CONRAD SUSA The Dangerous Liaisons Libretto by PHILIP LITTELL based on the novel by Pierre Choderlos de Laclos MANHATTAN SCHOOL OF MUSIC OPERA THEATER George Manahan, conductor Dona D. Vaughn, stage director THE DANGEROUS LIAISONS Music...... Conrad Susa Libretto...... Philip Littell Conductor...... George Manahan Director...... Dona D. Vaughn Set Design...... Erhard Rom Costume Design...... Tracy Dorman Lighting Design...... Tyler Micoleau Wig/Makeup Design...... Dave Bova Sound Design...... PalmerHefferan Assistant Conductor...... David Gilbert Chorus Master...... Miriam Charney Head of Opera Musical Studies...... William Tracy Vocal Coach.....June Marano-Murphy Vocal Coach...... Elizabeth Rodgers Diction Coach...... Kathryn LaBouff Producer...... Gordon Ostrowski Associate Producer...Daniel Benavent Stage Manager...... Peggy Imbrie CAST: Merteuil...... Anna Dugan Valmont...... Timothy Murray Tourvel...... Abigail Shapiro Cécile...... Janet Todd Rosemonde...... Noragh Devlin Volanges...... Brittany Nickell Danceny...... Oliver Sewell Émilie...... Brittany Bellacosa Bertrand...... Michael Gracco Victoire...... Amy Welten Azolan...... Christian Thurston Julie...... Ashley Alden CHORUS Soprano: Ashley Alden, Eleanor Coleman, Stephanie Johnson, Sarah Mikulski, Julie Salvas, Jamie Cherisse Sampana. Alto: Marie-Gabrielle Arco, Brittany Bellacosa, Xiaohan Chen, Robert Orbach, Rachel Stewart, Yunlei Xie, Amy Yarham. Tenor: Yuan Fang, Matthew Hernandez, Philippe L’esperance, Joshua Sanders, Shuo Wang. Baritone/Bass: Justin Austin, Martin Case, Michael Gracco, Nicholas Smith, Christian Thurston. Conrad Susa Philip Littell Composer (1935-2013) Librettist PROGRAM NOTE had already decided on the casting: baritone Thomas Based on Pierre Choderlos de Laclos’ scandalous Hampson as the Don Giovanni-like rake Valmont, 1782 novel, a tale of decadence and revenge told soprano Renée Fleming as the devout Madame de entirely in letters, the plot of The Dangerous Liaisons Tourvel, and mezzo-soprano as revolves around the vengeful widow Marquise de the scheming Madame de Merteuil. He managed Merteuil, who has managed to keep her reputation to secure them and other stars and presented the despite her many amorous affairs, and her sometime package as a “gift from Heaven” to Susa and Philip lover the Vicomte de Valmont, a well-born rake who Littell, the young actor-writer from Los Angeles whom does her bidding. The ripple effect of their schemes he had engaged as librettist. Composer and librettist and amorous exploits results in the deaths of both worked closely together from the beginning of 1992, Valmont and the woman he truly loves, the saintly already knowing the spectacular voices that would Madame de Tourvel. bring the work to life. Susa and Littell began by It was the story’s “devastating whirlpool of malign studying Laclos’s novel and Hampton’s play and seductions and intrigues” that Lotfi Mansouri, general watching all three films on the subject to date— director of the San Francisco Opera, thought would Roger Vadim’s 1959 French film Les liaisons danger- make a powerful opera— a dark Così fan tutte— euses, ’s Dangerous Liaisons (1988) when he was pursuing a new work for his company. and Miloš Forman’s Valmont (1989). Even before commissioning Conrad Susa (1935- Though a singer from a musical family and ex- 2013), Mansouri, who had seen ’s perienced in theater and cabaret, Littell was a first- riveting Les Liaisons Dangéreuses on Broadway in time opera librettist. He came up with a masterful 1987, had tried to secure the playwright as librettist, libretto in a timely manner. Susa particularly noted but Hampton was unavailable. Meanwhile Mansouri how “singable” Littell’s words were and how little ✧3✧ needed to be changed. Susa’s music is tonal—His NOTE FROM THE DIRECTOR melodies admirably suit the voices and the natural I have been fascinated by flow of the words. His score is divided into “num- the original novel (written bers,” but there is a seamless flow between arias, by Pierre Choderlos de recitatives, duets, and larger ensembles. Laclos and published in Susa had help with the orchestration from 1782) ever since it was Donald Ontiveros and MSM’s own Manly Romero a class assignment my from Susa’s carefully annotated short score and in sophomore year in college. constant consultation with the composer. The In 1992 it was exciting to production played for six sold-out performances. learn that San Francisco Dona D. Vaughn Stellar cast, music, and libretto all worked together Opera had commissioned Director to create an emotional impact, broadened through Conrad Susa to write an opera based upon the novel. I a PBS broadcast. Though the opera may not have was already familiar with Susa’s work, having directed become an American standard, it has received more several productions of his Transformations. I sent for a revivals than many contemporary operas—by the perusal copy of The Dangerous Liaisons shortly after Washington Opera and the opera theater depart- becoming Artistic Director of Opera here at MSM. ments of the San Francisco Conservatory, Cincinnati Alas, it sat in a drawer in my desk until this year. College Conservatory, and Banff Centre for the Arts. I must confess that having directed Transformations Along the way Susa made revisions, including divid- did little to prepare me for the very different music Susa ing the opera into three acts rather than two. wrote for The Dangerous Liaisons. Working on this opera In 2008, Bob Schuneman of E.C. Schirmer (ECS) has been a challenge to which our young singers have publications hired composer-arranger Randol Bass to responded with great enthusiasm. We all have relished make a reduction of Susa’s “massive score.” Bass had discovering the psychological depths (and shallows) of known Susa since 1975, when the older composer the opera’s characters. This production has proven to be had written a choral piece for the University of Texas an invaluable opportunity for our young singers to work where Bass was an undergraduate. “It was a labor of on stagecraft, period style, and characterization…both love for me, and took a couple of months to com- realistic and risqué. plete. I never heard the resulting score, although the I am grateful for the dedication of our music staff, reports that reached my ears were complimentary— our talented designers, our production staff, Albany including Conrad’s own assessment, which he shared Records, and especially the trust and dedication of our with me during a phone call after it was all over.” talented young students who have thrown themselves This is the version we have the pleasure of hearing wholeheartedly into this journey. on this recording. Jane Vial Jaffe Dona D. Vaughn ✧4✧ SYNOPSIS meets Cécile in the woods. They converse awkwardly ACT I. Madame de Rosemonde’s Paris country estate. on account of their affairs—hers with Valmont and Summer 1740. A rain storm has forced Madame de Danceny’s with Merteuil. Alone, Valmont boasts that all Rosemonde’s houseguests indoors. She, her nephew the women he has conquered loved him first. But he Valmont, Madame de Volanges, and Madame de Tour- realizes, to his distress, that he actually does love Tour- vel play cards. Meanwhile, Chevalier de Danceny gives vel. Coming toward him as if sleepwalking, Tourvel a harp lesson to Volanges’s daughter Cécile—they are admits that she is now lost; she succumbs to his love. secretly in love, though Cécile is engaged to the absent ACT III. Winter Gercourt, an ex-lover of the Marquise de Merteuil. The Merteuil feels that Valmont has gone too far with cynical Merteuil notes Vicomte Valmont’s desire for the Tourvel. She pens a letter, ordering him to break off his devout Tourvel, and the budding romance between relationship. Valmont reads and accepts his obligation. Danceny and Cécile. She begrudges Valmont’s getting In bed with Tourvel, Valmont uses Merteuil’s very words what he’s after and comes up with a vengeful plan. to end the affair. She is destroyed. Weeping, she asks Volanges and Merteuil warn Tourvel to be wary of to be taken to a convent. Later, Danceny is alone with Valmont, but she defends him. While Cécile and Dan- Merteuil. Unnoticed, Valmont observes the pair, then ceny practice their music, Merteuil instructs Valmont to steps forward. He bitterly reports that he has ended his seduce Cécile: Gercourt must have a “ruined” bride— affair with Tourvel. Angry, he tells Danceny about all the punishment for his rejecting Merteuil. Valmont agrees men Merteuil has toyed with. She shocks him by reveal- after she promises him renewed sexual favors. She then ing that Tourvel is dying and that she is breaking her warns Volanges that Danceny has been hiding letters bargain with Valmont: it is war. Merteuil tells Danceny in her daughter’s harp. Volanges orders Danceny out. that Cécile has miscarried Valmont’s child, and Danceny In different bedrooms at different times and places, immediately challenges him to a duel. Merteuil composes a letter to Valmont. Cécile writes Tourvel lies dying in the convent. Meanwhile, the to Merteuil revealing that Valmont has seduced her. duel takes place: Danceny has struck Valmont a mortal Meanwhile, Tourvel is agitated about her feelings for blow. Nonetheless, Valmont speaks tenderly to him; he Valmont; she turns to prayer. Valmont writes Merteuil. intended to be killed. He gives Danceny a box of letters From separate rooms, all the characters describe their offering proof of Merteuil’s base deeds, then dies. burning desires. Tourvel senses it at that moment and she too expires. ACT II. Autumn, a wood on Rosemonde’s estate. A crowd appears with a snowfall of swirling letters, The women discuss the fact that Tourvel is leaving be- quoting them maliciously. Merteuil enters masked and cause Valmont is about to visit. Rosemonde describes cries out Valmont’s name. All shun her. She unmasks, love from the perspective of old age. Valmont surprises revealing her face—hideous, blind and scarred from Tourvel and Cécile on the path. Tourvel has felt ignored smallpox. She has lost everything, but she still sur- by him and rejects his protestations of love. Danceny vives, defiant. ✧5✧ The Dangerous Liaisons MADAME DE TOURVEL By accident. LIBRETTO than this? (looking at both Val- MADAME DE VOLANGES ACT ONE mont and Mme. de Tourvel) Shall we play another? What is odder than a shining sun Opening TRACK 1 VALMONT Eighteenth Century France. A card In the rain or a man of experience She will ruin me. Madame de game at Madame de Rosemonde’s Making love to one so plain? Tourvel is quite a sharp. (to Madame house outside Paris. It is raining. All he hopes for he will get... de Rosemonde) As bad as you... Why should I be feeling such regret? MADAME DE ROSEMONDE Scene TRACK 2 (turns her attention to herself) It comes from spending too much MARQUISE DE MERTEUIL (looking What is crueler and more set apart time with priests. at young Cécile and Danceny) And more silent VALMONT What is sadder than a game of whist Than the hunter’s heart, Or, in her case, from being In the afternoon, More jealous of its prey, married to a lawyer. Or a lover who cannot win More apt to keep a lover at bay? VOLANGES A woman already won? Who can say...? Perhaps a dissipated life can affect All he hopes for is a kiss... VALMONT (to Mme. de Tourvel) one’s concentration... What is sweeter and sadder You’ve won again... VALMONT I never concentrate at cards. VOLANGES You trust to luck? VALMONT At cards. (calls over to Merteuil) Come join us! You are so far away. MERTEUIL I was listening to the children play. Cécile is making such progress. VOLANGES She is less awkward. The card game (left to right): Mme. de Volanges (Brittany Nikell), Vicomte de VALMONT Valmont (Timothy Murray), Mme. de Tourvel (Abigail Shapiro), Mme. de Rose- monde (Noragh Devlin) and Marquise de Merteuil (Anna Dugan, standing). Out from under the good Sisters.

✧6✧ VOLANGES Monsieur de Gercourt to whom Is that agreeable? (to Valmont) Still under her mother’s eye. my daughter is betrothed is still in Will you see me to my room? (to ROSEMONDE (to Volanges) Corsica, embroiled in the move- Merteuil) And, my dear, so nice that Ah! This letter is for you. ments of war. you dropped in. Must you leave for VALMONT VALMONT (aside, to Merteuil) Paris today? From Gercourt? You had tired of him. MERTEUIL VOLANGES Why not wish him well? I must! Yes. MERTEUIL (aside, to him) ROSEMONDE VALMONT (aside, to Merteuil) Monsieur de Gercourt can go I fear a storm is coming on. Did you hear that? to Hell! MERTEUIL MERTEUIL ROSEMONDE I am not afraid of a little lightning. Yes. What a pity about the weather! ROSEMONDE (takes Valmont’s arm) VALMONT We have been hostage in this draw- I suppose not. And now, if you will A letter from Gercourt. ing room all afternoon. I had hoped all excuse me, I must have my rest... TOURVEL all you young people might have What a pleasure to have you here Is the wedding to be soon? spent the day outside. Why don’t with me. VOLANGES we improvise? Our interrupted VALMONT (to her) Not soon enough! Unfortunately, picnic could be served right here. I have neglected you. ROSEMONDE I have always left you free. My dear boy, I know you very well. Did you come to see me or Madame de Tourvel...? (A pause.) I see... I pity you, my boy. That is one you will never enjoy. Never mind, at least I have you here. I’ll be good for at least another year. VALMONT You say that every summer. Valmont ROSEMONDE with his Winter’s coming, my dear. aunt. (They go off.) ✧7✧ Madame de Tourvel Marquise de Merteuil Madame de Volanges

Trio / Scene TRACK 3 TOURVEL (annoyed) Madame de Tourvel, VOLANGES (as Rosemonde goes) Really, must everything he does Monsieur de Valmont Isn’t she wonderful for her age? be wrong? Seems quite under your spell. MERTEUIL VOLANGES TOURVEL Eighty, isn’t she? Frankly, I’m surprised. What can He comes to me VOLANGES you have in common with a man For counsel and advice. At least. like that? VOLANGES TOURVEL MERTEUIL He will ruin your good name. But she becomes a girl again Ah! Valmont and women... Are you prepared to pay that price? with him. VOLANGES (to Merteuil) TOURVEL They are so sweet together. You must admit: Maybe the best that a man can do MERTEUIL You are the only one Is to do nothing, He usually doesn’t drop in here To have befriended him And all a woman can do is to so often. And not to have been undone. understand VOLANGES (sarcastically) MERTEUIL And maybe a sudden conversion Or stay so long. A widow is no challenge. In the country ✧8✧ Will only last a week in Paris. VALMONT (reentering) He has been frank, his own accuser, Discussing me? And I have been severe. VOLANGES Why you? VOLANGES, MERTEUIL MERTEUIL (variously, to Tourvel) Or any man? My dear young man, There is nothing more dangerous we women only judge other wo- Than a lovable man. men. We are the guardians of each There is nothing more other’s reputations. To be repented VOLANGES (Servants bring in food.) Than to even like such a man. How charming. Put it over there. There is nothing more seductive MERTEUIL Than a man who wants to change, Vicomte de Valmont It all looks so delicious. (They go.) More sympathetic and attentive I will not repeat TOURVEL (alone with Valmont) Than a man who asks for help. Of lechery and every vice, Sir, you have not told me everything. Most men need help. Of violence and debauch, VALMONT Most men will change. Stories you have heard, no doubt, Everything? That a few men are vicious And yet all things you can forgive TOURVEL Is saddening and strange. Unless you know the secret I have uncovered your secret. And Valmont Of his cowardice: VALMONT Is the most dangerous of them all. He fears one thing. Secret? Valmont rises when women fall. He’s afraid of being caught, TOURVEL ALL THREE And to Valmont one thing Yesterday I had you followed. Maybe the best of human love Experience has taught: VALMONT Is simply friendship. A woman must be silent, Followed? Maybe such a friendship A woman cannot fight. TOURVEL Leads to God. Valmont believes all women On your walk. Love is Christian duty to all sinners, Are his right. VALMONT So we may all be saved TOURVEL Walk... On Judgement Day. I have been severe; TOURVEL There are stories I could tell you He has accepted and he repents. Your walk to a little village, to a ✧9✧ certain cottage where, it is said, you VALMONT Madame de Merteuil is so kind. render acts of kindness of Christian Would that be happiness? DANCENY (looks at the other women) charity to a peasant family that TOURVEL Is there a lady not to be desired? was in misery. Why do you hide this I do not know. (The clock strikes.) And which lady will be mine? from me? Cécile or someone else? Sextet TRACK 4 VALMONT When will it be the time? CÉCILE (looking at the women) Before I imitated vice, I sought to CÉCILE How can they not blush surpass in deed and renown the And she knows my future husband. When men look at them, lowest sinner. And still some sinful She says I must expect Exchanging sidelong looks and stares? pride mingles with the shame you To find him cold. They do not blush. have inspired in me. My instinct is Monsieur de Gercourt is very old. Is it the paint that they wear? to hide my littleness of soul com- DANCENY DANCENY (looking at Cécile) pared to yours. Everyone must know How can I not blush to look at her? TOURVEL (moved) Everything I feel. You make me wish... How can I not stare, imagining Is my very soul exposed? VALMONT Her skin underneath what she wears? No, only in my letters What? CÉCILE Does my heart unfold. TOURVEL Is there a lady I can trust? CÉCILE That you were my brother. Can my mother’s friend be mine? And she says I am not wrong to love And in love’s game to play my part. Oh, I love the Chevalier With all my heart! DANCENY My letters cry “how long Can we be kept apart?” Oh, I love Cécile with all my heart. TOURVEL (looks at Valmont) How can anyone not sense His goodness, his grace, not readily See the yearning for God in his face. Cécile de Volanges (Janet Todd) and Chevalier de Danceny (Oliver Sewell)

✧10✧ VALMONT CÉCILE (aside) MERTEUIL How transparent her skin, He is not well? Oh please, Cécile. (The pair go How cold her hand. DANCENY over to their harps to rehearse.) I want her to give That is to say... my throat would DANCENY, CÉCILE, TOURVEL What I could already demand. not do justice to the music. (at the far end of the room) CÉCILE VALMONT “The armed man, Look, he trembles. A tear. Cécile, give us a song! Th’imprison’d maid How he frightens me. VOLANGES Guard the secrets of their hearts...” Can Love be fear? Cécile, perhaps the Chevalier MERTEUIL (aside, to Valmont, DANCENY would like a little chocolate. during the singing) Look, how I tremble. Look, a tear. VALMONT Monsieur de Valmont! Do not be frightened, love. Did I say something wrong again? VALMONT Have no fear. VALMONT Madame de Merteuil. VOLANGES I do apologize, Madame. MERTEUIL How can I stay awake. TOURVEL Busy, I see. When will they all leave? I know! Let us hear the song VALMONT I need to lie down Madame de Rosemonde asked if And you, completely free? And loosen my stays you had learned: the old one. MERTEUIL So I can breathe... CÉCILE You know my business here MERTEUIL Oh, you’ve ruined our surprise! As well as I. How can anyone endure VOLANGES I’m sure you can recall it, if you try. This godforsaken place? Cécile! We made a wager, Nature is not natural VALMONT You must make your move. To the human race. (The clock A secret! Now I must insist! It’s skill, not luck, chimes again.) DANCENY That wins at cards and love.

Scene TRACK 5 It isn’t ready. VALMONT VOLANGES TOURVEL We only play the cards we are dealt, Children, why don’t you sing for us? Then rehearse it, by all means. Oh Queen of Hearts, Something you have prepared. We promise we won’t pay attention. Oh heart that will not melt. DANCENY (flustered) DANCENY Of all the Hearts you hold, Madame, I am not well. Well... perhaps... I am the Knave. ✧11✧ Do not discard me, play me. de Tourvel. VALMONT I’m your slave. MERTEUIL You are jealous! MERTEUIL Fifteen years old... MERTEUIL If you’re my slave, VALMONT (referring to Tourvel) No. Impatient. Why do you disobey? Happily married, a real challenge. I am running out of time, VALMONT She is a very pious lady. If I intend to present Gercourt With a little patience, MERTEUIL With a ruined bride. (looks at We both can have our way. The girl has no morals at all. Danceny) MERTEUIL She is quite unformed, That young man is too slow. I want to be revenged! A delicious bud. They look into each other’s eyes That ass Gercourt does not deserve VALMONT And sigh, even when left alone. A virgin bride. And far too easy, VALMONT VALMONT Hardly worthy of my time. All any lover needs is an obstacle. No husband is assured of that. MERTEUIL MERTEUIL MERTEUIL Or reputation? An obstacle! I thank you, my friend. I want you to have Cécile de VALMONT And I must tell you, by the way, Volanges. Completely incapable of love. That her mother, VALMONT She will fall into bed Who knows you all too well... I am busy with Madame Purely out of curiosity. She is not for me. VALMONT MERTEUIL Oh. All too well? And the “very pious lady,” MERTEUIL Will she satisfy you? Yes, all too well... has exposed your VALMONT character to Mme. de Tourvel. Wait ‘till I’ve had her VALMONT Before you run her down. And if I help you? MERTEUIL MERTEUIL Oh yes, If you do as you’re told Her heart will beat for you, And give me proof... with fear. VALMONT Valmont and Merteuil scheme. Perhaps you will enjoy that. I always do.

✧12✧ BOTH (to Tourvel who returns) Cécile, my sweet. Chevalier... Then Knave takes Queen. Madame de Tourvel, And, Valmont, always such a treat! VALMONT I’m so glad we’ve met. (aside, to him) Remember And what will you do ‘til then? Ah, Cousin, a word Her intended will not find a maid. Before I forget: (draws Volanges His debt to me must be repaid. Cavatina TRACK 6 aside) Cécile is at a certain stage, VALMONT (aside, to her) MERTEUIL You’ll agree, a dangerous age. All is possible, you see, There is a house nearby Her music lessons, are they Between two friends. Hidden away, chaperoned? MERTEUIL (going out) A summer pavilion, VOLANGES Good. What is more pleasant A temple of May. I can assure you she is never left alone. Or more calming There in my bower I entertain, MERTEUIL (looking at Danceny) Than the prospect of revenge! You are her mother. In perfect discretion, I’m sure you know what’s best. Scene TRACK 7 My anonymous swain. VOLANGES (looks at Danceny too) DANCENY (bowing) He is brought there blindfolded. That young puppy? Madame, Mademoiselle... I uncover his eyes, MERTEUIL VOLANGES And each time he undresses, Then put your mind at rest. Monsieur, stay where you are. A different disguise. VOLANGE (uneasy) Please, Cécile, remove the cover I become many women, Should they be kept apart? from your harp. (She does. Volanges He becomes many men, MERTEUIL finds a letter.) And now, give me the And so we die and revive all night, He is sending notes to her? keys to the desk in your room. (to Again and again. VOLANGES the maid) Go fetch her letter-box. VALMONT Impossible! We will wait until she comes back. I look forward to it. MERTEUIL DANCENY MERTEUIL He leaves them on her harp. Madame... That all depends. It’s all quite innocent, I’m sure, VOLANGES (The storm rages.) VALMONT But it’s indiscreet. Not a word! (to Valmont and I understand perfectly. God be with you Tourvel) Please stay, I will need some MERTEUIL Till the next time we meet! witnesses. (The maid returns with Good, we must always be friends. (She goes to the young couple.) the box.) Thank you, put it there.

✧13✧ (She opens the box, finds letters.) And protect my daughter’s name! DANCENY Cécile, these letters are addressed Do not force me to leave orders I give my word. to you from Danceny. Not to admit you. At least until we can discuss... CÉCILE My command to you must be VOLANGES Mother! enough. You insolent whelp! DANCENY And before I banish you VALMONT (aside, to Tourvel) Madame de Volanges... From my sight, That boy needs my help. VOLANGES You must give back TOURVEL Silence! The answers to these letters. Yes, speak to him. No Cécile, You have abused my confidence, Do I have your word? Come with me! You have abused her innocence, DANCENY VALMONT And you have abused your position. That I cannot do. Can’t you see, Chevalier, listen to me, You are no, no, no gentleman. You have misunderstood. DANCENY (aside, to Valmont) I will remember you with contempt. Cécile was safe with me. What shall I do? This is the end. She will remember you with shame. I was master of myself, VALMONT And you must now remember yourself But not my heart. I am your friend. Perhaps we can agree Do you want Cécile? That for the moment we must part. DANCENY Nothing bad took place. Sir, I promised her mother... It could be worse. VALMONT It’s only a promise. Those letters I will keep. Oh, why do I bother? They are hers. DANCENY VOLANGES Please, help me, sir. How dare you? That’s good! VALMONT And what else? Believe me, my pleasure! He can say this to me? You will have your Cécile. Oh, my heart! To my face? VOLANGES “It could be worse.” Must I ask you again? Ah! I could weep! CÉCILE Volanges reads the love notes to This is impossible, Oh, mother, no. Cécile from Danceny. Stay away from us! Out in the rain? ✧14✧ VOLANGES VALMONT (joins her) woman. Valmont! Perhaps it might If I ever suspect, if I catch you... Madame de Tourvel! (They all go put things in some perspective if I DANCENY except Cécile.) recount how I became who I am: Madame, I have too much respect... A child must learn to be silent and VOLANGES Cavatina TRACK 8 to be patient. A child may learn to I will shut her in a convent. CÉCILE (left alone) ponder and observe. What I learned I will lock her up tight! When I was at school, was never to reveal what I thought (to Cécile) Why should I ever I dreamed of a dress like this. or felt. That child became a perfect Do a thing for you? I dreamed of ribbons politician, and that child became Do you have any idea And tender roses. curious to know what a woman What I’ve had to do? I dreamed of the colors of the dawn, feels, what a woman does, what a Oh, to have such a child. Of silk as soft as my skin, woman is. Luckily, I was married by The scandal, the shame! And I imagined how all my friends my mother at fifteen, still a virgin, to CÉCILE (to her mother) Would envy me like this. Monsieur de Merteuil who left me a

Please don’t be like that! Scene TRACK 9 widow very soon, but not before I (Madame de Rosemonde enters.) Merteuil’s bedroom. She is writing. had learned to make him trust me ROSEMONDE MERTEUIL the most when he had least cause. What’s all this noise? It’s given me Valmont, can you imagine that I Unwilling to interrupt the freedoms such a fright. Call the housekeeper. am impressed... that sentimental I enjoyed as a wife, I made my repu- VALMONT (aside to Cécile) woman? Valmont, don’t you already tation when widowed, as a woman Your room, who has the key? know how easy she is, how easy...? whose nature was cold. I encour- CÉCILE (aside) Valmont, how easy it is always is for aged the attentions of men I did not My maid. you. Valmont, what obstacles, what want and made sure that the men I VALMONT (to the maid) difficulties, do you face? None. wanted were discreet and unfaith- Stop crying, Josephine, and come here. What do you have? You have the ful and grateful for my tact. And I Josephine, the key! All will be well! luck to be good-looking, you have never wrote any man a word of VOLANGES good manners. So what? A little wit, what I thought. You cannot doubt Madame de Rosemonde, forgive some charm, and a lot of nerve... my discretion, Valmont. You re- me. A scandal, a shame. which I like. But what have you member how we met, how I longed TOURVEL (as they all prepare to done that I have not done better, for you and how we both knew leave) Monsieur de Valmont? better than any man? I, a solitary there was nothing you could do to ✧15✧ compel my surrender. Valmont! Valmont and Danceny? No! I was forgive him for teaching you what When and through which window asleep. He frightened me and then you were dying to know? And you, will you come? (The Chevalier Dan- he tried to kiss me. He said that no the picture of outraged virtue. ceny is quietly shown in by the maid.) one would believe me, and then... Just like a novel. And aren’t you I can’t! Oh please, Madame, some- the heroine? I must warn you: Scene TRACK 10 thing bad! I didn’t want... I didn’t that’s just a little boring. Little girl, A bedroom in Rosemonde’s house. love, but there moments as if... And you are awfully young for fifteen. Cécile is writing to Merteuil. then he made me promise. I was Listen, little one, were you really CÉCILE wrong! I promise you, I will not let ashamed or were you ashamed Oh my God, Madame, this Monsieur him... Oh! This morning when I because you really enjoyed it? de Valmont... How can I... I have to, looked into the mirror, I was so (Merteuil and Cécile both appear, oh Madame! He asked for my key changed... and Mother asked what read together, each in her own to bring me letters from Danceny. was the matter. I thought she was room.) about to scold me, but then she spoke so gently to me and then I cried and she cried too, a little. Dear Madame, I beg you... Oh Madame, what should I do? And please don’t tell them what I said. (She seals the letter. Valmont quietly enters her bedroom.)

Scene TRACK 11 Back in Merteuil’s bedroom. She holds Cécile’s letter. She writes back to Cécile.) MERTEUIL (amused) Oh, poor Cécile! What a nasty man. Monsieur de Valmont is very, very bad. How dare he treat you like Merteuil writes to Valmont. that! Like a lover. How can you ever Cécile writes to Merteuil.

✧16✧ MERTEUIL, CÉCILE SCENE All night I pretend, all night... Shame... that first deep shame Valmont is in bed with Émilie, a All night I toss and turn, Is just like pain, prostitute. He writes to Merteuil. All night in the fires of Hell I burn. The first sharp pain. VALMONT All night I think of you. You only feel it once. Dear friend, guess what? You All night I think of nothing but you, remember Émilie? That’s right, that All night... Scene TRACK 12 Émilie. I am at the house where she All night and all my life, In her bedroom, Tourvel is upset, is kept by the Dutchman. (Émilie All night I pretend you are my wife. reading a letter from Valmont. joins him.) And the Dutchman is All night. Is that wrong? TOURVEL asleep, fast asleep. He will not All night. Is that so very wrong? All night I think of you. awake for at least a week! And I All night, all night long. All night in the fires of Hell. thought it might amuse you and All night I pace the room, (She kneels and prays.) me and Émilie if I used her... All night your face Out of the depths ÉMILIE Illuminates the room, Can you hear my voice? One more time? Are you able? All night I never rest, Give ear to my prayer, VALMONT All night long I never rest. Understand its meaning. ...as a writing table to... (She sits All night, at my desk. You know my faults on all fours, as a desk.) to write to I think of you.... (Émilie and unseen And yet you freely forgive them. you, to tell you what I wrote to the voices join in again. The light fades.) You freely forgive them beautiful inhuman one. So you and END CD ONE In the name of love. I and Émilie can have a little fun. I hope, I believe, in the life eternal. Now let me see, how did I start? For that is what you promised, ACT TWO My Lord. I hope, I believe... Final Scene TRACK 13 Scene CD TWO, TRACK 1 I wait, oh Lord, VALMONT (then joined by Merteuil, A deer hunt in a forest. Volanges, I wait for your coming and Tourvel, in their own bed- Cécile, Rosemonde and Tourvel As those without sleep rooms, writing.) walk together. Wait... for the dawn. It has begun to rain again after a VOLANGES (She picks up the letter again.) night of storms. It has been another Cécile! All night I think of nothing but you sleepless night for me. (Distant CÉCILE All night, all night through... voices are heard.) Look, more flowers.

✧17✧ Help me pick them. ROSEMONDE So late in the year... VOLANGES Cécile! She is impossible. You mustn’t bother Madame de Rosemonde. CÉCILE (goes off) It’s all right. We’ll catch up. ROSEMONDE (referring to Tourvel) I shall be sorry to see my young friend go. Rosemonde and VOLANGES Volanges I thought her husband was talk in the forest. still away. ROSEMONDE VOLANGES Madame de Volanges. Running Oh yes, he is. Why must she go? Does she say why? away is really running toward. VOLANGES ROSEMONDE But won’t your nephew be back Why..! Must we always ask that Aria TRACK 2 tonight? question? The answer to “why” is ROSEMONDE ROSEMONDE always “who,” and the answer to I have an old heart. That’s what he writes me. “who” is always “him.” It hardly beats; it is a moth He says tonight... VOLANGES At the end of summer VOLANGES I must applaud her good sense. Or a candle flickering, Won’t that be nice? You love him ROSEMONDE But it is not cold... like a son. What sense is there in that? I have an old heart ROSEMONDE VOLANGES That I still wear like a locket But you see, I never had a I didn’t mean... With a lock of hair. daughter, and now she says she ROSEMONDE It is always remembering has to go. She is in very great danger, And it is still not wise...

✧18✧ Old or young, the heart will love, see me... Is it allowed to follow? It cannot choose. TOURVEL TOURVEL The heart will love and be loved I am happy. I’m not so sure I would Love? Or lose: it cannot choose. want to be any happier. VALMONT I have an old heart as dry as leaves, VALMONT My love. And it whispers “I still love.” Don’t you want more from life? TOURVEL My heart whispers “I still love.” I know you do, Cécile. Your love... your love... (She runs Now, quickly, to the house before TOURVEL off hysterically. He turns to Cécile.) we freeze! (Madame de Volanges More than to keep both feet on VALMONT calls off for her daughter.) the ground at all times? No! Cécile, sometimes the hunter VOLANGES VALMONT flees the prey: Cécile...! Not even... So I, unwanted quarry, go away. CÉCILE (from a distance) TOURVEL (angrily) (He bows and departs. Cécile Coming! No, no, Monsieur. remains and watches him go. You have broken all your promises. Then she looks for Danceny in the Scene TRACK 3 I enter a room and in that moment bushes.) (Cécile and Tourvel come back.) You’re beside me. CÉCILE VALMONT (has entered) VALMONT Where are you? Ladies! And I am always something DANCENY (emerging) TOURVEL (alarmed) That you leave behind. Have they gone? Monsieur de Valmont! TOURVEL CÉCILE CÉCILE (not at all alarmed) And the way you stare, Yes, wait! Yes, they’ve gone. Monsieur! The way you always try... DANCENY VALMONT VALMONT So, I suppose we must thank I’m back. And you... Monsieur de Valmont... TOURVEL The way you avoid my eye. CÉCILE (bitterly) So I see. TOURVEL Oh yes, that’s right. CÉCILE Monsieur, you must agree DANCENY Yes. To let me go. He has been a loyal friend. VALMONT VALMONT CÉCILE You don’t seem very happy to And Love, Madame, Oh yes, completely. And Madame

✧19✧ Don’t look at me like that. It’s not the end. For every man I’ll keep a different heart. So I can keep The different feelings apart. A husband and a friend, And perhaps, another friend. I will always have a friend, A perfect friendship, Valmont And a perfect marriage with Cécile. And a perfect love... DANCENY de Merteuil? True friendship and love... Cécile, our friends are doing DANCENY Is perfect and wonderful. Everything they can. Ah yes. The older heart is wise. CÉCILE CÉCILE The wise heart encourages, advises, Oh yes, they are! ...is completely devoted to you. Admonishes and guides us, DANCENY DANCENY Is mother to all lovers. You have changed, Cécile. Cécile, are you sure you feel all right? CÉCILE (bitterly) CÉCILE CÉCILE Friendship and love... The world has changed, Chevalier. I don’t seem to sleep much any- DANCENY It seems the world more at night. You were saying— What’s the matter? Is always changing. Madame de Merteuil... CÉCILE Chevalier, if you preferred, DANCENY I wish, Chevalier... You could become my husband. She is as wonderful a friend to me It appears that I am to be married My mother can be handled. as Valmont is to you. Very soon to Gercourt. Discuss it with your “friend.” CÉCILE (sarcastically) But it needn’t matter very much. Why don’t you ask your “friend?” Oh, he is your friend, indeed! I am told it might even... (They each go off in separate DANCENY I’ll have a husband and a friend. directions.) To have friendship and love, ✧20✧ Scene TRACK 4 My wisdom runs. But this woman... I am lost. VALMONT (returning, angry) Be my perspective, TOURVEL A woman’s price goes up Take me back. Once I had you followed. The longer she defends her virtue. You should be here. I had hoped to find you out. Ha! A fairytale! I want to be rewarded. And now I wish to follow you.. Not one woman I have overcome Take me back...! Are you so lost? Of any of the many women Have I become a schoolboy? VALMONT That I have won Suddenly, do I know nothing? Madame, but I am lost Successfully concealed What is this clumsiness I hate? You are too good for me. Her own desire. Was I ever a schoolboy in my life? BOTH They all wanted me. Why, I knew everything! The night has fallen fast. They loved me first! And now this nothingness, The light, it will not last. Love! What love? This pain... (She walks back into the woods Sometimes I’ve had a feeling. This woman’s face, and he follows, as unseen voices Oh, a moment, yes, This woman who cannot lie, are heard.) Of something Who cannot play. Like that poor pathetic passion Why this woman? Why? ACT THREE I inspired in another, I am a schoolboy Scene TRACK 5 That illusion I created with such skill. But there is no school. Merteuil’s bedroom. She is I must have shared in it, I am a child, awakened by unseen voices. Or something like it. A filthy infant, MERTEUIL But I preserve a point of view. A hungry baby crying. Valmont! (calls her maid) Victoire! I cherish it: it keeps me unenslaved, TOURVEL (returning) Victoire! I know that she can hear Reminds me that I am I can’t be with people, me. Victoire! One day that girl will The source of all my joy, I can’t be alone. go too far... I and I alone. I can’t stay here, VICTOIRE (enters) All women are my pleasure... I must go home. Madame. Not just one, not this woman...! Do I have a home? MERTEUIL (Voices are heard from afar.) I have no home. God save me! You didn’t hear me? My wise Marquise, VALMONT VICTOIRE See what foolish risks Nothing is beautiful anymore... Madame, I heard you.

✧21✧ I came right away. I have a friend, Been unfaithful, MERTEUIL I think you know him. Surely the folly of your passion Indeed? Victoire, are you not He is involved too deeply Drove me to it, happy here? With a woman who is becoming It is not my fault... (Valmont’s voice VICTOIRE An embarassment. is heard echoing her words.) Oh no, Madame. I am very Indeed, they are already Another woman, happy here. The subject of much talk One that I am mad for, MERTEUIL (Or could be). Insists I give you up. You don’t wish to go back to He wants to break it off, That is not my fault... your family? No! That’s right, But he doesn’t know what to say, Women, as you know Victoire. Your family might not be So he has asked a friend, Are more determined glad to have you back. A lady that he trusts, And implacable than we men. VICTOIRE To provide him with a model That is not my fault... I understand, Madame. Of the speech that he must make. Take another lover; I have. What can I do for you, If it interests you, That is good advice, Madame? I can let you have a copy. (reads And if you think it’s not, MERTEUIL what she has written) Then it’s not my fault. Light the candles, all of them. ”My angel, No! Get dressed. There will be a The physical world is subject letter ready shortly. To universal laws. VICTOIRE That is not my fault. Yes, Madame. Sooner or later MERTEUIL Everything gets boring. For Monsieur de Valmont. That is not my fault I will call you. It is not my fault... VICTOIRE (going) If my love were Yes. Equal to your virtue... MERTEUIL Well, you can see, And, oh, Victoire. I will expect you It was never very much. back. (She writes.) The Marquise de That is not my fault. Merteuil orders Valmont to give up Merteuil to the Vicomte de Valmont: And if I have already Tourvel.

✧22✧ I loved having you. Surely the folly of your passion Wasn’t I? And I was... I’m not sorry to leave you. Drove me to it. And now there is no picture. I might even come back. Another woman, I will die, Valmont... That is life, my dear. One that I am mad for, VALMONT (coldly) That is not my fault. Insists I give you up. Madame, it is almost evening. Goodbye, my angel. Women, as you know, Get dressed! It is not my fault.” Are more determined TOURVEL (wildly) MERTEUIL And implacable than we men. The veil is rent in the tabernacle. Valmont, this is an ultimatum! Take another lover; I have. The temple is overthrown I loved... I may... That is life. And he... Scene TRACK 6 Goodbye, my angel. VALMONT (calls for his servants) Valmont’s bedroom. Tourvel sleeps. TOURVEL (stunned) Azolan! Everyone! VALMONT (speaks to her as she The veil is rent... TOURVEL slowly awakens. He reluctantly The beautiful picture, No! No...! speaks the words of Merteuil’s The painting in its beautiful frame— VALMONT (as servants enter) letter.) Slashed! Who painted it? Did I? Azolan, take her away... My angel, I am no artist, and there it lies. AZOLAN The physical world is subject And I was in the picture, Monsieur! (to the others) To universal laws TOURVEL (still half asleep) What? VALMONT Sooner or later Everything gets boring. If my love were Equal to your virtue, Well, you can see, It never was very much... (She slowly repeats his words.) Valmont VALMONT rejects And if I’ve already been unfaithful Tourvel.

✧23✧ VALMONT old room... If I can have... If I can I write from greed! Azolan, I don’t care what you do. spend the night in my old room... I know you made me promise, Get her out of here! (He goes.) I used to have. (She slowly leaves.) But a promise to a lover, TOURVEL (fainting) Like clothing, is superfluous, No! Valmont! Scene TRACK 7 Like a ribbon or a gauze fichu, AZOLAN (They lift her gently. Merteuil’s secret pavilion. She is A corset or a tiny shoe. To the other servants.) alone with Danceny. They are Your letters, in my bed, Don’t just stand there. Help! masked. He writes. Are felt as well as read. Gently! Cover her. Move aside. MERTEUIL They are your portrait, Give her air. Julie, help your mis- It’s dangerous to write. More—they are your soul. tress. Let her see it’s you. There is no need to write... I read and close my eyes JULIE (Tourvel’s maid) We are together, are we not? And feel you whole. Madame, it’s me. DANCENY Oh! If I had only known TOURVEL (weakly) But think of all the hours we’re apart. In my distress that you, my friend Is that you, Julie? And you, I write not from necessity. Were such a goddess in the flesh, Who are you, sir? AZOLAN I am the errand boy of Monsieur, And, most humbly, your servant. TOURVEL Monsieur... AZOLAN Azolan... (She tries to stand.) TOURVEL (slowly gaining strength) Will you assist me to my carriage? And tell the driver... Julie, re- member my old school? Tell them where it is. You know, the convent, where I sometimes go. And when we get there, ask the Sisters if my Merteuil alone with Danceny. ✧24✧ And when a goddess DANCENY (confused) DANCENY, VALMONT Visits from above... Game. What game? Her summer pavilion... Ask anyone Shall I make conversation MERTEUIL Who lives in the neighborhood Or make love? A game of chance... They know the way. So many things I feel VALMONT MERTEUIL And never say. I have to write: You set the stakes. Most men do not count It is the only way. MERTEUIL My behavior a sin, (Valmont has quietly entered.) ...That has no rules But how they decry MERTEUIL (to him) And one of us has played the fool. The rites of my temple Vicomte, I believe you’re early. VALMONT and DANCENY When they don’t get in! Were you not asked to wait? (repeat Merteuil’s earlier words) VALMONT (speaking of Tourvel) VALMONT There is a house nearby... I loved her! She still... Madame, I had hoped you She entertains in perfect discretion. MERTEUIL would not equivocate. I have been DANCENY (shocked, to Valmont) I’m sure you did. waiting quite some time. You too? Splendid! But do not count DANCENY VALMONT On going back, my friend. Madame, if... Swain after swain... Madame de Tourvel nears her end. MERTEUIL MERTEUIL (interrupting) You hadn’t heard? It’s very sad. No, stay! She remains in disguise. They say she has gone completely mad. VALMONT I am but a woman I don’t deny you’ve played your part. Do, Chevalier. In a world ruled by men. You were directed. I’m certain I will not take long. One by one... A woman broke her heart! MERTEUIL VALMONT You did what you were told, M. de Valmont, you seem upset. Or two by two. Is that not so? Tell me, is something wrong, knave? MERTEUIL My aim was sure, VALMONT ...I defeat them again and again. Straight to the heart, a mortal blow. Oh, Queen of Hearts, I become any Woman. DANCENY (confused) The game is played. There is only one Man, What does this... MERTEUIL The one who believes VALMONT (addresses him) I would say He can get what he wants. A sentimental education, eh, monsieur? The game continues. I get what I want!

✧25✧ There’s nothing like it, I always say. DANCENY Monsieur... I... VALMONT (to her) Oh, permit me a tiny criticism Of your pupil before I go: Teach him, in these situations, Not to blush and stammer so. Look at her and learn, my boy. Sometimes gamblers lose their bets But she never flinches. Why? She never pays her debts. By the way, I am surprised: Is young Cécile, so lovely, Mme. de Rosemonde visits the dying Mme. de Tourvel at the convent. Now refused? The Sisters comfort her. What change in your character Valmont resolutely.) Monsieur, VOLANGES (as he leaves) Has caused you to prefer one tomorrow morning, at the entrance Father Anselm. Has she eaten? Who is so... used? to Vincennes at St. Mandé between ROSEMONDE MERTEUIL (stung) eight and nine o’clock. Soup. Valmont, Cécile is not as fresh VALMONT VOLANGES as when... I understand perfectly. You will have Been bled? VALMONT satisfaction... and so will Madame. ROSEMONDE Madame, be careful. Is this war? This morning and this afternoon. (She nods.) War it is then. Interlude TRACK 8 VOLANGES DANCENY (completely confused) Scene TRACK 9 No fits? Is this about Cécile? A room in a convent. Rosemonde ROSEMONDE MERTEUIL attends Madame de Tourvel, who No, my dear, not since yesterday. Her recent illness... had a cause. is dying. Cécile and her mother, VOLANGES She has miscarried Valmont’s child. Mme. de Volanges are present. Thank God. DANCENY (to her) ROSEMONDE (to the priest) ROSEMONDE And you... my “friend?” (He faces Good night, Father Anselm. I should be off.

✧26✧ VOLANGES VALMONT girls with not enough? Love or Of course. She’ll be all right with us. Shut up, Bertrand. Please, all of you. lechery? Love or pleasure? Love or ROSEMONDE I order you, yes, order all of you to anything you want? What a life! Is that Cécile? show respect to this young gentle- DANCENY VOLANGES man for his courage and his gallan- No, Valmont. No love. I have no Yes. Do you have news from... try. He is my friend. Now Bertrand, more. I have no love... for anyone. ROSEMONDE you have the box of papers. VALMONT From my nephew? No. (She goes.) BERTRAND No more? No love for anyone? Oh God, the darkness of this room. Yes, Monsieur. DANCENY VOLANGES VALMONT Not loving does not mean to hate I know. Please give it to me. How can I hate her? How could she TOURVEL (slowly awakens) BERTRAND know? What did she know? Am I sick? What am I doing here? What are these papers? She had no chance and now Now I remember. I’m feeling it again. VALMONT I know too much to love. Ah, Bertrand! (to Danceny) I have no more... (The voices of Scene TRACK 10 Come here. Leave me alone the three women are heard; they The Park of Vincennes. A group of with him. A minute... watch over Mme. de Tourvel.) men are gathered around Valmont, BERTRAND (to Azolan) CÉCILE bloody and propped up against a Fetch a priest. No more. No love. No hope of tree. He has been shot.) MEN happiness. A life of loneliness. BERTRAND (to a weeping Danceny) In the village... Ride to St. Mandé. Can I run away, and if I run away, Crying! You’re crying? Well, why VALMONT (to Bertrand) Where can I stay? not, young man. Now is the time For just a minute. Thank you, VOLANGES to cry, now that you realize... Look gentlemen. (They withdraw.) So alone. What should I do? what you’ve done. What damned Unhappy friend, I cannot abandon stupidity. Look who has paid the Scene TRACK 11 you to this end. What can I do? price for your hot-headedness! VALMONT (to Danceny) Stop you in your headlong flight VALMONT (weakly) So, my young friend, what are you on your journey into dreadful night? Bertrand... going to do? What will you choose, I can’t go with you. BERTRAND you lucky dog: aging beauties with ROSEMONDE Monsieur, how will I face your aunt? too much experience or silly little So alone, you are so alone.

✧27✧ Chevalier. I have wronged you and last vanity: just one more secret. I have paid. Now, the box... Read TOURVEL’S VOICE the label on the box. Leave me alone! Don’t follow me DANCENY into the shadows! It says “Accounts Payable and Due between the Vicomte de Valmont Duet TRACK 13 and the Marquise de Merteuil.” VALMONT (both voices are heard) VALMONT I would have given Break the seal. What do you see? Half my life for her, DANCENY And now I have— half my life! Letters... To spend the other half with her, VALMONT And now I can’t. They are yours. Read them, then The beautiful Tourvel. Danceny holds the dying Valmont. remember this request... Half my heart she has already. I ask myself how it can be that you DANCENY Half my heart was not enough. are so alone. Were you happy? Anything you say, sir. I would have given everything I have, You were thought so, yes, by all the VALMONT (weakening) Though everything I have world. Now must you be remem- You will find one letter, oh, at least Is very little bered by the world as unhappy. one letter from Madame de Mer- Everything I am is not worth THE THREE WOMEN teuil, confessing everything that Half of her... A man did this. she has done to you, to me and to TOURVEL Man’s happiness is in the taking. Cécile, her mother and Madame de What is left to give you Giving is a woman’s lot. Tourvel. Let other people see them. But my memory? TOURVEL (delirious) Publish them! Believe me, sir, there Take it in exchange for pain. Valmont! Madame, are all men are some debts she has incurred I saw you and I had no peace. hateful? One is not... (The focus that we can make her pay. I listened to you shifts back again to Valmont.) DANCENY And I had no will. Valmont, I never meant... Obeyed you and I lost my soul. Scene TRACK 12 VALMONT What is left to give you? Take it! VALMONT (with Danceny) Chevalier... I intended you to kill VALMONT (to Danceny) We have wronged each other, me. You will permit me this one And will you tell Mme. de Merteuil

✧28✧ farewell and that I’m sure we’ll VOLANGES (touches Tourvel’s meet again? Monsieur Bertrand! heart) It has stopped. DANCENY ROSEMONDE (holds the letters) Quick, gentlemen, approach! There’s nothing left for us to do BERTRAND (in tears) but weep, my dears, and keep our I held him in my arms when he mouths shut behind the tears. was born. Epilogue TRACK 13 VALMONT (He dies.) Merteuil is alone. A snow storm Then hold me now, Bertrand... of letters appears to falls. TOURVEL (sits up suddenly) VOICES (repeat lines from the Valmont is dead! letters heard earlier) VOLANGES MERTEUIL (enters masked) No, no... TOURVEL Valmont! One week after the death of Valmont, a Thursday... Pierre Choderlos de Laclos What’s the use of fooling me. (1741-1803) To me he was already dead. Valmont!... I returned from the It is enough. (to Rosemonde) country and dropped in at the mask is removed—she is ugly.) They Oh, my friend, I didn’t listen, did I. theatre where I have a box. say that now my face is mirror to my Oh, my friend, under the bed... Valmont! I came alone and, most soul: Smallpox! I did not die. They a box of letters. unusually, not a man I knew paid say it would have been a mercy, CÉCILE his respects. Afterwards, as is my but I did not die. They say I am in Oh God! habit, I entered the saloon. It was Holland or in Hell or in England... TOURVEL abuzz. Something was up. It made Who can tell? It is not enough to Take them please and read them. me curious. There was a spot at a love: that I knew. It is not enough Perhaps you’ll understand... banquette so I sat down. Immed- to learn: I learned that too. It is not What time is it? iately all the ladies seated there got enough to know the things we VOLANGES up and all the gentlemen applauded. know. The things we know are Seven o’clock. The Chevalier de Danceny came in: useless in the disaster we call Life. TOURVEL (dying) he was applauded too. And then I Life... And now... I’m hungry. How painful hatred is. knew... Eventually my carriage was (She leaves.) It rots the heart... the heart. announced and I withdrew. (The END OF THE OPERA / END CD TWO

✧29✧ ORCHESTRA

VIOLIN I: Tian Zhao, Concertmaster; Tian Qiu, Lina Zhao, Matthew Beland, Wei-Ni Hung, Kae Nakano, Yigit Karatas VIOLIN II: Chang-En Lu,* Saki Kaneko, Zhongyu Ren, Hye Bin Kim, Farid Ishkinyaev, Mookun Jang VIOLA: Conrad Sclar,* Nickolas Kaynor, Alison Comerford, Yingshuang Tong CELLO: Hocheol Shin,* Calvin Chan, Irene Han, Rosalind Zhang, Virginia Linder BASS: Daniel Griffin,* Samuel Zagnit, Luiz Bacchi FLUTE: Jessica Lipstone OBOE/ ENGLISH HORN: Wyatt Beekman CLARINET: Hyojun Kim, Jarrett Hoffman BASSOON: Justin Cummings FRENCH HORN: Corinne Judd, Nicole Rodriguez TRUMPET: Trevor Wells TROMBONE: Aden Brooks TIMPANI /PERCUSSION: Steven White HARP: Violetta Norrie KEYBOARD: Weiyi Xu * Principal James Gandre, president

The Dangerous Liaisons production was made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Copyright © 1994 E. Schirmer Co. © 1997 Revised. © 2001 Revised. A division of ECS Publishing, Boston, MA. All Rights Reserved. Used by permission.

Producer’s Note: My personal thanks for this recording project to George Manahan and to Dona Vaughn and her staff, to Daniel Benavent, and my longtime MSM collaborators David Gilbert, Kevin Boutote, Christianne Orto, Chris Shade, Sarah Bruguiere and the person most responsible for these projects—nearly 20 seasons and counting—Gordon Ostrowski. And most of all, thank you, Albany Records. John Ostendorf ✧30✧ George Manahan Chicago, Santa Fe, Paris, Sydney, Bologna, Saint is in his sixth season as Louis, the Bergen Festival (Norway), and the Casals Director of Orchestral Festival (Puerto Rico). Activities at Manhattan His many appearances on television include School of Music, as well productions of La bohème, Lizzie Borden, and Tosca as Music Director of the on PBS. Live From Lincoln Center’s telecast of New American Composers York City Opera’s production of Madama Butterfly, Orchestra and the under his direction, won a 2007 Emmy Award. Portland Opera. He George Manahan’s wide-ranging recording served as Music Director activities include the premiere recording of Steve of the New York City Reich’s Tehillim for ECM; recordings of Edward Opera for fourteen seasons and was hailed for his Thomas’s Desire Under the Elms, which was leadership of the orchestra. He was also Music Director nominated for a Grammy; Joe Jackson’s Will Power; of the Richmond Symphony for twelve seasons. and Tobias Picker’s Emmeline. He has conducted Recipient of Columbia University’s Ditson Con- numerous world premieres, including Charles ductor’s Award, Mr. Manahan was also honored by the Wuorinen’s Haroun and the Sea of Stories, David American Society of Composers and Publishers (ASCAP) Lang’s Modern Painters, Hans Werner Henze’s The for his “career-long advocacy for American composers English Cat, Tobias Picker’s Dolores Claiborne, and and the music of our time.” His recent Carnegie Hall Terence Blanchard’s Champion. performance of Barber’s Antony and Cleopatra was He received his formal musical training at hailed by audiences and critics alike. “The fervent and Manhattan School of Music, studying conducting sensitive performance that Mr. Manahan presided over with Anton Coppola and George Schick, and was made the best case for this opera that I have ever appointed to the faculty of the school upon his encountered,” said . graduation, at which time the Juilliard School Mr. Manahan’s guest appearances include the awarded him a fellowship as Assistant Conductor Orchestra of St. Luke’s and the Jerusalem Symphony with the American Opera Center. Mr. Manahan was Orchestra, as well as the symphonies of Atlanta, San chosen as the Exxon Arts Endowment Conductor of Francisco, Hollywood Bowl, and New Jersey, where he the New Jersey Symphony the same year he made served as acting Music Director for four seasons. He has his opera debut with the Santa Fe Opera, conducting been a regular guest with the Curtis Institute and the the American premiere of Arnold Schoenberg’s Von Aspen Music Festival, and has also appeared with the Heute Auf Morgen. opera companies of Seattle, Philadelphia, San Francisco,

✧31✧ The Dangerous Liaisons CD ONE CD TWO 1 ACT I. Opening (2:24) 1 ACT II. Scene One: “Cécile!” (2:42) 2 Scene: “What is sadder?” (5:48) 2 Aria: “I have an old heart” (2:55) 3 Trio /Scene: “Isn’t she wonderful?” (5:37) 3 Scene Two /Duet: “Ladies!” (6:43) 4 Sextet: “How can they not blush?” (2:22) 4 Scene: “A woman’s price goes up” (6:40) 5 Scene: “Children, why don’t you sing” (5:25) 5 ACT III. Scene: “Valmont” (7:12) 6 Cavatina: “There is a house nearby” (3:33) 6 Scene: “My angel” (8:40) 7 Scene: “Madame, Mademoiselle!” (6:34) 7 Scene: “It’s dangerous” (8:45) 8 Cavatina: “When I was at school” (2:24) 8 Interlude (0:50) 9 Scene: “Valmont!” (5:45) 9 Scene: “Good night, Father” (2:29) 10 Scene: “Oh, my God, Madame!” (3:44) 10 Scene: “Crying! You’re crying?” (1:29) 11 Scene: “Oh, poor Cécile” (3:20) 11 Scene: “So, my young friend” (4:17) 12 Scene: “All night I think of you” (4:24) 12 Scene: “We have wronged each other” (2:24) 13 Final Scene: “It has begun to rain” (3:13) 13 Duet: “I would have given” (5:15) 14 Epilogue: “Marquise de Merteuil!” (6:20)

CONRAD SUSA Manhattan CONRAD SUSA CONRAD SUSA The Dangerous Liaisons MSchool of Music TROY 1618 / 19

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Anna Dugan Timothy Murray Abigail Shapiro Janet Todd Oliver Sewell Brittany Nickell Noragh Devlin Merteuil Valmont Tourvel Cécile Danceny Volanges Rosemonde LIAISONS LIAISONS LIAISONS LIAISONS LIAISONS

Conrad Susa’s three-act opera with libretto by Philip Littell, based on the scandalous 18th century novel by Pierre Chodelos de Laclos. Recorded live at the acclaimed 2015 Manhattan School of Music Opera Theater production: George Manahan,

conductor; Dona D. Vaughn, artistic director; Gordon Ostrowski, producer; John Ostendorf, Albany recording producer.

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Conrad Susa Philip Littell George Manahan Pierre Choderlos de Laclos Composer Librettist Conductor Author

Albany Records U.S. CD I: 55:25 CD II: 66:42 915 Broadway, Albany, NY 12207 Tel: 518-436-8814 Albany Records U.K. Recording Producer: John Ostendorf Box 137 Kendal, Cumbria LA80XD Tel: 01539 824008 Engineer: Kevin Boutote Warning: Copyright subsists in all recordings issued under the label Recording Consultant: Christianne Orto CONRAD SUSA © 2016 ALBANY RECORDS Made in the USA. www.albanyrecords.com Production Photos: Carol Rosegg