Good night. Yes, Nicholas, yes, they chose the old family doctor (goes to get a book) Ah, these lovely furs ... so soft, so sweetly scented. to make the announcement. You have not eaten today. 8.669140-41 24 13 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 12

Libretto A sweet idea. . .very touching. she will not answer. (feeling in his coat pockets) ACT I VANESSA Good heavens, where is my speech? DOCTOR Sick of pheasant ... Canard! I should not have drunk so much; I will see what I can do. 2 Scene 1 I shall muddle up everything. (going upstairs and talking to himself as he runs out of A night in early winter in Vanessa’s luxurious drawing ERIKA Will you lend me your comb, Nicholas? breath) room. A small table is laid for supper. All the mirrors in Canard farci sauce Savoie. “Doctor, dear Doctor, not quite so fast, dear Doctor!” the room and one large painting over the mantlepiece (As he starts to comb his hair in front of a mirror, (Enter Anatol, from the ballroom.) are covered with cloth. There is a large French window VANESSA Vanessa comes in, resplendent in a ball dress, looking at the back which leads into a darkened jardin d’hiver. Too many sauces. very nervous and agitated. The two maids leave 4 ANATOL Vanessa is sitting by the fire, stage left, her face hurriedly. At last I found you. shadowed by a veil. The Baroness is sitting in front of ERIKA The Major-Domo gives the Doctor his speech and (Vanessa sits on the steps and covers her face with her her and remains immobile throughout the scene until Palombes rôties nature? exits.) hands as if she were about to cry.) her exit. In the middle of the room a group of servants, What is wrong, Vanessa? headed by Nicholas, the Major-Domo, is standing in VANESSA 3 VANESSA (to Doctor) front of Erika; she is giving them orders, a notebook in Better. Here you are! VANESSA her hand. There is a snowstorm outside. (Erika nods to the Major-Domo to put it down. I feel so weak, Anatol, so afraid. He does so, murmuring.) DOCTOR ERIKA Yes, yes, I am ready. Don’t worry, I know it by heart. ANATOL Potage crème aux perles. ERIKA (beginning to declaim) Ladies and gentlemen ... Afraid of what, my darling? Gâteau d’amandes au miel. MAJOR-DOMO (repeats order to servants, speaking) VANESSA VANESSA (with sudden rage) Potage crème aux perles. MAJOR-DOMO (interrupting him) Oh, be quiet. Why will those two not come down? Gâteau d’amandes au miel. (She looks toward the room upstairs.) They sit up there like brooding harpies, ERIKA Can’t you see how upset I am? ready to feed on carrion. Écrevisses à la bordelaise. ERIKA (significantly) One bottle of Montrachet; They will not come down. ANATOL MAJOR-DOMO two bottles of Romanée-Conti. That’s all. Do not be afraid. Écrevisses à la bordelaise. DOCTOR Erika will come, I know. VANESSA Zut alors. She promised me she would. VANESSA Don’t forget the camellias. We shall announce the engagement without them. Find something better than that! VANESSA ERIKA VANESSA Why, then, have they built this wall of silence ERIKA (to servants) Oh yes, from the greenhouse, one fresh I quite expected it of Mother, but Erika ... all around my happiness? Alors ... langoustines grillées sauce aux huitres. camellia on his dressing table every morning. Why, why? What will people think ... my own niece ... ANATOL MAJOR-DOMO MAJOR-DOMO Forget, forget. I like you most Langoustines grillées sauce aux huitres. Oui, Mademoiselle. DOCTOR when you forget A little shy, a little shy, that’s all. and smile. ERIKA ERIKA Faisan braisé au porto. A centerpiece of Christmas roses for lunch; VANESSA VANESSA of green orchids for dinner. Please, Doctor, you go up. What is there I do not know? She will not open the door for me, Could I have been wrong for twenty years? 8.669140-41 12 25 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 26

Is there something you have not told me, Anatol? ANATOL National Symphony Orchestra of Ukraine (She buries her head on his shoulder.) Then scatter the ashes to the wind. Follow my flight, Vanessa! Established in 1937, the National Symphony Orchestra of Ukraine, formerly known as the Ukrainian State 5 ANATOL Symphony Orchestra, is recognised as one of the most accomplished symphonic ensembles of the former Soviet Love has a bitter core, Vanessa. VANESSA Union. The orchestra’s change of status was declared by President Leonid Kuchma in mid-1994, reaffirming its Do not taste too deep. (impulsively kisses his hand; he embraces her) reputation as Ukraine’s première orchestra. The orchestra’s first chief conductor was Nathan Rachlin, who Do not search into the past. I follow, I follow! conducted the world première of Shostakovich’s Eleventh Symphony, and who remained in this position for the He who hungers for the past will be fed on lies. next 25 years until 1962. His successors as music directors have included Stepan Turchak, Feodor Gluschenko and Let your love be new 6 DOCTOR (coming down the stairs) Igor Blazhkov. In 1994 the Ministry of Culture of Ukraine appointed Theodore Kuchar as the orchestra’s Artistic as were we born today. Nothing to worry about; Director and Principal Conductor. In 2000, Kuchar was awarded the title Conductor Laureate for Life and My love has only begun. (They turn to him. Guests begin to fill the ballroom Volodymyr Sirenko was appointed the orchestra’s Principal Conductor. During the past five decades, the orchestra which during the duet was almost empty.) has worked under a number of this century’s most recognised conductors including Kirill Kondrashin, Igor VANESSA a little frightened perhaps. Markevitch, Evgeny Mravinsky, Gennady Rozhdestvensky, Kurt Sanderling, Leopold Stokowski and Evgeny Love has a bitter core, Anatol, She will come down, she says, but later. Svetlanov. Distinguished soloists who have collaborated with the orchestra include Emil Gilels, Leonid Kogan, but let me taste this bitterness with you. Yehudi Menuhin, David Oistrakh, Sviatoslav Richter, Mstislav Rostropovich, Artur Rubinstein and Isaac Stern. I shall never take too much (The Major-Domo enters.) The orchestra has held a special relationship with distinguished composers including Aram Khachaturian, Boris if you will offer all. Lyatoshynsky, Sergey Prokofiev and Dmitry Shostakovich, each having collaborated with the orchestra on a My love cannot begin VANESSA number of occasions as either conductor or soloist in their own compositions. Naxos and Marco Polo recordings nor grow nor die Ah, well, let us proceed then; we can wait no longer. include the complete symphonies of Prokofiev, Kalinnikov, Martinu˚ and Boris Lyatoshynsky, orchestral works of for it has always been. (to the Major-Domo who is standing by the door) Shostakovich, Shchedrin, Tchaikovsky and Glazunov; and for the Naxos American Classics Series, major Call our people in; have them stand by the door. orchestral works by Walter Piston, Roy Harris, Paul Creston, George Antheil, Leonard Bernstein and Benjamin ANATOL They should begin their dances right after the Lees. For every question announcement. let my kiss be an answer. (She goes inside the ballroom. The Major-Domo exits Gil Rose VANESSA by a small side door.) Ah, but is a kiss an answer? Gil Rose is the founding Artistic Director of the Boston Modern Orchestra Project ANATOL (to the Doctor, while following Vanessa) (BMOP), and the Music Director of Opera Boston as well as a Co-Director of the ANATOL What did she really say? Opera Unlimited Festival. Active as a guest conductor, he has led the West Bohemian I did not ask for whom you were waiting Symphony Orchestra, the Warsaw Philharmonic, the American Composers Orchestra, that night when first we met. DOCTOR the Cleveland Chamber Symphony, the National Symphony Orchestra of Ukraine, the She would not speak to me. Netherlands Radio Symphony Orchestra and the Boston Symphony Orchestra VANESSA Chamber Players. He made his Tanglewood Festival début conducting Lukas Foss’ For you, Anatol, for you. (They go inside the ballroom. A group of peasants opera Griffelkin, a work he has recorded for Chandos. Other recent recordings include including a violinist, an accordionist and a group of music by George Rochberg for Naxos, the complete orchestral works of Arthur Berger ANATOL children, is ushered in by a lackey. They cross the hall for New World, and Tod Machover’s Hyperstring Trilogy for Oxingale, with Not, not for me, for I was born that night. and stand by the door leading into the ballroom, scheduled recordings of music by Lee Hyla, Steven Mackey, Stephen Paulus, Bernard making a solid wall with their backs to the audience. Rands and Gunther Schuller. Gil Rose received his undergraduate training at the VANESSA Music inside. Suddenly, Erika appears at the top of the Cincinnati College Conservatory of Music. His Master of Fine Arts degree and Artist For you, Anatol, for you. staircase in a white ball dress; she seems weak and Diploma are from Carnegie Mellon University. Like the burning phoenix you flew very pale, desperately battling to master herself. After Photograph by Liz Linder out of the ashes of my shattered dreams. a little hesitation she begins to descend the stairs.

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Richard Conrad The music inside fades; only the hum of conversation Answer me! What can it be? is now heard.) Richard Conrad has enjoyed equal success as singer, actor, impresario, stage director, ERIKA (returning to consciousness) and teacher. As a young student, his ability to meet the technical and stylistic demands VOICE OF DOCTOR (inside) Oh, it is nothing, nothing ... really. of the florid music of the eighteenth and nineteenth centuries resulted in an invitation Silence, everybody, silence, please. to make a series of now-classic recordings singing tenor repertoire with Joan (At the sound of the Doctor’s voice, Erika stops short, MAJOR-DOMO Sutherland, Marilyn Horne, and Richard Bonynge, which brought him into halfway down the stairway, as if suddenly taken very Shall I fetch the Doctor? international prominence. He has performed in opera, concert, plays, operettas and ill. She clutches her stomach.) musicals, and on radio and television in the United States, Canada, Central America, ERIKA Europe, Africa, Scandinavia, and the former Soviet Union, and has made many VOICE OF DOCTOR No, please, do not tell anyone. recordings. In the mid-1980s he retrained his natural baritone, and now specializes in Ladies and gentlemen, I have the great honor, as an I shall come down at once. the operas of Gilbert and Sullivan and bel canto composers. As Founder and, for 23 old friend of this noble and distinguished family, years, Artistic Director of Boston Academy of Music, he presented many Boston which for many years has been a shining example to MAJOR-DOMO (helping her to her feet) operatic premières, and a revival of Barber’s Vanessa with the present cast. He is all of us of what is finest in the traditions of our May I bring you something? Artistic Director of the Bostonian Opera and Concert Ensemble. country, to announce the engagement of our dear Baroness Vanessa von ... ERIKA No, thank you. (Erika suddenly faints an the steps. A burst of music Leave me now, I wish to be alone. from the orchestra drowns out the last words of the (The Major-Domo leaves her reluctantly.) Philip Lima Doctor. As the music dies down, applause is heard inside.) ERIKA With opera companies in Germany and across the United States, the baritone Philip (always clutching her stomach) Lima has performed such diverse opera rôles as those of the High Priest in Samson et VOICE OF DOCTOR (spoken) Dalila, Johann Mattes in Kurt Weill’s Die Bürgschaft, Cadmus in Handel’s Semele, Now let us all drink to the happy couple. His child! ... his child! ... John Proctor in The Crucible, Alidoro in La Cenerentola, and the title characters in (Vanessa and Anatol appear from the ballroom; The Mikado and Viktor Ullmann’s Der Kaiser von Atlantis. He has also appeared as Vanessa is carrying a tray of sweets for the peasant (She makes her way to the entrance door, opens it and a featured concert soloist in Italy, Ukraine, South Korea and the United States, in children.) goes out into the night. The door is left open. Inside recital and in the Fauré and Brahms Requiems, Beethoven’s Ninth Symphony, the St the ballroom, the dances go on, an occasional couple John Passion, Carmina Burana, Belshazzar’s Feast and Vaughan Williams’ Sea CHORUS (inside) of guests dancing briefly in and out of the hall. The Symphony. Praised for his commanding, intelligent stage presence, he received his Now to your health! Major-Domo enters with a glass of water for Erika. undergraduate degree in literary theory from Yale University and worked for several Not seeing her, he exits into the ballroom. After a years as a financial consultant and a freelance violist before studying singing. (One of the peasant children does a dance and the while, the Baroness, disheveled and clad in an old violinist and accordionist play upstage right, so that in dressing gown, appears at the top of the stairway.) watching them everyone is facing away from the steps where Erika is lying. While the dance takes place, the BARONESS Photograph by Lynn McCann Major-Domo enters the hall from the ballroom. The Erika, Erika! peasants, musicians, guests, Vanessa and Anatol drift (She begins to descend the stairway.) back into the ballroom.) Where are you going, Erika? I saw her running to the lake! MAJOR-DOMO Please, someone, stop her! (On seeing Erika, Nicholas rushes up the stairs.) Mademoiselle, mademoiselle! (A chain of dancers, laughing loudly and wildly, runs (He shakes her gently.) in from the ballroom and invades the hall. After 8.669140-41 10 27 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 28

encircling the Baroness, they quickly exit, always barking of dogs are heard outside. Marion Dry laughing. The dances in the ballroom continue.) Oh, if only I could call someone! Erika! VANESSA Marion Dry is a leading artist in the rarely heard vocal category of the true contralto. Why did no one warn me? With an extensive repertoire of opera, oratorio and chamber music, and as an VANESSA (suddenly entering) Could everyone be as blind as I was accomplished interpreter of twentieth-century music and art songs, she has elicited What are you doing here? not to see the sorrow in her face? high praise from audiences and critics alike for her beautiful voice and fine (She listens to the howling of dogs in the distance.) musicianship. She has appeared with Netherlands Opera, Seattle Opera, Houston BARONESS It is almost dawn and they have not found her yet. Grand Opera, the Tanglewood Festival, Boston Lyric Opera, Boston Academy of Erika ... Erika! Erika, Erika, what made you do this? Music, Cleveland Orchestra, the Boston Pops Orchestra, Madison Symphony, the (to the Doctor) National Symphony Orchestras of Ukraine and Panama, the Boston Modern Orchestra VANESSA You are her doctor and her lifelong friend. Project, at the Edinburgh Festival and the Kennedy Center. She is a member of the Are you out of your mind? Is it possible that you suspected nothing? Jubilee Trio and she can be heard on the Chandos, Nonesuch, Koch and CRI recording (The dancing and laughter inside have stopped labels. She is a member of the Music Department of Wellesley College. and a few groups of dancers come into the hall in DOCTOR amazement. Anatol has followed Vanessa into the I have always known I am a bad doctor hall.) and now I know that I am a bad poet as well, for I have never learned to read the human heart. ANATOL Erika? what of Erika? VANESSA (suddenly turning to the Baroness) Photograph by Susan Wilson And you, you must surely know something. BARONESS But, oh no, you will not talk. Ray Bauwens She must be saved. . . . Whatever have I done to you to have to bear your Someone go after her. . . awful silence? Ray Bauwens has been characterized by the Boston Globe as “the closest thing to an Toward the lake . . . Oh, I would hate you if you were not my mother. Italian tenor New England has produced” in over fifty years. His operatic Hurry, please hurry! (She goes to the window.) performances have included Jean in Massenet’s Jongleur de Notre Dame, Cavaradossi in Tosca, Nemorino in L’elisir d’amore, Dick Johnson in La fanciulla del West, (Anatol quickly snatches a cape from the rack, throws DOCTOR Riccardo in Un ballo in maschera, Rinuccio in Gianni Schicchi, Edgardo in Lucia di it over his shoulders and rushes out the open door, Do not speak like this. Lammermoor, Don Alvaro in La forza del destino, Leicester in Maria Stuarda, followed by several men from among the guests.) Pollione in Norma, Ferrando in Così fan tutte, Matteo in Arabella, the title rôle in VANESSA Donizetti’s Roberto Devereux, Canio in Pagliacci, and the role of Don José in Bizet’s VANESSA (trying to stop him) Why can they not find her? Carmen. His concert and oratorio performances include Beethoven’s Ninth Symphony Anatol, Anatol! The whole village is looking for her. with the Mexico State Symphony Orchestra under the direction of Enrique Batiz, Handel’s Messiah with Boston’s Handel and Haydn Society, Verdi’s Requiem and the ACT III DOCTOR Evangelist in Bach’s St John Passion. She cannot have wandered very far 7 Scene 1 in this cutting cold. Erika’s bedroom. A few hours later. At the right side of the room, a small alcove in which part of the bed is VANESSA seen. It is dawn. The Baroness is sitting by a small What if they do find her! fireplace with her back to the audience. The Doctor is She will not be alive. standing by a window, peering out anxiously through (She sinks on to a chair and bursts into tears.) the panes. Vanessa, in a dressing gown, is pacing nervously up and down the room. Cries and calls and 8.669140-41 28 9 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 8

Ellen Chickering DOCTOR (The door of the bedroom is thrown open and Erika is Come, come, you must not despair carried in by Anatol, a group of peasants and men The soprano Ellen Chickering has sung the leading rôle in Verdi’s Un ballo in nor jump to conclusions. from among the guests, followed by the Doctor. maschera, Aida, La forza del destino and Il trovatore, Strauss’ Arabella, Donizetti’s It may all be very innocent. They place her, still wearing her ball dress, Anna Bolena, Lucrezia Borgia and Elisabetta in Maria Stuarda, Donna Anna in Don They found no trace of her steps near the lake on the bed in the alcove.) Giovanni, and Rosalinda in Die Fledermaus. Puccini’s heroines, Tosca, Suor and the ice was unbroken. Angelica and Minnie in La fanciulla del West are also in her repertoire. She has sung DOCTOR with the Minnesota Opera, Boston Academy of Music, Santa Fe Opera, Kansas City 8 VANESSA There, there, gently. Lyric Opera and Connecticut Concert Opera, and has appeared in Carnegie Hall Why must the greatest sorrows come singing the first soprano in Mahler’s Eighth Symphony, at the Kennedy Center in from those we most love? VANESSA Beethoven’s Missa solemnis, and at the Boston Symphony Hall with the Handel and Erika, Erika, my sweet Erika, Doctor, how is she? Haydn Society in Beethoven’s Ninth Symphony. Her concert repertoire includes why have you done this, why? Verdi’s Requiem, Britten’s War Requiem, Vaughan Williams’ Sea Symphony and you who are only as wild as the wild dove DOCTOR Strauss’ Four Last Songs. and no prouder than the rose? She seems to be all right. (to Anatol) I love you, Erika, I have always loved you Send them all out. as if you were my own child, my own daughter. Why break my heart just now ANATOL (to the group of peasants) as it started to beat again? You had better go now. Andrea Matthews Come back, Erika, come back! Thank you all. (She goes to Erika’s bed and sits down, weeping.) You will find wine downstairs The soprano Andrea Matthews has received critical acclaim in opera, concert and and a blazing fire in the kitchen. recitals across the United States and Europe. In appearances with such groups as the 9 DOCTOR (excitedly) Atlanta, Detroit, Cincinnati, Houston, Utah, New Jersey, and Baltimore Symphonies, There, look! ... a group of men is coming (The Baroness slowly approaches the bed. The Buffalo Philharmonic, St Paul Chamber Orchestra, the Philadelphia Orchestra, New towards the house. peasants tiptoe out of the room, followed a little later York’s Mostly Mozart Festival Orchestra and 92nd St. Y Chamber Symphony and the by the guests. The Doctor remains in the alcove with Stuttgart Philharmonic, she has worked with many renowned conductors, including VANESSA (turns slowly, then runs to the window) Vanessa. Two maids enter hurriedly and go into the Sir Neville Marriner, Hugh Wolff, Charles Dutoit, Robert Shaw, Dennis Russell Do you suppose ... alcove to help undress Erika and put her to bed. Care Davies, Rafael Frühbeck de Burgos, Neeme Järvi, JoAnn Falletta, and Gerard should be taken, however, that Erika, sheltered by the Schwarz. This is her first recording for Naxos, and she has also been featured on DOCTOR (opens the window) figures of the maid and the Doctor, remain unseen by Newport Classic, Vox Cum Laude, Vox Classic, Premier, and Polygram CDs. A Yes, they are carrying her; they have found her! the audience.) graduate of Princeton University, she teaches voice and Alexander Technique at (He rushes out of the room.) Wellesley College privately, and currently performs with and serves on the Board of VANESSA The Bostonian Opera and Concert Ensemble. VANESSA (opening the window and crying outside) (coming out of the alcove and leaning against Anatol Photograph by Lisa Kohler Anatol, Anatol, is she alive? who embraces her tenderly) Oh, in what terror I have been! Anatol, Anatol ... (She listens for an answer and then closes the window (She bursts into tears.) slowly, leaning against it in order not to faint. The Baroness, who has gotten up out of her chair, ANATOL stares at her imploringly.) Poor Vanessa, what an endless night! Come into my arms, my dearest. VANESSA Yes, weep, weep in my arms. Yes, yes, she is alive; thank God, oh thank you, God! 8.669140-41 8 29 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 30

VANESSA VANESSA waltz. @-# When the men leave, Vanessa offers a the winter night, wearing just her ball dress, murmuring Where did you find her? Do you know why she did this strange thing? gushing confession to Erika: She has fallen in love with that Anatol’s child “must not be born.” The old Baroness young Anatol and he, it seems, with her. She feels she has comes down the stairs and goes to the door. She believes 0 ANATOL ANATOL kept her youth just for him. $ After Vanessa leaves, the she has heard Erika’s steps in the snow, and she is afraid. On the path to the lake; Why should I? Baroness tells Erika that she will have to fight to win she was hidden in a small ravine Anatol, but Erika wants his love, not his capture. When ACT III, Scene 1 like a wounded bird. VANESSA Anatol enters, Erika demands to talk to him immediately, Erika’s bedroom, a few hours later. 7-8 Vanessa She must have fallen Anatol, you must not lie to me. explaining that her grandmother knows everything and is torments herself for not having guessed at Erika’s love for for her frost-white dress was torn (She takes his arm and stares into his eyes.) utterly discreet. She demands to know if he has in fact Anatol. Search parties are out looking for her. and damp with blood. Look me in the eyes. implied to Vanessa that he wishes to marry her. He points 9 They see a group of men coming back together. There she lay, in the snow Does she love you? out that he has asked Erika to marry him, and does so 0 Anatol has found her on the path to the lake and has like a Christmas rose; again in the presence of the Baroness. % But he also carried her back to the house, unconscious but alive. the bitter cold had glazed her lovely face ANATOL makes it clear that his idea of love is easy-going, and most ! Vanessa asks Anatol if he knows why Erika acted so into deep and opaque sleep. This much I know; likely temporary. He is waiting for her answer when rashly. He is evasive, but when she attempts to pin him The faint beat of her heart she does not love me. Vanessa comes to summon everyone to the chapel for down, he says, “This much I know; she does not love me.” was like an undeciphered signal from another world. Sunday service. Erika promises to join them shortly. ^ As @ When they have left, # Erika calls her grandmother and I lifted her into my arms, VANESSA the sound of the first hymn swells in the distance, Erika tells her that the child will not be born. Silently the old warmed her against my breast. Swear! makes up her mind. “Let Vanessa have you–she who for Baroness rises and walks to the door. I called her name and kissed her eyelids., so little had to wait so long.” only then she sighed a little. ANATOL [$ – Intermezzo] I swear. CD 2 VANESSA ACT II Scene 2 (The Doctor comes out of the alcove) VANESSA 1 New Year’s Eve. The house has been decorated for a The drawing room, two weeks later. % Anatol and How is she? How do you know? grand party, as in the old days. 2 The doctor is a bit tipsy Vanessa are going to live in Paris. ^-& The doctor recalls and fears that he will muddle up the announcement he has events in Vanessa’s childhood, as he bids her farewell. DOCTOR ANATOL agreed to make: the engagement of Anatol and Vanessa. * Vanessa has willed the house to Erika (but asks her not Leave me alone with her; Did I not know that you loved me 3 Vanessa herself is upset that her mother and Erika have to tell Anatol). Erika promises to keep the house just as it she is not ready to see you yet. long before you spoke? refused to join the party. As the doctor goes upstairs to try was. Vanessa still seeks to know the truth about Erika’s (As the Doctor goes back into the alcove, Vanessa and But Erika, she chose to judge me to persuade Erika to join them, 4-5 Anatol and Vanessa actions on the night of her engagement. At Vanessa’s Anatol move to the opposite side of the stage and stand before she could learn to love. share their thoughts on love’s “bitter core.” 6 The doctor probing, Erika insists that it had nothing to do with Anatol. by the fireplace.) returns, saying that Erika may come down a little later – She says simply and evasively, “I thought I loved someone VANESSA (turning away from him) but he tells Anatol privately that she had refused to speak who did not love me.” ( Vanessa, Anatol, Erika, the VANESSA (with a tormented expression) Can I believe you? to him at all. doctor, and the Old Baroness pause to consider that life is Anatol ... The guests are shepherded off to the ballroom. As the filled with love and with loss, with dreams and with ANATOL hallway clears, Erika slowly begins to make her way down partings. ) Vanessa, Anatol, and the doctor leave. Finally ANATOL You must ask Erika yourself; the stairs, listening to the announcement that the doctor is Erika is left alone with her grandmother, who no longer Yes, Vanessa. she never lies. making to the assembled guests. Suddenly, as if very ill, speaks to her. ¡ She summons the Major-Domo and asks Erika clutches at her stomach. When the doctor makes the him to make everything as it was before. All the mirrors ! VANESSA (taking his hand) @ VANESSA (falls into his arms pleadingly) engagement official, Erika faints on the steps. The Major- are to be covered. She will receive no one. It is now her Anatol, tell me the truth! Take me away from this house, Domo finds her there and offers to fetch the doctor, but she turn to wait. Anatol; we must quickly leave! asks him to leave. She wants to be alone. Once he has left, ANATOL For the sorrows of others raise dark walls reluctantly, Erika opens the front door and runs out into Steven Ledbetter Yes, Vanessa. between our hearts. 8.669140-41 30 7 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 6

production starring Johanna Meier was shown on Public sang with incredible passion and intensity. It was such a Oh, help me tear these bonds, ERIKA Television. Since then the opera has been seen in riveting experience... so overwhelming... indeed, almost help me take flight! I was with child ... Washington, St. Louis, Seattle, and recently in too much to bear. Years later, when I recounted this to Darmstadt, London, Monte Carlo, Strasbourg and Eleanor Steber, she exclaimed, “How do you think we ANATOL BARONESS (though not at the Met) New York. felt!” Yes, Vanessa, every day of waiting ... with child! As a young student, I saw the Met production in roots you deeper in the past. Boston. It remains one of the great operatic experiences Hide in my love! Brief is the day for blindness, ERIKA of my life. In the grand third-act duet, Steber and Gedda Richard Conrad and brief the day for madness. never reached the lake; Hide in my love; only the mad, only the blind can fly! by the ravine I fainted.

Synopsis (The Baroness has reached a small chair BARONESS near Erika’s bed.) And your child? Time: the early 20th century; winter Servants rush back and forth, carrying in the Place: An aristocratic country house in a northern traveler’s luggage. Finally the door of the drawing room DOCTOR (coming out of the alcove) ERIKA European country opens, and a man appears silhouetted there. Nothing to worry over; she will be all right. It will not be born. 6 Vanessa, with her back turned to him, tells him that, (stopping Vanessa and Anatol, who had started to [Opening 1] unless he still loves her, she will not let him look on her walk over to the alcove) (With one violent rap of her cane on the floor, the face and will ask him to leave at once. 7 The man replies No, no, not yet. Baroness suddenly gets up from her chair and slowly ACT I, Scene 1 simply, “Yes, I believe I shall love you.” But when She wants to be alone with her grandmother. walks toward the door. She stops at the sound of On a stormy winter evening, three women wait in a richly Vanessa turns around, she sees that he is a stranger. She Erika’s voice, then continues.) furnished drawing room for the arrival of a guest. They rushes out of the room in distress, calling for Erika. VANESSA are Vanessa, a still-beautiful woman of middle age who, 8 After helping her aunt out, Erika returns to confront But why? ERIKA twenty years before had been involved in a passionate the impostor. He explains that he is Anatol–the son of the Grandmother, why are you leaving me? affair with a married man, Anatol. When he refused to man whom Vanessa had loved. All through his youth he DOCTOR (Without answering, the Baroness leaves the room.) leave his wife for her, she shut herself up in her elegant has heard so much about this woman that, when his father Come, come, we must not upset her now. house, and covered all the mirrors so as not to observe in died, he decided that he had to meet her. Erika (He gently accompanies them outside, closing the door ERIKA (always from the alcove) her own countenance the passage of time. Now she sympathizes with Vanessa who, after so much waiting, softly behind them. There is a long silence in the room. Grandmother, grandmother! Answer me! awaits Anatol’s return with nervous impatience. She is will never see her lover again. Anatol sees the supper that The Baroness, seated by Erika, still has not moved.) joined in her vigil by her mother, the Baroness, who has was set for him, including his father’s favorite wine, and % Scene II not spoken to Vanessa since her return, and by her niece he sits down to eat it, inviting Erika to join him. # ERIKA (from inside the alcove) Erika, an attractive inexperienced young woman. Grandmother! The drawing room as in ACT I, a month later. The 2 They plan the dinner menu for the morrow. Scene 2 Baroness is sitting in her usual place; Anatol, in 3 Erika attempts to while away the time by reading to 9 A month later, on a sunny Sunday morning, Erika is BARONESS traveling clothes, enters upstage and goes down to the others. She chooses a passage from Sophocles’s explaining to the Baroness, her grandmother, that on the Yes, Erika. speak to the Doctor who is standing by the table. A maid Oedipus, but Vanessa insists that Erika does not know night of Anatol’s arrival, he seduced her. It was the only is in the jardin d’hiver packing a small suitcase. The how to express the passion of a tragic hero and recites the night she slept with him and now she finds that she both ERIKA main door at the back of the room is open. Through it passage herself. Vanessa tells the others to go to bed, hates and loves him. Though Anatol has told her he loves Do they know? one sees servants carrying trunks and other luggage while she waits alone. 4 Erika muses sadly on the early her, she finds his words facile. In any case, he is presently across the hall. arrival of winter. Finally they hear the sound of an ice-skating with Vanessa. 0 They come in for breakfast, BARONESS approaching sleigh. 5 Vanessa sends the others out of glowing with happiness. The old family doctor arrives, How can I tell? ANATOL the room, in order to be alone with Anatol when he happy to see the house “alive again,” and ! recalling Why did you wish to die? By the time we arrive in Paris the new house should be arrives. some of the parties in days gone by with a snatch of a ready.

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DOCTOR Will you ever think of your old doctor now - perfect for the rôle of Anatol. The other principals, not tailored to her soaring soprano. With only five Think of it, to live in Paris! now that the pulse of your heart takes you so far away Rosalind Elias, Regina Resnik, and Giorgio Tozzi, were weeks to learn this fiendishly difficult part, Steber How I shall miss you both! from him? American, and Metropolitan veterans. The première called upon every vocal and musical resource at her (Vanessa enters from the jardin d’hiver, followed was announced for the 1957-58 season with Dimitri command. Much of her performing schedule was ANATOL shortly after by Erika from the hall; the latter is simply Mitropoulos conducting. Menotti would be the stage arranged and rescheduled, but many commitments, such We shall miss you, too, dear friend. dressed and looks very pale and tense.) director, and the English designer, Cecil Beaton, whose as her annual Christmas Voice of Firestone television costumes for the musical, My Fair Lady, were so broadcast, had to be honoured. Then, in the middle of it DOCTOR & VANESSA (to Doctor) successful they started a fashion trend, would create all, she announced that she was getting married. Barber I know you will make a happy couple. And you, my friend, what are you mumbling about? both sets and costumes. begged her to wait until after the première, fearing that Barber spent the summer of 1957 in Italy, working the distraction would ruin his opera, but the soprano ANATOL DOCTOR (with tears in his voice) together with Mitropoulos on the orchestration, and announced passionately that if she did not get married, Yes, we shall have the most beautiful house in Paris. Oh, my dear, I just wanted to tell you coaching Rosalind Elias in Rome and Jurinac in Vienna. “there wouldn’t be an opera!” And so, marry she did, (Vanessa, in travelling costume, with hat and veil, In the fall, construction of sets and costumes started, with Barber and Menotti providing Capricorn for a comes into the room.) VANESSA (interrupting him) and musical rehearsals began at the Opera House. By quick honeymoon. Yes, yes, dear Doctor ... early December everything was in place and on At the première, the new opera and its heroic VANESSA Come, you go and help Anatol. schedule, when Jurinac sent word that she was ill, and heroine were rapturously received by a sold-out, I am almost ready. (She leads him gently towards the door which she cancelled her engagement. One can imagine the despair celebrity-filled audience. Barber’s music and Menotti’s closes after him. Vanessa sits on the sofa.) which everyone involved with the project must have libretto and production were lavishly praised by the ANATOL (kissing her) felt. There was talk of postponement when Edgar press, and Steber’s seemingly impossible feat was How lovely you look! VANESSA (returning into the room) Vincent, press agent to many operatic personalities, appreciated and lauded by everyone, including Rudolf Erika, sit down here next to me. contacted Max Rudolf, the Met’s Coordinator, Bing. Elias, Resnik, Tozzi, and Mitropoulos were VANESSA (Erika sits next to her, but all through the scene avoids suggesting that there was one person who could “save singled out for enthusiastic praise, and the opera played Be sure that they put everything in the sleigh looking at her.) the day”: Eleanor Steber. “She should have done it in to sold-out houses for the rest of the season, winning the and tell them to be careful with the hat boxes. the first place,” said Vincent. A star at the Met for 1958 Pulitzer Prize for music. It was in the Met’s (trying desperately to keep her composure) fifteen years, Steber had often “come to the rescue” repertory for the following season as well, and then (She goes out into the jardin d’hiver to help the maid Now that I am married and going to Paris, who knows before. She had not sung at the House the previous performed in Baltimore and in Boston on their annual pack a small suitcase. Anatol exits.) when we shall see each other again! You can live here season owing to a disagreement with Rudolf Bing over spring tour. The summer after the première, Vanessa as long as you wish; as I have told you, I have willed repertoire and the fact that she was being paid far less became the first American opera to be presented at the ^ DOCTOR (musingly) the house to you; but do not tell Anatol, please. than European singers who sang her rôles. In September Salzburg Festival, with most of the same cast, Menotti’s For every love there is a last farewell; she had returned in triumph as Donna Anna in a new production, and Beaton’s sets and costumes. Although a for each remembered day an empty room. ERIKA production of Don Giovanni, but she still felt that Bing great success with the public, the German and Austrian Many are the children I bring into the world No. was intent on easing her out of the company. press were vicious in their organized condemnation, but no one takes the place of those who are lost. Barber and Steber already had made an historical though they praised the singers, especially Steber and You, too, were once a child, Vanessa. VANESSA collaboration ten years earlier with Knoxville, Summer Gedda. Do you remember? The mumps, We may not come back for years. of 1915, which the soprano commissioned, and of Menotti mounted the opera, in Italian, at his Spoleto the chicken pox, the scarlatina? We may never come back. which she gave the first performance with the Boston Festival in 1961, and in 1965 the Met revived its How many times I cooled your burning cheek Symphony Orchestra. There was also a somewhat production in a revised version by Barber. Steber was, and fought the grinning dwarfs leering at the foot of ERIKA (rises and steps away from the sofa) subliminal connection in that Steber’s singing teacher, by this time, long out of the Company, and the title rôle your bed! I choose to stay. I am not afraid. William L. Whitney, had been, early in his career, the was assigned to Mary Costa, for whom Barber cut the (Vanessa gives the maid a small farewell present. The teacher of Barber’s Aunt Louise. When Steber sang impossibly difficult coloratura aria in the second act. maid exits tearfully carrying the suitcase.) VANESSA through the rôle with the composer, she felt “the part After this, the opera lay dormant for over a decade until But you are too young to stay here alone. was made for me.” Indeed, listening to the original-cast Menotti again revived it, this time in English, for the recording, it is difficult to believe that every note was 1978 American Spoleto Festival in South Carolina; this 8.669140-41 32 5 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 4

Samuel Barber (1910-1981) ERIKA Tell me, Erika, was it because of Anatol? Vanessa You, too, were young when you came back here. ERIKA Samuel Barber was almost 48 years old when his first works; in fact, this is probably the only instance of a VANESSA Anatol? opera, Vanessa, was produced by the Metropolitan composer providing a libretto for another composer Oh, but that was different. Oh no, no! Opera Company on 23rd January, 1958. His success as since the Boito-Verdi collaborations late in the a composer had come to him as a very young man, in nineteenth century. It was agreed that the Seven Gothic ERIKA VANESSA the late 1930s, mainly through his orchestral works. Tales of Isak Dinesen would provide the inspiration for Someone must take your place now. Swear! Yet, his love of the human voice (he studied singing at the story, yet Barber would have to wait two years for (looking at the Baroness) the Curtis Institute and thought seriously of becoming a even the first scene to materialise. He composed it She cannot be left alone. ERIKA professional singer) inspired him to compose a great during the summer of 1954, and begged his collaborator I swear. number of songs, many of which are standard repertory for more, but social and professional distractions VANESSA today. As a passionate devotee of opera from the age of prevented Menotti from further work on the libretto. I shall think of you always. VANESSA (turning her around to face her) six, when he was taken to the Metropolitan to hear The frustrated Barber then delivered an ultimatum: until Do take care of my azaleas and the parakeets Then what was it? Verdi’s Aida, with Caruso and with his aunt, Louise he had the full libretto in hand, he would not compose and don’t forget. . . . Do not torment me, Erika. Homer, as Amneris, it does seem strange that it took another note. He later wrote in Opera News: “My tactic him so long to tackle the composition of an opera succeeded brilliantly; it made him so nervous that he sat ERIKA ERIKA himself, although there was the earlier work The Rose on a rock by the Mediterranean every morning until, by Do not worry, Aunt Vanessa. You would laugh if I were to tell you Tree, an unfinished work, written when he was nine to summer’s end, what I think is perhaps the finest and It shall all be as if you were here. as I myself have laughed since then. a libretto by his family’s Irish cook. Barber had most chiselled of his libretti was finished.” expressed interest as early as 1934 in composing an Barber began concentrated work on Vanessa, a (Pause) VANESSA opera on an American libretto. In 1942 he received two name he took from a book, How to Name Your Child, But why? operatic commissions, one from the Metropolitan, during the winter of 1956, when the Metropolitan * VANESSA (uncertainly) which he refused, as the Met had already chosen a announced that it would produce the opera. In October Erika, before I leave ERIKA libretto that he found unsuitable, the other, which he of 1957, Barber played (and sang) the completed you must tell me the truth about that night. I thought I loved someone who did not love me. accepted, from Serge Koussevitzky for a chamber opera sections for representatives of the Met and its General to be produced at the Berkshire Festival. Dylan Thomas Manager, Rudolf Bing. Immediately discussions about ERIKA VANESSA eventually agreed to provide a libretto, but both Thomas casting began, and Barber attended many Met I have told you the truth, Aunt Vanessa. But whom? The young Pastor, perhaps? and Barber became involved with the war effort, and performances listening to singers who might possibly The gamekeeper? finally, nothing came of the chamber opera. The fill the various parts. Maria Callas, then at the height of VANESSA (rising and going to Erika) commission eventually became The Prayers of her fame, was his preferred choice for the title rôle. No, no, you are hiding something ERIKA Kierkegaard, a work for chorus and orchestra. Barber invited her to Capricorn, the home he and and now I must know. What does it matter? It was a foolish thing: After the War, the Metropolitan Opera again Menotti had built in Mt. Kisco, NY, and played through I cannot live with that thorn in my heart. it is all over now. approached Barber, and he renewed his search for a the score for her. Callas was unimpressed, feeling that librettist. In 1952, after unsuccessfully attempting to the rôle of Erika was stronger than that of the ERIKA VANESSA interest Thornton Wilder, James Agee, and Stephen protagonist, and she refused to consider it. It was finally There was no reason for it; Perhaps he was not the man for you! Spender in the project, Barber’s life-long friend and decided that Sena Jurinac, the Yugoslavian soprano star it was a foolish thing to do; companion, Gian Carlo Menotti, suggested that he of the Vienna State Opera and the Glyndebourne it was the end of my youth. ERIKA would provide the libretto. An extraordinarily Festival would make her Met début as Vanessa. A lyric (Pause) Yes, I know now; he is not the man for me. successful operatic composer in his own right, with soprano renowned for her Mozart interpretations, (Anatol enters with a lackey, who removes two pieces Amelia al Ballo, The Old Maid and the Thief, The Jurinac was also an extraordinary linguist and spoke VANESSA of luggage left in the room.) Telephone, The Medium, and The Consul to his credit, excellent English. So too did the Swedish tenor, Nicolai (suddenly approaching Erika, torn between mounting Menotti had previously only written texts for his own Gedda, whom Barber had heard in Paris and felt was suspicion and the desire to avoid the truth) 8.669140-41 4 33 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 34

ANATOL To love is all of this CD 1 55:08 CD 2 65:51 You must hurry if we wish to reach the station before and none of it is love. dark. The light is not the sun 1 Opening 1:30 ACT II (Vanessa goes near the door where a group of nor the tide the moon. servants has assembled to bid her ACT I 1 Entr’acte - The Count and Countess d’Albany 3:34 goodbye.) ANATOL Scene 1 2 I should never have been a doctor 3:21 To leave, to break ... 3 Here you are! 1:33 VANESSA 2 Potage crème aux perles 2:13 4 At last I found you 1:29 (to a maid) Bring me down my things, Clara. THE OTHERS 3 No, I cannot understand 5:36 5 Love has a bitter core, Vanessa 4:53 (embracing her) Oh, do not cry, silly thing. Ah, Anatol, how hard it will be, 4 Must the winter come so soon? 2:19 6 Nothing to worry about 6:51 (She talks to each one of the servants who, in turn, the backward road of regret! 5 Listen...they are here! 1:48 kisses her hand.) 6 Do not utter a word, Anatol 5:07 ACT III VANESSA 7 Yes, I believe I shall love you 2:04 Scene 1 ANATOL To find, to keep ... 8 Who are you? 5:53 (who has remained downstage next to Erika) 7 Why did no one warn me? 5:06 There was a time, Erika, when I thought THE OTHERS Scene 2 8 Why must the greatest sorrows come 2:27 that it would be with you Ah, poor Vanessa, only to die 9 There, look! 3:25 that I should leave this house. empty-handed! 9 And then? 4:15 0 On the path to the lake 3:08 (Vanessa takes the Major-Domo in her arms 0 No, you are not as good a skater ! Anatol, tell me the truth! 1:14 affectionately. The Doctor comes ERIKA as your father was 3:02 @ Take me away 1:28 back into the room and stops by Vanessa’s side.) To stay, to wait ... ! Under the willow tree 2:45 # Grandmother! Yes, Erika 2:59 @ Erika, I am so happy 0:56 $ Intermezzo 4:18 ERIKA (to Anatol) THE OTHERS # I must tell you what happened 2:50 Please forget me. Erika, Erika, only to kiss the impostor! $ Did you hear her? 4:10 Scene 2 Make her happy, Anatol. % Outside this house the world has changed 5:29 Remember that she loves you the way I never could. DOCTOR AND BARONESS ^ Orchestral interlude; Hymn 5:12 % By the time we arrive in Paris 1:10 (Vanessa comes back into the middle of the room, To weep, to hope ... ^ For every love there is a last farewell 2:10 followed by the Doctor.) & And you, my friend 2:33 THE OTHERS * Erika, before I leave you 4:09 VANESSA And you old people, ( To leave, to break 3:56 Let me look around once more. may Death release you ) Goodbye, be happy, Aunt Vanessa 2:39 Who knows when I shall see this house again! before you too clearly remember ¡ No, I must never say that name again 3:31 (She looks around her. There is a long silence.) or cease to dream!

(The Baroness has risen and they all stand quite VANESSA motionless.) Goodbye, Erika. (kisses her)

( ALL ) ERIKA To leave, to break, Goodbye, be happy, to find, to keep, Aunt Vanessa, please be happy. to stay, to wait, to hope, to dream, VANESSA to weep and remember. Goodbye, Mother. 8.669140-41 34 3 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 2

Samuel (She kisses the Baroness.) (to the Baroness) Do you really think she believes what I said? ANATOL BARBER Goodbye, Erika. When I see you again (The Baroness pauses.) perhaps you will have learned to smile. (1910-1981) Grandmother? (Pause) Oh, I forgot that you will not ERIKA speak to me either now. I am truly alone! Vanessa I hope you will still be smiling (An opera in three acts) when I see you again. Goodbye, Anatol. (The Baroness sits by the fire.) DOCTOR (The Major-Domo comes in.) Vanessa, a lady of great beauty, in her late thirties ...... Ellen Chickering Goodbye, goodbye, my dear ones! (wiping his eyes) Will you please cover all the mirrors in this house Erika, her niece, a young girl of twenty ...... Andrea Matthews VANESSA (gently to Doctor) again. The Old Baroness, Vanessa’s mother and Erika’s grandmother . . . Marion Dry Please, please, no tears! Come in the sleigh with us, MAJOR-DOMO Anatol, a handsome young man in his early twenties ...... Ray Bauwens we shall drop you in the village. (astounded) What, Mademoiselle? The Old Doctor ...... Richard Conrad (The Major-Domo and a maid enter with coats and ERIKA Nicholas, the Major-Domo ...... Philip Lima wraps.) Yes, just as before. Begin with these now. ERIKA Footman, The Young Pastor, Servants, Guests, Peasants, their Children, Musicians. I shall wave goodbye from here. (The Major-Domo bows and exits.)

The action takes place at Vanessa’s country house in a northern country about 1905. (Vanessa turns back and embraces Erika, then, after a (Erika fetches a veil similar to the one worn by last look, quickly leaves the room with Anatol and the Vanessa at the beginning of Act I. The Major-Domo Doctor. The Major-Domo closes the door and Erika is enters from the hall, followed by a servant with a left alone with the Baroness. She goes to the jardin stepladder and some drapes.) National Symphony Orchestra of Ukraine d’hiver and looks out into the snow. One can see that she is making desperate efforts to control her inner From now on I shall receive no visitors. Ukrainian National Capella “Dumka” (Director: Yevhen Savchuk) agony. At the sound of the departing sleigh she weakly Tell the gatekeeper that the gate to the park raises her hand to wave goodbye.) must remain locked at all times. Thank you. Gil Rose (The Major-Domo leaves. (with a cry) Anatol, Anatol! Erika sits by the fire next to her grandmother.)

This recording was made possible by a grant from Randolph Fuller. (She comes back into the room, leans against a chair Ah, that is good. as if she were about to collapse, but quickly Additional acknowledgments: Carole Charnow, Clive Grainger, Iona Grainger, Tania M. D’Avignon, straightens herself with a great determination and (The Major-Domo and the lackey drape the mirror.) goes to the wall to pull a bell-chord. The Baroness Now it is my turn to wait! and Christine Norman of Charles River Colpitts Travel. slowly moves toward her usual chair.) ¡ No, I must never say that name again. (Erika slowly covers her head with the veil, hiding her Lucky those people who are so anxious to believe! face.)

8.669140-41 2 35 8.669140-41 669140-41bk Barber US 11/09/2003 11:14 am Page 36

AMERICANOPERACLASSICS Also available in this series: SAMUEL BARBER Vanessa Chickering • Matthews • Dry • Bauwens • Conrad • Lima National Symphony Orchestra of Ukraine • Capella Dumka Gil Rose

8.559024 8.559088

8.559044

8.669140-41 36 CMYK N Playing Samuel BARBER AXOS Time: 2:00:59 (1910-1981) h broadcasting and copying of this compact disc prohibited. translations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and

& Vanessa g 8.669140-41 (An opera in three acts) AMERICAN CLASSICS 2003 HNH International Ltd. • Made in Canada Vanessa...... Ellen Chickering Samuel Barber was almost 48 years Erika ...... Andrea Matthews old when his first opera, Vanessa, was The Old Baroness . . . . . Marion Dry produced by the Metropolitan Opera Anatol...... Ray Bauwens Company on 23rd January, 1958. The Old Doctor. . . . Richard Conrad Received with much acclaim the BARBER: Vanessa Nicholas ...... Philip Lima opera went on to win the 1958 National Symphony Orchestra of Ukraine Pulitzer Prize for music. The libretto, Ukrainian National Capella “Dumka” written by the composer’s life-long Gil Rose friend Gian Carlo Menotti, tells of the love triangle between the heroine CD 1 55:08 Vanessa, her niece Erika and the son of her former married lover Anatol. 1-8 Act I, Scene 1 26:30 9-^ Act I, Scene 2 28:38 This tense, tragic scenario is fully reflected in Barber’s music, with CD 2 65:51 incredible passion and intensity

BARBER: Vanessa 1-6 Act II 21:41 throughout. DDD 7-$ Act III, Scene 1 24:02 %-¡ Act III, Scene 2 20:08 Booklet notes and synopsis in English VANESSA Complete libretto in English By Samuel Barber and Gian Carlo Menotti g Copyright 1957 (Renewed) by G. Schirmer, Inc. 8.669140-41

International Copyright Secured. All Rights Reserved. 8.669140-41 Reprinted by Permission. www.naxos.com

Recorded at the Concert Studio of Ukrainian Radio, Kiev, Ukraine, from 25th May - 8th June 2002 • Producer: Blanton Alspaugh Engineers: John Newton, Dmitry Lipay and Mark Donahue Booklet Notes: Richard Conrad

AXOS Cover Image: Rosso by Rossella Sidoni (used by kind permission)

N American flag, folk artist, 1880s