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© Lebrecht Music & Arts Photo Library The Carmelites Francis Poulenc 330/7/06 12:44:21 0 / 7 / 0 6

1 2 : 4 4 : 2 1 © Stephen Vaughan Francis Poulenc (1899 – 1963)

The Carmelites

Opera in three acts

Libretto by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis

Marquis de la Force ...... Ashley Holland First Commissioner ...... James Edwards Blanche de la Force, his daughter ...... Catrin Wyn-Davies Second Commissioner ...... Roland Wood baritone Chevalier de la Force, his son ...... Peter Wedd tenor First Offi cer ...... Toby Stafford-Allen baritone Thierry, a valet ...... Gary Coward baritone Gaoler ...... David Stephenson baritone Off-stage voice ...... Natalie Herman soprano 11 Carmelite nuns: Jane Read, Deborah Davison, Judith Douglas, Lyn Cook, Gloria Crane, Moira Harris, Suzanne Joyce, Madame de Croissy, Prioress ...... Felicity Palmer mezzo-soprano Sara McGuinness, Christine Dix, Claire Mitcher, Melodie Waddingham Mother Marie of the Incarnation, assistant Prioress ...... Josephine Barstow soprano Madame Lidoine, the new Prioress ...... Orla Boylan soprano English National Chorus Sister Constance of Saint-Denis, a young nun ...... Sarah Tynan soprano Charles Kraus chorus master Mother Jeanne of the Child Jesus ...... Jane Powell mezzo-soprano Sister Mathilde ...... Anne Marie Gibbons mezzo-soprano Orchestra Chaplain ...... Ryland Davies tenor Martin Fitzpatrick assistant conductor Monsieur Javelinot, a physician ...... William Berger baritone Paul Daniel

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 4-54-5 330/7/060/7/06 12:44:2212:44:22 COMPACT DISC ONE Time Page Time Page

Act I Scene 4 Scene 1 11 Prelude 2:11 [p. 107] 1 ‘Where is Blanche?’ 7:23 [p. 98] 12 ‘Would you be so kind as to raise my pillow’ 8:22 [p. 107] Chevalier de la Force, Marquis de la Force Prioress, Mother Marie 2 ‘Blanche, your poor brother was so very impatient 3:31 [p. 100] 13 ‘You may get up my child’ 5:09 [p. 108] Marquis, Blanche de la Force, Chevalier Prioress, Blanche, Monsieur Javelinot 3 ‘Her poor imagination always fl ies from one extreme to another’ 1:43 [p. 101] 14 ‘Monsieur Javelinot, you must know it’s customary’ 3:42 [p. 109] Marquis, Chevalier, Blanche, Thierry Prioress, Mother Marie 4 ‘Dear father, there is no incident so small or unimportant’ 4:05 [p. 101] 15 ‘Please inform your sisters’ 3:08 [p. 110] Blanche, Marquis Mother Marie, Prioress, Blanche

Scene 2 Act II 5 Prelude 1:42 [p. 102] Scene 1 6 ‘Do not believe this comfortable chair is a privilege’ 3:08 [p. 102] 16 ‘Qui Lazarum resuscutasti a monumento foetidum’ 2:20 [p. 111] 7 ‘What has driven you here?’ 1:31 [p. 103] Constance, Blanche 8 ‘My daughter, the outside world often questions’ 5:36 [p. 103] 17 ‘What are you doing?’ 2:52 [p. 111] Madame de Croissy (Prioress), Blanche Mother Marie, Blanche

Scene 3 Interlude 9 Prelude 2:37 [p. 104] 18 ‘Dear Sister, I’m afraid that our cross’ 3:55 [p. 112] 10 ‘Oh no, not more beans! 7:09 [p. 104] Constance, Blanche Constance, Blanche

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Scene 2 5 ‘But what will become of you?’ 2:51 [p. 118] 19 ‘My dear daughters, I don’t need to remind you’ 5:41 [p. 113] Blanche, Chaplain, Constance, Sister Mathilde, Prioress, Madame Lidoine (the new Prioress), Mother Marie Mother Marie 20 ‘Ave Maria’ 1:45 [p. 114] 6 ‘Someone is ringing the bell’ 1:09 [p. 119] Mother Marie, Carmelites, Prioress Constance, Sister Mathilde, Crowd, Chaplain, Carmelites 7 ‘Open the door, open the door now!’ 4:09 [p. 120] Interlude Voice, Mother Marie, First Commissioner, Second Commissioner 21 ‘What is going on?’ 2:09 [p. 114] 8 ‘My sisters, our Reverend Mother is coming’ 1:54 [p. 121] Prioress, Constance, Mother Marie Mother Jeanne, Blanche, Mother Marie, Crowd TT 79:50 Act III COMPACT DISC TWO Scene 1 Scene 3 9 ‘Father, speak to them’ 4:22 [p. 122] 1 Prelude 1:45 [p. 115] Mother Marie, Chaplain, Mother Jeanne, Sister Mathilde 10 2 ‘Blanche, why do you behave like this?’ 7:22 [p. 115] ‘There is only one vote against. That is enough’ 3:13 [p. 123] Chevalier, Blanche Mother Marie, Sister Mathilde, Constance 3 ‘Compose yourself, Sister Blanche’ 1:50 [p. 117] Interlude Mother Marie, Blanche 11 ‘Fellow citizens, we congratulate you’ 2:22 [p.124] Scene 4 Offi cer 12 4 ‘My faithful daughters, I know that some among you’ 3:28 [p. 117] ‘Sister Gerald, we have to warn the priest’ 1:46 [p. 124] Chaplain, Carmelites Prioress, Mother Marie

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Scene 2 © Stephen Vaughan © Stephen 13 Prelude 1:53 [p. 124] 14 ‘It’s you!’ 5:31 [p. 124] Blanche, Mother Marie, Woman’s voice

Scene 3 15 ‘My daughters, we have almost come to the end’ 4:09 [p. 126] Prioress, Mother Jeanne 16 ‘And what of Sister Blanche?’ 0:36 [p. 127] Constance, Prioress, Sister Mathilde 17 ‘“The Tribunal of the Revolution declares”’ 2:27 [p. 127] Gaoler 18 ‘My daughters, I wanted to save you’ 2:07 [p. 127] Prioress

Interlude 19 ‘It is done. They have been condemned’ 1:56 [p. 128] Chaplain, Mother Marie

Scene 4 20 Prelude 2:41 [p. 129] 21 ‘Salve Regina, Mater misericordiae’ 6:45 [p. 129] Prioress, Mother Jeanne, Sister Mathilde, Constance, Carmelites, Blanche Peter Wedd as the Chevalier de la Force and Catrin Wyn-Davies as Blanche de la Force TT 64:25 in English National Opera’s production of The Carmelites

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 10-1110-11 330/7/060/7/06 12:44:2312:44:23 Poulenc’s depiction of human terror and courage in the face of death is here delivered by conductor Paul Daniel and a magnifi cent cast, recorded after unforgettable performances at English National Opera. We are proud to be bringing this powerful work to an even wider audience through our Opera in English catalogue.

September 2006

Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 12 13

CCHANHAN 3134(2)3134(2) Book.inddBook.indd 12-1312-13 330/7/060/7/06 12:44:2512:44:25 repertory in the twenty-fi rst century makes for vigorous campaign of secularisation in France, Poulenc: The Carmelites melancholy reading. Before The Carmelites you culminating in 1905 in the offi cial separation have to go back to Massenet’s Thaïs… in 1894! of Church and State. When it came to putting Poulenc’s only serious opera was premiered off, and we may even wonder whether it was So in 1957 Poulenc may have been showing religious subjects on the operatic stage, this at , Milan on 26 January 1957 (sung the inner strength he drew from combating solidarity with Garnier’s vision, but the risk of separation helped nobody: secularists could in Italian); the French premiere was given at this charge, and remaining his own man, that failure was high. complain that the Opéra should be a place the Paris Opéra on 21 June of the same year. allowed him to envisage and carry through this A second unlikely element was Poulenc where they could get away from religion – a Behind these bald statistics, as often with unlikely operatic subject. himself. He fi rst hit the headlines as a place for love stories and tales of derring-do opera, lies a multitude of hopes, problems, Although the world premiere of The nineteen-year-old in 1918 with his little piano within lavish spectacle – and believers could desires and disasters, leading fi nally to what, Carmelites was to take place at La Scala, with pieces, the Trois mouvements perpétuels, and complain that religious subjects were necessarily nearly fi fty years on, we may fairly call a further guaranteed performances in , further jokey works through the 1920s gave tarnished in such a milieu (as happened in triumph. Buenos Aires, London and Berlin, Poulenc, him a reputation as a farceur – he was known many theatres over Parsifal; and since Thaïs has Francis Poulenc was born in Paris in as a Parisian writing a serious French opera, to English critics as ‘le leg-Poulenc’ – and this been mentioned, there are grounds for saying 1899, and so grew up in the heady days naturally had Paris and specifi cally the Paris reputation was enhanced by his brilliant comic that there the religious aspect only serves to when Debussy and Ravel were challenging Opéra in his sights. And here was the fi rst opera Les mamelles de Tirésias, premiered at make the sexual excitement more interesting). Germany’s musical leadership. His family was element of unlikelihood. When Charles the more intimate Opéra-Comique in Paris One way and another Poulenc’s opera therefore well-off and his mother a talented pianist, Garnier built the Opéra in the 1860s and 70s, in 1947. So the idea that he was engaged on risked alienating a fair proportion of the house’s while one regular visitor was the great French he spoke of the ‘impression morale’ that should a serious, full-length opera involving nuns traditional middle-class audience. lyric tenor Edmond Clément, renowned for strike the spectators: ‘they feel instinctively and executions no doubt surprised many. Against these problems, there were at least his Don José in Carmen and especially his Des that a certain dignity is called for and that There was also the purely technical question two highly positive factors to take into account, Grieux in Massenet’s Manon. Poulenc’s father it would be inappropriate to indulge in too as to whether he could manage the extended quite apart from Poulenc’s genius and the fact insisted on him receiving a full traditional much informality.’ This may have been all developments of material that opera had that, as well as the jeux d’esprit, he had also education, and so he emerged at the end of the very well in the late-nineteenth century, but traditionally demanded. Even in such a recent composed works of deep religious feeling, such First World War determined to be a composer, in the fl ashier 1920s the Opéra stuck out (and serious) work as the Stabat mater of 1953, as the Litanies à la Vierge noire, the Stabat mater but with no formal musical training behind like a sore thumb amid the junketings of the his tendency on reaching a climax is not to and a number of motets. The fi rst of these him. He took private lessons with Charles group Les Six, of which the young Poulenc wind down gradually, but simply to stop and factors was his own absorption in the story, to a Koechlin and was obviously a very quick was one of the principal ornaments. The list then start again. level that maybe surprised even him. In letters learner, but the charge of being an amateur of by living French composers given A third problem was the story’s basis in and other accounts he gives a graphic account among professionals took a long time to wear French premieres in the house and still in the religion. The late nineteenth century had seen a of this involvement.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 14-1514-15 330/7/060/7/06 12:44:2612:44:26 George Bernanos wrote the play, based on to say that I would write the Dialogues.’ A few August Poulenc had written to Bernac: ‘I have to whose death may be eased by the Prioress’s a novel by Gertrude von Le Fort, intending it days later he wrote to a friend: ‘I think the entrusted him to the 16 blessed Carmelites, own; but at Constance’s words ‘I would say for a fi lm that was never produced. After his subject’s made for me. Provided I don’t make that they may watch over his death, since there might be someone when she comes to death his executor found it among his papers a mess of it… I prayed to my patron saint he has been so closely bound up with their die…’ Poulenc quotes Blanche’s chordal theme and put it on in Zurich in 1951. It had 300 Francis in Assisi the day before yesterday.’ story. Indeed I began the work, near to him (borrowed from the fi rst and last of his piano consecutive performances in Paris in 1952, By the end of August Poulenc, back at and happy, at Lyon in August 1953. After the Nocturnes). In Poulenc’s own case, transference which presumably was when Poulenc saw two his country house in the Touraine, was hard terrible torment you know about, I have just was not effective. Roubert’s death of heart performances, as well as reading the play on at work. He wrote to his friend, the singer completed it near to him, in the last days of problems did not prevent Poulenc’s from the his own. That same year Poulenc was asked Pierre Bernac: ‘I’ve begun the Carmelites and his earthly life.’ And he then quotes crucial same cause a few years later. by the director of the Ricordi publishing have given up sleeping (literally). I’ve got the lines from Bernanos’s text: ‘We do not die He dealt with the danger of monotony house, Guido Valcarenghi, to write a ballet tone of the great scene between the Prioress for ourselves alone, but we die for each other, posed by the large predominance of female for La Scala and initially he was keen on the and Blanche [Act I, scene 2], which has an or probably even instead of each other. Who voices by taking great care over vocal ranges, idea and began thinking of a saint whose life excellent shape: calm at the start, fi erce in the knows?’ as his letters testify. In January 1954 he might serve as a subject. But by March 1953, middle (rules of the Order), then calm again It is in these lines, sung by Sister Constance told Bernac: ‘Without upsetting the music when he was on tour in Italy with the cellist at the end. It is only the music’s absolute at the end of the fi rst interlude in Act II after I’ve rewritten the role of Constance, which Pierre Fournier, he had changed his mind identifi cation with the Bernanos spirit that she and Sister Blanche have been discussing was too low: now for the most part it lies and proposed instead an opera on a mystical can make this work of mine a success. Very the dreadful death of the First Prioress, that between F [above middle C] and A [above subject. It was Valcarenghi who suggested the light orchestration to allow the words to come Bernanos introduces the spiritual concept of the treble stave].’ Of the original play, one Bernanos play. Poulenc takes up the story: through.’ the transference of grace: specifi cally here, that critic remarked that ‘the apparent theatrical ‘I had decided to think about the idea The concern not to ‘make a mess of it’, to the Prioress may have died a terrible death defect of the work – a succession of scenes later, when I got back to Paris, but the next catch ‘the Bernanos spirit’, not to mention the in order to give an easy death to someone without any psychological progression – was day, right in the middle of a Rome bookshop not sleeping, all show that Poulenc was well else. This is an extension by Bernanos of the turned into a virtue, so that the play came window, I saw the Dialogues, which seemed to aware of the diffi culty of the task he had set Catholic doctrine according to which the saints to have the suppleness of life itself with the be lying in wait for me. I bought the book and himself. More than that, he was aware that form a spiritual community in which each supreme reality visible behind each episode, decided to reread it. So I sat down outside the in other ways he was sharing the suffering member may intercede for the others, and even but never artifi cially imposed.’ Poulenc café Le tre scalini on the Piazza Navona. It was of the nuns of Compiègne. His lover Lucien for sinners. Prayers for the dead belong to a likewise imposes nothing. There are dissonant ten o’clock in the morning. At midday I was Roubert was ill with heart problems and parallel system of belief, as does the value of moments, certainly, but all deriving from still there. At two o’clock I sent a telegram to died in October 1955, just as Poulenc was religious contemplatives who devote their life the text; which Bernanos had cut drastically M Valcarenghi, the true begetter of the project, fi nishing the fair copy of the vocal score. That to prayer. In the opera text no hint is given as from the fi lm scenario presented to him,

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 16-1716-17 330/7/060/7/06 12:44:2612:44:26 and which Poulenc then cut still further. It trauma from which that nation has perhaps to bed she is frightened by a shadow on the Scene 4 The infi rmary has been well noticed that he did not follow still not fully recovered sixty years later. wall and returns to her father and brother, 4 11 Prelude. 12 The Prioress lies on her Debussy’s style of word setting (more recently Blanche’s good death, whether or not made announcing her intention to become a nun. deathbed, attended by Mother Marie. For the Henri Dutilleux has claimed that this style, possible by the Prioress’s bad one, presents an Prioress, God has become a shadow; all her though masterly in itself, has proved a dead image of France as she liked to see herself. Scene 2 The parlour of the Carmelite convent previous contemplation of death is of no use end for opera composers); instead he went The writer Henri de Montherlant admired 5 Prelude. 6 – 7 Some weeks later the to her. She has great concern for Blanche and back to Massenet, no doubt with the elegant Bernanos’s play for its ‘combination of the elderly Prioress, Mme de Croissy, questions entrusts her to the care of Mother Marie. 13 voice of Edmond Clément in his ears, and to simple and the extraordinary’. Poulenc’s opera Blanche about her vocation. 8 She warns her Blanche enters the sickroom and the Prioress what has been called Massenet’s ‘melodisation’ too is simple and extraordinary – extraordinarily that the convent cannot protect her from the tenderly bids farewell to her youngest and of the French language. As for the orchestral simple, and simply extraordinary. outside world; it is a house of prayer. Blanche’s thus most beloved daughter. Mother Marie accompaniments (and they are mostly resolve remains unshaken by this interview returns with the doctor who refuses the accompaniments), the regularly pulsing chords and she announces the Carmelite name she Prioress further sedatives. 14 – 15 As her death © 2006 Roger Nichols hark back to German lieder and perhaps most has chosen: Sister Blanche of the Agony of agony increases the Prioress becomes delirious, of all to Schumann, a composer his mother Christ. cries out against God and has a vision of the loved to play and whom the very young Synopsis convent chapel desecrated. Blanche returns Poulenc would listen to from underneath the The setting is mainly the Carmelite convent at Scene 3 Inside the convent to the room to witness the Prioress dying in piano. Compiègne, and later Paris during the French 9 Prelude. 10 Blanche has entered the convent terror. The second of the positive factors leading Revolution and the subsequent Terror, 1789–94. as a novice. She and another young nun, Sister to the opera’s success was simply its timing. Constance of Saint-Denis, are taking in food. Act II A story of confrontation with fear and death COMPACT DISC ONE Constance chatters on about her happy early Scene 1 The chapel, at night and of the destruction of a settled way of life life in her Bretagne village. Blanche rebukes 16 Blanche and Constance keep vigil over by revolutionary forces inevitably struck home Act I such cheerful good humour at a time when the body of the Prioress. Their watch ends to European audiences for whom the Second Scene 1 The library of the Marquis de la Force the Prioress is dying. Constance suggests that and Constance goes to fetch the sisters who World War was an all-too-vivid memory. And 1 The Chevalier de la Force bursts in to his they pray, offering their own lives in exchange are to replace them. Left alone, Blanche is most of all for the French, whose experiences father’s library, anxious about the whereabouts for their Prioress’s. Blanche is appalled, but terrifi ed and wishes to leave. 17 Mother Marie during the Occupation had, perhaps most of his sister, Blanche. There are mobs outside Constance declares that she has always felt she intercepts her and conducts her to her cell. frighteningly of all, demonstrated the depths and reports that Blanche’s carriage has been would die young and that when she fi rst met to which some of their own community could surrounded. 2 Blanche arrives, unharmed but Blanche she had a premonition they would die Interlude The garden sink when faced with torture and execution – a distressed by her experience. 3 On her way together on the same day. 18 Blanche and Constance have been making

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 18-1918-19 330/7/060/7/06 12:44:2712:44:27 a cross of fl owers for the Prioress’s grave. that it is no longer a safe place for her; as an Act III too afraid to leave. Mother Marie gives her an Constance suggests that we die not for aristocrat and a nun she is doubly in danger of Scene 1 The chapel address where she would be safe. ourselves but for others, that perhaps the the approaching Terror. The Chevalier believes 9 The chapel has been desecrated. In the Prioress has died in distress and fear so that it is fear – or the fear of fear – that keeps absence of the Prioress, Mother Marie is Scene 3 The Conciergerie someone else may face an easier death. her in the convent. Blanche declares herself responsible for the community, and she 15 The Carmelites have been arrested and are dependent on God’s will and reiterates her proposes they take the vow of martyrdom. imprisoned in the Conciergerie. The Prioress Scene 2 The chapter room intention to remain. After the Chevalier leaves, 10 In a secret vote there is one dissenter: takes the vow of martyrdom. 16 Constance 19 The new Prioress, Mme Lidoine, arrives and Blanche nearly collapses. 3 Mother Marie although Blanche is suspected, Constance has dreamt that the absent Blanche will return addresses the Carmelites. She warns them that urges her to have courage. announces it was she who voted against and to her sisters. 17 – 18 The gaoler delivers the their days of peaceful security are over and that asks to change her mind. The sisters take the judgement of the Revolutionary Tribunal: the the future will be full of trials. She reminds Scene 4 The sacristy vow. Blanche’s courage fails her and she fl ees. Carmelites are condemned to death. them their most important duty is prayer, 4 The Father Confessor of the convent leads and that they should not aspire to martyrdom. the sisters in prayer. 5 He says his farewell, 20 Mother Marie leads them in the Ave Maria. having been forced to go into hiding. Mother Interlude A street outside the convent Interlude A street near the Bastille 19 Marie declares that to preserve the Church the 11 The Prioress has returned from Paris. Mother Marie learns from the Father Interlude A room in the convent Carmelites have only to offer their lives. But An Offi cer addresses the Carmelites: their Confessor of the Carmelites’ death sentence 21 The Prioress, Mother Marie and Constance the Prioress corrects her: it is not for the sisters community is outlawed and he welcomes them and resolves to rejoin her sisters. The priest rush in as the doorbell sounds. The Revolution to decide whether or not they are to become as new citizens of the Republic. 12 The Prioress points out that God may have another destiny is gathering momentum and the Chevalier de martyrs. sends a warning to the priest that it will be for her. la Force has decided to leave France and wishes too dangerous to say Mass. Mother Marie to see Blanche. The Prioress says brother and 6 The Father Confessor rushes back, seeking questions if it is possible to reconcile such Scene 4 Place de la Révolution, 17 July 1794 sister may meet, in the presence of Mother refuge from the mob and the soldiers outside caution with their vow of martyrdom. 20 Prelude. 21 The Carmelites are brought Marie. the convent. 7 The Commissioners enter and to the place of execution, watched by a large announce that the nuns are to be expelled crowd. Led by the Prioress, they mount the COMPACT DISC TWO from the convent. 8 The Prioress leaves for Scene 2 The library of the Marquis de la Force scaffold one by one, singing the Salve Regina. Paris. Seeing Blanche’s terror, Mother Jeanne 13 Prelude. 14 Blanche’s father has been Constance is the last to ascend. As she does Scene 3 The parlour gives her a small statue of the infant Jesus, but, guillotined and she has returned to his house so, Blanche steps from the crowd to join 1 Prelude. 2 The Chevalier tries to persuade startled by the baying of the mob, she drops as a serving maid. Mother Marie arrives to her friend, singing alone until she, too, is Blanche to leave the convent. Their father feels the fi gure, breaking it. take her back to the convent, but Blanche is guillotined.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 20-2120-21 330/7/060/7/06 12:44:2712:44:27 Ashley Holland Dance Group of Handel’s L’allegro, il penseroso et Bénédict), Ilia (), Gilda (Rigoletto), Catrin Wyn-Davies has recorded sacred (Marquis de la Force) ed il moderato. Zerlina and Donna Elvira (), music by Vivaldi with the King’s Consort studied at Warwick Other engagements include performances Blanche (Dialogues des Carmélites) and the title under Robert King, and further releases University and as for Opera North, , Covent role in L’incoronazione di Poppea. include Weill’s Der Silbersee with Markus a postgraduate at Garden, Chicago Lyric Opera, the Opéra de Other notable appearances have included Stenz, and a collection of Beethoven folk-song the Royal Northern Paris-Bastille, Cincinnati Opera, Calgary Zerlina at the Aix-en-Provence Festival; Ilia, settings with Malcolm Martineau. College of Music, Opera, and in Dresden. His recordings Servilia () and Poppea for where he was a Peter include Belcore (The Elixir of Love) and Ford The Bayerische Staatsoper in Munich; Donna Peter Wedd (Chevalier Moores Scholar. He is ( ) with Paul Daniel, both as part of Elvira, Poppea and Alice Ford (Falstaff ) for the de la Force) studied at

establishing himself as Chandos’ Opera in English series. Deutsche Oper am Rhein; and Mélisande in Rachel Lum the Guildhall School of one of the most sought-after young the Opéra du Rhin’s production of Pelléas et Music and Drama with for nineteenth-century Italian repertory on Welsh soprano Mélisande in Strasbourg. In the USA she has William McAlpine both sides of the Atlantic. Following his Catrin Wyn-Davies performed with Santa Fe Opera as Susanna, and subsequently at

highly successful debut as Don Pedro in Gusov Sasha (Blanche de la Force) and for in the role of the National Opera Donizetti’s with Minnesota received a degree in Gretel (Hänsel und Gretel). Studio where he was Opera, he was immediately invited back for Drama and Theatre In the UK Catrin Wyn-Davies has appeared supported by the Peter the role of Orazio in their new production of Studies at Royal as Blanche, Ginevra (Ariodante) and Tatyana Moores Foundation. Mercadante’s Orazi e Curiazi. Holloway College (Eugene Onegin) with English National Opera; He was a Company Principal at the Royal He was for several seasons a principal before beginning her and Valencienne (The Merry Widow) and Opera, Covent Garden from 1999 to 2001 baritone at English National Opera, where singing training at First Flower Maiden (Parsifal ) at the Royal and is a regular guest artist for Welsh National his roles included Zurga (The Pearl Fishers), the Guildhall School Opera House. She sang the role of Miss Opera. At his roles have Sharpless (Madam Butterfl y), Guglielmo of Music in 1990. Whilst at college she won Jessel in the BBC fi lm of Britten’s The Turn included Don José (Carmen), Tamino (Die (Così fan tutte), Cecil (), many prizes including the 1993 Richard of the Screw directed by Katie Mitchell and Zauberfl öte), Don Ottavio (Don Giovanni) Belcore (L’elisir d ’amore ), Lescaut (Manon), Tauber prize and in 1994 the Decca prize at conducted by Richard Hickox. On the concert Alfredo (La traviata) and Lacˇa ( Jenu˚fa). Ottakar (Der Freischütz), Marcello the Awards. platform she has appeared throughout Europe Other appearances in the UK and Ireland (La Bohème), Escamillo (Carmen), Ford In 1994 she became a principal with with conductors including Christoph von have included Federico (L’Arlesiana) and (Falstaff ), and Don Carlo (Ernani). He also Welsh National Opera. Her roles there have Dohnányi, Richard Hickox, Paul McCreesh, Pluto (Orphée aux enfers) for Opera Holland sang the baritone role in English National included Susanna (Le nozze di Figaro), Anne René Jacobs, Trevor Pinnock and Pierre Park, at the Festival, Rodolfo (La Opera’s co-production with the Mark Morris Trulove (The Rake’s Progress), Héro (Béatrice Boulez. Bohème) at London’s Royal Albert Hall,

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 22-2322-23 330/7/060/7/06 12:44:2812:44:28 Tamino for Glyndebourne On Tour, Lensky Glyndebourne, Zita (Gianni Schicchi) and and Edwardian songs with pianist John the Marschallin and Arabella. She has sung (Eugene Onegin) for Opera Holland Park and, Mistress Quickly (Falstaff ); at the Royal Constable. Felicity Palmer was made a CBE in regularly at the , Covent Chevalier de la Force (The Carmelites) with the Opera House, Covent Garden, her roles have November 1993. Garden in roles such as the young woman English National Opera. Outside the UK Peter included Mrs Lovett (Sweeney Todd ), Juno in Henze’s We come to the River, , Wedd has sung for European Chamber Opera (Semele) and Klytemnestra, and in Paris she has Josephine Barstow Ellen Orford, Helena (A Midsummer Night’s and the Singapore Lyric Theatre. sung Klytemnestra, Countess, Mme de Croissy, (Mother Marie) began Dream), Santuzza, Leonore, Alice, Lady Zita, Madam Begbick and Maria Dmitrievna her career touring with Macbeth and the Countess (The Queen of Felicity Palmer Ahkrossimova (War and Peace). She recently Opera for All and then Spades). (Madame de Croissy) returned to English National Opera as Mme de won a scholarship to She has travelled the world singing a varied is one of the most Croissy, and Katisha (). study for one year at repertoire of Verdi, , Puccini versatile performing She has long distinguished herself in concert the London Opera and Janácˇek among others and visiting such Christian Steiner artists singing today, performances including the BBC Symphony Centre. She sang theatres as Paris, Munich, Vienna, Bayreuth, equally at home in Orchestra and New York Philharmonic with Euridice and Violetta Berlin, New York, Chicago, San Francisco, music as diverse as Pierre Boulez, Sir Colin Davis and Gennady for the Sadler’s Wells , Buenos Aires, Hong Kong, South Handel, Wagner and Rozhdestvensky; the English Chamber Opera Company and then began a three-year Africa, Japan and Australia. Berio. Orchestra with Sir ; the contract with the Welsh National Company. Josephine Barstow has had a fruitful At the Metropolitan London Symphony Orchestra with Michael There her roles included the Countess relationship with Opera North singing such Opera, New York, she has sung Fricka and Tilson Thomas; the Philharmonia and the (), Fiordiligi, Violetta, roles as Tosca, Marie (), Aida, Medea, Waltraute in Ring cycles, the Countess (Pique Royal Philharmonic Orchestras with Giuseppe Mimì, Amelia (Simon Boccanegra) and Lady Billows, and perhaps most notably, dame), Geneviève (Pelléas et Mélisande) and Sinopoli; the Concentus Musicus Wien with Elisabeth (Don Carlos). After singing , which was also fi lmed. Elsewhere, Mme de Croissy (Dialogues des Carmélites). At Nicolaus Harnoncourt; the Concertgebouw Violetta (La traviata) with English National recent engagements include Kabanicha La Scala, Milan she has sung Mme de Croissy Orchestra with Edo De Waart; the Boston Opera, she began a long and very rewarding (Katya Kabanova) in San Diego, Kostelnicˇka and Klytemnestra (Elektra); in Chicago she Symphony Orchestra with Raphael Frühbeck relationship with that company. Notable (Jenu˚fa) in Antwerp and Oviedo, and Mother has sung the Countess, Kabanicha (Katya de Burgos and the Los Angeles Philhamonic roles there are Natasha (War and Peace), Marie (The Carmelites) at English National Kabanova) and Madam Begbick (The Rise and with Sir Simon Rattle. Salome, Elisabeth (Don Carlos), Leonora Opera. Recordings include Marie (Wozzeck) Fall of Mahagonny); in San Francisco Giulio She has made many recordings, including (The Force of Destiny), Leonore (Fidelio), and the Kostelnicˇka (Jenu˚fa) as part of Cesare; in Munich, Eduige () and Stravinsky’s Le Rossignol and Messiaen’s Poèmes Jeanne (The Devils of Loudon), Katarina Chandos’ Opera in English series, as well as Klytemnestra; in Berlin, La Zia Principessa pour Mi with Pierre Boulez, vocal music by (Lady Macbeth of Mtsensk), Tosca, Sieglinde, Un ballo in maschera, Gloriana, Albert (Suor Angelica) and Klytemnestra; for and two records of Victorian Senta, Emilia Marty (The Makropulos Case), Herring, Kiss me Kate, Oliver and .

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 24-2524-25 330/7/060/7/06 12:44:3012:44:30 Born in Ireland, Orla (The Bartered Bride) for Glyndebourne Touring Since joining English National Opera her Festival, Mahler’s Symphony No. 2 with the Boylan (Madame Opera; the title role in the fi rst British staging roles have included Tytania (A Midsummer Netherlands Symphony Orchestra conducted Lidoine) is a graduate of Strauss’ Die Liebe der Danae for Garsington Night’s Dream), Papagena (), by Jaap van Zweden, Messiah with the Halle of the D.I.T. College Opera; and Tatyana (Eugene Onegin) for the Iphis (Jephtha), Atalanta (Xerxes), Yum-Yum Orchestra and on a tour of China with the of Music in Dublin, European Union Opera, also recorded on DVD. (The Mikado) and Sister Constance (The London Philharmonic Orchestra. She also where she studied Concert engagements include Mahler’s Carmelites). Other operatic engagements sang the role of Barbarina in Chandos’ Opera singing with Mary Das klagende Lied with the RTÈ National include Tytania for Brussels; in English recording of The Marriage of Brennan. She is the Symphony Orchestra under Laurent Wagner; Bella (The Midsummer Marriage) for St Figaro. recipient of numerous Verdi’s at St Paul’s Cathedral Endellion Festival with Richard Hickox; awards including the with the Royal Philharmonic Orchestra, Pretty Polly in Birtwistle’s Punch and Judy at Jane Powell (Sister Veronica Dunne Bursary, Ibla Grand Prize and a performance of Act III of The Valkyrie the Teatro Nacional San João in ; the Jeanne) studied at the National Mozart Competition. with English National Opera at the 2004 Governess in Britten’s The Turn of the Screw the Royal Academy Recent highlights include Madame Lidoine Glastonbury Festival, the premiere of Gerald for a British Council tour of Russia; Elsie of Music, and now (The Carmelites) with English National Opera; Barry’s Bitter Tears of Petra von Kant with the Maynard () and studies with Lyn Donna Anna (Don Giovanni) with New York RTÈ National Symphony Orchestra, and her Gianetta (The Gondoliers) for Phoenix Opera; Cook. Operatic roles City Opera; Mahler’s Second Symphony with BBC Proms debut as Anna in Weill’s Street and Barbarina (Le nozze di Figaro) for Opera include Cherubino the Estonian National Symphony Orchestra Scene under Barry Wordsworth. Holland Park. Opera appearances at the (Le nozze di Figaro), under Paavo Järvi, and a recital at Harewood Royal Academy of Music include the title role Second Lady House in Leeds. Sarah Tynan (Sister in The Cunning Little Vixen conducted by Sir (Die Zauberfl öte), Orla Boylan’s operatic roles include Jenu˚fa Constance) was born Charles Mackerras, Zerlina (Don Giovanni) and Princess Linette in BBC television’s at Glyndebourne Festival Opera and Opéra de in London and studied conducted by Sir Colin Davis, Drusilla production of The Love for Three Oranges. At Lyon; her role-debut as Arabella for Garsington at the Royal Northern (L’incoronazione di Poppea) and Feu/Rossignol the Royal Opera House, Covent Garden she Opera; Female Chorus (The Rape of Lucretia) College of Music and (L’Enfant et les sortilèges). has performed roles in Salome, Der Freischütz, and Sieglinde with English National Opera; the Royal Academy of Sarah Tynan’s concert engagements include Werther and Simon Boccanegra. She was in the the Governess (The Turn of the Screw) with Music (with Penelope Eleanora in Salieri’s Prima la musica and Mlle original cast of the West End musical Chess Angers Nantes Opera; Countess (Le nozze Mackay). At the Royal Silberklang in Mozart’s Der Schauspieldirektor and has been involved in many recordings of di Figaro) at ; the title Academy she was with the City of London Sinfonia under operas and musicals. Since joining English role in Katya Kabanova in her debut for awarded the Queen’s Richard Hickox, Mozart’s Requiem under National Opera she has performed a number Glyndebourne Festival Opera; Marˇenka Commendation for Excellence. Sir Roger Norrington at the Spitalfi elds of roles.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 26-2726-27 330/7/060/7/06 12:44:3112:44:31 Anne Marie Gibbons many roles there. St Paul’s Cathedral, later continuing his studies From 2002 to 2004 he was a Company (Sister Mathilde) His many roles at the at the Royal Northern College of Music and Principal at Scottish Opera where roles included studied at the Royal Royal Opera House, the Royal Academy of Music. James Edwards Falke (Die Fledermaus), Marullo (Rigoletto), Northern College Covent Garden have joined The Royal Opera’s Young Artists Schaunard (La Bohème) and Papageno (The of Music, supported included Don Ottavio, Programme in September 2003, and has sung Magic Flute). He has taken part in a number of by the Peter Moores Don Giovanni, roles including Nicolios (The Greek Passion), recordings with Chandos and . Foundation. Recent Ferrando, Ernesto Pong (Turandot), Gastone (La traviata), and engagements include (), Albazar (Il turco in Italia). Toby Stafford-Allen (First Offi cer) trained at Dorabella (Così fan Fenton (Falstaff ) and Other operatic roles have included Alfredo the Royal Northern College of Music, where he tutte), Anna (The Lysander (La traviata) and Dancaïro (Carmen) for made his international debut singing Guglielmo Trojans at Carthage), Ascanius (The Trojans), (A Midsummer Night’s Dream). European Chamber Opera; Alfred (Die (Così fan tutte) at the Aix-en-Provence Festival. Ino (Semele), and Pitti-Sing (The Mikado) More recently, engagements have Fledermaus), Ralph Rackstraw (HMS Pinafore) He joined English National Opera’s Jerwood at English National Opera, where she is a included Turandot at Geneva Opera; Arbace and Prosper (Not in front of the Waiter) for Young Singers Programme, and has since member of the Young Singers Programme, (Idomeneo) and Monostatos (Die Zauberfl öte) Kentish Opera; Rodolfo (La Bohème) for become a company principal. Major roles Pippo (The Thieving Magpie for Opera at the , Opera North Surrey Opera and Ferrando (Così fan tutte) performed with the company include Gugliemo North), and the title roles in Ariodante and and Garsington; Le Duc (Chérubin) for Opera à la carte. He made his debut with (Così fan tutte), Papageno (The Magic Flute), (Opera Theatre Company). at Covent Garden and Monte Carlo; English National Opera as the Novice in Billy Schaunard (La Bohème), and Henry (The Fairy Recordings include Zulma () and Abra Monostatos at Santa Fe; Basilio (Le nozze di Budd. Queen). () for Opera Rara. Figaro) at Nice Opera, New Israeli Opera, Further engagements in the UK include Netherlands Opera and at Glyndebourne; Roland Wood (Second Commissioner) was Papageno with Glyndebourne Touring Born in South Wales, Ryland Davies Dr Caius (Falstaff ) in Israel; Gaudenzio in born in Berkshire and studied at the Royal Opera, Belcore (L’elisir d’amore) and Schaunard (Chaplain) studied at the Royal Manchester Leoncavallo’s La Bohème at English National Northern College of Music then the National with Opera Holland Park. International College of Music and was made a Fellow of Opera; Monostatos at Covent Garden; Hauk- Opera Studio, where he was supported by engagements include Henry (The Fairy Queen) the College in 1971. He made his operatic Sendorf (The Makropulos Case) with Houston the Peter Moores Foundation and English at the Teatro del Liceu , Mars and debut in 1964 as Count Almaviva Grand Opera; and Basilio at the Chicago National Opera. Engagements have included Euro in Cesti’s Il pomo d’oro at the Batignano (Il barbiere di Siviglia with Welsh National Lyric Opera. Count Almaviva (Le nozze di Figaro) for Festival, and Schaunard at the Bregenzer Opera), and his Glyndebourne Festival Opera Holland Park, Nick Shadow (The Rake’s Festspiele. As part of Chandos’ Opera in Opera debut in 1965 as the Major Domo James Edwards (First Commissioner) born Progress) at Glyndebourne, and Baron Douphol English series he has recorded the role of (Der Rosenkavalier), going on to perform in Essex and began singing as a chorister at (La traviata) for English National Opera. Morales (Carmen).

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 28-2928-29 330/7/060/7/06 12:44:3212:44:32 David Stephenson (Gaoler) was born in Don Carlo, Ford, Iago, Di Luna, Germont and Verdi’s . Their recording of the last, of Seville, Rigoletto, La traviata, Werther, and a Aberdeen and trained as an electrical engineer Père, Amonastro and Rigoletto. He is a in Jonathan Miller’s production conducted by recording of the complete Ring Cycle conducted before attending the Royal College of Music. member of English National Opera. Mark Elder, appeared on Chandos under the by Sir Reginald Goodall. Operatic appearances include Angelotti sponsorship of the Peter Moores Foundation, (Tosca) for Opera Ireland, Malatesta (Don William Berger (M Javelinot) studied at as did their recording of the celebrated ‘Ring Paul Daniel was Music Pasquale) and Johann (Werther) for Wexford the Royal Academy of Music. He made his Cycle’ conducted by Sir Reginald Goodall. Director of English

Festival Opera, Morales (Carmen) at the professional operatic debut as Ormonte Other Chandos/Peter Moores Foundation Barda Clive National Opera from Royal Albert Hall, Papageno (Die Zauberfl öte) (Handel’s Partenope at the Göttingen Handel recordings featuring the ENO Chorus are 1997 until 2005, and and Guglielmo (Così fan tutte) for Scottish Festival) and returned as Mercurio (Atalanta). Falstaff, , Julius Caesar, Rigoletto he conducted a wide Opera, Silvio (Pagliacci) and Papageno for Other roles include Don Giovanni (Opera and La traviata. range of repertoire Welsh National Opera, Marullo (Rigoletto) East), Papageno (The Magic Flute with British including notable for English National Opera, and other roles Youth Opera) and Oberon (A Summer Night’s Critically and publicly acclaimed, the English productions of the for Buxton Festival Opera and Opera Zuid. Dream – Mozart/Shakespeare project, Aix- National Opera Orchestra has in recent years Ring, Lulu, The Trojans, Recordings include Messiah highlights with en-Provence). He is a member of English received several prestigious awards, including War and Peace, and the the London Symphony Orchestra. National Opera’s Young Singers Programme. the Royal Philharmonic Society Music world premiere of Turnage’s The Silver Tassie. Award and an Olivier Award for Outstanding He was Music Director of Opera Factory Gary Coward (Thierry) graduated from the The Chorus of English National Opera Achievement in Opera. The Orchestra is at from 1987–1990, and of Opera North from Royal College of Music and subsequently is one of the Company’s fi nest assets. the heart of English National Opera’s artistic 1990–1997, where he attracted critical acclaim studied at the Guildhall School of Music In countless English National Opera life, and as well as opera performances at the for a diverse and challenging repertoire and Drama and the Britten–Pears School for productions they have thrilled audiences London Coliseum it has also been seen on the including several world premieres, as well as Advanced Musical Studies. with the power of their singing and the concert platform, at the Aldeburgh Festival celebrated productions of Pelléas et Mélisande, His operatic work has been with such intensity of their acting. The wide range ( and The Rape of Lucretia), and at Don Carlos and Boris Godunov. companies as Opera Brava, Kentish Opera, of skills and experience members bring to Glastonbury in 2004 (Act III of Wagner’s The Other operatic engagements have included Pavilion Opera, London Opera Players, performances distinguish any production Valkyrie). Many of the players participate in the the Royal Opera House Covent Garden, English Touring Opera and Scottish Opera, in which they appear. Particular triumphs work of ENO Baylis, the company’s education La Monnaie in Brussels, the Bavarian State with leading roles in Mozart, Donizetti for the Chorus have been Prokofi ev’s War and outreach department. The ENO Orchestra Opera in Munich, the Teatro Real , and Rossini; in Strauss and Lehár, and Peace, Shostakovich’s Lady Macbeth of appears in many recordings as part of Chandos’ and the Geneva Opera. but most frequently in Puccini – Marcello, Mtsensk, Britten’s and Peter Grimes, Opera in English series: Lulu, Falstaff, Otello, Symphonic engagements have included Sharpless and Scarpia, and Verdi – Renato, Mussorgsky’s Boris Godunov, Bizet’s Carmen Ernani, Mary Stuart, Julius Caesar, The Barber the Philharmonia, Orchestra of the Age

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 30-3130-31 330/7/060/7/06 12:44:3312:44:33 of Enlightenment, London Philharmonic Night of the Proms in London with the On session: Catrin Wyn-Davies Orchestra, Royal Philharmonic Orchestra, BBC Symphony Orchestra. Bournemouth Symphony Orchestra, Royal Recordings include the Elgar/Payne Scottish National Orchestra, Netherlands Symphony No. 3 with the Bournemouth Radio Philharmonic, Orchestre de Paris, Symphony Orchestra, a series of English Orchestre National de France, the Orchestre music CDs with the Orchestra of Opera National de Lyon, Tonhalle-Orchester Zürich, North, and Elijah with the Orchestra of the the Gothenburg Symphony Orchestra, the Age of Enlightenment. For Chandos he has Orchestre de la Suisse Romande, the Deutsche recorded Michael Berkeley’s Baa Baa Black Kammerphilharmonie, the Los Angeles Sheep and, as part of Chandos’ Opera in Philharmonic, the Cleveland Orchestra, and English series, Lulu, Falstaff, Wozzeck, and the New York Philharmonic. In 2005 he highlights from Boris Godunov. conducted the internationally televised Last Paul Daniel was awarded the CBE in 2000.

On session: Paul Daniel

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 32-3332-33 330/7/060/7/06 12:44:3412:44:34 British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 to of a Faculty Directorship and Chair of Management Studies at Oxford University (providing realise his charitable aims and, to fulfi ll one of these, the Compton Verney House Trust in the lead donation which paved the way for the development of the Said Business School). 1993 to create a new art gallery in the country. Through his charities he has disbursed more than £104 million to a wide variety of arts, environmental and social causes ‘to get things In 1993 the Foundation bought Compton Verney, a Grade I Georgian mansion in done and open doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world- Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a class art gallery that would provide an especially welcoming environment for the ‘fi rst-time’ number of young artists in the crucial, early stages of their careers, several of whom – Dame gallery visitor. The gallery, which houses six permanent collections, a Learning Centre for all , Sir Colin Davis and the late Sir amongst them – became ages, and facilities for major visiting exhibitions, was opened in March 2004 by HRH the world-famous. Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk

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

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 34-3534-35 330/7/060/7/06 12:44:3712:44:37 instinktiv, daß hier eine gewisse Würde noch verstärkt durch seine brilliante komische Poulenc: Dialogues des Carmélites angebracht ist und daß es unangemessen Oper Les Mamelles de Tirésias, die 1947 wäre, sich allzu ungezwungen zu gebärden.” an der intimeren Opéra-Comique in Paris Poulencs einzige ernste Oper wurde am zwar noch keinerlei systematische musikalische Dies mag im späten 19. Jahrhundert völlig uraufgeführt wurde. Der Gedanke, er könne an 26. Januar 1957 an der Mailänder Scala Ausbildung absolviert, war aber trotzdem in Ordnung gewesen sein, doch in den einer ernsten, abendfüllenden Oper schreiben, in italienischer Sprache uraufgeführt; die entschlossen, Komponist zu werden. Er nahm grelleren 1920er Jahren wirkte die Opéra die von Nonnen und Hinrichtungen handelte, französische Premiere fand am 21. Juni bei Charles Koechlin Privatunterricht und schon sehr unzeitgemäß im Vergleich zu den muß daher zweifellos vielen überraschend desselben Jahres an der Pariser Opéra statt. war offensichtlich ein sehr begabter Schüler, ausschweifenden Aktivitäten der Gruppe Les erschienen sein. Hinzu kam die rein Hinter diesen nüchternen statistischen Daten doch trotzdem haftete ihm noch lange der Six, zu deren wichtigsten Protagonisten der technische Frage, ob er mit der ausgedehnten liegt, wie so oft bei der Oper, eine Vielzahl Ruf eines Amateurs unter Professionellen an; junge Poulenc zählte. Die Liste von Opern Behandlung des musikalischen Materials von Hoffnungen, Problemen, Wünschen man könnte sich sogar fragen, ob es nicht zeitgenössischer französischer Komponisten, zurechtkommen würde, die bei einer Oper und Katastrophen, die nach fünfzig Jahren die ihm aus der Bekämpfung dieses Vorwurfs die an der Opéra ihre französische Premiere traditionell verlangt wurde. Selbst in einem schließlich zu etwas geführt haben, das wir mit erwachsene innere Kraft und begleitende feierten und auch im 21. Jahrhundert noch so neuen (und ernsthaften) Werk wie dem Recht als Triumph bezeichnen können. persönliche Unabhängigkeit war, die ihm zum Repertoire gehören, wirkt denn auch 1953 entstandenen Stabat mater zeigte sich Francis Poulenc wurde 1899 in Paris erlaubte, dieses unmöglich scheinende recht dürftig. Vor den Dialogues des Carmélites noch seine Neigung, mit dem Erreichen eines geboren und wuchs somit in den ungestümen Opernsujet in Angriff zu nehmen und zum muß man bis zu Massenets Thaïs zurückgehen, musikalischen Höhepunktes die Spannung Tagen auf, als Debussy und Ravel die Abschluß zu bringen. also bis 1894! Poulenc mag sich daher 1957 nicht langsam abklingen zu lassen, sondern musikalische Vorherrschaft Deutschlands Obwohl die Weltpremiere der Dialogues mit Garniers Vision solidarisch gezeigt haben, abrupt innezuhalten und sodann wieder neu herausforderten. Seine Familie war des Carmélites an der Scala stattfi nden sollte, das Risiko eines Mißerfolgs war jedoch groß. einzusetzen. wohlhabend und seine Mutter eine talentierte mit weiteren zugesicherten Aufführungen in Ein zweites Element der Unmöglichkeit Ein drittes Problem war die religiöse Basis Pianistin; ein regelmäßiger Gast des Hauses Neapel, Buenos Aires, London und Berlin, war Poulenc selbst. Der Neunzehnjährige der Handlung. Frankreich hatte im späten war der große französische lyrische Tenor hatte Poulenc als Pariser Bürger, der eine ernste machte 1918 zum ersten Mal Schlagzeilen 19. Jahrhundert eine vehemente Kampagne Edmond Clément, bekannt für seine französische Oper schrieb, natürlich vor allem mit seinen kleinen Klavierstücken, den Trois der Säkularisierung durchlaufen, die 1905 Interpretation des Don José in Carmen und Paris und speziell die Pariser Opéra im Sinn. mouvements perpétuels. In den 1920ern folgten in der offi ziellen Trennung von Kirche und ganz besonders für seinen Des Grieux in Und hier ergab sich das erste Element der weitere scherzhafte Stücke, die ihm den Staat kulminierte. Wenn es also darum Massenets Manon. Poulencs Vater bestand Unmöglichkeit. Als Charles Garnier die Opéra Ruf eines farceur einbrachten – englischen ging, religiöse Themen auf die Opernbühne darauf, ihm eine vollständige traditionelle in den 1860er und 1870er Jahren erbaute, Kritikern war er als “le leg-Poulenc” bekannt zu bringen, so war mit dieser Trennung Erziehung angedeihen zu lassen, und so hatte sprach er von der “impression morale”, die (to pull someone’s leg = jemanden auf den niemandem gedient: Säkularisten konnten er zu der Zeit, als der Erste Weltkrieg endete, die Zuschauer beeindrucken solle: “Sie spüren Arm nehmen) – und diese Reputation wurde sich darüber beklagen, daß die Oper doch

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 36-3736-37 330/7/060/7/06 12:44:3812:44:38 ein Ort sein solle, an dem man religiösen selbst überrascht haben dürfte. Von dieser Fenster eines römischen Buchladens liegen, dieses Werk von mir zum Erfolg machen. Themen entfl iehen könne – ein Ort für unmittelbaren Betroffenheit geben seine Briefe geradezu als warteten sie auf mich. Ich kaufte Sehr leichte Orchestrierung, damit die Worte Liebesgeschichten und Tollkühnheiten mit und andere Berichte ein lebhaftes Zeugnis. das Buch und beschloß, es ein weiteres Mal zu durchkommen.” großem Spektakel –, während die Gläubigen George Bernanos schrieb eine dramatisierte lesen. Ich setzte mich also vor das Café Le tre Die Sorge, es “nur nicht zu verderben” und anmahnen konnten, daß religiöse Themen Fassung nach der Vorlage eines Romans von scalini auf der Piazza Navona. Es war zehn Uhr den “Geist von Bernanos” einzufangen, sowie in solch einem Milieu grundsätzlich besudelt Gertrude von Le Fort ursprünglich für ein morgens. Mittags saß ich immer noch da. Um natürlich der Verzicht auf den Schlaf zeigen, würden (solche Argumente wurden in Filmprojekt, das aber nie realisiert wurde. Nach zwei Uhr schickte ich Monsieur Valcarenghi, daß Poulenc sehr wohl die Schwierigkeiten zahlreichen Opernhäusern anläßlich von seinem Tod fand sein Testamentsvollstrecker dem eigentlichen Initiator des Projekts, ein dieses von ihm begonnenen Projekts sah. Aufführungen des Parsifal geäußert; und das Manuskript unter seinen Papieren und Telegramm mit der Zusage, ich würde die Mehr noch, er war sich bewußt, daß er in da Thaïs bereits erwähnt wurde, sei noch inszenierte es 1951 in Zürich. 1952 wurde das Dialogues schreiben.” Einige Tage später gewisser Weise die Leiden der Nonnen von angemerkt, daß es durchaus berechtigte Stück in Paris 300 Mal in Folge aufgeführt, schrieb Poulenc an einen Freund: “Ich glaube, Compiègne teilte. Sein Lebenspartner Lucien Gründe gibt für die Behauptung, der religiöse und zu dieser Zeit sah auch Poulenc es wohl das Thema ist genau auf mich zugeschnitten. Roubert litt an einer Herzkrankheit und Aspekt dieser Oper mache die sexuelle zweimal, außerdem las er das Drama. Im Wenn ich es nur nicht verderbe… Ich starb im Oktober 1955, gerade als Poulenc die Thematik noch interessanter). Auf die eine selben Jahr beauftragte ihn der Direktor des habe vorgestern zu meinem Schutzheiligen Reinschrift des Klavierauszugs vollendete. Im oder andere Weise riskierte Poulencs Oper Verlagshauses Ricordi, Guido Valcarenghi, für Franziskus von Assisi gebetet.” August dieses Jahres hatte Poulenc an Bernac daher, einen Großteil des traditionell der La Scala ein Ballett zu schreiben; Poulenc fi ng Ende August war Poulenc in sein Landhaus geschrieben: “Ich habe ihn den 16 seligen Mittelschicht entstammenden Publikums der sogleich Feuer und suchte nach einer Heiligen, in der Touraine zurückgekehrt und bereits Karmeliterinnen anvertraut, damit sie über Opéra zu entfremden. deren Leben ihm als Thema dienen könnte. hart an der Arbeit. Er schrieb an einen seinen Tod wachen, da er mit ihrer Geschichte Aber auch auf der positiven Seite gab es Während einer gemeinsamen Italientournee Freund, den Sänger Pierre Bernac: “Ich so eng verbunden ist. Tatsächlich begann ich zumindest zwei wesentliche Faktoren zu mit dem Cellisten Pierre Fournier im März habe die Karmeliterinnen begonnen und diese Arbeit, ihm nahe und glücklich, in Lyon bedenken, ganz abgesehen von Poulencs 1953 hatte er sich jedoch bereits anders das Schlafen aufgegeben (das ist wörtlich zu im August 1953. Nach den schrecklichen Genialität und der Tatsache, daß er neben entschieden und schlug nun eine Oper über nehmen). Ich habe den richtigen Ton für Qualen, von denen Sie wissen, habe ich sie seinem jeux d’esprit auch Werke von ein mystisches Thema vor. Valcarenghi selbst die große Szene zwischen der Priorin und gerade in seiner Nähe vollendet, in den letzten tiefempfundener Religiosität komponiert brachte das Stück von Bernanos ins Gespräch. Blanche gefunden [Erster Akt, zweite Szene], Tagen seines irdischen Lebens.” Und dann hatte, so zum Beispiel die Litanies à la Vierge Poulenc greift die Geschichte auf: die eine ausgezeichnete formale Anlage hat: zitiert er die folgenden wichtigen Zeilen aus noire, das Stabat mater und eine Reihe von “Ich hatte beschlossen, über diese Idee zu ruhig zu Beginn, heftig in der Mitte (die Bernanos’ Text: “Wir sterben nicht nur für Motetten. Der erste dieser Faktoren war einem späteren Zeitpunkt nachzudenken, Regeln des Ordens), dann am Ende wieder uns selbst, sondern wir sterben für einander, seine eigene Involviertheit mit der der Oper wenn ich zurück in Paris sein würde, doch am ruhig. Allein die absolute Identifi zierung der oder wahrscheinlich sogar anstelle des zugrunde liegenden Geschichte, die ihn wohl nächsten Tag sah ich die Dialogues mitten im Musik mit dem Geist von Bernanos kann anderen. Wer weiß?”

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 38-3938-39 330/7/060/7/06 12:44:3812:44:38 Mit diesen Zeilen, die Schwester Constance verhindern, daß auch Poulenc einge Jahre worden, daß er nicht Debussys Methode während der Besatzungszeit – und dies ist am Ende des ersten Zwischenspiels im später an derselben Krankheit starb. der Textvertonung folgte (Henri Dutilleux vielleicht das Beängstigendste – die Abgründe zweiten Akt singt, nachdem sie und Schwester Der Gefahr der sich aus der weitgehenden hat in jüngerer Zeit behauptet, daß dieser gezeigt hatten, zu denen einige Mitglieder Blanche über den schrecklichen Tod der ersten Vorherrschaft weiblicher Stimmen ergebenden Stil an sich zwar meisterhaft, trotzdem aber ihrer eigenen Gemeinschaft herabsinken Priorin gesprochen haben, führt Bernanos Monotonie begegnete Poulenc, indem er für Opernkomponisten eine Sackgasse sei); konnten, wenn sie sich mit Folter und das spirituelle Konzept der Übertragung von mit den verschiedenen Stimmumfängen stattdessen ging er bis zu Massenet zurück, Hinrichtung konfrontiert sahen – ein Trauma, Gnade ein, mit dem an dieser spezifi schen sehr bewußt umging, wie seinen Briefen zu zweifellos noch die elegante Stimme von von dem diese Nation sich auch nach sechzig Stelle gemeint ist, daß die Priorin vielleicht entnehmen ist. Im Januar 1954 teilte er Bernac Edmond Clément in den Ohren, und zu Jahren vielleicht noch nicht völlig erholt hat. einen schrecklichen Tod sterben mußte, damit mit: “Ohne die Musik umzustoßen, habe ich dem, was man als Massenets “mélodisation” Blanches guter Tod vermittelt da ein Bild von jemand anderes einen leichten Tod habe. die Rolle der Constance umgeschrieben, da der französischen Sprache bezeichnet hat. Frankreich, wie es sich gerne selber sah – ganz Damit weitet Bernanos die katholische Lehre sie zu tief lag; jetzt bewegt sie sich weitgehend Was die Orchesterbegleitung betrifft (und gleich ob dieser durch das schreckliche Sterben aus, nach der die Heiligen eine geistliche zwischen F [über dem eingestrichenen C] zumeist handelt es sich tatsächlich um reine der Priorin ermöglicht wurde oder nicht. Gemeinschaft bilden, in der ein jeder für die und A [der zweigestrichenen Oktave].” Zu Begleitung), so erinnern die regelmäßig Der Schriftsteller Henri de Montherlant anderen Fürsprache einlegen kann, selbst dem ursprünglichen Schauspiel bemerkte ein pulsierenden Akkorde an deutsche Lieder bewunderte Bernanos’ Stück für seine für Sünder. Gebete für die Toten gehören zu Kritiker, “der offensichtliche dramaturgische und vielleicht vor allem an Schumann, einen “Verbindung des Einfachen mit dem einem parallelen Glaubenssystem, ebenso wie Defekt des Werks – eine Abfolge von Komponisten, den seine Mutter gerne gespielt Außergewöhnlichen”. Auch Poulencs Oper die Bedeutung von Menschen, die ihr Leben Szenen ohne jegliche psychologische hatte, wobei der junge Poulenc unter dem ist einfach und zugleich außergewöhnlich der religiösen Kontemplation und dem Gebet Weiterentwicklung – wurde in eine Tugend Klavier sitzend zuhörte. – außergewöhnlich einfach und ganz einfach widmen. In dem Opernlibretto fi ndet sich umgewandelt, so daß dem Stück schließlich Der zweite positive Faktor, der zum außergewöhnlich. kein Hinweis darauf, wessen Tod durch das die Geschmeidigkeit des Lebens selbst zueigen Erfolg der Oper führte, war ganz einfach © 2006 Roger Nichols Sterben der Priorin erleichtert werden mag; war, d.h. hinter jeder Episode war die absolute der gewählte Zeitpunkt. Eine Geschichte, Übersetzung: Stephanie Wollny doch bei Constances Worten “Ich würde sagen, Wirklichkeit zu spüren, ohne ihr je künstlich die von der Konfrontation mit der Angst es könnte jemanden geben, wenn sie sterben aufgedrängt werden zu müssen.” Auch Poulenc und dem Tod handelt und von der wird…” zitiert Poulenc das akkordische erzwingt nichts. Sicherlich gibt es dissonante Zerstörung einer angestammten Lebensweise Synopse Thema von Blanche (das er aus der ersten Augenblicke, doch diese sind alle vom Text durch revolutionäre Kräfte, mußte einem Die Handlung spielt zunächst vornehmlich und letzten seiner Klavier-Nocturnes entlehnt abgeleitet, den Bernanos im Vergleich zu europäischen Publikum, für das der Zweite im Kloster der Karmeliterinnen in Compiègne hat). In Poulencs eigenem Fall war das Prinzip dem ihm vorgelegten Drehbuch drastisch Weltkrieg noch eine allzu lebhafte Erinnerung und später, in den Jahren der Französischen der Übertragung nicht wirksam. Rouberts gekürzt hatte und den Poulenc dann noch ein war, unweigerlich nahegehen. Ganz besonders Revolution und des anschließenden Terrors Tod aufgrund eines Herzleidens konnte nicht weiteres Mal kürzte. Es ist allseits bemerkt gilt dies für die Franzosen, deren Erfahrungen (1789 –1784), in Paris.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 40-4140-41 330/7/060/7/06 12:44:3812:44:38 COMPACT DISC ONE Szene 3: Im Kloster kehrt mit dem Arzt zurück, der ihr weitere ein und spricht zu den Karmeliterinnen. Sie 9 Vorspiel. 10 Blanche ist als Novizin ins Beruhigungsmittel verweigert. 14 – 15 Als ihr warnt, die Tage friedvoller Sicherheit seien nun Akt I Kloster aufgenommen worden. Zusammen Todeskampf heftiger wird, fällt die Priorin ins vorüber und die Zukunft sei voller Prüfungen. Szene 1: Die Bibliothek des Marquis de la Force mit einer anderen jungen Nonne, Schwester Delirium, lehnt sich gegen Gott auf und hat Sie erinnert daran, daß ihre wichtigste Pfl icht 1 Der Chevalier de la Force stürmt in die Constance von Saint-Denis, ist sie gerade eine Vision der entweihten Klosterkapelle. das Gebet sei, daß sie jedoch nicht ein Bibliothek seines Vaters, auf der Suche nach beim Essen. Constance plaudert über ihr Blanche kehrt in den Raum zurück um sieht Martyrium erstreben sollten. 20 Mutter Marie seiner Schwester Blanche, um deren Verbleib glückliches früheres Leben in der Bretagne. mit an, wie die Priorin in größter Angst stirbt. stimmt das Ave Maria an. er sich Sorgen macht. Draußen rottet sich Blanche verwahrt sich gegen eine solch frohe der Pöbel zusammen und man berichtet, Stimmung zu einer Zeit, da die Priorin im Akt II Zwischenspiel: Ein Zimmer im Kloster Blanches Kutsche sei umringt. 2 Blanche Sterben liegt. Constance schlägt vor, sie mögen Szene 1: Die Kapelle bei Nacht 21 Die Priorin, Mutter Marie und Constance trifft ein, unverletzt aber sichtlich verstört von beten und ihr eigenes Leben im Tausch gegen 16 Blanche und Constance halten bei dem eilen herein, als die Türglocke ertönt. Die dem Erlebten. 3 Als sie zu Bett gehen will, das ihrer Priorin zu opfern anbieten. Blanche Leichnam der Priorin Totenwache. Ihre Zeit zu Revolution weitet sich aus; der Chevalier de la erschrickt sie beim Anblick eines Schattens an ist entsetzt, doch Constance erklärt, sie habe wachen endet und Constance entfernt sich, um Force hat beschlossen, Frankreich zu verlassen, der Wand; sie kehrt zu ihrem Vater und Bruder immer gespürt, daß sie jung sterben werde, die Schwestern zu holen, die sie ablösen sollen. und will Blanche sehen. Die Priorin erlaubt, zurück 4 und verkündet ihre Absicht, Nonne und als sie Blanche das erste Mal begegnet sei, Die allein zurückbleibende Blanche ist voller daß Bruder und Schwester sich in Gegenwart zu werden. habe sie eine Vorahnung gehabt, daß sie beide Angst und will weglaufen. 17 Mutter Marie von Mutter Marie sehen. am selben Tag gemeinsam sterben würden. fängt sie ab und geleitet sie zu ihrer Zelle. Szene 2: Das Empfangszimmer im Kloster der COMPACT DISC TWO Karmeliterinnen Szene 4: Das Krankenzimmer Zwischenspiel 5 Vorspiel. 6 – 7 Einige Wochen sind 11 Vorspiel. 12 Die Priorin liegt auf dem 18 Blanche und Constance haben für das Szene 3: Das Empfangszimmer vergangen. Die betagte Priorin, Mme de Sterbebett, umsorgt von Mutter Marie. Für die Grab der Priorin ein Blumenkreuz gefl ochten. 1 Vorspiel. 2 Der Chevalier versucht, Blanche Croissy, befragt Blanche zu ihrer göttlichen Priorin ist Gott zu einem Schatten geworden; Constance gibt zu bedenken, daß wir nicht zu überreden, das Kloster zu verlassen. Ihr Berufung. 8 Sie warnt sie, daß das Kloster sie all ihre frühere Kontemplation über den Tod für uns selbst sondern für andere sterben und Vater glaube nicht, daß es für sie noch ein nicht vor der Außenwelt beschützen könne; es ist ihr nun keine Hilfe mehr. Sie sorgt sich daß die Priorin vielleicht in Angst und Qual sicherer Ort sei; als Aristokratin und Nonne sei sei ein Haus des Gebetes. Blanches Entschluß besonders um Blanche und vertraut sie der gestorben ist, damit jemand anderes einen sie durch das näherkommende Terrorregime bleibt von diesem Gespräch unberührt und sie Fürsorge von Mutter Marie an. 13 Blanche einfacheren Tod haben wird. doppelt gefährdet. Der Chevalier nimmt verkündet den Namen, den sie für ihr Leben betritt das Krankenzimmer und die Priorin an, es sei die Angst – oder die Angst vor der als Karmeliterin gewählt hat – Schwester nimmt zärtlich von ihrer jüngsten und daher Szene 2: Das Stiftszimmer Angst –, die sie im Kloster halte. Blanche Blanche des Leidens Christi. meistgeliebten Tochter Abschied. Mutter Marie 19 Die neue Priorin, Mme Lidoine, trifft erklärt, sie sei an Gottes Willen gebunden und

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 42-4342-43 330/7/060/7/06 12:44:3912:44:39 wiederholt ihre Absicht, zu bleiben. Nachdem Abwesenheit der Priorin ist Mutter Marie Szene 3: Die Conciergerie Ashley Holland (Marquis de la Force) studierte der Chevalier gegangen ist, bricht Blanche fast für die Gemeinschaft verantwortlich; sie 15 Die Karmeliterinnen sind verhaftet worden zunächst an der Warwick University und zusammen. 3 Mutter Marie spricht ihr Mut zu. schlägt nun vor, daß sie das Märtyrergelübde und sitzen in der Conciergerie gefangen. Die absolvierte anschließend als Peter Moores ablegen. 10 Bei der geheimen Wahl gibt es eine Priorin leistet das Märtyrergelübde. 16 Constance Scholar ein Graduiertenstudium am Royal Szene 4: Die Sakristei Gegenstimme; der Verdacht fällt zunächst auf hat geträumt, die abwesende Blanche werde zu Northern College of Music. Seither hat 4 Der Beichtvater des Klosters führt die Blanche, doch Constance verkündet, sie habe ihren Schwestern zurückkehren. 17 – 18 Der er sich auf beiden Seiten des Atlantiks als Schwestern im Gebet an. 5 Er verabschiedet gegen den Vorschlag gestimmt, nun aber ihre Kerkermeister übermittelt ihnen das Urteil des einer der gefragtesten jungen Baritonsänger sich, da er gezwungen sei, sich zu verstecken. Meinung geändert. Die Schwestern leisten Revolutionstribunals – die Karmeliterinnen sind speziell für das italienische Repertoire des Mutter Marie erklärt, um die Kirche zu ihr Gelübde. Blanche verläßt der Mut und sie zum Tode verurteilt worden. 19. Jahrhunderts einen Namen zu machen bewahren, müßten die Karmeliterinnen nur ihr fl ieht. begonnen. Nach seinem überaus erfolgreichen Leben opfern. Doch die Priorin korrigiert sie: Zwischenspiel: Eine Straße nahe der Bastille Debüt als Don Pedro in Donizettis Maria Es sei nicht an den Schwestern zu entscheiden, Zwischenspiel: Eine Straße außerhalb des Klosters 19 Mutter Marie erfährt durch den Beichtvater Padilla an der wurde er für ob sie Märtyrerinnen werden oder nicht. 11 Die Priorin ist aus Paris zurückgekehrt. Ein vom Todesurteil der Karmeliterinnen und die Neuinszenierung von Mercadantes Orazi Offi zier spricht zu den Karmeliterinnen: Ihre beschließt, zu ihren Schwestern zurückzukehren. e Curiazi für die Rolle des Orazio sofort ein 6 Der Beichtvater eilt zurück und Gemeinschaft sei gesetzeswidrig und er begrüßt Der Priester weist darauf hin, daß Gott für sie weiteres Mal verpfl ichtet. sucht Zufl ucht vor dem Pöbel und den sie als neue Bürger der Republik. 12 Die Priorin vielleicht ein anderes Schicksal vorgesehen habe. Ashley Holland wirkte während mehrerer Soldaten draußen vor dem Kloster. 7 Die läßt den Priester warnen, daß es zu gefährlich Spielzeiten als Erster Bariton an der English Regierungskommissare kommen herein und sei, die Messe abzuhalten. Mutter Marie stellt Szene 4: Place de la Révolution, 17. Juli 1794 National Opera, wo Zurga (Die Perlenfi scher), verkünden, daß die Nonnen aus dem Kloster in Frage, ob sich solche Vorsicht mit ihrem 20 Vorspiel. 21 Die Karmeliterinnen werden Sharpless (Madam Butterfl y), Guglielmo (Così vertrieben werden sollen. 8 Die Priorin will Märtyrergelübde vereinbaren lasse. zum Exekutionsplatz gebracht; eine große fan tutte), Cecil (Maria Stuarda), Belcore nach Paris gehen. Als sie Blanches Entsetzen Menge schaut zu. Von der Priorin angeführt, (L’elisir d’amore), Lescaut (Manon), Ottakar wahrnimmt, gibt Mutter Jeanne ihr eine kleine Szene 2: Die Bibliothek des Marquis de la Force besteigen sie eine nach der anderen das Schafott, (Der Freischütz), Marcello (La Bohème) sowie Statue des Jesuskindes, vom Lärmen des Pöbels 13 Vorspiel. 14 Blanches Vater ist guillotiniert wobei sie das Salve Regina singen. Constance Escamillo (Carmen), Ford (Falstaff ) und aufgeschreckt läßt diese die Figur jedoch fallen worden und sie ist als Dienerin in ihr steigt als letzte hinauf. In dem Augenblick Don Carlo (Ernani) zu seinen Rollen zählten. und sie zerbricht. Elternhaus zurückgekehrt. Mutter Marie trifft löst Blanche sich aus der Menge und tritt zu Außerdem übernahm er den Baritonpart in ein, um sie ins Kloster zurückzuholen, doch ihrer Freundin; sie singt nun alleine weiter, bis der gemeinsamen Inszenierung der English Akt III Blanche ist zu verängstigt, ihr zu folgen. Mutter schließlich auch sie guillotiniert wird. National Opera und der Mark Morris Dance Szene 1: Die Kapelle Marie gibt ihr eine Adresse, wo sie in Sicherheit Group von Händels L’Allegro, il penseroso ed il 9 Die Kapelle ist entweiht worden. In wäre. Übersetzung: Stephanie Wollny moderato.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 44-4544-45 330/7/060/7/06 12:44:3912:44:39 Weitere Verpfl ichtungen umfassen Auftritte Weitere beachtenswerte Auftritte hatte sie als Einspielungen zählen Weills Der Silbersee Engagements bei der European Chamber an der Opera North, der Royal Opera in Zerlina auf dem Festival von Aix-en-Provence, mit Markus Stenz sowie eine Sammlung von Opera und am Singapore Lyric Theatre. Covent Garden, der Chicago Lyric Opera, als Ilia und als Servilia (La clemenza di Tito) Volksliedbearbeitungen von Beethoven mit der Opéra de Paris-Bastille, der Cincinnati sowie als Poppea an der Bayerischen Staatsoper Malcolm Martineau. Felicity Palmer (Madame de Croissy) Opera, der Calgary Opera sowie in Dresden. in München, als Donna Elvira, Poppea ist gegenwärtig eine der vielseitigsten Zu seinen Einspielungen zählen Belcore (The und Alice Ford (Falstaff ) an der Deutschen Peter Wedd (Chevalier de la Force) studierte darstellenden Künstlerinnen, gleichermaßen Elixir of Love) und Ford (Falstaff ) mit Paul Oper am Rhein, sowie als Mélisande in der bei William McAlpine an der Guildhall School vertraut mit solch unterschiedlicher Musik wie Daniels, beide erschienen im Rahmen der Inszenierung von Pelléas et Mélisande an der of Music and Drama sowie anschließend mit die von Händel, Wagner und Berio. Reihe “Opera in English” bei Chandos. Opéra du Rhin in Straßburg. In den USA ist Unterstützung der Peter Moores Foundation An der Metropolitan Opera in New York hat sie an der Santa Fe Opera als Susanna und am National Opera Studio. Von 1999 bis 2001 sie die Fricka und Waltraute in Aufführungen Die walisische Sopranistin Catrin Wyn- an der San Francisco Opera in der Rolle der wirkte er als Prinzipal im Ensemble der Royal des Ring-Zyklus, die Gräfi n (Pique dame), Davies (Blanche de la Force) absolvierte am Gretel (Hänsel und Gretel) aufgetreten. Opera in Covent Garden, außerdem ist er Geneviève (Pelléas et Mélisande) und Mme de Royal Holloway College ein Studium in In Großbritannien ist Catrin Wyn-Davies an der Welsh National Opera regelmäßig als Croissy (Dialogues des Carmélites) gesungen. Drama und Theaterwissenschaften, bevor sie an der English National Opera als Blanche, Gastkünstler zu hören. Zu seinen Rollen an An der Mailänder Scala sang sie Mme de 1990 an der Guildhall School of Music ihr Ginevra (Ariodante) und Tatyana (Eugene der Welsh National Opera zählten bisher Don Croissy und Klytemnestra (Elektra), in Chicago Gesangsstudium aufnahm. Noch während Onegin) aufgetreten, sowie als Valencienne (Die José (Carmen), Tamino (Die Zauberfl öte), Don die Gräfi n, Kabanicha (Katya Kabanova) ihrer Studienzeit wurde sie mit zahlreichen lustige Witwe) und Erstes Blumenmädchen Ottavio (Don Giovanni), Alfredo (La traviata) und Madam Begbick (Aufstieg und Fall der Preisen ausgezeichnet, darunter 1993 der (Parsifal) am Royal Opera House. In der und Lacˇa (Jenu˚fa). Stadt Mahagonny), in San Francisco Giulio Richard-Tauber-Preis und 1994 der Decca- BBC -Verfi lmung von Brittens The Turn of the Weitere Auftritte in Großbritannien und Cesare, in München Eduige (Rodelinda) und Preis im Rahmen der Kathleen Ferrier Awards. Screw (unter der Regie von Katie Mitchell und Irland umfassen Federico (L’Arlesiana) und Klytemnestra, in Berlin La Zia Principessa 1994 wurde sie an der Welsh National dem Dirigat von Richard Hickox) sang sie die Pluto (Orphée aux enfers) an der Opera (Suor Angelica) und Klytemnestra und für Opera als Prinzipalin verpfl ichtet. Zu ihren Rolle der Miss Jessel. Auf dem Konzertpodium Holland Park, im Rahmen des Wexford Glyndebourne Zita (Gianni Schicchi) und dortigen Rollen zählen die Susanna (Le nozze war sie in ganz Europa unter solch namhaften Festivals, Rodolfo (La Bohème) in der Mistress Quickly (Falstaff ). Am Royal Opera di Figaro), Anne Trulove (The Rake’s Progress), Dirigenten wie Christoph von Dohnányi, Londoner Royal Albert Hall, Tamino für House in Covent Garden zählten zu ihren Hero (Béatrice et Bénédict), Ilia (Idomeneo), Richard Hickox, Paul McCreesh, René Jacobs, Glyndebourne On Tour, Lensky (Eugene Rollen die Mrs Lovett (Sweeney Todd), Juno Gilda (Rigoletto), Zerlina und Donna Elvira Trevor Pinnock und Pierre Boulez zu hören. Onegin) an der Opera Holland Park sowie (Semele) und Klytemnestra, und in Paris hat sie (Don Giovanni), Blanche (Dialogues des Mit dem King’s Consort unter Robert King den Chevalier de la Force (The Carmelites) die Klytemnestra, die Gräfi n, Mme de Croissy, Carmélites) und die Titelrolle in L’incoronazione hat Catrin Wyn-Davies geistliche Musik von an der English National Opera. Außerhalb Zita, Madam Begbick und Maria Dmitrievna di Poppea. Vivaldi aufgenommen; zu ihren weiteren Großbritanniens hatte Peter Wedd bisher Ahkrossimove (Krieg und Frieden) gesungen.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 46-4746-47 330/7/060/7/06 12:44:4012:44:40 In jüngster Zeit kehrte sie als Mme de Croissy Josephine Barstow (Mutter Marie) begann Ellen Orford, Helena (A Midsummer Night’s Orla Boylan (Madame Lidoine) stammt aus und Katisha (Der Mikado) an die English ihre Laufbahn auf einer Tournee mit Opera Dream), Santuzza, Leonore, Alice, Lady Irland und studierte am D.I.T. College of National Opera zurück. for All und gewann sodann ein Stipendium Macbeth und die Gräfi n (Pique dame). Music in Dublin, wo sie bei Mary Brennan Felicity Palmer kann auf eine lange Karriere für ein einjähriges Studium am London Josephine Barstow hat mit einem Gesangsunterricht nahm. Sie erhielt zahlreiche als Konzertsängerin zurückblicken. Unter Opera Centre. Sie sang die Euridice und abwechslungsreichen Repertoire unter Auszeichnungen, darunter der Veronica Dunne anderem hat sie mit dem BBC Symphony die Violetta für die Sadler’s Wells Opera anderem mit Musik von Verdi, Richard Bursary, der Ibla Grand Prize und der Preis der Orchestra und der New York Philharmonic Company und schloß anschließend Strauss, Puccini und Janácˇek die ganze National Mozart Competition. unter Pierre Boulez, Sir Colin Davis und einen dreijährigen Vertrag mit der Welsh Welt bereist und dabei Paris, München, Zu den Höhepunkten ihrer Arbeit in Gennady Rozhdestvensky zusammengearbeitet, National Opera Company. Dort zählten Wien, Bayreuth, Berlin, New York, jüngerer Zeit zählen die Madame Lidoine mit dem English Chamber Orchestra unter Sir zu ihren Rollen die Gräfi n (Die Hochzeit Chicago, San Francisco, Houston, (The Carmelites) mit der English National Charles Mackerras, dem London Symphony des Figaro), Fiordiligi, Violetta, Mimì Buenos Aires, Hong Kong, Südafrika, Opera, Donna Anna (Don Giovanni) Orchestra unter Michael Tilson Thomas, der und Amelia (Simon Boccanegra) sowie Japan und Australien sowie weitere an der New York City Opera, Mahlers Philharmonia und dem Royal Philharmonic Elisabeth (Don Carlos). Nachdem sie an Aufführungsstätten besucht. Zweite Sinfonie mit dem Estnischen Orchestra unter Giuseppe Sinopoli, dem der English National Opera die Violetta Eine fruchtbare Beziehung verbindet Nationalsinfonieorchester unter Paavo Järvi Concentus Musicus Wien unter Nicolaus (La traviata) gesungen hatte, entwickelte die Sängerin mit der Opera North, für die sowie ein Recital in Harewood House in Leeds. Harnoncourt, dem Concertgebouw-Orchester sich eine lange und sehr fruchtbare sie bisher Rollen wie die der Tosca, Marie Zu Orla Boylans Opernengagements unter Edo de Waart, dem Boston Symphony Zusammenarbeit mit diesem Opernhaus. (Wozzeck), Aida, Medea, Lady Billows zählen Jenu˚fa an der Glyndebourne Festival Orchestra unter Raphael Frühbeck de Burgos Zu ihren wesentlichen dortigen Rollen und vor allem Gloriana gesungen hat, die Opera und Opéra de Lyon, ihr Rollendebüt und der Los Angeles Philharmonic unter Sir zählen die Natascha (Krieg und Frieden), auch verfi lmt wurde. Anderswo zählen zu als Arabella an der Garsington Opera, ihre Simon Rattle. Salome, Elisabeth (Don Carlos), Leonora ihren jüngsten Engagements die Kabanicha Mitwirkung im Chor der Frauen (The Rape Zu ihren zahlreichen Einspielungen zählen (The Force of Destiny), Leonore (Fidelio), (Katya Kabanova) in San Diego, Kostelnicˇka of Lucretia) und die Sieglinde an der English Stravinskys Le Rossignol und Messiaens Poèmes Jeanne (The Devils of Loudon), Katarina (Jenu˚fa) in Antwerpen und Oviedo, sowie National Opera, die Gouvernante (The pour Mi mit Pierre Boulez, Vokalmusik (Lady Macbeth of Mtsensk), Tosca, Sieglinde, Mutter Marie (The Carmelites) an der Turn of the Screw) an der Angers Nantes von Benjamin Britten sowie zwei CDs mit Senta, Emilia Marty (The Makropulos Case), English National Opera. Einspielungen Opera, die Gräfi n (Die Hochzeit des Figaro) viktorianischen und edwardianischen Liedern, die Marschallin und Arabella. Regelmäßige umfassen die Marie (Wozzeck) und die an der New York City Opera, die Titelrolle die sie mit dem Pianisten John Constable Verpfl ichtungen verbinden sie auch mit der Kostelnicˇka (Jenu˚fa) im Rahmen der Reihe in Katya Kabanova in ihrem Debüt an der aufgenommen hat. Im November 1993 wurde Royal Opera in Covent Garden, so zum “Opera in English” bei Chandos, sowie Un Glyndebourne Festival Opera, Marˇenka Felicity Palmer mit dem CBE (Companion of Beispiel in der Rolle der jungen Frau in ballo in maschera, Gloriana, Albert Herring, (Die verkaufte Braut) für die Glyndebourne the British Empire) ausgezeichnet. Henzes We come to the River, als Salome, Kiss me Kate, Oliver und Street Scene. Touring Opera, die Titelrolle in der ersten

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 48-4948-49 330/7/060/7/06 12:44:4012:44:40 britischen Inszenierung von Strauss’ Die Liebe (Die Zauberfl öte), Iphis (Jephtha), Atalanta Jaap van Zweden sowie den Messias mit dem Foundation am Royal Northern College der Danae an der Garsington Opera sowie (Xerxes), Yum-Yum (Der Mikado) und Halle Orchestra und auf einer China-Tournee of Music. Engagements der jüngeren Zeit Tatyana (Eugene Onegin) an der European Schwester Constance (The Carmelites) gegeben. mit dem London Philharmonic Orchestra. umfassen Dorabella (Così fan tutte), Anna Union Opera, die zudem auch auf DVD Weitere Opernengagements umfassen die Außerdem hat sie in der Einspielung von The (Die Trojaner in Carthago), Ascanius eingespielt wurde. Tytania an La Monnaie in Brüssel, Bella Marriage of Figaro im Rahmen der Chandos- (Die Trojaner), Ino (Semele) und Pitti Sing Zu ihren Konzertverpfl ichtungen zählen (The Midsummer Marriage) unter der Leitung Reihe “Opera in English” die Rolle der (Der Mikado) an der English National Mahlers Das klagende Lied mit dem RTÈ von Richard Hickox auf dem St. Endellion Barbarina gesungen. Opera, wo sie Mitglied des “Young Singers National Symphony Orchestra unter Laurent Festival, Pretty Polly in Birtwistles Punch and Programme” ist, sowie Pippo in The Thieving Wagner, Verdis Requiem in der St Paul’s Judy am Teatro Nacional San João in Porto, die Jane Powell (Schwester Jeanne) hat an der Magpie an der Opera North und die Cathedral mit dem Royal Philharmonic Gouvernante in Brittens The Turn of the Screw Royal Academy of Music studiert und nimmt Titelrollen in Ariodante und La Cenerentola Orchestra, eine Aufführung des Dritten Akts für eine Rußland-Tournee des British Council, gegenwärtig Unterricht bei Lyn Cook. Zu für die Opera Theatre Company. Zu ihren der Walküre mit der English National Opera Elsie Maynard (The Yeomen of the Guard ) und ihren bisherigen Opernengagements zählen Einspielungen zählen Zulma (Elvida) und auf dem Glastonbury Festival des Jahres 2004, Gianetta (The Gondoliers) an der Phoenix Cherubino (Le nozze di Figaro), die Zweite Abra (Il diluvio universale) für Opera Rara. die Premiere von Gerald Barrys Bitter Tears Opera sowie Barbarina (Le nozze di Figaro) an Dame (Die Zauberfl öte) sowie Prinzessin of Petra von Kant mit dem RTÈ National der Opera Holland Park. Ihre Opernauftritte Linette in der BBC Fernsehinszenierung Ryland Davies (Der Geistliche) wurde in Symphony Orchestra sowie ihr Debüt auf den an der Royal Academy of Music umfassen die von The Love for Three Oranges. Am Royal Südwales geboren und studierte am Royal BBC Proms als Anna in Weills Street Scene Titelrolle in The Cunning Little Vixen unter der Opera House in Covent Garden hat sie Manchester College, wo er 1971 zum unter Barry Wordsworth. Leitung von Sir Charles Mackerras, Zerlina in Rollen in Salome, Der Freischütz, Werther Fellow of the College ernannt wurde. Sein Don Giovanni, dirigiert von Sir Colin Davis, und Simon Boccanegra gesungen. Sie gehörte Operndebüt feierte er 1964 an der Welsh Sarah Tynan (Schwester Constance) wurde Drusilla in L’incoronazione di Poppea und Feu/ zum ursprünglichen Ensemble des im National Opera als Graf Almaviva (Il barbiere in London geboren und studierte am Royal Rossignol in L’Enfant et les sortilèges. Londoner West End spielenden Musicals di Siviglia), 1965 gefolgt von seinem Debüt Northern College of Music und an der Royal Sarah Tynans Konzertengagements umfassen Chess und hat an zahlreichen Einspielungen als Haushofmeister (Der Rosenkavalier) an der Academy of Music (bei Penelope Mackay). Eleanora in Salieris Prima la musica und Mlle von Opern und Musicals mitgewirkt. Seit Glyndebourne Festival Opera, wo er seither An der Royal Academy wurde ihr die Silberklang in Mozarts Der Schauspieldirektor sie Ensemblemitglied der English National noch viele andere Rollen gesungen hat. Seine Auszeichnung “Queen’s Commendation for mit der City of London Sinfonia unter Opera ist, hat sie auch dort eine Reihe von zahlreichen Engagements am Royal Opera Excellence” zuteil. Richard Hickox, Mozarts Requiem unter Rollen übernommen. House in Covent Garden umfassen Don Seit sie zum Ensemble der English National Sir Roger Norrington auf dem Spitalfi elds Ottavio, Don Giovanni, Ferrando, Ernesto Opera gehört, hat sie die Tytania Festival, Mahlers Zweite Sinfonie mit dem Anne Marie Gibbons (Schwester Mathilde) (Don Pasquale), Fenton (Falstaff ) und (A Midsummer Night’s Dream), Papagena Niederländischen Sinfonieorchester unter studierte mit Unterstützung der Peter Moores Lysander (A Midsummer Night’s Dream).

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 50-5150-51 330/7/060/7/06 12:44:4112:44:41 Zu seinen Engagements in jüngerer Zeit an der European Chamber Opera, Alfred Toby Stafford-Allen (Erster Offi zier) sudierte eine Ausbildung als Elektroingenieur, bevor er zählen Turandot an der Genfer Oper, Arbace (Die Fledermaus), Ralph Rackstraw am Royal Northern College of Music und am Royal College of Music studierte. (Idomeneo) und Monostatos (Die Zauberfl öte) (HMS Pinafore) und Prosper (Not in Front of feierte noch während seiner Studienzeit Seine Opernengagements umfassen an der Metropolitan Opera, Opera North the Waiter) an der Kentish Opera, Rodolfo sein internationales Debüt als Guglielmo Angelotti (Tosca) für die Opera Ireland, und in Garsington, Le Duc (Chérubin) in (La Bohème) an der Surrey Opera und (Così fan tutte) auf dem Festival von Aix-en- Malatesta (Don Pasquale) und Johann (Werther) Covent Garden und Monte Carlo, Monostatos Ferrando (Così fan tutte) an der Opera à la Provence. Er wurde in das “Jerwood Young für die Wexford Festival Opera, Morales in Santa Fe, Basilio (Le nozze di Figaro) an carte. Sein Debut an der English National Singers Programme” der English National (Carmen) an der Royal Albert Hall, Papageno der Oper von Nizza, der Neuen Israelischen Opera feierte er in der Rolle des Novizen in Opera aufgenommen und ist dort seither zum (Die Zauberfl öte) und Guglielmo (Così fan Oper, der Niederländischen Oper sowie in Billy Budd. Prinzipal aufgestiegen. Zu seinen größeren tutte) an der Scottish Opera, Silvio (Pagliacci) Glyndebourne, Dr. Caius (Falstaff ) in Israel, Rollen an diesem Haus zählen Guglielmo und Papageno an der Welsh National Opera, Gaudenzio in Leoncavallos La Bohème an Roland Wood (Zweiter Kommissar) (Così fan tutte), Papageno (Die Zauberfl öte), Marullo (Rigoletto) an der English National der English National Opera, Monostatos in wurde in Berkshire geboren und studierte Schaunard (La Bohème) und Henry (The Fairy Opera sowie weitere Rollen für die Buxton Covent Garden, Hauk-Sendorf am Royal Northern College of Music und Queen). Festival Opera und Opera Zuid. Zu seinen (The Makropulos Case) an der Houston Grand anschließend am National Opera Studio; Weitere Engagements in Großbritannien Einspielungen zählen Highlights aus Händels Opera und Basilio an der Chicago Lyric Opera. unterstützt wurde er von der Peter Moores umfassen Papageno mit der Glyndebourne Messias mit dem London Symphony Orchestra. Foundation und der English National Opera. Touring Opera sowie Belcore (L’elisir d ’amore ) James Edwards (Erster Kommissar) wurde Seine Opernengagements umfassen Graf und Schaunard an der Opera Holland Park. Gary Coward (Thierry) absolvierte ein in Essex geboren und sang zunächst als Almaviva (Le nozze di Figaro) an der Opera Zu seinen internationalen Engagements Studium am Royal College of Music und Chorknabe in der St. Paul’s Cathedral, bevor Holland Park, Nick Shadow (The Rake’s zählen Henry (The Fairy Queen) am Teatro vertiefte seine Ausbildung anschließend an der er später sein Studium am Royal Northern Progress) in Glyndebourne und Baron del Liceu in Barcelona, Mars und Euro in Guildhall School of Music and Drama sowie College of Music und der Royal Academy Douphol (La traviata) an der English Cestis Il Pomo d’oro auf dem Batignano der Britten–Pears School for Advanced Musical of Music fortsetzte. Im September 2003 National Opera. Festival sowie Schaunard auf den Bregenzer Studies. wurde er in das Young Artists Programme Von 2002 bis 2004 war er Prinzipal Festspielen. Im Rahmen der von Chandos Opernengagements verbanden ihn unter der Royal Opera aufgenommen; seither hat des Ensembles der Scottish Opera; zu herausgegebenen Reihe “Opera in English” anderem mit den Ensembles der Opera Brava, er den Nicolios (The Greek Passion), Pong seinen dortigen Rollen zählten Falke (Die hat er die Rolle des Morales (Carmen) der Kentish Opera, der Pavilion Opera, den (Turandot), Gastone (La traviata) und Albazar Fledermaus), Marullo (Rigoletto), Schaunard gesungen. London Opera Players, der English Touring (Il turco in Italia) gesungen. (La Bohème) und Papageno (Die Zauberfl öte). Opera und der Scottish Opera, wobei er Weitere bisherige Opernrollen umfassen Er hat an einer Reihe von CD-Einspielungen David Stephenson (Gefängniswärter) wurde führende Rollen in Opern von Mozart, Alfredo (La traviata) und Dancaïro (Carmen) für Chandos und Opera Rara mitgewirkt. in Aberdeen geboren und absolvierte zunächst Donizetti und Rossini sowie Operetten von

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 52-5352-53 330/7/060/7/06 12:44:4112:44:41 Strauss und Lehár innehatte, vor allem aber Sängern in ihre Darbietungen einbringen, neben den regelmäßigen Opernaufführungen anspruchsvolles Repertoire – darunter mehrere Puccini – Marcello, Sharpless und Scarpia – kennzeichnen jede Inszenierung, an der sie im Londoner Coliseum auch auf dem Welturaufführungen sowie gefeierte Inszenier- sowie Verdi – Renato, Don Carlo, Ford, Iago, mitwirken. Besondere Triumphe für den Konzertpodium aktiv; Auftritte in jüngerer ungen von Pelléas et Mélisande, Don Carlos Di Luna, Germont Père, Amonastro und Chor waren Prokofjews Krieg und Frieden, Zeit führten das Orchester unter anderem und Boris Godunov – den Beifall der Kritiker Rigoletto – sang. Er ist Ensemblemitglied der Schostakowitschs Lady Macbeth von Mzensk, zum Aldeburgh-Festival (Peter Grimes und The erregte. English National Opera. Brittens Billy Budd und Peter Grimes, Rape of Lucretia) sowie 2004 nach Glastonbury Weitere Opernengagements führten ihn an Mussorgskis Boris Godunow, Bizets Carmen (Dritter Akt von Wagners Walküre). Viele das Royal Opera House in Covent Garden, La William Berger (Monsieur Javelinot) und Verdis Otello. Seine Aufnahme der Musiker des Orchesters engagieren sich für Monnaie in Brüssel, die Bayerische Staatsoper studierte an der Royal Academy of Music. letztgenannten Oper in der von Mark Elder die Arbeit von ENO Baylis, der Abteilung in München, das Teatro Real in Madrid und Sein professionelles Operndebüt feierte geleiteten Inszenierung von Jonathan Miller für Bildung und Kommunikation. Das ENO die Genfer Oper. er als Ormonte in Händels Partenope auf wird unter der Schirmherrschaft der Peter Orchestra hat an zahlreichen Aufnahmen Sinfonische Konzertverpfl ichtungen haben dem Göttinger Händel-Festival, wo er Moores Foundation demnächst bei Chandos im Rahmen der Chandos-Reihe “Opera in zur Zusammenarbeit mit der Philharmonia, für Mercurio in Atalanta ein weiteres Mal erscheinen, ebenso seine Aufzeichnung des English” mitgewirkt – Lulu, Falstaff, Otello, dem Orchestra of the Age of Enlightenment, engagiert wurde. Zu seinen weiteren Rollen gefeierten Ring-Zyklus unter der Leitung von Ernani, Mary Stuart, Julius Caesar, Der Barbier dem London Philharmonic Orchestra, zählen Don Giovanni für Opera East, Sir Reginald Goodall. Andere Aufnahmen von Sevilla, Rigoletto, La traviata, Werther sowie dem Royal Philharmonic Orchestra, dem Papageno (Die Zauberfl öte) für die British des Chors für Chandos und die Peter Moores eine Einspielung des vollständigen Ring-Zyklus Bournemouth Symphony Orchestra, dem Youth Opera und Oberon in A Summer Foundation sind Falstaff, Maria Stuarda, unter der Leitung von Sir Reginald Goodall. Royal Scottish National Orchestra, der Night’s Dream – einem Mozart-Shakespeare- Giulio Cesare, Rigoletto (Regie: Jonathan Nieder-ländischen Radio-Philharmonie, dem Projekt für Aix-en-Provence. Er ist Mitglied Miller) und La traviata. Paul Daniel wirkte von 1997 bis 2005 als Orchestre de Paris, dem Orchestre National de des “Young Singers Programme” der English Musikdirektor der English National Opera France, dem Orchestre National de Lyon, dem National Opera. Das von Kritikern und Zuhörern und hat in dieser Zeit ein breites Repertoire Tonhallen-Orchester Zürich, dem Göteborger gleichermaßen gefeierte English National dirigiert, darunter vielbeachtete Inszenierungen Sinfonieorchester, dem Orchestre de la Der Chor der English National Opera Opera Orchestra hat in den vergangenen von Wagners Ring, Lulu, Les Troyens, Krieg Suisse Romande, der Deutschen Kammer- ist eine Stütze der gesamten Truppe. Jahren mehrere begehrte Auszeichnungen und Frieden sowie die Welturaufführung von philharmonie, der Los Angeles Philharmonic, In zahllosen Produktionen der English erhalten, darunter den Royal Philharmonic Turnages The Silver Tassie. dem Cleveland Orchestra und der New York National Opera hat er das Publikum mit Society Music Award und den Olivier Award Paul Daniel war von 1987 bis 1990 Philharmonic geführt. 2005 dirigierte er die der Kraft seines Gesangs und der Intensität für herausragende Leistungen auf dem Gebiet Musikdirektor der Opera Factory und hatte international im Fernsehen ausgestrahlte Last seiner Darstellung entzückt. Die weit der Oper. Das Orchester ist das künstlerische von 1990 bis 1997 die gleiche Position an der Night of the Proms in London mit dem BBC gefächerten Talente und Erfahrungen, die die Herzstück der English National Opera und ist Opera North inne, wo sein vielseitiges und Symphony Orchestra.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 54-5554-55 330/7/060/7/06 12:44:4212:44:42 Zu seinen Einspielungen zählen die Sinfonie Nr. 3 von Elgar/Payne mit dem Bournemouth Symphony Orchestra, eine der Musik englischer Komponisten gewidmete CD-Reihe

mit dem Orchester der Opera North und Vaughan © Stephen Mendelssohns Elias mit dem Orchestra of the Age of the Enlightenment. Für Chandos hat er Michael Berkeleys Baa Baa Black Sheep sowie in der Chandos-Reihe “Opera in English” Lulu, Falstaff, Wozzeck, und Highlights aus Boris Godunov. Paul Daniel wurde im Jahr 2000 mit dem Titel eines CBE (Companion of the British Empire) ausgezeichnet.

Catrin Wyn-Davies as Blanche de la Force in English National Opera’s production of The Carmelites

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 56-5756-57 330/7/060/7/06 12:44:4312:44:43 Poulenc: Dialogues des Carmélites au milieu des divertissements du groupe question purement technique de savoir s’il était des Six dont le jeune Poulenc était l’un des capable de maîtriser les longs développements principaux ornements. La liste des ouvrages de thématiques traditionnellement demandés L’unique opéra sérieux de Francis Poulenc fut un élève manifestement très doué. Cependant, compositeurs français vivants à être donnés en par l’opéra. En effet, même dans une œuvre créé en italien à La Scala de Milan le 26 janvier l’accusation d’être un amateur parmi les première française à l’Opéra de Paris et fi gurant aussi récente (et sérieuse) que le Stabat 1957; la première française eut lieu à l’Opéra professionnels mit longtemps à disparaître, encore au répertoire du vingt-et-unième siècle mater de 1953, il a tendance à s’arrêter de Paris le 21 juin de la même année. Derrière et on peut même se demander si c’est la force est d’une lecture bien mélancolique. Avant les et à recommencer après avoir atteint un ces simples statistiques, comme souvent intérieure qu’il tira de son combat contre de Dialogues, il faut remonter jusqu’à Thaïs de point culminant plutôt que de décroître dans le domaine de l’opéra, se trouvent une cette accusation, et en restant lui-même, qui Massenet… en 1894! Aussi en 1957, Poulenc progressivement la tension de la musique. multitude d’espoirs, de diffi cultés, de désirs et lui permit d’envisager et de mener à terme un manifesta peut-être une certaine solidarité avec Un troisième problème était la base de désastres, conduisant fi nalement depuis près sujet d’opéra si peu prometteur. Charles Garnier, mais le risque d’un échec était religieuse de l’histoire. La fi n du dix-neuvième de cinquante ans à ce que l’on peut appeler à Bien que la création mondiale des Dialogues élevé. siècle avait assisté à une énergique campagne de juste titre un triomphe. des Carmélites devait avoir lieu à La Scala, avec Le deuxième élément rendant ce projet peu laïcisation en France, culminant en 1905 avec Né à Paris en 1899 dans un milieu aisé, la garantie d’autres représentations à Naples, probable était Poulenc lui-même. Il avait fait la séparation offi cielle entre l’État et l’Église. Francis Poulenc grandit pendant la période Buenos Aires, Londres et Berlin, Poulenc, en la une des journaux pour la première fois à Quand il s’agissait de mettre en scène un sujet enivrante où Debussy et Ravel remettaient en tant que Parisien écrivant un opéra français l’âge de dix-neuf ans en 1918 avec ses petites religieux, cette séparation n’aidait personne: cause la suprématie musicale de l’Allemagne. sérieux, avait naturellement en vue Paris et pièces pour piano intitulées Trois mouvements les laïcs pouvaient revendiquer que l’Opéra Sa mère était une pianiste remarquable, et spécialement l’Opéra de Paris. Et c’est là le perpétuels, et de nouvelles partitions joviales devrait être un lieu où il leur serait possible l’un des visiteurs réguliers de la famille était le premier élément rendant la réalisation du lui attirèrent la réputation de farceur au cours d’échapper à la religion – un lieu pour des grand ténor lyrique français Edmond Clément, projet peu probable. Quand Charles Garnier des années 1920 – il était connu des critiques histoires d’amour et des récits de bravoure dans célèbre pour son Don José dans Carmen et construisit l’Opéra de Paris dans les années anglais par le surnom de “le leg-Poulenc”. des décors fastueux – et les croyants pouvaient tout particulièrement pour son Des Grieux 1860 et 1870, il parla de “l’impression morale” Cette réputation allait être renforcée par se plaindre que des sujets religieux seraient dans Manon de Massenet. Le père de Poulenc qui devrait frapper les spectateurs: “Ils sentent son brillant opéra comique Les Mamelles de nécessairement entachés dans un tel milieu ayant exigé qu’il suive une éducation classique instinctivement qu’une certaine dignité est Tirésias, créé dans le cadre plus intime de (comme cela se produisit dans de nombreux complète, il se retrouva à la fi n de la Première de circonstance et que trop de laisser-aller l’Opéra-Comique à Paris en 1947. Dans un théâtres à propos de Parsifal; et puisque Guerre mondiale sans formation musicale serait inconvenant.” Une telle conception tel contexte, il n’est pas étonnant que l’idée Thaïs a été mentionné, on peut dire que dans approfondie derrière lui, mais fermement convenait peut-être à l’esprit de la fi n du dix- qu’il s’était engagé dans un grand opéra sérieux ce cas l’aspect religieux ne fait rien d’autre décidé à devenir compositeur. Il prit des leçons neuvième siècle, mais dans les années 1920 traitant de religieuses et d’exécutions devait que de rendre plus intéressante la tension particulières auprès de Charles Koechlin et fut plus tapageuses, le Palais Garnier détonnait surprendre plus d’un. Il y avait également la sexuelle de l’histoire). D’un côté comme de

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 58-5958-59 330/7/060/7/06 12:44:4412:44:44 l’autre, l’ouvrage de Poulenc risquait donc de Mais en mars 1953, il changea d’idée pendant la parfaite identifi cation de la musique avec l’Acte II après sa conversation avec Sœur s’aliéner une bonne partie du public bourgeois une tournée en Italie avec le violoncelliste l’esprit Bernanos qui peut me faire réussir cette Blanche au cours de laquelle elles ont discuté traditionnel du Palais Garnier. Pierre Fournier, et proposa d’écrire un oeuvre. Orchestration très claire pour laisser de la mort affreuse de la première Prieure, Face à ces diffi cultés, il y avait au moins opéra sur un sujet mystique. C’est alors que passer le texte.” que Bernanos introduit le concept spirituel deux facteurs hautement positifs à prendre en Valcarenghi suggéra la pièce de Bernanos. Le soucis de ne pas rater, de saisir “l’esprit du transfert de la grâce: spécifi quement dans compte – tout à fait à part du génie de Poulenc Poulenc raconte: Bernanos”, sans parler du manque de sommeil, le cas présent, la Prieure a peut-être subi et du fait que, outre les jeux d’esprit, il avait “J’étais décidé à examiner la chose plus tard, nous montre que Poulenc avait parfaitement une mort terrible afi n que quelqu’un d’autre également composé des œuvres profondément à mon retour à Paris, lorsque le lendemain, conscience de la diffi culté de la tâche qu’il puisse connaître une mort paisible. Bernanos religieuses telles que les Litanies à la Vierge en plein milieu de la vitrine d’un libraire de s’était imposé. Plus encore, il était conscient développe ici la doctrine catholique selon noire, le Stabat mater et un certain nombre Rome, je découvre les Dialogues qui semblaient que d’une certaine manière, il était en train laquelle les saints forment une communauté de motets. Le premier de ces facteurs était m’attendre. […] J’achetai le livre et décidai de de partager les souffrances des religieuses de spirituelle où chaque membre peut intercéder son propre engagement dans l’histoire, d’une le relire. Pour cela je m’installai Piazza Navona, Compiègne. Son compagnon Lucien Roubert pour les autres, et même pour les pécheurs. intensité qui le surprit peut-être. Ses lettres et à la terrasse du café des Tre Scalini. Il était était atteint d’une maladie de cœur et mourut Les prières pour les morts relèvent d’un d’autres documents nous donnent une idée dix heures du matin. A midi j’y étais encore. en octobre 1955, juste au moment où Poulenc système parallèle, ainsi que la valeur des précise de cette expérience. […] A deux heures, je télégraphiais à M. fi nissait la copie au propre de la partition religieux contemplatifs qui se vouent Georges Bernanos écrivit la pièce, inspirée Valcarenghi, véritable sourcier, que j’écrirais les vocale. Deux mois plus tôt, Poulenc avait écrit entièrement à une vie de prière. Dans le texte d’un roman de Gertrude von Le Fort, pour un Dialogues.” Quelques jours plus tard il écrivit à Bernac: “Je l’ai confi é aux 16 bienheureuses de l’opéra, il n’existe aucun indice pouvant fi lm qui ne fut jamais réalisé. Ses exécuteurs à un ami: “Je crois que c’est un vrai sujet pour Carmélites pour qu’elles protègent sa fi n nous renseigner sur le ou la bénéfi ciaire de testamentaires la découvrirent parmi ses papiers moi. Pourvu que je ne me casse pas… J’ai prié puisqu’il aura été si étroitement mêlé à leur la mort de la Prieure; mais aux paroles de après sa mort, et la fi rent jouer à Zurich en mon patron saint François à Assise avant-hier.” histoire. En effet, j’ai commencé près de Constances “Ça veut dire que…” Poulenc cite 1951. Elle eut trois cents représentations Revenu dans sa propriété de Touraine, lui, dans le bonheur, cette oeuvre à Lyon en le thème en accords de Blanche (emprunté au consécutives à Paris en 1952, et c’est Poulenc était en plein travail à la fi n du mois août 53. Après la grande tourmente que vous premier et au dernier de ses Nocturnes pour probablement l’époque où Poulenc assista à d’août. Il écrivit à son ami le chanteur Pierre savez je viens de l’achever près de lui, dans ses piano). Dans le cas de Poulenc, le transfert deux représentations et lut également la pièce. Bernac: “Les Carmélites sont commencées, je derniers jours de vie terrestre.” Puis il cite ces n’eut aucun effet. La mort de Roubert d’une Cette même année, le directeur des Éditions n’en dors plus (littéralement). […] J’ai le ton paroles cruciales du texte de Bernanos: “On ne maladie cardiaque n’empêcha pas Poulenc Ricordi, Guido Valcarenghi, demanda à de la grande scène Prieure-Blanche [Acte I, meurt pas chacun pour soi… mais les uns à la de mourir quelques années plus tard de la Poulenc d’écrire un ballet pour La Scala. Séduit scène 2] avec une très bonne forme: calme place des autres”. même cause. par l’idée, il commença à réfl échir au choix au début, féroce dans le milieu (règles de C’est dans ces paroles, chantées par Sœur Poulenc évita le danger de devenir d’un saint dont la vie pourrait servir de sujet. l’ordre), à nouveau calme à la fi n. Ce n’est que Constance à la fi n du premier interlude à monotone posé par la large prédominance des

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 60-6160-61 330/7/060/7/06 12:44:4512:44:45 voix de femmes en traitant avec grand soin “mélodisation” de la langue française de L’écrivain Henry de Montherlant admirait frère, 4 annonçant son intention de devenir les tessitures vocales, comme l’indiquent ses Massenet. Quant aux accompagnements de la pièce de Bernanos en raison de son mélange religieuse. lettres. En janvier 1954, il écrivit à Bernac: l’orchestre (et ce sont en effet la plupart du de simplicité et d’extraordinaire. L’opéra de “Sans déranger la musique j’ai réécrit le rôle temps des accompagnements), la régulière Poulenc est, lui aussi, simple et extraordinaire – Scène 2 Le parloir du couvent des Carmélites de Constance qui était trop grave; maintenant pulsation des accords retrouve l’esprit du lied extraordinairement simple, et simplement 5 Prélude. 6 – 7 Quelques semaines plus cela tourne en moyenne entre fa [clef de allemand, et peut-être par-dessus tout celui extraordinaire. tard, la vieille Prieure, Mme de Croissy, sol, espace inférieur] et la [au-dessus de la de Schumann, un compositeur que la mère de © 2006 Roger Nichols interroge Blanche sur les raisons de sa portée].” Un critique avait remarqué à propos Poulenc aimait jouer et que le jeune Francis vocation. 8 Elle la prévient que le couvent ne de la pièce originale que l’apparent défaut écoutait assis sous le piano. peut pas la protéger du monde extérieur; c’est théâtral de l’ouvrage, c’est-à-dire sa succession Le second de ces facteurs positifs conduisant Synopsis une maison de prière. Cependant, Blanche de scènes sans progression psychologique, au succès de l’ouvrage était tout simplement Argument demeure inébranlable et annonce le nom de devient une vertu, car la pièce obtient la le moment de sa création. L’histoire d’une L’action se situe principalement au couvent des Carmélite qu’elle a choisi: Sœur Blanche de souplesse de la vie même avec sa profonde confrontation avec la peur, la mort, et la Camélites à Compiègne, et plus tard à Paris l’Agonie du Christ. réalité derrière chaque épisode, sans imposer destruction d’un mode de vie traditionnel pendant la Révolution française et la Terreur, aucun artifi ce. De la même manière, Poulenc par des forces révolutionnaires ne pouvait 1789 –1794. n’impose rien. Il y a certes des moments que frapper les publics européens pour qui Scène 3 Dans le couvent discordants, mais tous proviennent du texte; la Seconde Guerre mondiale était encore un COMPACT DISC ONE 9 Prélude. 10 Blanche est entrée au couvent Bernanos l’avait considérablement écourté souvenir brûlant. Et tout particulièrement comme novice. Elle rentre des provisions dans le scénario qu’on lui présenta, et Poulenc pour les Français, dont l’expérience pendant Acte I avec Sœur Constance de Saint-Denis, une l’écourta encore davantage. Beaucoup ont l’Occupation avait démontré, peut-être de la Scène 1 La bibliothèque du Marquis de la Force autre jeune novice. Constance lui parle de noté que Poulenc n’a pas suivi la manière de manière la plus effrayante qui soit, jusqu’à quel 1 Le Chevalier de la Force fait irruption ses heureuses années d’enfance dans son mettre les paroles en musique de Debussy point certains de leurs compatriotes pouvaient dans la bibliothèque de son père, inquiet village de Bretagne. Blanche lui reproche (plus récemment, Henri Dutilleux a déclaré s’abaisser devant la menace de la torture et de de savoir où se trouve sa sœur Blanche. La une telle bonne humeur alors que la Prieure que ce style, quoique magistral en lui- l’exécution – un traumatisme dont cette nation rue est envahie par la foule et le carrosse de est en train de mourir. Constance l’invite même, s’est révélé être une impasse pour les n’est peut-être pas encre complètement guérie Blanche aurait été encerclé. 2 Blanche entre. à prier, et à offrir leurs vies en échange de compositeurs d’opéras); au lieu de cela, il soixante ans plus tard. La bonne mort de Elle est saine et sauve mais bouleversée par celle de la Prieure. Blanche est horrifi ée, mais revint au style de Massenet, sans aucun doute Blanche, qu’elle ait été ou non possible grâce son expérience. 3 En allant se coucher, elle Constance affi rme qu’elle a eu depuis toujours avec la voix élégante d’Edmond Clément à la mauvaise mort de la Prieure, présente une est prise de frayeur à la vue d’une ombre sur le pressentiment qu’elle mourra jeune, et dans l’oreille, et à ce que l’on a appelé la image de la France telle qu’elle aimait se voir. le mur, et revient auprès de son père et de son que lorsqu’elle a rencontré Blanche pour la

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 62-6362-63 330/7/060/7/06 12:44:4512:44:45 première fois, elle a eu la prémonition qu’elles Interlude Le jardin du couvent COMPACT DISC TWO religieuses vont être expulsées du couvent. mourront ensemble le même jour. 18 Blanche et Constance ont arrangé une croix 8 La Prieure part pour Paris. Voyant la terreur avec des fl eurs pour la tombe de la prieure. de Blanche, Mère Jeanne lui donne une petite Scène 4 L’infi rmerie Scène 3 Le parloir Constance suggère que l’on ne meurt pas 1 2 statue de l’enfant Jésus, mais les cris de la foule 11 Prélude. 12 La Prieure est sur son lit de Prélude. Le Chevalier tente de persuader pour soi-même, mais pour les autres, et que la font sursauter Blanche, et elle laisse tomber la mort, avec Mère Marie auprès d’elle. Pour la Blanche de quitter le couvent. Leur père Prieure est peut-être morte dans la détresse et la fi gurine qui se brise sur le sol. Prieure, Dieu est devenu une ombre, et toutes estime que ce n’est plus un lieu sûr pour elle; peur afi n que quelqu’un d’autre puisse mourir ses méditations antérieures sur la mort ne lui en sa qualité d’aristocrate et de religieuse, elle Acte III plus facilement. sont d’aucun secours maintenant. Elle est très est doublement en danger à l’approche de la Scène 1 La chapelle du couvent inquiète pour Blanche, et demande à Mère Terreur. Le Chevalier croit que c’est la peur – 9 La chapelle a été profanée. En l’absence Marie de prendre soin d’elle. 13 Blanche entre. ou la peur de la peur – qui la retient au de la Prieure, Mère Marie est responsable des Scène 2 La salle du chapitre La Prieure fait des adieux pleins de tendresse couvent. Blanche déclare qu’elle est dépendante Carmélites, et elle propose qu’elles fassent 19 La nouvelle Prieure, Mme Lidoine, arrive et à la plus jeune de ses fi lles qui est de ce fait sa de la volonté de Dieu, et renouvelle son ensemble vœu de martyre. 10 Le vote est secret, s’adresse aux Carmélites. Elle les avertit que la préférée. Mère Marie revient avec le médecin intention de rester. Une fois le Chevalier parti, mais il y a une dissidente: bien que Blanche sécurité tranquille de leurs jours est maintenant 3 qui refuse de donner d’autres calmants à Blanche est sur le point de défaillir. Mère soit soupçonnée, Constance prétend que c’est terminée et que le futur s’annonce plein la Prieure. 14 – 15 Tandis que son agonie Marie la presse de prendre courage. elle qui a voté contre et demande de pouvoir d’épreuves. Elle leur rappelle que leur devoir s’aggrave, la Prieure commence a délirer. Elle se changer d’avis. Les religieuses prononcent le le plus important est de prier et qu’elles ne Scène 4 La sacristie met à protester contre Dieu, et voit en vision la vœu. Le courage abandonne Blanche, et elle doivent pas aspirer au martyre. 20 Mère Marie 4 Le Père confesseur conduit la prière des chapelle du couvent profanée. Blanche revient s’enfuit. entonne avec elles l’Ave Maria. religieuses. 5 Il fait ses adieux car il est forcé dans la pièce et voit la Prieure mourir dans la de partir de cacher. Mère Marie déclare que Interlude Une rue à l’extérieur du couvent terreur. pour préserver l’Église, les Carmélites doivent 11 La Prieure est revenue de Paris. Un Offi cier Acte II Interlude Une salle dans le couvent s’offrir en sacrifi ce. Mais la Prieure la corrige: s’adresse aux Carmélites: leur communauté Scène 1 La chapelle du couvent, la nuit 21 La Prieure, Mère Marie et Constance ce n’est pas aux religieuses de décider si elles a été proscrite, et il les accueille comme de 16 Blanche et Constance veillent le corps de la entrent précipitamment quand la cloche de la doivent devenir martyres ou non. nouvelles citoyennes de la République. 12 La Prieure. Leur veillée se termine et Constance porte d’entrée retentit. La Révolution gagnant Prieure veut prévenir le Père confesseur qu’il va chercher les religieuses qui doivent les du terrain, le Chevalier de La Force a décidé 6 Le Père confesseur revient précipitamment, est trop dangereux de venir célébrer la messe, remplacer. Restée seule, Blanche est terrifi ée de quitter la France et désire voir Blanche. La cherchant refuge contre la foule et les soldats mais Mère Marie demande comment il est et veut partir. 17 Mère Marie l’intercepte et la Prieure autorise une entrevue entre le frère et la qui se pressent à l’extérieur du couvent. 7 Les possible de concilier une telle précaution avec conduit à sa cellule. sœur en présence de Mère Marie. Commissaires entrent et annoncent que les leur vœu de martyre.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 64-6564-65 330/7/060/7/06 12:44:4612:44:46 Scène 2 La bibliothèque du Marquis de La Force l’exécution. Conduites par la Prieure, elles (Maria Stuarda), Belcore (L’elisir d’amore), a chanté les rôles de Susanna (Le nozze di 13 Prélude. 14 Le père de Blanche a été montent l’une après l’autre à l’échafaud en Lescaut (Manon), Ottakar (Der Freischütz), Figaro), Anne Trulove (The Rake’s Progress), guillotiné et elle est revenue dans sa maison chantant le Salve Regina. Constance est la Marcello (La Bohème), Escamillo (Carmen), Hero (Béatrice et Bénédict), Ilia (Idomeneo), comme bonne. Mère Marie vient pour la dernière à monter. Au même instant, Blanche Ford (Falstaff ), et Don Carlo (Ernani). Il a Gilda (Rigoletto), Zerlina et Donna Elvira (Don reconduire au couvent, mais Blanche est sort de la foule pour se joindre à son amie et également interprété le rôle de baryton dans la Giovanni), Blanche (Dialogues des Carmélites) trop effrayée pour la suivre. Mère Marie lui chante seule jusqu’au moment où, à son tour, co-production de l’English National Opera et et le rôle titre dans L’incoronazione di Poppea. communique une adresse où elle sera en elle meurt sous la guillotine. du Mark Morris Dance Group de L’Allegro, il D’autres prestations importantes incluent le sécurité. penseroso ed il moderato de Haendel. rôle de Zerlina au Festival d’Aix-en-Provence; Traduction: Francis Marchal Ashley Holland s’est également produit à Ilia, Servilia (La clemenza di Tito) et Poppea Scène 3 La prison de la Conciergerie l’Opera North, au Royal Opera de Covent au Bayerische Staatsoper de Munich; Donna 15 Les Carmélites ont été arrêtées et sont Ashley Holland (Marquis de la Force) a fait Garden, au Chicago Lyric Opera, à l’Opéra Elvira, Poppea et Alice Ford (Falstaff ) au emprisonnées à la Conciergerie. La Prieure ses études à l’Université de Warwick puis de Paris-Bastille, à l’Opéra de Cincinnati, à Deutsche Oper am Rhein; et Mélisande dans fait vœu de martyre. 16 Constance a rêvé que au Royal Northern College of Music de l’Opéra de Calgary et à Dresde. Parmi ses la production de l’Opéra du Rhin de Pelléas et Blanche reviendra parmi ses sœurs. Manchester grâce à une bourse de la Peter enregistrements fi gurent Belcore (L’elisir Mélisande à Strasbourg. Aux États-Unis, elle a 17 – 18 Le geôlier annonce le jugement du Moores Foundation. Il s’impose de plus en d’amore) et Ford (Falstaff ) sous la direction de chanté le rôle de Susanna à l’Opéra de Santa Fe Tribunal révolutionnaire: les Carmélites sont plus des deux côtés de l’Atlantique comme Paul Daniels, tous deux dans la série “Opera in et celui de Gretel (Hänsel und Gretel) à l’Opéra condamnées à mort. l’un des jeunes barytons les plus recherchés English” de Chandos. de San Francisco. pour les rôles du répertoire italien du dix- En Grande-Bretagne, Catrin Wyn-Davies Interlude Une rue proche de la Bastille neuvième siècle. Après ses débuts très acclamés Native du Pays de Galles, la soprano Catrin a incarné les rôles de Blanche, Ginevra 19 Mère Marie, apprenant du Père confesseur dans le rôle de Don Pedro dans Maria Padilla Wyn-Davies (Blanche de la Force) a obtenu un (Ariodante) et Tatiana (Eugène Onéguine) la sentence de mort qui frappe les Carmélites, de Donizetti à l’Opéra de Minnesota, il a été diplôme (Drame et Études théâtrales) au Royal à l’English National Opera; Valencienne décide de rejoindre ses sœurs. Mais le prêtre immédiatement réinvité à se produire dans le Holloway College avant d’entreprendre ses (Die lustige Witwe) et la Première Fille-Fleur lui répond que Dieu a peut-être pour elle un rôle d’Orazio dans la nouvelle production de études vocales à la Guildhall School of Music (Parsifal) au Royal Opera de Covent Garden. dessein différent. Orazi e Curiazi de Mercadante. de Londres en 1990. Pendant cette période, Elle a chanté le rôle de Miss Jessel dans le Ashley Holland a été pendant plusieurs elle remporta de nombreux prix parmi lesquels fi lm réalisé par la BBC de l’opéra de Britten Scène 4 La Place de la Révolution, le 17 juillet saisons baryton principal à l’English National le Richard Tauber Prize 1993 et le Decca Prize The Turn of the Screw mis en scène par Katie 1794 Opera où il a chanté les rôles de Zurga lors des Kathleen Ferrier Awards en 1994. Mitchell et dirigé par Richard Hickox. Elle 20 Prélude. 21 Observées par une large foule, (Les Pêcheurs de perles), Sharpless (Madama En 1994 elle est entrée comme soprano s’est produite en concert à travers toute les Carmélites sont menées sur le lieu de Butterfl y), Guglielmo (Così fan tutte), Cecil principale au Welsh National Opera où elle l’Europe sous la direction de chefs tels que

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 66-6766-67 330/7/060/7/06 12:44:4612:44:46 Christoph von Dohnányi, Richard Hickox, Chevalier de la Force (Dialogues des Carmélites) Begbick et Maria Dmitrievna Ahkrosimova John Constable. Felicity Palmer a été nommée Paul McCreesh, René Jacobs, Trevor Pinnock à l’English National Opera. Peter Wedd a (Guerre et Paix). Elle est récemment revenue Commandeur de l’empire britannique (CBE) et Pierre Boulez. également chanté avec l’Opéra de chambre à l’English National Opera pour y interpréter en novembre 1993. Catrin Wyn-Davies a enregistré des œuvres d’Europe et au Théâtre Lyrique de Singapour. Mme de Croissy et Katisha (The Mikado). religieuses de Vivaldi avec le King’s Consort Felicity Palmer mène depuis longtemps Josephine Barstow (Mère Marie) débuta sa sous la direction de Robert King, Der Silbersee Felicity Palmer (Madame de Croissy) est une brillante carrière en concert, notamment carrière en faisant des tournées avec Opera de sous la direction de Markus l’unes des chanteuses aux talents les plus avec le BBC Symphony Orchestra et le for All après quoi elle obtint une bourse pour Stenz, et un album de chansons populaires de remarquables de notre temps, montrant la New York Philharmonic sous la direction de étudier pendant un an au London Opera Beethoven avec Malcolm Martineau. même aisance dans des musiques aussi diverses Pierre Boulez, Sir Colin Davis et Gennady Centre. Elle chanta Euridice et Violetta au que celles de Haendel, Wagner et Luciano Rozhdestvensky; l’English Chamber Orchestra Sadler’s Wells Opera puis signa un contrat de Peter Wedd (Chevalier de la Force) a étudié Berio. sous la direction de Sir Charles Mackerras; le trois ans avec la Welsh National Company à la Guildhall School of Music and Drama Au Metropolitan Opera de New York, elle London Symphony Orchestra sous la direction où elle interpréta les rôles de la Comtesse (Le de Londres avec William McAlpine puis au a incarné Fricka et Waltraute dans des cycles de Michael Tilson Thomas; le Philharmonia nozze di Figaro), Fiordiligi, Violetta, Mimì, National Opera Studio grâce au soutien de la du Ring, la Comtesse (La Dame de Pique), Orchestra et le Royal Philharmonic Orchestra Amelia (Simon Boccanegra) et Elisabeth Peter Moores Foundation. Il fut ténor principal Geneviève (Pelléas et Mélisande) et Mme sous la direction de Giuseppe Sinopoli; le (Don Carlos). Après avoir chanté Violetta au Royal Opera de Covent Garden de 1999 à de Croissy (Dialogues des Carmélites). À La Concentus Musicus de Vienne sous la direction (La traviata) à l’English National Opera, 2001. Il est régulièrement invité par le Welsh Scala de Milan, elle a interprété Mme de de Nicolaus Harnoncourt; l’Orchestre du elle commença une longue et très heureuse National Opera où il a chanté les rôles de Don Croissy et Klytemnestra (Elektra); à Chicago Concertgebouw sous la direction d’Edo De collaboration avec cette compagnie. Parmi José (Carmen), Tamino (Die Zauberfl öte), Don la Comtesse, Kabanicha (Katya Kabanova) et Waart; le Boston Symphony Orchestra sous la ses meilleurs rôles, on citera Natacha (Guerre Ottavio (Don Giovanni), Alfredo (La traviata) Madame Begbick (Aufstieg und Fall der Stadt direction de Raphael Frühbeck de Burgos et le et Paix), Salome, Elisabeth (Don Carlos), et Lacˇa (Jenu˚fa). Mahagonny); à San Francisco Giulio Cesare; à Los Angeles Philharmonic sous la direction de Leonora (La forza del destino), Leonore Parmi ses autres prestations en Grande- Munich, Eduige (Rodelinda) et Klytemnestra; Sir Simon Rattle. (Fidelio), Jeanne (Les Diables de Loudon), Bretagne et en Irlande, on citera les rôles à Berlin, La Zia Principessa (Suor Angelica) et Felicity Palmer a réalisé de nombreux Katarina (La Lady Macbeth de Mtsensk), de Federico (L’Arlesiana) et Pluto (Orphée Klytemnestra; à Glyndebourne, Zita (Gianni enregistrements parmi lesquels Le Rossignol de Tosca, Sieglinde, Senta, Emilia Marty aux enfers) avec l’Opera Holland Park, au Schicchi) et Mistress Quickly (Falstaff ); au Stravinski et les Poèmes pour Mi de Messiaen (L’Affaire Makropoulos), la Maréchale et Festival de Wexford, Rodolfo (La Bohème) Royal Opera de Covent Garden, elle a chanté sous la direction de Pierre Boulez, des Arabella. Elle s’est régulièrement produite au au Royal Albert Hall de Londres, Tamino Mrs Lovett (Sweeney Todd), Juno (Semele) pièces vocales de Benjamin Britten et deux Royal Opera de Covent Garden dans des rôles avec Glyndebourne On Tour, Lensky (Eugène et Klytemnestra, et à Paris Klytemnestra, la disques consacrés à des mélodies de l’époque tels que la jeune femme dans We come to the Onéguine) avec l’Opera Holland Park et le Comtesse, Mme de Croissy, Zita, Madame victorienne et édouardienne avec le pianiste River de Henze, Salome, Ellen Orford, Helena

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 68-6968-69 330/7/060/7/06 12:44:4712:44:47 (A Midsummer Night’s Dream), Santuzza, Music de Dublin où elle a étudié le chant avec Onéguine) avec l’European Union Opera, également produite dans les rôles de Tytania Leonore, Alice, Lady Macbeth et la Comtesse Mary Brennan. Elle a reçu de nombreux prix également enregistré sur DVD. au Théâtre de La Monnaie de Bruxelles; Bella (La Dame de Pique). parmi lesquels la Veronica Dunne Bursary, En concert, Orla Boylan s’est produite (The Midsummer Marriage) sous la direction Josephine Barstow a voyagé dans le monde le Ibla Grand Prize et celui de la National dans Das Klagende Lied de Mahler avec le de Richard Hickox au St Endellion Festival; entier, chantant un répertoire varié incluant Mozart Competition. RTÈ National Symphony Orchestra sous la Pretty Polly dans Punch and Judy de Birtwistle Verdi, Richard Strauss, Puccini et Janácˇek, et Ses récentes prestations incluent les rôles de direction de Laurent Wagner; le Requiem de au Teatro Nacional San João d’Oporto; la se produisant sur les scènes lyriques de Paris, Madame Lidoine (Dialogues des Carmélites) Verdi à la cathédrale Saint-Paul de Londres Gouvernante dans The Turn of the Screw Munich, Vienne, Bayreuth, Berlin, New York, à l’English National Opera; Donna Anna avec le Royal Philharmonic Orchestra; l’Acte de Britten lors de la tournée en Russie du Chicago, San Francisco, Houston, Buenos (Don Giovanni) au New York City Opera; III de Die Walküre avec l’English National British Council; Elsie Maynard (The Yeomen Aires, Hong Kong, en Afrique du Sud, au la Deuxième Symphonie de Mahler avec Opera lors du Festival de Glastonbury en of the Guard) et Gianetta (The Gondoliers) Japon et en Australie. l’Orchestre national symphonique d’Estonie 2004; la création de Bitter Tears of Petra von avec le Phoenix Opera; et Barbarina (Le Josephine Barstow a connu une sous la direction de Paavo Järvi et un récital à Kant de Gerald Barry avec le RTÈ National nozze di Figaro) avec l’Opera Holland collaboration fructueuse avec l’Opera North Harewood House à Leeds. Symphony Orchestra, et ses débuts aux BBC Park. Elle a chanté à la Royal Academy of où elle a chanté les rôles de Tosca, Marie Sur scène, Orla Boylan a incarné le rôle Proms de Londres dans le rôle d’Anna dans Music de Londres le rôle titre dans Le Petit (Wozzeck), Aida, Medea, Lady Billows, et de Jenu˚fa au Festival de Glyndebourne et à Street Scenes de Kurt Weill sous la direction de Renard rusé sous la direction de Sir Charles peut-être plus notablement Gloriana, qui fut l’Opéra de Lyon; elle a fait ses débuts dans Barry Wordsworth. Mackerras, Zerlina dans Don Giovanni sous également fi lmé. Ses récents engagements le rôle d’Arabella au Garsington Opera; elle la direction de Sir Colin Davis, Drusilla incluent Kabanicha (Katya Kabanova) à a chanté dans le Chœur de Femmes (The Née à Londres, Sarah Tynan (Sœur dans L’incoronazione di Poppea, et le Feu et le San Diego, Kostelnicˇka (Jenu˚fa) à Anvers Rape of Lucretia) et Sieglinde à l’English Constance) a étudié au Royal Northern Rossignol dans L’Enfant et les sortilèges. et Oviedo, et Mère Marie (Dialogues des National Opera; la Gouvernante (The College of Music de Manchester et avec En concert, Sarah Tynan a interprété le Carmélites) à l’English National Opera. Turn of the Screw) à Angers Nantes Opéra; Penelope Mackay à la Royal Academy of rôle d’Eleanora dans Prima la musica de Sa discographie inclut les rôles de Marie la Comtesse (Le nozze di Figaro) au New Music de Londres où elle a obtenu le Queen’s Salieri et celui de Mlle Silberklang dans (Wozzeck) et Kostelnicˇka (Jenu˚fa) dans la série York City Opera; le rôle titre dans Katya Commendation for Excellence. Der Schauspieldirektor de Mozart avec le “Opera in English” de Chandos, ainsi que Un Kabanova pour ses débuts au Festival de Depuis son entrée à l’English National City of London Sinfonia sous la direction ballo in maschera, Gloriana, Albert Herring, Glyndebourne; Marˇenka (La Fiancée vendue) Opera, elle a interprété les rôles de Tytania de Richard Hickox, le Requiem de Mozart Kiss me Kate, Oliver et Street Scene. avec le Glyndebourne Touring Opera; le rôle (A Midsummer Night’s Dream), Papagena sous la direction de Sir Roger Norrington au titre dans la première production scénique en (Die Zauberfl öte), Iphis (Jephtha), Atalanta Spitalfi elds Festival, la Deuxième Symphonie Née en Irlande, Orla Boylan (Madame Angleterre de Die Liebe der Danae de Strauss (Xerxes), Yum-Yum (The Mikado) et Sœur de Mahler avec l’Orchestre symphonique Lidoine) est diplômée du D.I.T. College of au Garsington Opera; et Tatiana (Eugène Constance (Dialogues des Carmélites). Elle s’est des Pays-Bas sous la direction de Jaap van

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 70-7170-71 330/7/060/7/06 12:44:4712:44:47 Zweden, le Messie de Haendel avec le Halle Anna (The Trojans at Carthage), Ascagne (Les Duc (Chérubin) à Covent Garden et Monte- fan tutte) avec Opéra à la carte. Il a fait ses Orchestra et en tournée en Chine avec le Troyens), Ino (Semele), et Pitti-Sing dans The Carlo; Monostatos à Santa Fe; Basilio (Le débuts à l’English National Opera dans le rôle London Philharmonic Orchestra. Elle a Mikado (à l’English National Opera où elle est nozze di Figaro) à l’Opéra de Nice, au New du Novice dans Billy Budd de Britten. également chanté le rôle de Barbarina dans membre du Young Singers Programme), Pippo Israeli Opera, à l’Opéra des Pays-Bas et à l’enregistrement de Le nozze di Figaro pour la (La Pie voleuse à l’Opera North), les rôles Glyndebourne; Dr Caius (Falstaff ) en Israël; Né dans le Berkshire, Roland Wood série “Opera in English” de Chandos. titres dans Ariodante et La Cenerentola (Opera Gaudenzio dans La Bohème de Leoncavallo (Deuxième Commissaire) a étudié au Royal Theatre Company). Sa discographie inclut à l’English National Opera; Monostatos à Northern College of Music de Manchester Jane Powell (Sœur Jeanne) a étudié à la Royal les rôles de Zulma (Elvida) et Abra (Il diluvio Covent Garden; Hauk-Sendorf (L’Affaire puis au National Opera Studio (grâce au Academy of Music de Londres, et poursuit universale) pour Opera Rara. Makropoulos) au ; et soutien de la Peter Moores Foundation) actuellement sa formation avec Lyn Cook. Elle Basilio au Chicago Lyric Opera. et à l’English National Opera. Parmi ses a chanté les rôles de Cherubino (Le nozze di Né dans le Sud du Pays de Galles, Ryland engagements fi gurent les rôles du Comte Figaro), la Deuxième Dame (Die Zauberfl öte), Davies (le Père confesseur) a étudié au Royal Né dans l’Essex, James Edwards (Premier Almaviva (Le nozze di Figaro) avec l’Opera et la Princesse Linette dans la production de la Manchester College of Music dont il devint Commissaire) a d’abord été choriste à la Holland Park, Nick Shadow (The Rake’s BBC Television de L’Amour des trois oranges. Au “Fellow” en 1971. Après ses débuts à l’opéra cathédrale Saint-Paul de Londres, puis Progress) à Glyndebourne, et le Baron Royal Opera de Covent Garden elle a tenu des en 1964 dans le rôles du Comte Almaviva (Il a continué sa formation vocale au Royal Douphol (La traviata) à l’English National rôles dans Salome, Der Freischütz, Werther et barbiere di Siviglia au Welsh National Opera), Northern College of Music de Manchester Opera. Simon Boccanegra. Jane Powell a fait partie de il fi t ses débuts au Festival de Glyndebourne et à la Royal Academy of Music de Londres. De 2002 à 2004 Roland Wood a été la production originale de la comédie musicale en 1965 dans le rôle du Majordome (Der Il est membre du “Royal Opera’s Young baryton principal au Scottish Opera où il a Chess donnée dans le West End à Londres, et Rosenkavalier), et fut par la suite réinvité à se Artists Programme” depuis septembre 2003, incarné les rôles de Falke (Die Fledermaus), a participé à de nombreux enregistrements produire dans de nombreux rôles. À Covent et a chanté des rôles tels que Nicolios (The Marullo (Rigoletto), Schaunard (La Bohème) d’opéras et de comédies musicales. Depuis son Garden, il a incarné entre autres Don Ottavio, Greek Passion), Pong (Turandot), Gastone (La et Papageno (Die Zauberfl öte). Il a participé à entrée à l’English National Opera, elle a chanté Don Giovanni, Ferrando, Ernesto (Don traviata), et Albazar (Il turco in Italia). plusieurs enregistrements réalisés par Chandos plusieurs rôles. Pasquale), Fenton (Falstaff ) et Lysander Parmi les autres rôles de James Edwards et Opera Rara. (A Midsummer Night’s Dream). fi gurent Alfredo (La traviata) et Dancaïro Anne Marie Gibbons (Sœur Mathilde) a Plus récemment, Ryland Davies a chanté (Carmen) avec l’Opéra de chambre d’Europe; Toby Stafford-Allen (Premier Offi cier) a étudié au Royal Northern College of Music dans Turandot à l’Opéra de Genève; Arbace Alfred (Die Fledermaus), Ralph Rackstraw étudié au Royal Northern College Music de de Manchester grâce au soutien de la Peter (Idomeneo) et Monostatos (Die Zauberfl öte) (HMS Pinafore) et Prosper (Not in front of the Manchester, et a fait ses débuts internationaux Moores Foundation. Elle a récemment au Metropolitan Opera de New York, à Waiter) avec le Kentish Opera; Rodolfo (La dans le rôle de Guglielmo (Così fan tutte) au chanté les rôles de Dorabella (Così fan tutte), l’Opera North et au Garsington Opera; le Bohème) avec le Surrey Opera et Ferrando (Così Festival d’Aix-en-Provence. Après avoir été

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 72-7372-73 330/7/060/7/06 12:44:4812:44:48 engagé dans le Young Singers Programme de Welsh National Opera, Marullo (Rigoletto) au Festival Haendel de Göttingen où il a été la Peter Moores Foundation, tout comme l’English National Opera, il est aujourd’hui à l’English National Opera, et d’autres rôles réinvité pour y chanter Mercurio (Atalanta). leur enregistrement combien célèbre du cycle baryton principal dans cette compagnie où il a au Festival de Buxton et à l’Opera Zuid. Parmi ses autres rôles fi gurent Don Giovanni du Ring dirigé par Sir Reginald Goodall. chanté des rôles importants tels que Gugliemo Parmi ses enregistrements on citera un album (Opera East), Papageno (Die Zauberfl öte avec Il sont aussi enregistré pour Chandos, en (Così fan tutte), Papageno (Die Zauberfl öte), d’extraits du Messie de Haendel avec le London le British Youth Opera) et Oberon (A Summer collaboration avec la Peter Moores Foundation, Schaunard (La Bohème), et Henry (The Fairy Symphony Orchestra. Night’s Dream – projet Mozart/Shakespeare, Falstaff, Maria Stuarda, Giulio Cesare, Rigoletto Queen). Aix-en-Provence). Il est membre du Young (dans la mise en scène de Jonathan Miller) et Parmi ses autres engagements en Grande- Gary Coward (Thierry) est diplômé du Royal Singers Programme de l’English National La traviata. Bretagne fi gurent le rôle de Papageno avec le College of Music de Londres. Il a également Opera. Glyndebourne Touring Opera, Belcore (L’elisir étudié à la Guildhall School of Music and dAcclamé par la critique comme par le d’amore) et Schaunard avec l’Opera Holland Drama et à la Britten–Pears School for Le Chœur de l’English National Opera est public, l’Orchestre de l’English National Park. À l’étranger, il a chanté Henry (The Fairy Advanced Musical Studies. l’un des plus beaux atouts de cette compagnie Opera a reçu plusieurs prix prestigieux au Queen) au Teatro del Liceu de Barcelone, Mars Il s’est produit avec des compagnies lyriques lyrique. Remarquable autant pour la puissance cours de ces dernières années, notamment et Euro dans Il Pomo d’oro de Cesti au Festival telles que Opera Brava, Kentish Opera, de son chant que l’intensité de son jeu, cet le Royal Philharmonic Society Music Award de Batignano, et Schaunard au Bregenzer Pavilion Opera, London Opera Players, ensemble a enthousiasmé le public dans et un Olivier Award pour sa contribution Festspiele. Il a enregistré le rôle de Morales l’English Touring Opera et le Scottish Opera, d’innombrables productions de l’English remarquable dans le domaine de l’opéra. (Carmen) pour la série “Opera in English” de dans des rôles importants de Mozart, Donizetti National Opera. Ces choristes, riches d’une Cet orchestre est au cœur de la vie artistique Chandos. et Rossini; il a chanté dans des opérettes de vaste expérience et d’une multitude de de l’English National Opera et, outre des Strauss et Lehár, et plus fréquemment dans talents, marquent de leur sceau toutes les représentations lyriques au Coliseum de Né à Aberdeen, David Stephenson (Geôlier) des ouvrages de Puccini (Marcello, Sharpless représentations auxquelles ils participent. Londres, il s’est produit en concert, au Festival a fait des études d’ingénieur électricien avant et Scarpia) et Verdi (Renato, Don Carlo, Ford, Le Chœur a triomphé entre autres dans d’Aldeburgh (Peter Grimes et Le Viol de d’entrer au Royal College of Music de Londres. Iago, Di Luna, Germont Père, Amonastro Guerre et paix de Prokofi ev, Lady Macbeth Lucrèce) et à Glastonbury en 2004 (Acte III Il a chanté les rôles d’Angelotti (Tosca) à et Rigoletto). Gary Coward est membre de de Mtsensk de Chostakovitch, Billy Budd et de La Walkyrie de Wagner). Un grand nombre l’Opéra d’Irlande, Malatesta (Don Pasquale) l’English National Opera. Peter Grimes de Britten, Boris Godounov de d’instrumentistes participent au travail de et Johann (Werther) au Festival de Wexford, Moussorgsky, Carmen de Bizet et Otello de l’ENO Baylis, département de pédagogie et Morales (Carmen) au Royal Albert Hall William Berger (M. Javelinot) a étudié à la Verdi. Leur enregistrement de ce dernier d’assistance de la troupe. L’Orchestre de l’ENO de Londres, Papageno (Die Zauberfl öte) Royal Academy of Music de Londres. Il a fait opéra, dans une mise en scène de Jonathan apparaît dans beaucoup d’enregistrements et Guglielmo (Così fan tutte) au Scottish ses débuts professionnels à l’opéra dans le Miller et sous la direction de Mark Elder, est réalisés dans le cadre de la série de Chandos Opera, Silvio (Pagliacci) et Papageno au rôle d’Ormonte dans Partenope de Haendel sorti chez Chandos grâce au fi nancement de “Opera in English”: Lulu, Falstaff, Otello,

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 74-7574-75 330/7/060/7/06 12:44:4812:44:48 Ernani, Mary Stuart, Jules César, Le Barbier de Londres, le Royal Philharmonic de Séville, Rigoletto, La traviata, Werther et un Orchestra, l’Orchestre symphonique de cycle complet de la Tétralogie sous la direction Bournemouth, le Royal Scottish National de Sir Reginald Goodall. Orchestra, l’Orchestre philharmonique de

la Radio néerlandaise, l’Orchestre de Paris, Vaughan © Stephen Paul Daniel a été directeur musical de l’Orchestre National de France, l’Orchestre l’English National Opera entre 1997 et 2005; National de Lyon, l’Orchestre de la Tonhalle il y a dirigé un large répertoire comprenant de Zürich, l’Orchestre symphonique de notamment des productions remarquables de Göteborg, l’Orchestre de la Suisse romande, la la Tétralogie, Lulu, Les Troyens, Guerre et Paix Deutsche Kammerphilharmonie, l’Orchestre et la création mondiale de The Silver Tassie de philharmonique de Los Angeles, l’Orchestre Turnage. de Cleveland et l’Orchestre philharmonique Il a été directeur musical d’Opera Factory de New York. En 2005, il a dirigé le BBC entre 1987 et 1990 et d’Opera North entre Symphony Orchestra lors de la Dernière Soirée 1990 et 1997, où il a été salué par la critique des Proms à Londres, concert télévisé dans le pour son répertoire diversifi é et d’un abord monde entier. diffi cile comprenant plusieurs créations Parmi ses enregistrements fi gurent mondiales, ainsi que des productions fameuses la Symphonie no 3 d’Elgar/Payne avec de Pelléas et Mélisande, Don Carlos et Boris l’Orchestre symphonique de Bournemouth, Godounov. une série de CD de musique anglaise avec Parmi ses autres engagements lyriques, on l’Orchestre d’Opera North et Elias avec peut citer le Royal Opera House de Covent l’Orchestra of the Age of Enlightenment. Pour Garden, la Monnaie de Bruxelles, l’Opéra Chandos, il a enregistré Baa Baa Black Sheep d’État bavarois de Munich, le Teatro Real de de Michael Berkeley et, dans le cadre de la série Madrid et le Grand Théâtre de Genève. de Chandos “Opera in English”, Lulu, Falstaff, Dans le domaine symphonique, il a dirigé Wozzeck, et des extraits de Boris Godounov. le Philharmonia, l’Orchestra of the Age of Paul Daniel a été fait Commandeur de Enlightenment, l’Orchestre philharmonique l’Ordre de l’Empire britannique en l’an 2000. Josephine Barstow as Mother Marie in English National Opera’s production of The Carmelites

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 76-7776-77 330/7/060/7/06 12:44:4912:44:49 L’elenco di opere dei compositori francesi alla sua tendenza a raggiungere il culmine non Poulenc: Le Carmelitane viventi la cui prima era stata allestita nel teatro seguiva una graduale conclusione, ma una e ancora in repertorio nel ventunesimo secolo semplice fermata, prima di ripartire. La prima rappresentazione dell’unica opera molto tempo per scrollarsi di dosso l’etichetta è deludente. Prima delle Carmelitane bisogna Un terzo problema era la natura religiosa seria di Poulenc fu allestita alla Scala di di dilettante tra i professionisti. Si può risalire alla Thaïs di Massenet… nel 1894! Così della storia. Il tardo Ottocento era stato Milano il 26 gennaio 1957 (in italiano); la addirittura ipotizzare che fu proprio la forza nel 1957, per quanto Poulenc potesse accettare testimone di una vigorosa campagna a favore prima francese si svolse all’Opéra di Parigi, interiore derivata dagli sforzi per combattere l’ideale di Garnier Poulenc, il rischio di un del laicismo in Francia, culminata nel 1905 il 21 giugno dello stesso anno. Ma dietro le quest’accusa e rimanere indipendente a fi asco era elevato. con la separazione uffi ciale tra Chiesa e Stato. semplici date, come spesso accade per l’opera, consentirgli di ideare e realizzare questo Una seconda diffi coltà stava nella persona Nella rappresentazione dei temi religiosi si nascondono tutte le speranze, i problemi, i improbabile soggetto operistico. dello stesso Poulenc, che si era messo in luce nel teatro pubblico, questa separazione desideri e i disastri che produssero infi ne quello Per quanto la prima mondiale scaligera delle inizialmente a diciannove anni, nel 1918, con non favoriva nessuno: i fautori del laicismo che a quasi cinquant’anni di distanza può a Carmelitane garantisse altre rappresentazioni i suoi brevi componimenti per pianoforte dal sostenevano che l’Opéra dovesse essere un buon diritto defi nirsi un trionfo. a Napoli, Buenos Aires, Londra e Berlino, nel titolo Trois mouvements perpétuels; altre opere luogo in cui potersi allontanare dalla religione Nato a Parigi nel 1899, Francis Poulenc mirino del compositore parigino di un’opera divertenti negli anni Venti gli avevano dato – un luogo per opulenti spettacoli imperniati si formò durante il diffi cile periodo che vide francese seria rimanevano naturalmente una reputazione di farceur. I critici inglesi lo su storie d’amore e gesta audaci – e i credenti Debussy e Ravel sfi dare la supremazia musicale Parigi e, in particolare, l’Opéra. Ma qui stava avevano soprannominato “le leg-Poulenc” si lamentavano che i soggetti religiosi venissero della Germania. Il compositore era di famiglia la prima diffi coltà. Quando aveva costruito [Poulenc il burlone, n.d.t.], una reputazione inevitabilmente rovinati in un ambiente agiata e sua madre era una pianista di talento; l’Opéra, nei decenni del 1860 e del 70, Charles cementata dalla splendida opera comica Les del genere (come accadde in molti teatri a un visitatore regolare della sua casa fu il grande Garnier aveva dichiarato che gli spettacoli Mamelles de Tirésias, la cui prima ebbe luogo proposito del Parsifal; e dal momento che si è tenore lirico francese Edmond Clément, avrebbero dovuto colpire gli spettatori per presso l’Opéra-Comique di Parigi nel 1947. parlato della Thaïs, in base ad alcuni elementi rinomato per l’interpretazione del Don José la loro forza morale: “la sensazione istintiva L’idea di un profondo coinvolgimento del si potrebbe sostenere che in quel dramma nella Carmen e in particolar modo per quella è che sia necessaria una certa dignità e compositore in una grande opera seria, che l’aspetto religioso serve solo ad acuirne i risvolti di Des Grieux nella Manon di Massenet. sarebbe inappropriato lasciarsi andare a parlava di suore ed esecuzioni, fu sicuramente sessuali). In un modo o nell’altro l’opera di Poulenc padre impose al fi glio un’educazione un’eccessiva mancanza di formalità”. Questo una sorpresa per molti. Inoltre esisteva anche Poulenc quindi rischiava di alienarsi una buona tradizionale, e così il giovane uscì alla fi ne era probabilmente ideale per il periodo di fi ne la questione puramente tecnica della capacità sezione del pubblico della tradizionale classe della prima Guerra mondiale senza veri studi Ottocento, ma nei più brillanti anni Venti, di Poulenc di affrontare l’ampio respiro che media. musicali, ma deciso a fare il compositore. l’Opéra sembrava del tutto irraggiungibile richiedeva il tradizionale materiale dell’opera Rispetto a questi problemi, esistevano Studiò privatamente con Charles Koechlin e per l’allegro Gruppo dei Sei, di cui il giovane lirica. Anche in una delle sue ultime (e serie) almeno due fattori altamente positivi da tenere imparò molto in fretta, ma gli fu necessario Poulenc fu uno dei principali componenti. composizioni come lo Stabat mater del 1953, in considerazione, a parte il genio di Poulenc

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 78-7978-79 330/7/060/7/06 12:44:5012:44:50 e il fatto che, oltre ai jeux d’esprit, avesse al “Avevo deciso di pensare all’idea in seguito, La preoccupazione di non farne “un spirituale del trasferimento della grazia: suo attivo anche composizioni di profondo al mio ritorno a Parigi, ma il giorno dopo, nel pasticcio”, di cogliere “lo spirito di Bernanos”, in particolare, qui, la terribile morte della sentimento religioso, come le Litanies à la bel mezzo della vetrina di una libreria di Roma, per non parlare dell’insonnia, dimostrano Priora potrebbe servire a facilitare quella Vierge noire, lo Stabat mater e diversi mottetti. vidi i Dialoghi che sembravano lì ad aspettarmi. che Poulenc era ben cosciente della diffi coltà di un’altra persona. Questo per Bernanos è Il primo di questi fattori fu la convinzione Comprai il libro e decisi di rileggerlo. Così del compito che si era prefi sso. Soprattutto un prolungamento della dottrina cattolica con cui affrontò la storia, cosa che forse mi misi a sedere fuori, a un tavolino del era consapevole di condividere in altri modi secondo cui i santi costituiscono una sorprese persino lo stesso compositore, come caffè Tre scalini di Piazza Navona. Erano le le sofferenze delle suore di Compiègne. Il comunità spirituale all’interno della quale testimoniano alcune lettere e scritti. dieci di mattina. A mezzogiorno ero ancora suo amante Lucien Roubert era ammalato ciascuno può intercedere per gli altri, La sceneggiatura era fi rmata da George lì. Alle due inviai un telegramma al signor di cuore e morì nell’ottobre 1955, proprio e persino per i peccatori. Le preghiere Bernanos, ispirata a un romanzo di Gertrude Valcarenghi, il vero creatore del progetto, per mentre Poulenc stava terminando la bella per i morti appartengono a un sistema von Le Fort e destinata a un fi lm mai dirgli che avrei composto i Dialoghi”. Qualche copia della partitura vocale. In agosto Pulenc di fede parallelo, come il valore di chi realizzato. Dopo la morte dello scrittore, giorno dopo scrisse a un amico: “Credo che il aveva scritto a Bernac: “L’ho affi dato alle dedica la propria vita alla preghiera e alla l’esecutore testamentario la trovò tra le sue soggetto sia fatto per me. Purché non ne faccia 16 Carmelitane benedette, che assistano la contemplazione religiosa. Nel testo dell’opera carte e l’allestì a Zurigo nel 1951. Ci furono un pasticcio… Ho pregato l’altro ieri il mio sua morte, dal momento che lui è rimasto non viene fornita alcuna allusione sull’identità 300 rappresentazioni consecutive a Parigi nel patrono, San Francesco d’Assisi”. così strettamente legato alla loro storia. Ho della persona la cui morte sarebbe facilitata 1952, e presumibilmente fu allora che Poulenc Alla fi ne di agosto Poulenc, di ritorno nella iniziato a lavorare felice, accanto a lui, a Lione da quella della Priora; ma alle parole di ne seguì due e lesse il testo del dramma. sua casa di campagna nella Touraine, era già nell’agosto 1853. Dopo il terribile tormento Constance, “Direi che potrebbe esserci una Quello stesso anno, il direttore della casa al lavoro. Scrisse al cantante Pierre Bernac, di cui sapete, l’ho appena completata vicino a persona quando sta per morire…” Poulenc editrice Ricordi, Guido Valcarenghi, si era suo amico: “Ho iniziato le Carmelitane e lui, negli ultimi giorni della sua vita terrena”. accenna al tema dell’accordo di Blanche rivolto a Poulenc per chiedergli un balletto non dormo più (letteralmente). Ho trovato E qui cita delle frasi fondamentali dal testo (preso in prestito dal primo e ultimo dei suoi per la Scala; inizialmente il compositore era il tono della grande scena tra la priora e di Bernanos: “Non moriamo solo per noi Notturni per pianoforte). Nel caso di Poulenc, rimasto entusiasta dell’idea e aveva iniziato a Blanche [Atto I, scena 2], che ha un’ottima stessi, ma gli uni per gli altri, o probabilmente il trasferimento non si verifi cò. La morte di pensare a un santo la cui vita potesse essere forma: calmo all’inizio, ardente nel mezzo addirittura gli uni al posto degli altri. Roubert per problemi cardiaci non impedì utilizzata come soggetto. Ma nel marzo 1953, (regole dell’Ordine), poi nuovamente calmo Chissà?”. quella di Poulenc, avvenuta qualche anno durante una tournée con il violoncellista alla fi ne. È solo l’identifi cazione assoluta della È in queste battute, cantate da suor dopo per la stessa causa. Pierre Fournier, cambiò idea e invece propose musica con lo spirito di Bernanos che può Constance alla fi ne del primo interludio Il compositore affrontò il pericolo della un’opera di argomento mistico. Fu Valcarenghi decretare il successo di questo mio lavoro. dell’Atto II, dopo la conversazione con suor monotonia rappresentato dal predominio a suggerire il dramma di Bernanos. Ecco come Un’orchestrazione molto leggera per dare Blanche sulla terribile morte della prima delle voci femminili curando molto le gamme Poulenc narra la storia: risalto alle parole”. Priora, che Bernanos introduce il concetto vocali, come testimoniano le sue lettere.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 80-8180-81 330/7/060/7/06 12:44:5012:44:50 Nel gennaio 1954 disse a Bernac: “Senza per lo più di accompagnamenti), gli accordi Anche l’opera di Poulenc è semplice e Scena 2 Il parlatorio del convento delle sconvolgere la musica, ho riscritto il ruolo regolari richiamano i lieder tedeschi e forse straordinaria – straordinariamente semplice, e Carmelitane di Constance, che era troppo basso: adesso soprattutto Schumann, molto amato dalla semplicemente straordinaria. 5 Preludio. 6 – 7 Alcune settimane dopo per lo più si colloca tra il fa [sopra il do madre di Poulenc che ne eseguiva spesso i l’anziana priora, Madame de Croissy, fa © 2006 Roger Nichols centrale] e il la [sopra il rigo della chiave di brani, mentre il giovanissimo compositore domande a Blanche sulla sua vocazione violino]”. Del dramma originale, un critico ascoltava da sotto il pianoforte. 8 e l’ammonisce che il convento non può sottolineò che “l’apparente difetto teatrale Il secondo dei fattori positivi che proteggerla dal mondo esterno; è una casa di Sinossi dell’opera – una successione di scene senza condussero al successo dell’opera fu preghiera. La decisione di Blanche rimane salda Trama alcun progresso psicologico – fu trasformato semplicemente la scelta del momento. Il dopo il colloquio e la donna dichiara il nome La vicenda si svolge principalmente nel convento in virtù, e così il dramma acquistò l’elasticità modo di affrontare la paura e la morte e la di carmelitana che ha scelto: suor Blanche delle Carmelitane di Compiègne e più tardi della vita stessa, dove la suprema realtà è storia della distruzione di un modo di vivere dell’agonia di Cristo. a Parigi durante la rivoluzione francese e i visibile dietro ciascun episodio, mai imposta provocata dalle forze rivoluzionarie fece successivi anni del Terrore, 1789–94. artifi cialmente”. Analogamente, Poulenc inevitabilmente colpo sul pubblico europeo in non impone nulla. Ci sono momenti di un periodo in cui quello della seconda Guerra dissonanza, certo, ma scaturiscono tutti dal mondiale era un ricordo anche troppo vivo. COMPACT DISC ONE Scena 3 Interno del convento testo, drasticamente tagliato da Bernanos E soprattutto per i francesi, le cui esperienze 9 Preludio. 10 Blanche è entrata in convento nella sceneggiatura cinematografi ca che gli durante l’occupazione avevano dimostrato, come novizia e aiuta un’altra giovane suora, era stata presentata e che Poulenc ridusse forse nella maniera più tragica, l’abisso in cui Atto I Constance di Saint Denis, a portare del cibo ulteriormente. È stato giustamente osservato alcune comunità potevano cadere di fronte Scena 1 Biblioteca del marchese de la Force nel convento. Constance parla della sua felicità che non seguì lo stile di Debussy nel musicare alla prospettiva della tortura e dell’esecuzione – 1 Il cavaliere de la Force irrompe nella della sua vita precedente nel villaggio della le parole (di recente Henri Dutilleux ha un trauma da cui la nazione forse non biblioteca di suo padre: è in ansia per sua Bretagna da cui viene. Blanche le rimprovera sostenuto che questo stile, pur magistrale si è completamente ripresa a distanza di sorella, Blanche. All’esterno la folla minacciosa la sua eccessiva allegria mentre la Priora sta in sé, si è rivelato una via senza uscita per sessant’anni. La “buona” morte di Blanche, è in rivolta e si è saputo che la carrozza di per morire. Constance suggerisce di pregare e i compositori lirici); invece tornò indietro facilitata o meno da quella “cattiva” della Blanche è stata circondata. 2 Arriva Blanche di offrire le loro vite in cambio di quella della a Massenet, indubbiamente con l’elegante Priora, presenta un’immagine della Francia illesa, ma sconvolta dalla sua esperienza. Priora. Blanche è sconvolta, ma Constance voce di Edmond Clément nelle orecchie, e a per come alla nazione piace vedersi. 3 Mentre va a letto, un’ombra sul muro la rivela di aver sempre pensato che sarebbe morta quella che è stata defi nita la “melodizzazione” Lo scrittore Henri de Montherlant riempie di terrore; ritorna così dal padre e dal giovane; dopo aver conosciuto Blanche ha della lingua francese. Per quanto riguarda ammirò il dramma di Bernanos per la sua fratello 4 per dichiarare la propria intenzione avuto la premonizione che moriranno insieme, l’accompagnamento orchestrale (e si tratta “combinazione” di “semplice e straordinario”. di farsi suora. lo stesso giorno.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 82-8382-83 330/7/060/7/06 12:44:5112:44:51 Scena 4 L’infermeria Constance suggerisce che non si muore per aristocratica e suora è doppiamente in pericolo Atto III 11 Preludio. 12 La Priora giace sul letto di se stessi, ma per gli altri, che forse la Priora è davanti al Terrore che incalza. Il cavaliere crede Scena 1 La cappella morte, assistita da Madre Marie. Per la Priora, morta infelice e impaurita perché qualcun altro che sia la paura – o la paura della paura – 9 La cappella è stata sconsacrata. In assenza Dio è divenuto un’ombra; tutta la precedente possa affrontare la morte con più facilità. a tenerla in convento. Blanche dichiara di della Priora, Madre Marie è responsabile della contemplazione della morte è vana per lei. dipendere dalla volontà di Dio e ripete la comunità e propone il voto del martirio. 10 Si preoccupa molto per Blanche e la affi da Scena 2 La sala di riunione propria intenzione di rimanere. Dopo la La votazione è segreta e c’è solo una persona alle cure di Madre Marie. 13 Blanche entra 19 Arriva la nuova Priora, Madame Lidoine, e partenza del fratello, la donna si sente mancare. contraria: viene sospettata Blanche, ma nella camera dell’ammalata e la Priora dice parla alle Carmelitane. Le avverte che i giorni 3 Madre Marie la sollecita ad avere coraggio. Constance dichiara di essere stata lei a votare teneramente addio alla sua più giovane e di tranquilla sicurezza sono fi niti e che il futuro contro e chiede di cambiare idea. Le sorelle più amata fi glia. Madre Marie ritorna con sarà pieno di diffi coltà. Ricorda che il loro scelgono il voto del martirio. A Blanche viene il medico, che rifi uta di somministrare altri dovere più importante è la preghiera, ma che Scena 4 La sagrestia meno il coraggio e fugge. sedativi. 14 – 15 La Priora entra in agonia non devono aspirare al martirio. 20 Madre 4 Il Padre Confessore del convento guida Interludio Una via davanti al convento e delira, lanciando invettive contro Dio e Marie intona l’Ave Maria. le suore in preghiera 5 e dice loro addio, 11 La Priora è ritornata da Parigi. Un uffi ciale profetizzando la profanazione della cappella del essendo stato obbligato a nascondersi. Madre parla alle Carmelitane: la loro comunità è convento. Blanche ritorna nella sala e vede la Interludio Una stanza nel convento Marie dichiara che le Carmelitane hanno solo messa al bando e lui le accoglie come nuove Priora morire nel terrore. 21 La Priora, Madre Marie e Constance si la propria vita da offrire per la Chiesa. Ma la cittadine della Repubblica. 12 La Priora invia precipitano ad aprire al suono del campanello. Priora la corregge: non sta alle suore decidere se un avvertimento al sacerdote: sarà troppo Atto II Per sfuggire alla Rivoluzione, il cavaliere de la scegliere il martirio. pericoloso celebrare la messa. Madre Marie Scena 1 La cappella, di notte Force ha deciso di lasciare la Francia e desidera chiede se è possibile riconciliare questa 16 Blanche e Costance vegliano il corpo della vedere Blanche. La Priora acconsente a fare prudenza con il voto del martirio. Priora. Al termine del loro turno, Costance va incontrare fratello e sorella, in presenza di 6 Il Padre Confessore ritorna di corsa, a chiamare le suore che dovranno sostituirle. Madre Marie. inseguito dalla folla e dai soldati davanti Scena 2 La biblioteca del marchese de la Force Rimasta sola, Blanche è terrorizzata e vorrebbe al convento. 7 I commissari entrano e 13 Preludio. 14 Il padre di Blanche è stato fuggire, 17 ma Madre Marie la ferma e la COMPACT DISC TWO annunciano l’espulsione delle suore dal ghigliottinato e la donna è ritornata nella sua riaccompagna nella sua cella. convento. 8 La Priora parte per Parigi. casa come domestica. Arriva Madre Marie per Scena 3 Il parlatorio Vedendo il terrore di Blanche, Madre Jeanne riportarla al convento, ma Blanche ha troppa Interludio Il giardino 1 Preludio. 2 Il Cavaliere cerca di convincere le regala una statuetta del Bambino Gesù ma, paura di andarsene. Madre Marie le consegna 18 Blanche e Constance hanno intrecciato dei Blanche a lasciare il convento. Secondo il padre allarmata dalle grida della folla, se la lascia l’indirizzo di un luogo dove potrà essere al fi ori a forma di croce per la tomba della Priora. questo non è più un luogo sicuro per lei; come sfuggire e la rompe. riparo.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 84-8584-85 330/7/060/7/06 12:44:5112:44:51 Scena 3 La Conciergerie Ashley Holland (marchese de la Force) ha Paris-Bastille, Cincinnati Opera, Calgary la Deutsche Oper am Rhein; Mélisande 15 Le Carmelitane sono state arrestate e studiato presso l’università di Warwick e si Opera e a Dresda. La discografi a comprende nell’allestimento di Pelléas et Mélisande imprigionate nella Conciergerie. La Priora è perfezionato al Royal Northern College of Belcore (The Elixir of Love) e Ford (Falstaff ) dell’Opéra du Rhin a Strasburgo. Negli USA accetta il voto del martirio. 16 Constance ha Music, dove ha conseguito una borsa di studio con Paul Daniels, entrambi per la serie Opera si è esibita con l’Opera di Santa Fe nelle vesti sognato il ritorno di Blanche tra le consorelle. della Peter Moores Foundation e oggi è uno in English di Chandos. di Susanna e con l’Opera di San Francisco nel 17 – 18 Il carceriere consegna la sentenza del dei più richiesti giovani baritoni nel repertorio ruolo di Gretel (Hänsel und Gretel). tribunale rivoluzionario: le Carmelitane sono italiano del XIX secolo su entrambe le sponde Il soprano gallese Catrin Wyn-Davies (Blanche Nel Regno Unito Catrin Wyn-Davies ha condannate a morte. dell’Atlantico. Dopo il grande successo riscosso de la Force) ha conseguito la laurea in Drama cantato Blanche, Ginevra (Ariodante) e Tatiana con il debutto nelle vesti di Don Pedro in and Theatre Studies presso il Royal Holloway (Eugene Onegin) alla English National Opera; Maria Padilla di Donizetti, la Minnesota College prima di iniziare a studiare canto Valencienne (La vedova allegra) e la prima Interludio Una via nei pressi della Bastiglia Opera lo ha subito invitato a cantare il ruolo presso la Guildhall School of Music nel 1990. Fanciulla-fi ore (Parsifal) alla Royal Opera 19 Informata della condanna a morte delle di Orazio nel nuovo allestimento degli Orazi e Nel corso degli studi universitari ha vinto House. Ha interpretato il ruolo di Miss Jessel Carmelitane dal Padre confessore, Madre Curiazi di Mercadante. numerosi riconoscimenti, tra cui il premio nella versione televisiva BBC di The Turn of the Marie decide di tornare dalle sorelle. Il Per diverse stagioni è stato baritono solista Richard Tauber nel 1993 e il premio Decca nel Screw di Britten con la regia di Katie Mitchell sacerdote sottolinea che Dio potrebbe riservarle presso la English National Opera, dove ha 1994 in occasione dei Kathleen Ferrier Awards. e la direzione di Richard Hickox. La cantante è un altro destino. interpretato, tra l’altro, Zurga (I pescatori Nel 1994 è entrata come solista alla Welsh apparsa nelle sale da concerto di tutta Europa di perle), Sharpless (Madama Butterfl y), National Opera, per cui ha interpretato con direttori tra cui Christoph von Dohnányi, Guglielmo (Così fan tutte), Cecil (Maria Susanna (Le nozze di Figaro), Anne Richard Hickox, Paul McCreesh, René Jacobs, Scena 4 Place de la Révolution, 17 luglio 1794 Stuarda), Belcore (L’elisir d ’amore ), Lescaut Trulove (The Rake’s Progress), Hero (Béatrice Trevor Pinnock e Pierre Boulez. 20 Preludio. 21 Le Carmelitane sono condotte (Manon), Ottakar (Der Freischütz), Marcello et Bénédict), Ilia (Idomeneo), Gilda (Rigoletto), Catrin Wyn-Davies ha registrato musica al luogo dell’esecuzione, sotto gli occhi di una (La bohème), Escamillo (Carmen), Ford Zerlina e Donna Elvira (Don Giovanni), sacra di Vivaldi con il King’s Consort diretto da gran folla. Guidate dalla Priora, salgono sul (Falstaff ), e Don Carlo (Ernani). Ha inoltre Blanche (Dialogues des Carmélites) e il ruolo di Robert King; altre registrazioni comprendono patibolo una per una, cantando il Salve Regina. interpretato il ruolo del baritono ne L’Allegro, protagonista femminile ne L’incoronazione di Der Silbersee di Weill con Markus Stenz e Constance è l’ultima a salire. Mentre si avvia, il penseroso ed il moderato di Handel nella Poppea. una raccolta di Canti popolari musicati da Blanche esce dalla folla per unirsi all’amica, coproduzione English National Opera–Mark Altre apparizioni signifi cative comprendono Beethoven con Malcolm Martineau. cantando da sola fi nché anche lei viene Morris Dance Group. Zerlina al festival di Aix-en-Provence; Ilia, ghigliottinata. Altri impegni comprendono interpretazioni Servilia (La clemenza di Tito) e Poppea per Peter Wedd (cavaliere de la Force) ha studiato per Opera North, The Royal Opera, Covent la Bayerische Staatsoper di Monaco; Donna presso la Guildhall School of Music and Drama Traduzione: Emanuela Guastella Garden, Lyric Opera di Chicago, Opéra de Elvira, Poppea e Alice Ford (Falstaff ) per con William McAlpine e successivamente

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 86-8786-87 330/7/060/7/06 12:44:5212:44:52 presso il National Opera Studio con l’appoggio de Croissy (Dialogues des Carmélites). Alla Philharmonic Orchestra con Giuseppe questa compagnia, per cui ha interpretato in della Peter Moores Foundation. È stato solista Scala di Milano ha cantato Mme de Croissy Sinopoli; il Concentus Musicus Wien con particolare Natasha (War and Peace), Salome, alla Royal Opera, Covent Garden dal 1999 al e Klytämnestra (Elektra); a Chicago ha Nicolaus Harnoncourt; l’Orchestra del Elisabetta (Don Carlos), Leonora (The Force 2001 e collabora regolarmente con la Welsh cantato la Contessa, Kabanicha (Katá Concertgebouw con Edo De Waart; la Boston of Destiny), Leonora (Fidelio), Jeanne (The National Opera, dove ha interpretato, tra Kabanova) e Madam Begbick (The Rise and Symphony Orchestra con Raphael Frühbeck Devils of Loudon), Katarina (Lady Macbeth l’altro, Don José (Carmen), Tamino (Die Fall of Mahagonny); a San Francisco Giulio de Burgos e la Los Angeles Philhamonic con of Mtsensk), Tosca, Sieglinde, Senta, Emilia Zauberfl öte), Don Ottavio (Don Giovanni) Cesare; a Monaco, Eduige (Rodelinda) e sir Simon Rattle. Marty (The Makropulos Case), la Marschallin Alfredo (La traviata) e Lacˇa (Jenu˚fa). Klytämnestra; a Berlino, la zia principessa La sua ricca discografi a include Le Rossignol e Arabella. Ha cantato regolarmente alla Tra le altre apparizioni nel Regno Unito e (Suor Angelica) e Klytämnestra; per di Stravinskij e Poèmes pour Mi di Messiaen Royal Opera House, Covent Garden in ruoli in Irlanda si ricordano Federico (L’Arlesiana) e Glyndebourne, Zita (Gianni Schicchi) e con Pierre Boulez, brani per voce di Benjamin come quello della giovane in We come to the Plutone (Orphée aux enfers) per Opera Holland Mistress Quickly (Falstaff ); alla Royal Opera Britten e due registrazioni di brani di epoca River di Henze, Salome, Ellen Orford, Helena Park e Wexford Festival, Rodolfo (La bohème) House, Covent Garden, i suoi ruoli hanno vittoriana ed edoardiana con il pianista John (A Midsummer Night’s Dream), Santuzza, alla Royal Albert Hall di Londra, Tamino per compreso Mrs Lovett (Sweeney Todd), Juno Constable. Felicity Palmer è stata insignita del Leonora, Alice, Lady Macbeth e la Contessa Glyndebourne On Tour, Lenskij (Eugenio (Semele) e Klytämnestra, e a Parigi ha cantato titolo di CBE nel novembre 1993. (La dama di picche). Onieghin) per Opera Holland Park e il cavaliere Klytämnestra, la Contessa, Mme de Croissy, Ha viaggiato in tutto il mondo de la Force (The Carmelites) con English Zita, Madam Begbick e Maria Dmitrievna Josephine Barstow (madre Marie) ha iniziato interpretando un repertorio vario che National Opera. Peter Wedd ha cantato per la Ahkrossimove (Guerra e Pace). Di recente la carriera nelle tournée di Opera for All comprende Verdi, Richard Strauss, Puccini European Chamber Opera e il Lyric Theatre di ha fatto ritorno alla English National Opera e poi ha vinto una borsa di studio per un e Janácˇek e comparendo nei teatri di Parigi, Singapore. nei ruoli di Mme de Croissy e Katisha anno presso il London Opera Centre. Ha Monaco, Vienna, Bayreuth, Berlino, New (The Mikado). cantato Euridice e Violetta per la Sadler’s York, Chicago, San Francisco, Houston, Felicity Palmer (Madame de Croissy) è Durante la sua lunga e illustre carriera Wells Opera Company e poi ha iniziato un Buenos Aires, Hong Kong, Sud Africa, una delle più versatili cantanti – attrici di concertistica ha collaborato con la BBC contratto triennale con la Welsh National Giappone e Australia. oggi, sempre a proprio agio con la musica Symphony Orchestra e la New York Company, dove i suoi ruoli hanno compreso Josephine Barstow ha al suo attivo una più diversa, da Handel a Wagner, fi no ai Philharmonic Orchestra dirette da Pierre la Contessa (The Marriage of Figaro), stretta collaborazione con Opera North per contemporanei come Berio. Boulez, sir Colin Davis e Gennady Fiordiligi, Violetta, Mimì, Amelia (Simon cui ha interpretato i ruoli di Tosca, Marie Alla Metropolitan Opera di New York Rozhdestvensky; la English Chamber Boccanegra) ed Elisabeth (Don Carlos). (Wozzeck), Aida, Medea, Lady Billows, e ha cantato Fricka e Waltraute nel ciclo Orchestra e sir Charles Mackerras; la Dopo aver cantato Violetta (La traviata) forse, soprattutto, Gloriana, un ruolo di cui del Ring, la Contessa (La dama di picche), London Symphony Orchestra e Michael con English National Opera, ha iniziato una esiste anche una videoregistrazione. Tra i Geneviève (Pelléas et Mélisande) e Mme Tilson Thomas; la Philharmonia e la Royal lunga e molto profi cua collaborazione con suoi recenti impegni si ricordano Kabanicha

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 88-8988-89 330/7/060/7/06 12:44:5212:44:52 (Katya Kabanova) a San Diego, Kostelnicˇka la Governante (The Turn of the Screw) con ha ricevuto la Queen’s Commendation for London Sinfonia diretta da Richard Hickox, (Jenu˚fa) ad Anversa e Oviedo, e Madre Marie l’Opera di Angers Nantes; la Contessa Excellence. il Requiem di Mozart diretto da sir Roger (The Carmelites) presso English National (Le nozze di Figaro) alla New York City Dopo essere entrata alla English National Norrington allo Spitalfi elds Festival, la Sinfonia Opera. La discografi a comprende Marie Opera; protagonista nella Katá Kabanova Opera i suoi ruoli hanno compreso Tytania n. 2 di Mahler con la Netherlands Symphony (Wozzeck) e Kostelnicˇka (Jenu˚fa) nell’ambito nel suo esordio per la Glyndebourne Festival (A Midsummer Night’s Dream), Papagena (The Orchestra diretta da Jaap van Zweden, il della serie Opera in English di Chandos, Opera; Marˇenka (La sposa venduta) per la Magic Flute), Iphis (Jephtha), Atalanta (Xerxes), Messiah con la Halle Orchestra e in tournée in oltre a Un ballo in maschera, Gloriana, Albert Glyndebourne Touring Opera; protagonista Yum-Yum (The Mikado) e Sister Constance Cina con la London Philharmonic Orchestra. Herring, Kiss me Kate, Oliver e Street Scene. nel primo allestimento britannico di Die Liebe (The Carmelites). Altri impegni operistici Ha inoltre interpretato il ruolo di Barbarina der Danae di Strauss per la Garsington Opera comprendono Tytania per La Monnaie di nella registrazione di The Marriage of Figaro Nata in Irlanda, Orla Boylan (Madame e Tatiana (Eugenio Onieghim) per l’Opera Bruxelles; Bella (The Midsummer Marriage) per la serie Opera in English di Chandos. Lidoine) ha conseguito il diploma del D.I.T. dell’Unione Europea, registrata su DVD. per il Festival di St Endellion con Richard College of Music di Dublino, dove ha studiato Gli impegni concertistici comprendono Hickox; Pretty Polly in Punch and Judy di Jane Powell (suor Jeanne) ha studiato presso canto con Mary Brennan. Al suo attivo ha Das klagende Lied di Mahler con l’Orchestra Birtwistle al Teatro Nacional San João di Porto; la Royal Academy of Music e oggi prosegue numerosi riconoscimenti, tra cui: Veronica sinfonica nazionale RTÈ diretta da Laurent la Governante in The Turn of the Screw di con Lyn Cook. I ruoli operistici comprendono Dunne Bursary, Ibla Grand Prize e National Wagner; la Messa da Requiem di Verdi Britten per una tournée del British Council Cherubino (Le nozze di Figaro), Seconda Mozart Competition. alla Cattedrale di St Paul con la Royal in Russia; Elsie Maynard (The Yeomen of the damigella (Die Zauberfl öte) e la principessa Tra i suoi ultimi impegni vanno ricordati Philharmonic Orchestra, un’interpretazione Guard) e Gianetta (The Gondoliers) per la Linette nella versione televisiva BBC de Madame Lidoine (The Carmelites) con English del Terzo atto della Valchiria con la English Phoenix Opera; Barbarina (Le nozze di Figaro) L’amore delle tre melarance. Alla Royal Opera National Opera; Donna Anna (Don Giovanni) National Opera al Festival di Glastonbury per Opera Holland Park. Le apparizioni teatrali House, Covent Garden è stata interprete di con la New York City Opera; la seconda nel 2004, la prima di Bitter Tears of Petra von alla Royal Academy of Music comprendono vari ruoli in Salome, Der Freischütz, Werther Sinfonia di Mahler con l’Orchestra sinfonica Kant di Gerald Barry con l’Orchestra sinfonica il ruolo di protagonista in The Cunning Little e Simon Boccanegra. Ha fatto parte del cast nazionale dell’Estonia diretta da Paavo Järvi e nazionale RTÈ e l’esordio ai Prom BBC nelle Vixen diretta da sir Charles Mackerras, Zerlina originale del musical Chess nel West End di un recital presso Harewood House a Leeds. vesti di Anna in Street Scene di Weill diretto da nel Don Giovanni diretto da sir Colin Davis, Londra ed è stata impegnata in numerose Orla Boylan ha interpretato in teatro i Barry Wordsworth. Drusilla ne L’incoronazione di Poppea e Feu/ registrazioni di opere e musical. Da quando ruoli di Jenu˚fa per la Glyndebourne Festival Rossignol ne L’Enfant et les sortilèges. è entrata alla English National Opera ha Opera e l’Opéra de Lyon; ha esordito nel Sarah Tynan (suor Constance) è nata a Londra Gli impegni concertistici di Sarah interpretato numerosi ruoli. ruolo di Arabella per la Garsington Opera; è e ha studiato presso il Royal Northern College Tynan comprendono Eleanora in Prima la stata il coro femminile (The Rape of Lucretia) of Music e la Royal Academy of Music (con musica di Salieri e Mlle Silberklang in Der Anne Marie Gibbons (suor Mathilde) ha e Sieglinde con la English National Opera; Penelope Mackay). Alla Royal Academy Schauspieldirektor di Mozart con la City of studiato presso il Royal Northern College

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 90-9190-91 330/7/060/7/06 12:44:5312:44:53 of Music, con l’appoggio della Peter (Idomeneo) e Monostatos (Die Zauberfl öte) per la Kentish Opera; Rodolfo (La Bohème) festival di Aix-en-Provence. Ha partecipato Moores Foundation. I suoi ultimi impegni per la Metropolitan Opera, Opera North e per la Surrey Opera e Ferrando (Così fan tutte) allo Jerwood Young Singers Programme comprendono Dorabella (Così fan tutte), Garsington; Le Duc (Chérubin) al Covent per Opera à la carte. Ha esordito con la della English National Opera prima di Anna (The Trojans at Carthage), Ascanius Garden e a Monte Carlo; Monostatos a Santa English National Opera nel ruolo del novizio diventare solista della compagnia, per cui ha (The Trojans), Ino (Semele), e Pitti-Sing in Fe; Basilio (Le nozze di Figaro) all’Opéra in Billy Budd. interpretato, tra l’altro, Guglielmo (Così fan The Mikado (per English National Opera di Nizza, New Israeli Opera, Netherlands tutte), Papageno (The Magic Flute), Schaunard nell’ambito del Young Singers Programme), Opera e Glyndebourne; Dr Caius (Falstaff ) Roland Wood (secondo commissario) è (La bohème) e Henry (The Fairy Queen). Pippo (The Thieving Magpie per Opera in Israele; Gaudenzio nella Bohème di nato nella regione inglese del Berkshire e ha Altri impegni nel Regno Unito North), i ruoli di protagonista in Ariodante e Leoncavallo alla English National Opera; studiato presso il Royal Northern College comprendono Papageno con la Glyndebourne La Cenerentola (Opera Theatre Company). La Monostatos al Covent Garden; Hauk-Sendorf of Music (già National Opera Studio), dove Touring Opera, Belcore (L’elisir d ’amore ) e discografi a comprende Zulma (Elvida) e Abra (L’affare Makropulos) con la Houston Grand ha ottenuto l’appoggio della Peter Moores Schaunard con Opera Holland Park. A livello (Il Diluvio Universale) per Opera Rara. Opera; Basilio alla Lyric Opera di Chicago. Foundation e della English National Opera. I internazionale è comparso, tra l’altro, nelle suoi ruoli hanno compreso il conte Almaviva vesti di Henry (The Fairy Queen) al Teatro del Nato nel Galles meridionale, Ryland Davies James Edwards (primo commissario) è (Le nozze di Figaro) per Opera Holland Liceu di Barcellona, Marte ed Euro in (cappellano) ha studiato presso il Royal nato nella contea inglese dell’Essex e ha Park, Nick Shadow (The Rake’s Progress) Il Pomo d’oro di Cesti al Festival di Batignano Manchester College of Music di cui è stato iniziato a cantare nel coro della Cattedrale a Glyndebourne, e il barone Douphol (La e Schaunard ai Festspiele di Bregenz. Ha nominato Fellow nel 1971. Ha esordito in di St Paul. Ha proseguito gli studi presso il traviata) per English National Opera. registrato il ruolo di Morales (Carmen) per la teatro nel 1964 nelle vesti del conte Almaviva Royal Northern College of Music e la Royal Dal 2002 al 2004 è stato solista della serie Opera in English di Chandos. (Il barbiere di Siviglia con la Welsh National Academy of Music. Nel settembre 2003 ha Scottish Opera per cui ha interpretato, tra Opera), e ha debuttato nel 1965 nelle vesti partecipato allo Young Artists Programme l’altro, Falke (Die Fledermaus), Marullo David Stephenson (carceriere) è nato ad del Maggiordomo (Der Rosenkavalier) con della Royal Opera, e ha interpretato diversi (Rigoletto), Schaunard (La bohème) e Aberdeen e ha lavorato come ingegnere la Glyndebourne Festival Opera, per cui ha ruoli tra cui Nicolios (The Greek Passion), Papageno (The Magic Flute). Ha partecipato a elettrico, prima di frequentare il Royal interpretato poi numerosi ruoli. Per la Royal Pong (Turandot), Gastone (La traviata) e numerose registrazioni con Chandos e Opera College of Music. Opera House, Covent Garden, ha cantato, tra Albazar (Il turco in Italia). Rara. Le sue apparizioni teatrali comprendono l’altro, Don Ottavio, Don Giovanni, Ferrando, Altri ruoli operistici hanno compreso Angelotti (Tosca) per Opera Ireland, Malatesta Ernesto (Don Pasquale), Fenton (Falstaff ) e Alfredo (La traviata) e Dancaïro (Carmen) Toby Stafford-Allen (primo uffi ciale) ha (Don Pasquale) e Johann (Werther) per la Lysander (A Midsummer Night’s Dream). per la European Chamber Opera; Alfred studiato presso il Royal Northern College of Wexford Festival Opera, Morales (Carmen) I suoi impegni più recenti comprendono (Die Fledermaus), Ralph Rackstraw (HMS Music e ha fatto il suo debutto internazionale alla Royal Albert Hall, Papageno (Die Turandot all’Opera di Ginevra; Arbace Pinafore) e Prosper (Not in front of the Waiter) nelle vesti di Guglielmo (Così fan tutte) al Zauberfl öte) e Guglielmo (Così fan tutte) per

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 92-9392-93 330/7/060/7/06 12:44:5412:44:54 Scottish Opera, Silvio (Pagliacci) e Papageno all’Handel Festival di Göttingen) e poi in Stuarda, Giulio Cesare, Rigoletto (produzione di importanti allestimenti del Ring, oltre a Lulu, per la Welsh National Opera, Marullo quello di Mercurio nell’Atalanta. Altri ruoli Jonathan Miller) e La traviata. The Trojans, War and Peace, e alla prima (Rigoletto) per English National Opera, e altri comprendono Don Giovanni (Opera East), mondiale dell’opera di Mark Anthony Turnage ruoli per la Buxton Festival Opera e Opera Papageno (The Magic Flute con la British Apprezzata dalla critica e dal pubblico, The Silver Tassie. Zuid. La discografi a comprende momenti Youth Opera) e Oberon (A Summer Night’s l’Orchestra della English National Opera È stato Direttore musicale di Opera Factory salienti del Messiah con la London Symphony Dream – progetto Mozart/ Shakespeare, Aix- ha ricevuto numerosi riconoscimenti nel periodo 1987–1990, e di Opera North nel Orchestra. en-Provence). Partecipa allo Young Singers prestigiosi, tra cui il Music Award della Royal 1990–1997; quest’ultima collaborazione ha Programme della English National Opera. Philharmonic Society e un premio Olivier riscosso i consensi della critica per il repertorio Gary Coward (Thierry) si è diplomato presso per il suo contributo all’opera. L’Orchestra diverso e interessante comprendente alcune il Royal College of Music, perfezionandosi poi Il Coro di English National Opera è una delle è il fulcro della vita artistica della English prime mondiali e apprezzate produzioni alla Guildhall School of Music and Drama migliori risorse dell’Opera. In innumerevoli National Opera e, oltre al lavoro in teatro di Pelléas et Mélisande, Don Carlos e Boris e alla Britten–Pears School for Advanced produzioni della English National Opera presso il London Coliseum, si esibisce Godunov. Musical Studies. ha entusiasmato le platee con il potere del anche in concerto; è stata presente al festival Altre collaborazioni teatrali lo hanno visto Nel campo teatrale ha collaborato con canto e l’intensità della recitazione. L’ampia di Aldeburgh (Peter Grimes e The Rape of impegnato con la Royal Opera House Covent Opera Brava, Kentish Opera, Pavilion Opera, gamma di capacità ed esperienza che portano Lucretia) e a Glastonbury nel 2004 (Atto III Garden, La Monnaie di Bruxelles, l’Opera London Opera Players, English Touring I coristi nelle esibizioni costituiscono il tratto della Valchiria di Wagner). Molti dei suoi nazionale della Baviera di Monaco, il Teatro Opera e Scottish Opera, interpretando distintivo di ogni produzione in cui appaiono. componenti collaborano con il dipartimento Real di Madrid e l’Opera di Ginevra. importanti ruoli nelle opere di Mozart, Particolari trionfi per il Coro sono stati Guerra di istruzione esterno della compagnia, ENO Gli impegni sinfonici hanno compreso Donizetti e Rossini, nelle operette di Strauss e e pace di Prokofi ev, Lady Macbeth dei macelli Baylis. L’Orchestra della ENO compare in la Philharmonia, l’Orchestra of the Age of Lehár, ma più spesso nelle opere di Puccini – di Shostakovich, Billy Budd e Peter Grimes numerose registrazioni per la serie Opera in Enlightenment, la London Philharmonic Marcello, Sharpless e Scarpia – e Verdi – di Britten, Boris Godunov di Mussorgsky, la English di Chandos: Lulu, Falstaff, Otello, Orchestra, la Royal Philharmonic Orchestra, la Renato, Don Carlo, Ford, Iago, Di Luna, Carmen di Bizet e l’Otello di Verdi. La loro Ernani, Mary Stuart, Julius Caesar, The Barber Bournemouth Symphony Orchestra, la Royal Germont padre, Amonastro e Rigoletto. È ultima registrazione, nella produzione di of Seville, Rigoletto, La traviata, Werther, e nella Scottish National Orchestra, la Netherlands membro della English National Opera. Jonathan Miller diretta da Mark Elder, è uscito registrazione completa del Ring Cycle diretta da Radio Philharmonic, l’Orchestre de Paris, per Chandos con il patrocinio della Peter sir Reginald Goodall. l’Orchestre National de France, l’Orchestre William Berger (M Javelinot) ha studiato Moores Foundation, come la loro registrazione National de Lyon, la Tonhalle-Orchester di presso la Royal Academy of Music. Ha del amoso “Ciclo del Ring” diretti da Sir Paul Daniel è stato Direttore musicale della Zurigo, l’Orchestra Sinfonica di Göteborg, esordito da professionista in teatro nel Reginald Goodall. Altre registrazioni Chandos/ English National Opera dal 1997 al 2005, e ha l’Orchestre de la Suisse Romande, la Deutsche ruolo di Ormonte (Partenope di Handel Peter Moores Foundation sono Falstaff, Maria al suo attivo un vasto repertorio comprendente Kammerphilharmonie, la Los Angeles

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 94-9594-95 330/7/060/7/06 12:44:5412:44:54 Philharmonic, l’Orchestra di Cleveland e la North, Elijah con la Orchestra of the Age of New York Philharmonic. Nel 2005 ha diretto Enlightenment. Per Chandos ha registrato l’ultima serata dei Prom a Londra con la BBC Baa Baa Black Sheep di Michael Berkeley e, Symphony Orchestra, teletrasmessa a livello per la serie Opera in English, Lulu, Falstaff,

internazionale. Wozzeck, e momenti salienti del Boris Vaughan © Stephen La discografi a comprende la Sinfonia Godunov. N. 3 di Elgar/Payne con la Bournemouth Paul Daniel è stato insignito del titolo Symphony Orchestra, una serie di CD di di Commander of the Order of the British musica inglese con l’Orchestra di Opera Empire nel 2000. © Stephen Vaughan © Stephen

Felicity Palmer as Madame de Croissy and Catrin Wyn-Davies as Blanche de la Force Ashley Holland as the Marquis de la Force and Peter Wedd as the Chevalier de la Force in English National Opera’s production of The Carmelites in English National Opera’s production of The Carmelites

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 96-9796-97 330/7/060/7/06 12:44:5512:44:55 COMPACT DISC ONE Chevalier the crowd, driving them to frenzy. Your mother You’ll see! Any pretty girl has the right to be just My friend Damas left here this morning. Straight quickly locks the door of our carriage. Our driver a wee bit nervous. Be patient! You will soon have Act I away he saw that he must turn back or he would whips the horses on, faster, faster. Now the mob lots of nephews tearing all around you. have found himself caught in the midst of a surrounds the carriage and next a window is Scene 1 furious mob. I have heard that they will burn an smashed. Chevalier The library of the Marquis de la Force, April effi gy of Réveillon in front of the palace. (The Marquis buries his face in his hands.) Father, please! What has put my sister’s health at 1789. The soldiers arrived just in time, clearing a path risk, perhaps even her life, is not her nervousness The Marquis is dozing in a large easy chair. The Marquis for our carriage. It was later that night, in the alone. An icy hand has gripped her heart… Chevalier enters brusquely through the main door, Indeed, let them burn it. Remember, spring is stillness of this house, that your dear mother died which he leaves open behind him. in the air; wine is very cheap. There’ll always be after giving birth to Blanche. Marquis trouble. The same thing every year. Never fear… My! you sound like a superstitious fool. Blanche, Chevalier de la Force it will pass. Chevalier I am sure, is a normal young girl. Sometimes 1 Where is Blanche? Monsieur, please forgive me, I should have she’s even quite playful. Chevalier known better… Once again I’ve behaved like an With respect, I would venture to contradict. utter fool. Chevalier Marquis de la Force It’s not as trivial as you think. And when I tell Yes, I know. There are times, I must admit, when Good God, you gave me a fright. Why the devil you what happened to my sister on the way to Marquis I too am deceived. I would swear she had cheated don’t you go and ask the groom or the maids, church, you will see that your prediction is quite Bah! I should know better at my age, than to get her fate if I didn’t see the signs of this curse deep instead of bursting in without a warning, like a wrong. Damas saw her carriage stopped by the so excited… within her eyes. fool? mob, on the road to Bucy. (The Marquis remains pensive.) But my carriage is sturdy, my good old horses are Marquis never afraid, Antoine has been with us twenty Soon enough, when Blanche and her maid come Chevalier Marquis years. I can assure you that your sister will come running through the door, you will laugh at your I beg your pardon, dear father. The carriage… the mob… Forgive me… visions like these torment my sleep, haunt me night after to no harm. misgivings and she’ll forget her own. night. I hear a lot of talk of rebellion, sometimes Marquis even revolution. Those who’ve never seen Chevalier Chevalier There’s no harm at your age in being so full of hysteria in a crowd will never understand. Those Oh, it is not just her safety that concerns me. You Are you suggesting there isn’t a problem, she life, just as at mine it’s far more natural to take frightened faces with their features contorted, know quite well, it’s her morbid imagination. only had a scare? Just a little fear? Jut a little fear? things a little easier. Your dear uncle came today thousands and thousands of eyes… That night When I think of my sister, simple fear is not to see me, deprived me of my midday nap, so it was the wedding of the young Dauphin. Marquis what comes to mind. She’s a girl who’s noble and I was trying to rest a little while, maybe I was Everyone is watching the fi reworks. A case of Blanche is simply an over-sensitive child. A happy proud! Yet something’s eating away inside her, dozing… Why do you want to see your sister? rockets catches fi re, exploding. Panic overtakes marriage will soon take care of that, you’ll see! like a worm inside a fruit!

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 98-9998-99 330/7/060/7/06 12:44:5712:44:57 Marquis Blanche every night of one’s life is like the night of the Thierry (terrifi ed) What childish nonsense! Oh! Monsieur de Damas without any doubt Agony of Christ… Hardly were the candles lit, when Mademoiselle (Blanche appears through the open door, so suddenly saw only what he wished… Do you really think Blanche came upstairs into her bedroom… that it is not clear whether or not she has heard these that I was calm and courageous? Good Lord, (Blanche goes out without closing the door behind I think she was frightened when she saw my last words.) confronting danger is like plunging into cold her, leaving the Marquis and the Chevalier baffl ed.) shadow on the wall. I had just drawn all the 2 Blanche, your poor brother was so very impatient water. First it knocks the breath from your body, blinds. for your return. then it becomes almost natural, once you’re in up Marquis (trying to reassure himself ) to your neck… 3 Her poor imagination always fl ies from one (Blanche, ashen, appears on the threshold. Her (On the verge of fainting, she leans on a chair.) Blanche de la Force extreme to another. What did she mean, I’d like voice, her manner and her features display a kind of At the Convent this morning the service was Monsieur le Chevalier is too kind to his baby to know. resolution and desperate resignation.) extremely long. I’m afraid it left me completely lamb… (He sits down again in his armchair.) exhausted. That is the reason, no doubt, for all of my nonsense. With your permission, father, I will Marquis Chevalier go upstairs to my room and rest before supper. Chevalier My dear, it was nothing at all, nothing serious. Blanche, I’ve told you before, let’s keep our little Ah! Isn’t it darker than usual tonight! I’ve no idea. Don’t ask me. It is her look and her jokes to ourselves. voice that pierce my soul… (suddenly deciding Blanche Marquis to break the heavy atmosphere) It is time for the Oh Monsieur, you’ve been indulgent all my life. I would say there’s a storm coming nearer and horses to be fed. I must go and have a word with Such a kind and loving father… Blanche (making an effort to appear cheerful ) nearer. old Antoine. Little lambs do not often fi nd themselves straying so far from the fold. It is true that in my own (Blanche goes towards the door.) Marquis carriage I should feel safe. Yet just a fragile (He goes out. The Marquis resumes his nap.) Let’s not speak of this incident any more. window between my frightened self and all the Chevalier howling mob seemed to be, at the time, I can Since you’re going upstairs to your room, ask the Blanche (in another room) Blanche assure you, hardly very adequate protection. I chambermaid for some candles. Don’t stay there Ah! 4 Dear father, there is no incident so small or must have looked quite ridiculous. alone in the dark. I know how the shadows of unimportant that is not written by the hand of twilight make you sad and uneasy. You used to Marquis (starting up) God, just as all the vastness of the Heavens is in tell me, when you were very little: ‘I die every one small drop of water. If you will give me your Chevalier Are you there, Thierry? What is going on, my night, but each morning I’m reborn!’ permission, I wish to take the vows of a nun. Monsieur de Damas, who saw you there at the boy? crossroads near Bucy, told me quite clearly how Blanche you sat by your window looking perfectly calm You know there’s only been one Resurrection, (Thierry enters. He is a tall, simple-minded Marquis and courageous… Monsieur le Chevalier, that of our Lord. But footman.) A nun!

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 100-101100-101 330/7/060/7/06 12:44:5712:44:57 Blanche fi nd a way of overcoming this weakness, this Blanche manner of living which you seem to think, quite I think the desire surprises you far less than you weakness that darkens my life! If I could not Oh how sweet it must be, my Mother, to have wrongly, would make heroism easier to achieve – would care to admit. believe that my fate was safe in the hands of travelled so far on the road of detachment that would put it, one might say, in the palm of your God, I would rather die in shame at your feet. It one never feels one can ever turn back. hand? Marquis may well be that you are right when you tell me Alas! One should always fear, when it concerns that I’ve never given life a chance. But God will Prioress Blanche a young girl who’s quite as virtuous as my understand. I give my life to Him. I abandon Oh my poor child, in time we can become My most Reverend Mother, I ask your pardon. daughter, any step taken in a moment of fervour. all, I renounce the world. May He restore me to detached from the world, but what does it serve that was never my ambition. If you weren’t so proud, you would not be so grace. for any one of us to become detached from the disturbed by a cry. One should not renounce the world if she’s not also detached from herself; Prioress world because of spite. (The Marquis, lost in thought, gently strokes his that is to say, from detachment itself?… I see the The most dangerous of our ambitions are those daughter’s head, which rests on his knees.) severities of our Order cause you no fear. that we describe as illusions. Blanche Scene 2 The parlour at the Carmelite convent I bear the world no special hatred. For me, Blanche Blanche at Compiègne the world is very strange, like an alien place in They attract me! It may well be I have illusions. If that is so, Several weeks later. The Prioress and Blanche are which I cannot live. Yes, dear father, I am quite I should be stripped of them for ever. conversing, seated on either side of the double grille. unable to bear the noise, the breathless pace, the Prioress Madame de Croissy, the Prioress, is an old woman fearful strain. If my nerves were only spared the Yes, yes, your soul is generous and noble… Prioress who is visibly ill. ordeal, then you would see how much I could 7 What has driven you here? Stripped of them you shall be! You alone must be accomplish. 5 Prelude responsible for this, my daughter. Each of us here Blanche is far too concerned with her own illusions. Marquis Madame de Croissy, Prioress (attempting clumsily Does Your Reverence command that I should 8 My daughter, the outside world often questions My beloved child, if this is so, only your to bring her armchair closer to the grille) answer with absolute frankness? the purpose of our Order. After all they are quite conscience can decide whether this ordeal is more 6 Do not believe this comfortable chair is a justifi ed in asking us this of us. No, my daughter, than your strength can endure… privilege of my position, like the footstool of a Prioress it never was the purpose of our Order to mortify Duchess. Alas! It is the wish of my dear daughters Yes. the soul, nor are we a conservatoire of virtue. (Blanche throws herself at the feet of her father, who who are so thoughtful and kind, I wish I could We’re nothing but a house of prayer! Prayer alone is still seated in the chair.) feel more at ease here. But it is not so easy to Blanche justifi es our whole existence. Those who do not return to an old way of life, a life one has long It’s this: the call of a life that’s heroic. believe in prayer can only think of us as parasites, Blanche discarded. Now I fi nd something that’s meant or impostors. If belief in Almighty God is Dearest father, let’s end this game, for pity’s to give me some comfort has sadly become a Prioress universal, should not the same be true as well for sake. Oh for pity’s sake, let me believe that I’ll humiliating necessity. The call of a life that’s heroic? Or that of a certain belief in prayer? And so every prayer – even the

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 102-103102-103 330/7/060/7/06 12:44:5812:44:58 prayer of a little shepherd who’s tending his sheep to our Order? But, no doubt you have already up with fl annel. No more shall we hear our Constance – is truly the prayer of all mankind. Whereas considered this. Sister Jeanne of the Holy Child swearing as she I do not know… Well, a little… but very long the little shepherd just prays from time to time blows on her fi ngers. How is it possible to press ago, when I didn’t really know just what it was. whenever he feels moved to do so, we have to Blanche the sheets with such a useless iron? Just how? pray day and night. Oh, my child, it is not in the I have, Mother! I should like to be called Sister How I used to bite my tongue in order not to Blanche spirit of Carmel to involve ourselves with others. Blanche of the Agony of Christ! laugh, yet how I love to hear her. She transports And then? But I am old and ill. I am very near to the end. I me back to the country and our good village can allow myself to care for you. The ordeals that Prioress folk in Bretagne. Oh dear Blanche, just a few Constance await you are great, my daughter. Go in peace, my child. weeks before I entered this life, how we enjoyed And then… dear Blanche, one day I realized that ourselves at my older brother’s wedding. All of life was so delightful, I decided that death had to Blanche (Blanche genufl ects and goes out.) our village were gathered together. Twenty young be the same… Why worry if God will give me the strength? maidens to present a bouquet, while violins were Orchestral interlude playing. Then we went to Mass, dined at the Blanche chateau, we danced the whole day long. How Do you think so now? Prioress Scene 3 Inside the convent I danced, faster and faster, I know I’ve never What God desires to test in you is certainly not Blanche and a very young nun, Constance de Saint- been so happy. All of those people adored me to Constance your strength but your weakness… Denis, take the provisions and packages which the distraction, loved my gaiety. How I loved them Oh, as for now, I no longer know just what I You are crying? nun at the door hands them. in return. think of death. But it seems to me still that life is very delightful. I try to do as best I can whatever Blanche 9 Prelude Blanche I am told, but I fi nd it completely delightful… I’m weeping not for sorrow but for joy. Your Aren’t you ashamed to chatter on like this, when After all, who can really blame me if the service words may be harsh, but I feel that, even if they Constance you know that our Reverend Mother… of our good Lord delights me? were harsher, they could never break the power 10 Oh no, not more beans! that draws me to you. I have no other refuge but Constance Blanche this. Blanche Oh! dear Blanche, if I only thought that I could Are you not afraid that God will grow rather They say that the merchants are hoarding all the save her, then I would willingly give up my poor tired of your good humour? Prioress grain, and in Paris there is no bread… little life, such as it is. Yes, cross my heart, I’d lay But our Order is not a refuge. It is not the Order down my life… But, when someone’s fi fty-nine (Constance looks at her, dumbfounded, her child- which protects us, my daughter. It is we who Constance or more, it’s surely time for them to die? like face contracted in a sorrowful grimace.) protect the Order. Do please tell me whether you Look! Why here’s the iron we had thought was by any chance have already chosen your name lost. We looked everywhere, but without success! Blanche Constance as a Carmelite, in case we admit you as a novice Look here how the handle has been covered You’ve never been afraid of death? Sister, if you’ll excuse me… though I know we

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 104-105104-105 330/7/060/7/06 12:44:5812:44:58 are friends, I can’t help feeling that wasn’t a nice Blanche Constance that people like to use. Well, my Mother, it thing to say. What’s my part in this comedy of yours? I never dreamt I would cause you such offence. is true I see myself die! Nothing can distract me from the sight! I’m alone, Mother, totally Blanche Constance Orchestral interlude abandoned with no hope of consolation. Will Indeed, you are absolutely right. Yes, I have Ah, well! The very fi rst time I looked at your face you tell me quite frankly – how much more time envied you… I just knew that my wish had been granted. Scene 4 The infi rmary Monsieur Javelinot has given me to go on living? 11 Prelude Constance Blanche (Mother Marie of the Incarnation kneels at the Envied me? I can’t believe it! This is absolutely And granted with what? Marie of the Incarnation is at the bedside of the head of the bed and gently places the crucifi x on the the strangest thing that I have ever heard! Prioress. lips of the Prioress.) Envied me, when it is clear that I deserved to be Constance punished for having spoken so thoughtlessly of With… Prioress the death of our beloved Reverend Mother! Oh 12 Would you be so kind as to raise my pillow? Mother Marie dear Blanche, since I spoke the way I did before Blanche Do you not suppose that Monsieur Javelinot He says your constitution is remarkably strong; and regret it, will you be so kind as to help me Put down that ridiculous iron. Answer me at will allow me to be moved into the chair? I I think he fears you will have a long and bitter atone for my behaviour. Let us kneel down and once, do you hear. fi nd it painful, painful indeed to be seen by struggle. But God… pray. We will offer both of our poor little lives for my daughters while lying so helpless, just like that of our Reverend Mother. (Constance quietly sets the iron down on the table.) someone drowning who’s pulled from the Prioress water… And this when I’m still capable of Blanche God has become a shadow… Alas! I have lived as Constance thinking so clearly. Oh, it is not that I wish That is terribly childish! a nun for thirty years, and Mother Superior for I will… I have always known that God would to deceive them! But when one’s so miserably twelve. I’ve contemplated death each hour of my be kinder than to let me grow old and that we lacking in courage, one should at least, I hope, Constance life, and yet now these devotions serve me not at would die together, the same day… Where or be able to maintain one’s composure. Oh! not at all, dear sister. Really, I think it’s such all. It seems that Blanche de la Force is very late. how, I assure you, I have never known, and at an uplifting inspiration. But after yesterday’s lengthy discussion, is she still this moment I still do not know… Mother Marie of the Incarnation set on the name that she has chosen? Blanche I was almost certain, my Mother, that your You’re making fun of me! Blanche suffering had somewhat subsided in the night… What a ridiculous notion! Are you not ashamed Mother Marie Constance of believing that your life could possibly redeem Prioress Yes. she still desires the name, with your It came to me all of a sudden. I didn’t think that the life of somebody else? You’re arrogant and It was only a heaviness of my soul. God permission, of Sister Blanche of the Agony of it would do any harm. I’ve always wanted to die proud like the Devil himself. You… you… stop nevertheless be thanked! I no longer saw myself Christ. You seem to be deeply affected by this very young. it now! dying. ‘To see oneself die’ – that’s just a phrase choice.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 106-107106-107 330/7/060/7/06 12:44:5912:44:59 Prioress Mother Marie Prioress it’s all the same. Oh my Mother, can’t you see: It was mine too, very long ago. At that time our It is very true. You always see things exactly as Oh, there are many ways of being poor, down to how can I possibly show this face to my dearest Prioress was called Madame Arnoult, she was they are. the very bleakest. That’s precisely the one with daughters? then eighty years old. She said to me: ‘Look deep which you’ll have to be content. My dear child, within your soul! Who enters Gethsemane will (a knock on the door) you must have courage. Whatever happens, be Mother Marie never leave. Are you convinced you have the simple and unspoiled. Oh! my daughter, you Oh! my Mother, you should not be thinking of courage to remain, to the end, a prisoner of the should always remain soft and pliant in the hands Prioress us any more. From now on, your concern should Agony of Christ?’… It was I who introduced of God! You know temptation had its dangers, be only with God. Sister Blanche to this house, Sister Blanche of Ask her to come in. Here she is. even for the Saints. They would never have the Agony of Christ. Of all my daughters, there’s (Mother Marie goes to the door, steps aside in order rebelled against their nature. Rebellion is always Prioress none who gives me greater cause for worry. I had to let Blanche enter, then goes out. Blanche comes the work of the devil. Don’t forget, you must Who am I, at this moment wretch that I am, to thought I should recommend this child to your forward and kneels beside the bed.) never despise yourself! God is there to protect 13 concern myself with Him! Let Him fi rst concern care. But on refl ection and if God desires, this You may get up, my child. I was hoping so much your honour, and it is safer in the hands of the Himself with me! will be the last thing I do as Mother Superior. that we could be together just for a while, but Lord than in yours. So now get up, this perhaps Mother Marie… the conversation I had just now left me greatly for good. Goodbye, I bless you now. Goodbye, exhausted. You are the last to enter our house, my dearest child… Mother Marie Mother Marie and for that reason the closest to my heart. Yes, (Blanche goes out. Mother Marie of the Incarnation Your Reverence is delirious! My Reverend Mother? of all my daughters, you’re the closest, just like returns with the doctor and Sister Anne of the (The Prioress’s head drops heavily on the pillow. Her a child of one’s old age, and the one who’s most Cross.) death-rattle begins.) Prioress vulnerable, and the most in danger. Could I Monsieur Javelinot, I beg you to give me more of (to Sister Anne of the Cross) In the name of obedience, I now entrust to you prevent that fearful danger I would gladly give that medicine, just one more dose. I think you had better shut the window. Clearly Blanche de la Force. And you will answer for her my humble life. Oh yes, how eagerly I’d give it… our Mother is no longer quite responsible for before God. But alas, I’ve nothing to give but my death, a Monsieur Javelinot the things she says. I am sure it is wiser not to very humble death… I’m afraid Your Reverence cannot take another scandalize all our sisters… Mother Marie (Blanche falls to her knees once again and sobs. dose. (Sister Anne looks faint.) Yes, my Mother. The Prioress puts her hand on Blanche’s head.) O come! Sister Anne of the Cross, you’re surely God is glorifi ed in His Saints, in His heroes and Prioress not going to faint like a silly girl! You should fall Prioress His martyrs. Also in the poor, the meek and the 14 Monsieur Javelinot, you must know it’s to your knees and pray! Put away those salts! You will have need of great strength and clarity humble. customary in all our Houses that the Mother of judgement, discipline and patience. These Superior publically says goodbye to those within (While Mother Marie speaks, the Prioress almost sits are precisely what the child is lacking and you Blanche her charge. Mother Marie, please try to persuade up in bed. She starts before her and as soon as she possess in such abundance. I have no fear of being poor. Monsieur Javelinot. Either this drug or another, stops speaking her lower jaw drops.)

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 108-109108-109 330/7/060/7/06 12:44:5912:44:59 Prioress (Sister Anne of the Cross leaves the room. The Prioress Constance Mother Marie of the Incarnation! Mother Prioress, who has heard everything, suddenly sits Implore your forgiveness… death… fear… fear Qui venturus es judicare vivos et mortuos, et Marie!… up.) of death! saeculum per ignem.

(She falls dead.) Mother Marie Prioress Blanche My Reverend Mother? Mother Marie of the Incarnation, in the name of Tu eis, Domine, dona requiem… Blanche Holy Obedience, I command you… Ah, ah! Prioress I think our Reverend Mother is saying… our Both Reverend Mother was about to say… would have I have seen our chapel ravaged and profaned, and …et locum indulgentiae. Amen. (Exhausted by the effort, she falls back again. Her wanted to say… deserted, the altar split in two. There was straw death rattle resumes. The door opens and Blanche and blood on the fl agstones… Ah, ah! God has (On hearing the clock strike, Constance gets up enters as though walking in her sleep. The Prioress (She falls on her knees, sobbing, and buries her face forsaken us, God has renounced us! and goes to fetch those who are to take their place, catches sight of her and makes an effort to call her. in the sheets.) leaving Blanche alone. Blanche tries to pray. She Blanche remains standing as if petrifi ed.) Mother Marie stares at the corpse. Overcome by fear, she rises and Your Reverence, you’re not quite yourself. You Act II goes to the door. The door opens and Mother Marie don’t know what you say. But I must beg you to Mother Marie appears) try to say nothing that might be… Our most Reverend Mother desires you to come near to her bed. Scene 1 The Chapel of the Convent Mother Marie The Prioress lies in state in an open coffi n in the 17 Prioress What are you doing? It’s your turn to be centre of the chapel. It is night. The chapel is lit only Say nothing… Say nothing… Does it matter watching. (Blanche, distraught, kneels by the bed. The Prioress by six tall candles that surround the coffi n. Blanche what I say? I am no more in command of my puts her hand on Blanche’s forehead.) and Constance de Saint-Denis stand watch over the tongue than of my face! Despair clings to my deceased. Blanche skin like a death-mask… Oh! if I only could tear I… I… thought the hour was over, Mother. Prioress away this mask with my nails! Blanche… Constance Mother Marie 16 Qui Lazarum resuscitasti a monumento (She falls back on the pillow.) What are you saying? Are your replacements here foetidum. (She tries to say something and suddenly chokes.) in the chapel? Mother Marie (to Sister Anne of the Cross) 15 Please inform your sisters they will have no Mother Marie Blanche Blanche chance to see the Reverend Mother today. Will It really is an outrage… they should not be Tu eis, Domine, dona requiem et locum They did not arrive… so Sister Constance you tell them, at ten o’clock, recreation as usual. allowed to see her! indulgentiae. decided to go and fi nd them… and then…

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 110-111110-111 330/7/060/7/06 12:44:5912:44:59 Mother Marie Constance the death of our beloved Mother, dear Blanche! Madame Lidoine, the New Prioress And then you gave in to fear and… 18 Dear Sister, I’m afraid that our cross is just a bit Who’d ever imagine that it would be so hard 19 My dear daughters, I don’t need to remind too big when the tomb of our poor Mother is so for her to die, that she would ever die so badly? you of your terrible misfortune in losing your tiny! One would think when He gave such a death to beloved Mother at the very moment when her Blanche her, our good Lord made a great mistake; like in courage and advice were most needed. We have But I really meant no harm in going to the door. Blanche a cloakroom when you’re given someone else’s doubtless left behind us all those calm and happy What do you think we should do with the rest of coat. Yes, I think her death belonged to another, days. Sometimes it is far too easy to forget that (Blanche makes a move to return to the coffi n.) the fl owers? such a death was too small for her, it was really we could ever come to harm, and that we are so small that the sleeves barely reached down to always in the hand of God. What fate awaits us Constance her elbows… now, what lies before us, I don’t know. And all Mother Marie I know, let’s make a bouquet for whoever is to be we can ask from Almighty God in Heaven are No, for goodness sake, my child! There’s no point our new Prioress. Blanche those modest blessings, which the mighty of this at all in doing that now… A task left undone is The death of another? Tell me what could that world look down upon, in their scorn: good will a task left undone. Try to forget. There’s no need Blanche possibly mean, dear Constance? to all mankind, endless patience, a generous and to be so upset! But the night is cool, and I think I wonder if Mother Marie likes fl owers. loving heart. Of all virtues there are no greater you are trembling less from fear than from cold. I Constance for humble women such as we. Now, truly there will walk with you now myself as far as your cell. Constance I would say there might be someone that in the are many kinds of courage, but the courage of And now put this trifl ing incident out of your Oh, how I wish! hour of their death, fi nds their fi nal moments kings and princes is not at all that of simple mind… Go to bed, make the sign of the cross. surprisingly easy, and that they feel quite folk. It would not enable them to survive. Many With my permission you are excused from all Blanche comfortable. We die not for ourselves alone, but a servant will copy certain traits of his noble other prayers. I’m sure by tomorrow this will fi ll That she likes fl owers? we die for each other, or probably even instead of master, but they really will suit him no more than you with sorrow rather than shame. It is then you each other. Who knows? the fi nest of spices suit a common rabbit stew. will be able to ask forgiveness of God, without Constance May I repeat: we are poor and humble servants fear of offending Him further. No, dear Blanche, that she be chosen as our new Scene 2 The chapter room who have come to God in prayer. Now beware Prioress. of all that turns our wayward roving hearts away (Mother Marie takes Blanche by the shoulder and The community is assembled for the ceremony from prayer. Put no trust in the joy of martyrs. leads her towards the door.) Blanche of obedience to the new Prioress. A very large Prayer to God is our whole life. Martyrdom is You always believe that God will grant whatever and beautiful crucifi x hangs on the centre wall. merely recompense. When a great king before you ask of Him! Underneath it stands the Prioress’ armchair. A his noble court desires a servant girl that she Interlude: the garden of the Convent Constance number of nuns are already seated on the benches sit beside him on his golden throne, as though Blanche and Constance have made a cross of fl owers And why not? What goes by the name of chance along the side walls. The ceremony of obedience is she were his loving wife, would it not be wiser for the tomb of the Prioress. may perhaps be the will of God. Just think of coming to an end. if she should fi rst refuse to believe her eyes and

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 112-113112-113 330/7/060/7/06 12:45:0012:45:00 ears, and go on working as usual? I humbly ask Prioress, Carmelites (Mother Marie and Constance go out. The Prioress 1 Prelude your pardon for speaking in a simple manner, Ora pro nobis peccatoribus… remains, her face impassive, her lips moving slightly. it’s how I’ve spoken all my life. Mother Marie of Mother Marie returns in haste.) Chevalier the Incarnation, might I ask you to conclude my Carmelites 2 Blanche, why do you behave like this? You’ve poor humble words… …nunc et in hora mortis nostrae. Mother Marie My Mother, he says he’s Monsieur de la Force, hardly even raised your eyes to me. You are barely All who asks to see his sister Blanche, before his listening. Can this be the welcome you give to a Mother Marie brother? My sisters, Her Reverence has explained to us all Amen. departure from France. that our most important duty lies in prayer. So let us obey, not only with our tongues but with (The Carmelites rise and begin to go out slowly.) Prioress Blanche our hearts, obey the will of our Reverend Mother. Have someone go and warn Blanche de la Force. The good Lord knows that I’ve no desire to cause Interlude: a room in the convent (At a sign from Mother Marie all the Carmelites The present circumstances warrant our breaking you the slightest pain! kneel.) the rules. The doorbell rings violently. The Prioress and 20 (calling back Mother Marie, who had begun to Chevalier Ave Maria. Mother Marie enter rapidly from one direction, leave) Let me come to the point: our father feels it isn’t Constance from another. When they see each other, I would like you to Carmelites safe for you to stay here any more. be there. Gratia plena. Prioress 21 What is going on? Mother Marie Blanche Mother Marie, Carmelites If only your Reverence would kindly permit There is danger all around, here I feel safe – and Dominus tecum. Benedicta tu in mulieribus… Constance me… that’s enough for me. There’s a man at the gate. He begs to come in. Carmelites He insists that he must see our Reverend Mother. Prioress Chevalier …et benedictus fructus ventris tui… Only you, and no other! How can you explain the sudden change in the Prioress Blanche that I knew! There is something in your Mother Marie, Carmelites Tell me what gate? (Mother Marie goes out hurriedly.) voice and your manner – why on earth are you so Jesu. tense and withdrawn? Constance COMPACT DISC TWO Prioress The one in the alley. Sancta Maria. Scene 3 The parlour Blanche Prioress Blanche has her face uncovered. Concealed from If I now appear uneasy, it is only that I feel so Carmelites If he’s so keen to come unobserved, then he must view, Mother Marie of the Incarnation witnesses the very awkward. I have not as yet grown used to Mater Dei. be one of our friends. Mother, go at once. interview, her face covered by a heavy veil. this life, this life of happiness and freedom.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 114-115114-115 330/7/060/7/06 12:45:0012:45:00 Chevalier Chevalier Can you not now fi nd a way to grant me instead Mother Marie Perhaps you could be happy, but you’ll never be Blanche, just now when I entered the room, that respect and understanding which you would Come on. It is time to go. free! It is not within your power to rise above you looked so frail that I thought you would freely grant to any man. your own nature. faint. And then I saw, in the feeble glimmer of Blanche this light for a single moment, a glimpse of our Chevalier I have been too proud, I will be punished for it. childhood. It is just because we felt so awkward Blanche Blanche, now you’re the one who is angry and we found ourselves speaking such bitter words Oh come, you surely do not believe the life of a defi ant. that seemed to give offence. Could they have Mother Marie Carmelite conforms to nature? changed my baby lamb? There is but one way for you to conquer pride, Blanche you must rise above it. You must have courage. I feel nothing but respect for you, respect and Chevalier Blanche affection. But I am no more your baby lamb. (They go out.) At times like these, there are plenty of girls, once Oh, why must you forever fi ll me with doubt, I now am a daughter of God, who will suffer envied by all, who now, believe me, would gladly poisonous doubt, doubt that destroys, and from for you, and whom I ask you most sincerely to change places with you. Though I’m speaking such poison I almost died. It’s true I’ve changed respect, from now on, as a companion in battle. Scene 4 The sacristy of the convent rather harshly, Blanche, I must because I see forever. For we’re going into battle, each in his own way, before me the image of our dear father left alone and mine has its risks and its dangers, the same The Chaplain, surrounded by all the nuns, is taking with servants. Chevalier as yours. leave of the Community. He puts the vestments You no longer are afraid? (The Chevalier turns upon Blanche a long away in a cupboard. Blanche indefi nable look, and goes out. Blanche holds on to the grille so as not to fall. Mother Marie of the Do you really think that I am kept here by fear? Blanche Chaplain Incarnation comes forward.) Where I am, nothing can harm me. 4 My faithful daughters, I know that some among Chevalier you already have heard what I’m now about to Chevalier Mother Marie say. I have been relieved of all my duties. And Or by your fear of fear. After all, this fear is 3 Ah well, good-bye, my darling. Compose yourself, Sister Blanche. hardly nobler than any other fear. You have to the Mass I’ve just completed here will be my last. face your fear just as a soldier faces death and The Tabernacle is empty. I partake today of the (He goes towards the door. At this, Blanche nearly cease to be a victim of your fear. Blanche grief of our early Christian fathers. Today’s a very collapses and grasps the grille with both hands.) Oh my Mother, I have told a lie. Do I not great day for Carmel. Good-bye; I bless you all. know what I am? Alas! I could not bear to hear Let us sing once more together. Blanche Blanche him pity me! May God grant me pardon. His (All the nuns fall to their knees.) From this day on I can only be the humble and Oh, do not go, we cannot part like this. Ah, no! kindness suffocates me. Ah, will I never be more Ave verum corpus natum willing victim of Almighty God. I have long endured your pity and compassion. to him than a child? Ex Maria Virgine.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 116-117116-117 330/7/060/7/06 12:45:0112:45:01 Carmelites Blanche (terrifi ed) Blanche Sister Mathilde Vere passum immolatum But if what they say is true, you will be killed if Perhaps you are right about fear, it’s really an We’d better go at once and take a look at the In cruce pro homine. they ever fi nd you! illness. door behind the stairs.

Chaplain Chaplain Constance (The Chaplain reappears.) Cujus latus perforatum They will not recognize me, so do not fear. But are there no men left here in France to come Unda fl uxit et sanguine. to the defence of our priests? Crowd (outside in the street) Blanche Oh! You’re going in disguise? Prioress Carmelites When there are no priests there’ll be martyrs Chaplain Esto nobis praegustatum in plenty, thus the balance of grace is very soon Chaplain I was very nearly caught between the crowd and Mortis in examine. restored. Yes. These are the orders that we have just all the soldiers, so I had no choice but to return received. Dear sister Blanche, your imagination to you at once. Mother Marie (in a hard voice fi lled with Chaplain is far too easily excited. Yes, my dear child, you suppressed passion) O clemens! need not fear for I will stay not far from this Constance I am certain the Holy Ghost has spoken through house. You must stay with us, my Father. the mouth of our Reverend Mother. To make Carmelites (On the threshold he raises his hand in blessing.) sure the Church may survive in France, the O pie! I’ll return as often as I can. daughters of Carmel have only to offer their lives. Chaplain I would not wish to put you all in danger. I will Chaplain (He leaves. Mother Marie with great calm pushes Prioress have to leave you… When the crowd assembles O Jesu fi li Mariae. Amen. home the bolts of the outside door.) You did not hear me correctly, Mother, or at least to watch the procession, they’ll be gathered in you did not understand me. We are not allowed front of the City Hall, then I shall escape. (The nuns rise. Blanche fi nds herself immediately Constance to decide if our humble names shall be inscribed beside the Chaplain.) How can it be that priests are hounded in this among the martyrs. Crowd fashion – and in a land of Christians? Have the Ah! Blanche French now become such awful cowards? (She goes out, followed by Mother Jeanne. The nuns, 5 But what will become of you? dumbfounded, look at Mother Marie. The bell at Constance Sister Mathilde the gate is rung violently.) Listen! Chaplain They’re afraid. Everyone’s afraid. They infect one I’ll remain just as I am at this moment: an another with their panic, just as they might give Constance Sister Mathilde outcast! each other cholera or smallpox. 6 Someone is ringing the bell! Listen!

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 118-119118-119 330/7/060/7/06 12:45:0112:45:01 Carmelites door. The crowd is held back by guards armed with us with nothing at all to decide? But it really is First Commissioner They are here! long pikes.) essential that we obtain some appropriate clothes, These words you’ve said would cost you very dear since you insist we may not wear the ones we if they had been heard by anyone but me. Chaplain First Commissioner have. (aside to Mother Marie) Can you believe that I am I have waited far too long. What will happen to Are these all the nuns? like the rest of them? In our Church at home, I you, my daughters, if they should fi nd me here? served two year as sacristan; our noble priest… I First Commissioner Mother Marie loved him like a brother. Yet I’ve no choice but to Good! (mockingly) Are you then so very eager (He blesses them and leaves.) You see them over there. howl with all the wolves! to throw off your ridiculous garments and to be dressed the same as everybody else? Crowd First Commissioner You’d better open! You’d better open! It is our duty to see that they read the details of Mother Marie the decree of expulsion. Mother Marie Forgive me, sir, but I must ask you to prove your (The nuns huddle in a corner, with the exception of Surely you understand, it’s the man who makes loyalty and good will. Mother Marie.) Mother Marie the soldier, not the uniform. No matter what we Perhaps we can hear them from you. wear, we always will be nothing else but servants. First Commissioner Carmelites I will manage somehow to get rid of the patrol. We will not! We will not! Second Commissioner (reads) First Commissioner You will be alone until the workmen come later ‘Whereas it was decided by the Legislative The people have no more need of servants. on tonight. But beware the blacksmith called Crowd Assembly, in session the seventeenth of August Blancard. He’s an informer. You’d better open! You’d better open! 1792, by the fi rst of October next all houses of retreat at present still occupied by active Mother Marie (The Commissioners withdraw. The crowd leaves. Carmelites members of religious societies and orders have But they have a great need of martyrs, so you see, Mother Marie goes to close the large door. The nuns, We will not! We will not! to be vacated at once by the aforementioned there’s a service we can provide. dumbfounded, do not know what to do. Some are parties and must be offered for sale with the full praying. Blanche, like a poor wounded bird, has Voice from the crowd approval of the proper authorities.’ First Commissioner collapsed on a little stool. Mother Jeanne enters 7 Open the door, open the door now! Bah! When there’s death on every hand, dying is through the little door of the enclosure.) First Commissioner nothing! Mother Marie (to Constance) Is there anything in this decree to which you Do as they say, my little daughter. object? Mother Marie Mother Jeanne Living is nothing when life is thoroughly 8 My sisters, our Reverend Mother is coming to (With a fi rm step, Constance goes to unbolt the Mother Marie debased, and devoid of value, having no more say goodbye to you all, for she must go to Paris door. Four Commissioners enter. Two remain by the How can we possibly object, when you have left worth than all your documents. tonight.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 120-121120-121 330/7/060/7/06 12:45:0112:45:01 (Mother Jeanne turns a pitying glance upon Act III I am glad to see you accept my proposal with as (One by one the nuns pass behind the altar and Blanche, then goes over to a cupboard. She takes out much detachment as our dear Lord, Father of all, reappear almost immediately. When Blanche the Little King of Glory and hands it to Blanche Scene 1 The chapel inspires me to make it. But, if we should fi nally reappears her face is haggard. Constance watches like a toy.) The community is assembled in the chapel, which decide to offer up our lives, we should have no her. The Chaplain approaches Mother Marie and presents a scene of total devastation. Everything illusion as to what they are actually worth. says a few words to her in a low voice.) My dear little Sister Blanche, every Christmas is covered with straw and plaster; the grille of the Eve, as you well know, we would carry the Infant chancel is partly torn loose. The chapel is lit by a Mother Jeanne Jesus into each cell. I trust He will bring you To what will we have to bind ourselves by taking Mother Marie few candles. A nun watches near the door. The 10 There is only one vote against. That is enough. courage and hope. very modest civil garb of the Chaplain is spotted this vow? The only trouble with these special with earth, his shoes covered with mud; one sleeve vows is the disagreement they can create, and Blanche (taking the Little King in her arms) is torn the length of his arm. Mother Marie, fi rm they may even go against our conscience. Sister Mathilde (to her neighbour) Oh! He’s so small… and frail! and calm, is surrounded by nuns. Constance and We know who that is… Mother Marie Blanche are side by side, Sister Mathilde and Mother Marie And that is why I have always believed that we another nun stand apart from them. Constance No! He’s so small, but so strong! should know and recognize the worth of this vow and the great opportunity it brings. If there is Truly it was I. Mother Marie (General stupefaction. Blanche begins to weep, Crowd (outside in the street) even one of you against, it will suffi ce to stop me 9 Father, speak to them. I assure you they are fully burying her face in her hands.) Ah! We will win! We will win! We will win! at once. I would suggest we come to a decision prepared for the solemn vow they will be taking. at once by a secret vote. And then our Father will The priest here knows I have told the truth… But… but… now I declare that I am in Blanche hear what we have all decided in the presence agreement with you all… and… I would like Ah! Chaplain of Almighty God. Does this serve to clarify the It’s hardly a duty of mine. So I think it would be issues that you raised, my Mother? to… may I ask that I be permitted to take this vow… I beg of you in the name of our Lord. (She lets the fi gure of the Little King slip from her more appropriate, in the unavoidable absence of Mother Jeanne arms. Its head cracks on the fl agstones.) the Reverend Mother, if you yourself address the That seems to set our minds at rest. community. Chaplain Blanche (terrifi ed, with the look of someone who is Chaplain We have a decision. Now rejoin your forever branded) Mother Marie It would be best if you would pass in turn before companions. Come forward to me . The Infant King is dead! And nothing left to us My daughters, I propose that we take upon the cross. (The Chaplain puts on his vestments.) but the Lamb of God. ourselves the vow of martyrdom, to give our lives And now, dear Sister, open the Book of the for the glory of Carmel and the salvation of our Sister Mathilde (to the nun beside her, indicating Holy Gospel and prepare to take your vow. Let Crowd land. Blanche) the youngest be fi rst. Sister Blanche and Sister Ah! We will win! We will win! (The Sisters look at each other.) I bet there’ll be one vote against. Constance, if you please.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 122-123122-123 330/7/060/7/06 12:45:0212:45:02 (Blanche and Constance kneel side by side and offer for him and also for us. Do you not agree, Mother Marie (Blanche falls to her knees before the fi re and sobs. their lives to God. The other nuns mill about to Mother Marie? Yes. I’ve come to bring you back. It is time. She lifts up the cover of the pot. Mother Marie also take their places. Taking advantage of the confusion, (Sister Gerald leaves.) kneels and hastens to pour the stew into another Blanche fl ees.) Blanche (distraught) pot.) Mother Marie Ah, but I’m not free to go with you at this Interlude: a street outside the convent I must rely upon Your Reverence for all that I moment… Please… just give me time… till later. Mother Marie The Carmelites, with the Prioress at their head, are should or should not be thinking from now on. Do not torment yourself, Blanche. You see the assembled before a group of offi cers. They are in civil But if I was wrong to act the way I did, it’s true, Mother Marie damage is repaired. But why do you cry? garb and carry meagre bundles. all the same, once a thing is done, it is done. And Later, no my dear child. Now, now at once. is it in the spirit of our vow to act with so much If you delay, it may be too late. Blanche caution? Offi cer Because you are so kind and gentle. But I feel 11 Fellow citizens, we congratulate you all on (She leaves.) Blanche ashamed of my tears. I just want to be left in your disciplined behaviour and on your public Too late for what? peace… I want people to leave me alone… spirit. But I have to warn you now that we shall Prioress (turning towards the nuns) (with sudden violence) henceforth be careful to observe you all. No Each of you will answer to God for her vow and Mother Marie What have they got against me? Have I done more living in communities, no more dealings herself, but I, I have to answer for all, and I’m For you to be saved. them any harm? I would never sin against God. with those who oppose the foes of our Republic, certainly old enough to keep my house in order. Fear is not a sin against God! I was born in fear, nor with priests who plot against the State Blanche I’ve lived in fear, still live in fear. All the world – henchmen of the Pope and of tyrants. You will Scene 2 The library of the Marquis de la Force To be saved… Do you believe that I would be despises a coward – so it is only right that I too appear before the courts today, one by one, and The library has been pillaged and disordered and safe if I returned with you? should be scorned and despised. I’ve had this receive papers that will let you enjoy once again the once sumptuous furnishings partly destroyed. feeling since I was a child. Only one man could all the benefi ts of freedom under the eye of the A low stove has been placed in the large fi replace. Mother Marie stop me from talking like this, that was my Law. On top of it stands a common earthenware pot. With us, you’ll be far safer than here, Blanche… father. He is dead. He died on the guillotine only A folding bed stands in the middle of the room. a week ago. (He leaves, followed by the other offi cers. The Blanche, dressed as a servant, sits staring into the Blanche (throwing herself on the bed) Prioress, with a gesture, holds back the Carmelites.) fi re. Mother Marie, in civil garb, brusquely opens I cannot believe you. In times such as these, how In this house that was his, I – so unworthy of the main door. can I fi nd anywhere safer than here? They’ll never him and of his name – what other role can I Prioress fi nd me. Who’d ever think of looking here, for assume but that of a miserable servant? This 12 Sister Gerald, we have to warn the priest as soon 13 Prelude death strikes only the mighty… But I feel so morning I was slapped… Yes, slapped in the face. as possible. Last night, when we met, he agreed exhausted, Mother Marie… Oh look, my stew he would say Holy Mass for us this morning, but Blanche is burning! It’s all your fault! My God! My God! Mother Marie now it’s very clear it would be far too dangerous 14 It’s you! Whatever shall I do? The worst, my daughter, is not to be despised,

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 124-125124-125 330/7/060/7/06 12:45:0212:45:02 but to despise oneself. Sister Blanche of the chair on which the Prioress is sitting. The barred Prioress Piedcourt, Marie-Anne Brideau, Marie- Agony of Christ! window looks out on a dark courtyard. The door is In the Garden of Olives, our Lord was no more Cyprienne Brare, Rose Chrétien, Marie Dufour, heavy and unwieldy. It is daybreak. master. He knew the fear of death. Angélique Roussel, Marie-Gabrielle Trézelle, (Blanche rises and stands upright, her eyes dry.) Marie-Geneviève Meunier, Catherine Soiron, Prioress Constance Thérèse Soiron, Elisabeth Vezolot – gathered Blanche 15 My daughters, we have almost come to the end 16 And what of Sister Blanche? in defi ance of the Law in secret meetings My Mother? of our fi rst night in prison. By far, by far, the aimed against the Revolution, also engaged in Mother Marie hardest. We must accept that we are here to stay. Prioress correspondence with our enemies, spreading I will give you an address. Remember it well. By tomorrow you will feel more at ease in these I really do not know any more than you, my dear rumours most dangerous to freedom. Whereas Mademoiselle Rose Ducor, 5 rue Saint-Denis. strange surroundings and quite accustomed to little daughter. they constitute a body of rebels, openly seditious, You’ll be completely safe with her. Rose Ducor, this way of life, this new way of life which we who maintain within their hearts the most 5 rue Saint-Denis. I shall await you there until now must bear. After all, it is only a change Constance criminal desire which is to see the people of tomorrow night. of scene. No one could take away from us the She will return. France enslaved once more by tyrants, to see their freedom that we surrendered with our vows freedom drowned in torrents of blood which Blanche so long ago. My daughters, while I was gone, Sister Mathilde their treachery and evil designs have brought I will not go. I cannot possibly go. you chose to take the vow of martyrdom. Now Tell us why you’re so certain, sister Constance? about in the name of God. The Tribunal of the whether this was wise or not, God will not allow Revolution, for the safety of the Republic, has Mother Marie that such a noble sacrifi ce should now return to Constance decided that the aforementioned women shall be You will go; I know that you will go, my child. plague your souls. I take this vow myself. Now Because… because… because of a dream I have condemned to death.’ I am bound with you all. I am and shall be, had! A Woman’s Voice (outside the room) whatever happens, the sole judge of how this (The Gaoler rolls up the document. The nuns lower Blanche, get a move on! vow is fulfi lled. Ah! I take the burden; I leave (All the Carmelites, with the exception of the their heads. The Gaoler leaves.) (Blanche escapes through a side door. Mother Marie, you the reward, since I did not pronounce the Prioress, burst out laughing. The door is suddenly for an instant dumbfounded, slips away through the vow myself. Do not worry about it any more, my opened and the Gaoler enters. He unrolls a Prioress 18 main door.) daughters. I’ve always answered for you in this document.) My daughters, I wanted to save you, save you world, I’ve no desire at all as far as it concerns with all my heart… Ah, how I longed for you to Scene 3 A prison cell at the Conciergerie myself, of avoiding whatever may come. You Gaoler (reads) be spared this fearful sacrifi ce. For, from the very The Carmelites are crowded together in the cell. need not fear! 17 ‘The Tribunal of the Revolution declares that the day when I knew you all, I truly loved you, loved The Little King of Glory has been placed on an old former sisters of the Order of Carmel, who reside you like a mother; and would a mother willingly table which is partially covered with a small white Mother Jeanne in Compiègne, Department of the Oise – see, even if a king desired it, the sacrifi ce of her cloth; a few wilting fl owers stand in a cracked jug. While Your Reverence is with us, we shall never Madeleine Lidoine, Anne Pellerat, Madeleine children? If I’ve done wrong, God will decide. There are some old benches and a broken-down be afraid. Touret, Marie-Anne Hanniset, Marie-Anne Such as I am, you’re all that I have. I am not

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 126-127126-127 330/7/060/7/06 12:45:0312:45:03 someone who would throw all her wealth out of Chaplain of Liberty. He murmurs the absolution, makes (Constance, the last of the Carmelites, ascends the the window. My daughters, you must solemnly What does it matter what you feel at such a a furtive sign of the cross as the fi rst Carmelites scaffold. Blanche, her face free from every vestige of swear the oath of obedience for the very last time, moment? God decides who will live and who ascend the scaffold, then quickly disappears.) fear, makes her way through the crowd in which she now and forever, with my maternal blessing upon will die. had been lost.) you all. 20 Prelude Mother Marie Constance Interlude: a street near the Bastille I took the martyr’s vow… (The Prioress is the fi rst to mount the scaffold. As O clemens… each nun in turn disappears, the voices of the chorus (Constance catches sight of her friend and her face (The Chaplain enters brusquely. Mother Marie, Chaplain become fewer and fewer.) becomes radiant with happiness. She stops short for who had been waiting for him, comes out of the It was God who accepted your vow – it is to a brief moment, then resumes her journey to the shadows.) Him alone that you will answer, and not to your Prioress, Mother Jeanne, Sister Mathilde, scaffold, with a gentle smile to Blanche.) companions. Should He choose to free you from Constance, Carmelites O pia, o dulcis Virgo Ma… Chaplain your word, then He is simply taking back that 21 Salve Regina, Mater misericordiae, 19 It is done. They have been condemned. which is His. vita dulcedo et spes nostra, salve. (Incredibly calm, Blanche steps forward, amid the Ad te clamamus exsules fi lii Hevae; stupefaction of the crowd, and mounts the scaffold.) Mother Marie Mother Marie ad te suspiramus gementes et fl entes in hac All of them? Oh, God! I am dishonoured! At the moment of lacrimarum valle. Blanche death they will look for me in vain. Eia ergo advocata nostra, Deo Patri sit gloria Chaplain illos tuos misericordes oculos ad nos converte. Et Filio qui a mortuis All of them! Chaplain Et Jesum benedictum fructum ventris tui nobis Surrexit ac Paraclito There’s another who looks for you. Your duty is post hoc exsilium ostende. In saeculorum saecula, Mother Marie solely to Him. O clemens, o pia, o dulcis Virgo Maria, o dulcis In saeculorum… God! And… (They leave.) Virgo Maria. (The crowd begins to disperse.) Chaplain Scene 4 Place de la Révolution, 17 July 1794 English version by Joseph Machlis It will happen late tonight, I’m told, or (The last of the Carmelites are descending from tomorrow… tumbrels. Old Mother Jeanne is being helped (Mother Marie turns aside.) down. Constance is the last one; she leaps down Whatever are you doing? almost joyfully. Then the Carmelites, with the Prioress at their head, make their way to the Mother Marie scaffold singing. In the fi rst row of the dense and I cannot let them die without me! restless crows the Chaplain appears, wearing a cap

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 128-129128-129 330/7/060/7/06 12:45:0312:45:03 On session

Clockwise from top left: Paul Daniel, Josephine Barstow, Sarah Tynan and Felicity Palmer Brian Couzens, Felicity Palmer, Paul Daniel, Orla Boylan and Anne Marie Gibbons.

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 130-131130-131 330/7/060/7/06 12:45:0312:45:03 The Opera In English Series Great Operatic Arias

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

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 132-133132-133 330/7/060/7/06 12:45:1012:45:10 Also AvailableOn session: Richard Farnes and Brian Couzens

Artistic consultant to the Peter Moores Foundation: Patric Schmid Vocal and language consultant: Ludmilla Andrew Staging director: Charles Kilpatrick Translation research: Henrietta Bredin Steinway piano: Trinity College

Session photos by Bill Cooper

Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Michael Common Editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 20–26 October 2005 Front Photograph by Stephen Vaughan Back cover Photograph of Paul Daniel by Bill Cooper Design Cassidy Rayne Creative Booklet editor Kara Reed Copyright G Ricordi & Co. (London) Ltd CHAN 3130(3) P 2006 Chandos Records Ltd Lulu with English National Opera under Paul Daniel © 2006 Chandos Records Ltd

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CCHANHAN 3134(2)3134(2) Book.inddBook.indd 136136 330/7/060/7/06 12:45:1112:45:11 FRANCIS POULENC: THE CARMELITES DANIEL SOLOISTS / ENO PAUL CHANDOS DIGITAL CHAN 3134(2) Francis Poulenc (1889 – 1963) Printed in the EU The Carmelites LC 7038 DDD TT 144:15 Opera in three acts Recorded in 24-bit/96kHz by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis Marquis de la Force ...... Ashley Holland baritone Blanche de la Force, his daughter ...... Catrin Wyn-Davies soprano Chevalier de la Force, his son ...... Peter Wedd tenor Thierry, a valet ...... Gary Coward baritone Madame de Croissy, Prioress ...... Felicity Palmer mezzo-soprano Mother Marie of the Incarnation, assistant Prioress ...... Josephine Barstow soprano Madame Lidoine, the new Prioress ...... Orla Boylan soprano Sister Constance of Saint-Denis, a young nun ...... Sarah Tynan soprano Mother Jeanne of the Child Jesus ...... Jane Powell mezzo-soprano Sister Mathilde ...... Anne Marie Gibbons mezzo-soprano Chaplain ...... Ryland Davies tenor Monsieur Javelinot, a physician ...... William Berger baritone First Commissioner ...... James Edwards tenor Second Commissioner ...... Roland Wood baritone First Offi cer ...... Toby Stafford-Allen baritone Gaoler ...... David Stephenson baritone

COMPACT DISC ONE English National Opera Chorus TT 79:50 CHAN 3134(2) CHANDOS English National Opera Orchestra COMPACT DISC TWO Paul Daniel TT 64:25

p 2006 Chandos Records Ltd c 2006 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England

CCHANHAN 3134(2)3134(2) Inaly.inddInaly.indd 1 330/7/060/7/06 12:49:2912:49:29