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Home , Cressida, Richard Hickox

WALTON and Cressida

Judith Howarth soprano Clive Bayley bass Yvonne Howard mezzo-soprano Chorus of Opera North Arthur Davies tenor English Northern Philharmonia Nigel Robson tenor baritone Richard Hickox Greg BarrettGreg

Richard Hickox (1948 – 2008) Sir (1902 – 1983)

Troilus and Cressida Opera in Three Acts Libretto by Christopher Hassall (1912 – 1963)

Cressida, daughter of Calkas, a widow...... Judith Howarth soprano Evadne, Cressida’s servant...... Yvonne Howard mezzo-soprano Troilus, Prince of ...... Arthur Davies tenor , brother of Calkas...... Nigel Robson tenor Third Watchman...... Brian Cookson tenor Priest...... Peter Bodenham tenor Soldier...... Keith Mills tenor Diomede, Prince of Argos...... Alan Opie baritone , Captain of Trojan Spears...... James Thornton baritone Calkas, High Priest of Troy...... Clive Bayley bass First Watchman...... Bruce Budd bass Second Watchman...... Stephen Dowson bass Horaste, a friend of Pandarus...... David Owen-Lewis bass

Chorus of Opera North Martin Fitzpatrick chorus master English Northern Philharmonia (Orchestra of Opera North) David Greed leader Richard Hickox

3 COMPACT DISC ONE

Act I 41:01 The Citadel of Troy, before the Temple of Pallas 1 Calkas, Priests and Priestesses, Worshippers: ‘Virgin of Troas’ – 6:36 2 Troilus: ‘Back to your hovels, you scavenging dogs’ – 2:27 3 Troilus: ‘Is Cressida a slave...?’ – 5:01 4 Cressida: ‘Morning and evening I have felt your glance...’ – 6:17 5 Pandarus: ‘Forgive me...’ – 2:17 6 Troilus: ‘I haunt her beauty like a naked soul...’ – 1:29 7 Calkas: ‘Ask me no more!’ – 2:00 8 Cressida: ‘My father! Evadne, follow him!’ – 0:38 9 Cressida: ‘Slowly it all comes back’ – 2:33 10 Cressida: ‘Slowly it all comes back’ – 3:46 11 Pandarus: ‘Why, niece!... in tears?’ – 1:59 12 Cressida: ‘Sweet sir, there’s something on your mind’ – 2:26 13 Pandarus: ‘Dear child, you need a little comfort’ 3:28

4 Act II (beginning) 25:52 Scene 1 Evening of the following day. A room on the upper floor of Pandarus’ house 14 Pandarus: ‘Does talking put you off?’ – 6:14 15 Cressida: ‘How can I sleep?’ – 2:13 16 Cressida: ‘At the haunted end of the day...’ – 2:58 17 Pandarus: ‘Hush! Don’t be alarmed!’ – 4:06 18 Troilus: ‘If one last doubt, one lurking fear remain’ – 4:27 19 Cressida: ‘New life, new love! I am reborn’ – 4:22 20 Cressida: ‘Now hold me close and let me lie there curled’ – 1:30

21 Orchestral interlude. The Storm 3:01 TT 70:08

COMPACT DISC TWO

Act II (conclusion) 16:23 Scene 2 Next morning 1 Cressida: ‘From isle to isle chill waters whisper the hour’ – 3:25 2 Pandarus: ‘Who would go drumming about the town at this hour?’ – 1:58 3 Diomede: ‘My name is Diomede’ – 5:16 4 Troilus: ‘This thing shall be revok’d’ 5:43

5 Act III 46:28 The Greek encampment. Early evening. Ten weeks later 5 Watchman: ‘All’s well!’ – 7:25 6 Cressida: ‘No answering sign on the walls’ – 5:43 7 Calkas: ‘Cressid, daughter, why so heavy-hearted’ – 2:25 8 Cressida: ‘You gods, O deathless gods’ – 2:04 9 Diomede: ‘Proud, wondrous Cressida, am I to live or die?’ – 3:30 10 Cressida: ‘Take it. Take all you ask of me’ – 1:25 11 Evadne: ‘So here’s an end of it all’ – 1:27 12 Troilus: ‘Evadne!’ – 2:32 13 Cressida: ‘Troilus!’ – 3:29 14 Troilus: ‘What is this sudden alarm?’ – 4:44 15 Sextet. Diomede: ‘Troy, false of heart, yet fair!’ – 3:15 16 Diomede: ‘She has brought shame on Argos! I’ll not endure it’ – 3:33 17 Cressida: ‘Diomede!... Father!... Pandarus!... Evadne!... Troilus!’ 4:50 TT 63:04

6 Walton:

The birth of an opera All opera at Covent Garden was to be In 1945 Mr Ralph Hawkes, a director of the sung in English, with the exception of publishing house of Boosey & Hawkes, the international season. The repertoire persuaded the Arts Council to go shares with should be as catholic as possible, and his firm in re-opening the Royal Opera House contemporary opera should not be allowed at Covent Garden. The theatre had been used to suffer the neglect it had suffered in during the war as a dance hall and no doubt the past. Particular regard should be would have been allowed to go on being put to reserved for opera by our own composers, this delectable, if somewhat undignified, use with the few already existing obtaining a but for Boosey’s acquiring a five-year lease permanent place in the repertoire as soon with the specific intention of encouraging as possible... English opera and ballet. Constant Lambert, The rarity of English opera was partly due who was in charge of the revived Sadler’s to the conditions existing in the past – to Wells Ballet, which was to move to Covent find their works fobbed off with, at most, Garden, put forward his old friend William half a dozen performances was not exactly Walton to advise a committee on opera. encouraging to composers. An ‘advance on had written , so royalties’ scheme was devised, ‘to enable the opera was very much in the air at the time. composer to fulfil his destiny’. William’s committee wanted Covent Garden With the changing situation many to become the permanent State Theatre for composers felt stimulated into trying their opera, ballet, drama, and films, with Sadler’s luck in what is one of the most difficult Wells Theatre and the Old Vic as its satellites. genres of their art. William was often The Treasury would match pound for pound commissioned to write new music. This the sums which would be provided by leading pleased him, for, however modest the sum of industrial concerns. money, it gave him a sense of security, as he A proposal was made that was way ahead could never estimate how much his royalty of its time: income would come to. In the case of his own

7 first opera, the stimulus came from the the story or plot must be easy and clear BBC which wished to commission him to and flowing and scenic, Troilus and compose an opera for broadcasting. The BBC, Cressida has got that. And it’s got, as we through Stanford Robinson, also suggested agreed, the Manon lady which William Christopher Hassall as a possible librettist. seems obviously to prefer to the Juliets! Christopher was a poet and dramatist in his She equally kept Christopher from despairing own right, experienced in the commercial of William’s seeming reluctance to make up theatre, and he also possessed that priceless his mind, by explaining how engrossed with virtue of inexhaustible patience. But he had to writing his Quartet he was, and that it would learn his craft as he went along, for there was not do at all to push him into a decision. In no tradition of libretto writing in Britain. another letter she expressed hope that While the librettist is his composer’s literary One day the ball will bounce against limb, in the last analysis a composer is his own an electric wire as was the case with dramatist. Belshazzar and Scapino. By Christmas 1947 Christopher was able to How does one write an opera? send the typed plot of his Troilus and Cressida According to William, common or garden to Rugby where William was staying with persistence is high among the necessary Alice. The search for an operatic story had qualifications for writing an opera; as the lasted several months, and altogether he had old saying goes: ‘It’s dogged as does it.’ sketched out eight likely subjects that for one William’s very dear friend Alice reason or another had been laid aside. Wimborne was an admirer of Christopher who possessed many gifts, as author of From Boccaccio to the present day successful biographies, as an actor with a Boccaccio stresses Cressida’s infidelity, most beautiful speaking voice, and as describing her as ‘a fickle, capricious young lyricist to Ivor Novello. Alice helped William woman with numerous lovers’. Chaucer puts to choose the treatment prepared by her back into the mediaeval period, a figure Christopher on the Troilus and Cressida caught among the subtle plots of chivalrous story from among many other subjects love, and he defends and idealises her. The proposed. On 15 June 1947 she wrote to indebtedness of William’s opera to Chaucer, Christopher: however, does not go so deep as it might

8 be thought, as Christopher used none of his The libretto of the first act was the most text except for Chaucer’s own invention of difficult to fashion to William’s needs as Pandarus, the proverbial schemer. In fact, all the characters and the story must be he lifted the plot out of the Middle Ages and presented and explained, information must remade it into an image of ancient Troy as be planted when ears are less than ever likely perceived by a twentieth-century mind’s eye. to catch the words and this information must As for Shakespeare, the appearance of Troilus be dramatically arresting. Inevitably this took within the Greek encampment at a time of time. truce is the one recognisable hallmark. Instead William started writing the In William’s opera, Cressida is the victim of second act, which he composed in about intrigue and deception, yielding to Diomede three months. The middle act of a three-act solely through weakness and fear when she opera invariably contains the most involved believes herself forgotten and abandoned psychological workings of the drama; the first by Troilus. Chaucer emphasised the ruling act sets up the reasons for the dilemma, and passion of his heroine: it is fear – fear of the last will bring the dénouement, but it is loneliness, of old age, of death, of love – and in the second act that the portals of the soul from this fear springs a pitiable longing for are opened for us to observe the workings of protection. the ‘terror and tragedy’ to come. When I met William, more than three years Words, words, words! Time and again after Christopher had first started to offer William just could not come to terms with him libretti, he still had not started on his them. Even Ernest Newman, a writer and opera. Larry Olivier’s Hamlet was the cause famous music critic, was of the opinion that of many delays and, after Alice died in May there were far too many words in the opera 1948, William was seriously sick. The libretto for singing. When William got into a temper he remained a continuous problem – he called believed Ivor Novello had taken possession it a shambles! – so in 1949, when we first of Christopher’s soul as Christopher could settled in Ischia, William had first to unravel not distinguish between a trite line and these difficulties. They were gradually solved an inspired one. As Ischia then had no after endless correspondence between telephones to private houses, alterations Ischia and Hampstead over the next five had to be reviewed by letter, and poor William years. would agonise until the requested new

9 version arrived, hoping that Christopher had at the Barbican Centre he conducted a finally interpreted correctly his suggestions. number of semi-staged operas, including Billy On 7 September 1954, at the end of Budd, Hänsel und Gretel, and Salome. With five years of intensive work on Troilus and the Bournemouth Symphony Orchestra he Cressida, William wrote a letter to Christopher, gave the first ever complete cycle of Vaughan saying that he expected to send off the Williams’s symphonies in London. In the last sheets by the end of the week. The course of an ongoing relationship with the manuscript bears the simple dedication, Philharmonia Orchestra he conducted Elgar, ‘to my wife’, and is dated 13 September. Walton, and Britten festivals at the South Bank and a semi-staged performance of © Lady Walton Gloriana at the Aldeburgh Festival. Apart from his activities at the Sydney At the time of his untimely death at the age of Opera House, he enjoyed recent engagements sixty in November 2008, Richard Hickox CBE, with The Royal Opera, Covent Garden, English one of the most gifted and versatile British National Opera, Vienna State Opera, and conductors of his generation, was Music Washington Opera, among others. He guest Director of , having served conducted such world-renowned orchestras as Principal Conductor of the BBC National as the Pittsburgh Symphony Orchestra, Orchestra of Wales from 2000 until 2006 Orchestre de , Bavarian Radio Symphony when he became Conductor Emeritus. He Orchestra, and New York Philharmonic. founded the , of which His phenomenal success in the recording he was Music Director, in 1971. He was also studio resulted in more than 280 recordings, Associate Guest Conductor of the London including most recently cycles of orchestral Symphony Orchestra, Conductor Emeritus works by Sir Lennox and Michael Berkeley of the Northern Sinfonia, and co-founder of and Frank Bridge with the BBC National . Orchestra of Wales, the symphonies He regularly conducted the major by Vaughan Williams with the London orchestras in the UK and appeared many Symphony Orchestra, and a series of operas times at the BBC Proms and at the Aldeburgh, by Britten with the City of London Sinfonia. Bath, and Cheltenham festivals, among He received a Grammy (for Peter Grimes) others. With the London Symphony Orchestra and five Gramophone Awards. Richard

10 Hickox was awarded a CBE in the Queen’s Society, the first ever Sir Jubilee Honours List in 2002, and was the Award, the Evening Standard Opera Award, recipient of many other awards, including and the Award of the Association of British two Music Awards of the Royal Philharmonic Orchestras. Nigel Luckhurst Nigel

At the recording sessions

11 Troilus and Cressida (The doors of the temple open and Calkas comes forward.) COMPACT DISC ONE Calkas Act I Trojans, for shame! Are ye wild beasts, or men? The Citadel of Troy, before the Temple of Pallas A wide flight of steps leading to a row of columns The crowd supporting the architrave. Behind it runs a low We are accurs’d. rampart visible only on the right; it is broken by We starve, we thirst. a gate leading from the citadel to the main city. To right of centre stands a small wayside altar. Calkas When the curtain rises, the people are discovered Have you lost heart? praying. The crowd Calkas, Priests and Priestesses, Worshippers We are accurs’d. 1 Virgin of Troas, We starve, we thirst. whiter than snow new fallen, taste our libation. Calkas Shake off thy slumber, Ten long years have dragg’d like rusty links of stretch out thine arm iron, eating you thro’ to the bone. or we perish. But why should I pity you? Pallas awake! Pallas awake! In your own hands lies your deliverance. – The oracle of Delphi has spoken! (A number of citizens, who take no part in the ritual, enter and stand by.) The crowd Delphi, mouth of the oracle! Bystanders How shall we crush them? How prevail? Pallas is dead. Our children starve. And look, What man or god so intrepidly set sail? the last of our honey pour’d on senseless altars! A ten-year siege! And still they trust in God. Calkas They squander our food. Go, parley with the Greeks! Our children starve. Drag them away! The crowd Parley? Was this the oracle? Worshippers and Bystanders Have we endured ten years Pallas awake! only to cringe like rats. We are accurs’d. Was this fetch’d at a brave man’s peril out of We starve, we thirst. Delphi?

12 Calkas Troilus Children, there lies your way. 2 Back to your hovels, you scavenging dogs. Perish, be quite forgotten, or obey. You desecrate God’s doorstep. Not yet, not yet, the ravening brands of plunder! Go, still unconquered, parley with the Greeks. Antenor Calkas would sell us to the Greeks! Antenor Never! I too, Antenor, Captain of Spears, The crowd command you answer me straight out. Calkas would sell us to the Greeks! Has this message truly been sent by the oracle of Delphi? Troilus Are you his judge, Antenor? Calkas (in confusion, obviously lying) I am your priest. Antenor He proclaims false oracles! Antenor Show us the messenger! The crowd Yes, false oracles! The crowd Show us the messenger! Troilus This is no place of judgement. Antenor He cannot answer. This is a trick. (The crowd, overawed, begins to disperse.) He’s in the pay of the Greeks. He forges oracles to cheat us. The crowd Ask him his price for telling us these tales of What does this mean? Was it indeed the oracle? Delphi. The buzzards fly low. Let us look from the walls. (The crowd begins to approach menacingly up the steps. Calkas recoils into the temple.) (Troilus comes down the temple steps to pacify Antenor.) The crowd Seize him... he would betray us... Troilus sell us for gold... barter our children... Fortune go with you on your foray. sell us for slaves! You are bravely attended.

(Troilus has entered, struggled through the (Antenor waves his escort away.) crowd, and now with drawn sword, he rounds on the people.) 13 Antenor With flowers of Spring, I tell you, Troilus, Walk our dry desert ways, we live in a time of treachery and danger. Thy fruitful pleasures bring. Girdled with foam, on the swell Troilus In majesty riding, Antenor, friend. We cannot part like this. Cradled in sea-blown shell Calkas was always faithful and wise. Come shoreward gliding. Yet I shall watch him. Here, gentle Love, find welcome and dwell, In my heart abiding. (Antenor is suspicious of his friend’s motives.) Queen of the wine-dark wave, Alone I invoke thee. Antenor (tauntingly) How can the anguish of love I have seen you, Troilus, haunting this temple. Fail to awake thee? What draws you here? Is it – perchance – the girl Have pity and grant her to me, who keeps the candles burning? Can it be O answer my plea, that lovely novice, the mysterious Give me my Cressida. Cressida? (The doors open. Two priests come out and stand (Troilus is taken aback. Antenor goes off.) on either side of the door. Cressida appears in the doorway, pauses, and moves across to the altar.) Troilus 3 Is Cressida a slave Troilus that she must trim those guttering candles? O Cressida! Dim, passionless, remote, insulting flames Are there not flowers enough in the field pois’d in the sickly air, to wither in the temple’s gloom? pale heads that should bow down Why must you squander here your lovelier yet barely even flicker as she passes! bloom? Here on my heart’s red altar burns You do not belong to the dark, the true flame of her kindling, O fairest Cressida. here where I serve no strict and joyless Pallas, but radiant Aphrodite, Cressida Goddess of Love. 4 Morning and evening I have felt your glance follow me out of sight, here at the temple. Child of the wine-dark wave Morning and evening you have watch’d me pass, Mantled in beauty, a lighted taper in my hand Spirit of mortal love, for kindling the altar fires... I’m afraid! Tall Aphrodite; Thou whose warm footprints fill

14 Troilus We must not meet again. You are frighten’d by dreams like a child. The gods are frowning. Can spring break early in one heart alone? Ah, no, for we live in a world of our own (She enters the temple, followed by the priests, and winter is dying. who close the doors.)

Cressida Troilus You offer me life and love. Stay, Cressida. Our names, our lives Both have I tasted. Both were bitter. belong together. Only our hands My husband by the Greeks cut down in battle; are strangers, for our hearts long since my father by the Trojans made an outcast. were destin’d for this moment. What friend, what hope have I but Pallas, what hope but Pallas (Before the end of this monologue, the litter of on whose broad shield that covers me Pandarus, borne by four men who hold the rods, the spears of the world fall blunted? is carried on from right and set down. It is an I walk alone among the jasmine bowers, ornate and silk-curtained conveyance befitting and keep her ivory shrine festoon’d with flowers. its luxurious owner. The curtains are drawn I ask no more of the sun than still to bring aside, and the occupant, always on the watch fresh beauties for her altar in the spring: for an intrigue, is seen to be greatly interested for mortal death her life shall be my cure, in Troilus’ condition. Pandarus is in his middle her love my peace. Her love and life endure. fifties, a connoisseur, dressed to perfection, his hair meticulously oiled; his manner incorrigibly Troilus genial, tinged with an old-world courtesy that I bring you life that withers like a rose, degenerates on occasion into flamboyance. He But while it blooms the glory overflows; waits to see if Troilus will declare himself any Life that the gods might envy, could they see, further.) Lost in their desert – Immortality. Yes, they would throw their deathless age away Pandarus To die like men, so they might live as they, 5 Forgive me... Kiss as we kiss, and triumph for a day. (He steps from the litter.) Cressida Two solitudes Troilus have hail’d each other and gone by. Pandarus! Life offers nothing more save what is bought with anguish. Pandarus (She turns and goes up the steps.) Passing through the city, taking the air, as is my custom, here, on the citadel, where evening breezes, mild, 15 salubrious, blow freshly, what do I hear Troilus – plain chance, believe me – but my Prince, my 6 I haunt her beauty like a naked soul friend, shut out, in exile from the body! easing his load in accents dulcet and honey’d! She is rack’d with misgivings. quite out of character, if – without offence – I may say so. Pandarus Surely, dear Prince, the quaintest of Leave the wooing of Cressida to me, dear friend. battle-cries. I’ve a genius for this game. It has never fail’d me yet. Troilus I was not thinking of the war. Troilus No, Pandarus... and yet Pandarus to you she may uncover her thoughts. My friend, my Prince, are you ill? Pandarus Troilus True. Very true. The stubbornest of women I’m distracted, tormented, by love. pour forth their innermost secrets to me. Go now, but soon return. Pandarus I shall be waiting with the golden key Of course. to all your intimate wishes.

Troilus Troilus You knew? Good friend, I put my trust in you.

Pandarus (He makes for the archway at left.) ’Tis not unknown to persons in the know. I have come here this evening, Troilus, Pandarus hoping to speak with my favourite, Come quickly back. so devoted niece, the lady Cressida. Troilus Troilus Oh, love is loath to wait! O Pandarus! (Troilus goes off hurriedly, leaving Pandarus Pandarus aglow with happy anticipation. He makes for the Come now, dear Prince, temple doors, in search of Cressida, then halts unload your labouring heart, I beg you. on hearing the temple bell. The doors open, and Calkas comes out. He carries a staff and wears

16 the long cloak of a traveller. Cressida and Evadne Calkas appear on either side him. Pandarus retreats into The gods compel me. The gods compel us all! the shadow of a column and listens.) (He makes to go... he looks back.) Ah, my daughter, Calkas you must not see me go, nor hear 7 Ask me no more! my heart cry out. Enough.

Cressida (Calkas tears himself away from the women and Your eyes are burning, father. goes through the gateway. Cressida runs after Where will you sleep? Your home is here, with him a few steps.) me. Cressida Evadne 8 My father! Evadne, follow him! Your suffering city needs you. Priests Cressida O virgin daughter. Yes, it needs you. (Pandarus moves out of the shadows.) Evadne What is her sword Pandarus (aside) without a guiding hand and spirit? He’ll ruin us all! I’ll follow him, too! Cressida How can you suddenly desert us, (Pandarus slips away. Cressida is alone.) leave us alone among the starving wolves? Cressida Calkas 9 Slowly it all comes back Leave, oh leave me! – out of my childhood. I was alone with the night around me. Cressida The flickering firelight ruffl’d my hair. Your secret, still unspoken, I watch’d on roof and wall the curious shadow burns to the quick. play; Watch’d how the moving smoulder form’d and Evadne reform’d Oh stay with us! the same familiar shadow, shaped like a man, – my father! Cressida Again he was there, again, yet again, Oh stay with us! Do not risk the hills alone. a towering, wavering shade!

17 Then always the same departure, (Pandarus has just entered, wringing his hands.) drastic as earthquake. Now, only now, can I clearly read that omen. Pandarus (aside) He has deserted me – deserted us – and Troy. Nothing but Troilus’ patronage can save us now! 10 Slowly it all comes back O Aphrodite, touch my poor tongue with fire! – out of my childhood. (He approaches Cressida with studied geniality.) Sometimes a different shape was forming. 11 Why, niece!... in tears? No, not my father, this was a warrior. Cressida I knew him by the shadow of his spear Oh, I am lost – and ponderous shield uplifted. He never turn’d from me. He stayed Pandarus blurred by disfiguring smoulder. – and found! If lost, then quickly found. Now, only now, do I know that this was Troilus! Now, have no fear. O Troilus, they will not let me love you. Robb’d of their prey, on me, on Cressid, child Cressida of Troy’s most hated man, the vengeance of I saw him go... distracted... my father! the gods, The Greeks will kill him. their vengeance would destroy us. No, you must never, never love me. (Pandarus shrugs.) They would destroy us, the gods, they would destroy us. Evadne Have no fear. His name is slandered, cursed in the streets. My heart shall not betray you. Your golden words are all forgotten. Cressida You may go free. He has fled from Troy.

(Evadne runs in from the back.) Evadne Who would protect us now? Evadne My lady! I could not find him. Cressida Who would protect us now? Cressida He must have fled to the Greeks. Pandarus The House of is a shield to cover you. Evadne Fled to the Greeks!

18 Cressida (Troilus enters; at the same time a group of Evadne, let’s go. He is talking in riddles. soldiers enters from the opposite side, followed by citizens from all sides.) (They start to go, but Pandarus holds Cressida back.) Pandarus (aside) Too soon, too soon by half an hour! Pandarus No, stay, hear me out. First Soldier Prince Troilus! Cressida (to Evadne) Go, you leave him to me. Pandarus What new distraction now? (Evadne goes.) Troilus Pandarus Soldier, what news? Now follow me close. Take each in turn, the sons of Priam. Pandarus First, brave . But why waste time on him? What news? He’s married. Then Paris? – there’s grace enough, although, mind you, not manly grace – Soldiers or why does poor Helen go yawning from room We were surprised, surrounded, ten of us slain, to room? As for the rest, class them together as Antenor made captive! superior scum – with one exception – a man to rouse Apollo’s envy. Citizens, Troilus, Cressida, Pandarus, Soldiers Antenor made captive! Cressida (meekly) 12 Sweet sir, there’s something on your mind. Troilus Oh why, and for what, do you exert Go, soldier, to the King. yourself, good uncle? Say this from me: Antenor is a warrior without his match in the field. We must (Pandarus loses patience.) exchange captive for captive, buy Antenor back. Whatever the price, we must at once redeem Pandarus him. Or shall we with brute force snatch back By Pallas and the Dog of Hades! our champion? Must I shout ‘Troilus’ from the house tops and weave his name on banners for the wind? Citizens and Soldiers Take him by force!

(Troilus mounts the temple steps.) 19 Troilus (The people and the soldiers disperse to right Calkas himself, no lesser man, and left. Troilus, suspicious of the priest, brushes shall bless our rescuing swords. past him. The priest follows him into the temple and the doors close. Pandarus, leading Cressida Chorus by the hand, moves to the centre.) Calkas! Calkas! Pandarus (The temple doors open. A priest comes to the 13 Dear child, you need a little comfort. top step. Pandarus retreats to one side with Tomorrow, at sundown, call at my house; Cressida.) a delicate supper; quails, figs, wine, a friend or two. Will you come? Troilus (Cressida smiles assent.) Call forth the High Priest. Good sensible child! Then I shall count on you. (aside) Priest All may be rescued yet. Prince Troilus, I cannot. (He stops Cressida from going.) Amazing youth, our Troilus, Troilus determin’d to fetch back Antenor. Entreat him speak with us. He’ll never succeed, but what dash, what courage! Priest Some trifling token He is not here. delivered by me could do no possible harm. ’Tis only civil. Troilus (Cressida hesitates.) Send to his house. This rescue work is hazardous and bloody. Your crimson scarf, for instance, Priest would comfort him in battle. His house stands empty. (Cressida takes off her scarf.) Chorus Go, drag him forth. Cressida You shelter him in hiding. Troilus and Cressida... The sound of our names together (Troilus runs up the steps. At the top he turns, is the sound of a rushing wind. raises his hand, and addresses the populace.) Unknown is the love, and deeper than the sea, that can withstand the gods. Troilus Search thro’ the streets, the highways and byways. Scour the whole city! 20 (She hands over the scarf and goes off quickly, between two tables of players. Cressida and leaving Pandarus well satisfied. The temple doors Horaste at one, Evadne and one of the ladies at open. Troilus comes out; he thinks he is alone.) the other. He seems as if about to say something – thinks better of it, goes to the window, steps onto Troilus the balcony – comes back – hesitates again... Calkas a branded traitor! My Cressida’s father! Pandarus 14 Does talking put you off? (Pandarus comes forward.) Cressida Pandarus No, no, kind uncle. Chatter away as you please. Sweet friend, dear Prince, the lady Cressida It does not disturb us at all. bids me deliver this token of her esteem and affection. Horaste Your move, dear lady. (He gives Troilus the scarf. He bows, retreats a There’s nothing much you can do. few paces and watches, highly satisfied.) Cressida Troilus I’m trapped; but I’ll play for time. Goddess of mortal love, Tall Aphrodite, Pandarus Glory and thanks be to thee, It’s clouding over... Perfect in beauty. Mount Ida’s gone! In thy name shall I triumph. Cressida And I thought I’d been so careful, Act II so extremely careful. Scene I Try that... Evening of the following day. A room on the upper (She moves a piece.) floor of Pandarus’ house ...and see what happens. There is a door on the left at the back. On the right at the back an alcove containing a bed is Pandarus curtained off from the main room. Half within an No sort of an evening to be out in. alcove and half revealed at centre back, a broad The sky seems very nasty. window space opening onto a balcony overlooks (aside) the roofs of Troy. The space is shut by the drawing Thank the gods! in of slotted shutters. It is just what I want! Restless and preoccupied, Pandarus is walking

21 Horaste Cressida Check! I never noticed. How clever you are! – A difficult game. Cressida Oh dear! What can I do now! Horaste Always, dear lady, (Pandarus goes over to a slave in attendance at too ready to make futile compromises. the doorway.) You must be one or the other, defence or attack. Pandarus (aside) Slave! Go summon Prince Troilus. Pandarus Go quickly. Hurry! Hurry! We’re in for a storm. Ah, here it comes! (Thunder behind the scene.) Cressida The first enormous drops, What can I do now? big as Egyptian shillings!

Horaste Cressida Check! We must go home.

Cressida (There is a general break-up of the party.) What again? Evadne Horaste Yes, it is late, dear lady. We ought to go. But of course, dear lady. Pandarus Cressida No, no, come fill up the bowls! Oh, yes. I see. Horaste Pandarus Come fill up the bowls. Poor sentinels, exposed on the outer wall! They will get drench’d. Pandarus Ladies, the night is young. Horaste Mate! Horaste Ladies, the night is young.

Pandarus You’ll get thoroughly drenched! 22 Horaste Pandarus You’ll get thoroughly drenched! That settles it, then, and wisely, too. Now, draw back those curtains, and discover Cressida a bed We must go home. soft as the limbs of Psyche.

Evadne Cressida We ought to go. You are so kind.

Pandarus Evadne You’re very, very foolish. Too kind.

Cressida Pandarus Dear uncle, no! We must go home! A trifle! I promise you shall sleep like empresses in Pandarus embroider’d satin. You must not go. Cressida Horaste Then it’s time we retir’d to rest. Oh, please don’t leave us. Pandarus Pandarus As you wish, dear niece. You must not go. You’re very, very foolish. Horaste (He takes Cressida’s hand.) The night is spoiling for a cloudburst. I much enjoyed our game. Who knows but hail may follow! You stay with me. Cressida So did I. (A roll of thunder is heard.) Horaste Cressida Good night. Perhaps we should stay. (He leaves.) Evadne Yes, very well, my lady, if you say. Evadne (to Cressida) Good night, (to Pandarus) good night. 23 (Pandarus makes for the door and turns as he is At the spellbound end of the day about to close it.) Love rules alone, and counts the spoils of war. I surrender, bear me away, Cressida (to Evadne and Pandarus) Troilus, friend and foe, Good night. Troilus, my conqueror.

Pandarus (Pandarus enters, leaving the door ajar.) Good night, – and sweet dreams. Pandarus 17 Hush! Don’t be alarmed! (Three slave women of the household enter. By marvellous accident, by rare Cressida goes to the alcove and sits on the end coincidence; by chance... of the bed.) (aside) ...and yet not by chance, Cressida who should come battling here, to my house, 15 How can I sleep? thro’ the storm – now who? (She rises, restless.) Try to answer me, child. All thro’ that stupid game the table swam before me. Cressida I could think of nothing, nothing but Troilus. At this late hour what does it matter? Must I again endure this wild unrest? What does it matter? Some jealous god is watching me; Oh, could it be my father? I feel his frowns upon me. Gone are my dreams of careless freedom, Pandarus peace without ecstasy, Calkas? No, no. peace without harrowing pain. Guess again. It is Troilus. I’m helpless, betrayed. Oh, bewitch’d was the hour I prayed Cressida never to love again. Troilus! What brings him late at night?

16 At the haunted end of the day Pandarus your voice, dear love, your voice alone I hear. He is in anguish, bitter anguish, on the brink, Thro’ the silent hours of the day the dizziest brink. I see your face, a phantom, hovering near. How can I sleep when love is waking? Cressida (in alarm) What is the dark when dawn is breaking? Is he wounded? Troilus, why does your name enchant me? Call off these visions that ravish and haunt me!

24 Pandarus there’s nothing like a little friendly cunning Pierced to the quick. for bringing young lovers together. This being so, Cressida to provoke the present situation Ah, no! I made it all up, every word, every single word; and it proved quite unduly successful. Pandarus On desire’s hot grid he roasts alive. Cressida (crossing to the couch and sitting) Fools, both of you, making the night a mad house! Cressida Ah, no! I cannot believe you! Troilus You must believe him. (Troilus bursts into the room.) For once he is telling the truth.

Troilus (Cressida weeps. Troilus removes his cloak and Enough of this scandalous nonsense! sword.)

Cressida Pandarus (aside) Troilus! Oh, this is going finely, if not in all particulars, (Pandarus subsides into a chair at right.) according to plan. (Troilus kneels beside Cressida.) Troilus He seems to have reached the kneeling stage. Cressida, forgive me. I will fetch him a cushion. I must break in or stifle. I heard him, every word, (He goes to find a cushion.) nothing but stupid gossip. (He rounds on Pandarus.) Troilus Chattering magpie! 18 If one last doubt, one lurking fear remain, You know quite well you planned it. banish it, Cressida. Have faith in me. Now nothing stands between us, (Pandarus is quite unruffled.) nothing but your fears! I cannot fight with shadows. Pandarus Show me these lurking terrors, Why make such a fuss? fetch out these tyrants, Calm down. I will explain. and I’ll destroy them. (He gets up and takes each by the arm.) Here is your refuge, I’ve always said close to my body, close to the fire in my heart,

25 the flame that sears the flesh and sets the Troilus spirit free, Why, no, we have scaled their mountain... that pain which is no pain but only ecstasy. O my belov’d, my life, my own, Cressida dearest one let me adore. ...and the snows are singing. The world may chatter and rage; be deaf to its harsh alarms; Troilus fear nothing more. The world has rekindled her fires... Then Cressid, Cressid, when the past has died, live again at my side, Cressida come alive in my arms! ...and the flow’rs are springing.

(They embrace.) Both Kind are the gods, Cressida but one above all, proud Aphrodite. 19 New life, new love! I am reborn. She is here, she is here, The past has died with all its pain. in our blood, in the air that shimmers around us. Love! In my heart the yellow leaves Aphrodite! are slowly turning green again. At her command the stars in their courses are halted, Troilus she holds the morning at bay, Kind are the gods the fiery horses chafe at their harness or our joys have silenced Olympus. and the chariot no longer approaches. The darkness trembles, waiting, waiting! Cressida Aphrodite! Their threats are over. They have heard thy stern voice commanding. Thou shalt feast and rejoice Troilus and be glad with us. They have pass’d us by... Thou hast answered our prayer.

Cressida (Pandarus enters with a cushion under his arm. ...far away on their shining journey... He stays by the door, enraptured by the turn of events. He now quietly snuffs the three-branch Troilus candles nearest the door and, still with the ...they frown no longer. cushion under his arm, tiptoes gingerly from the door.) Cressida Kind are the gods –

26 Cressida (In the far distance drums are heard, gradually 20 Now hold me close and let me lie there curled. getting nearer. Pandarus enters excitedly.) Dearest, my love, surround me, hold me fast. Pandarus Troilus 2 Who would go drumming about the town at I close my arms, and so shut out the world. this hour? (He goes to the verandah and comes back.) Both By Pallas, they’re Greeks! Greek soldiers! There howls the wind, but here the storm is They’ve halted in the yard. pass’d. But why here, here at my house? There howls the wind, but we are safe at last. Maybe ’tis news of Calkas.

(A flash of lightening is seen through the shutters Cressida and the gauze descends.) News of my father!

21 Orchestral interlude. The Storm (Troilus gathers up his cloak and sword.)

Pandarus COMPACT DISC TWO Stay, Troilus. You must not go. No, not now, I beg you, both for my sake and for Cressida’s. Scene 2 Oblige me, both of you. The stage gradually fills with light revealing that Leave everything to me. All will be well. the shutters have been closed. Cressida comes (Troilus and Cressida retire into the alcove.) out of the alcove and throws open the shutters. And note every word. Note, too, my smooth Troilus is in the shadows, leaning against the address partition. when I conduct a parley.

Cressida (The door opens abruptly. Diomede enters with 1 From isle to isle chill waters whisper the hour, his escort.) catching the crimson of a sky on fire. Oh must I wake to find this glory gone? Diomede Be still, my heart. If this be sleep, sleep on. 3 My name is Diomede, Prince of Calydon and Argos, (Troilus comes to her side.) commander of Greeks. You, sir, I take it, are Pandarus, Troilus brother of Calkas, late high priest of Troy. If this be sleep, sleep on. (Pandarus bows.)

27 Your brother is a man of wisdom. his friend and comrade in arms. My mission (Pandarus smiles and bows again.) here is an exchange of prisoners. Calkas has done us much good service, worth more than our empty thanks. Pandarus You bring Antenor home! Antenor back! Pandarus What joy for Troilus! I cannot thank him for you. Diomede Diomede As luck would have it, He says he will be satisfied both sides in this affair are well content. with one gift only, one alone, It is concluded, and our price is paltry. and that not ours to give. (Pandarus has edged towards the alcove.) Pandarus I’m not a rich man. What’s his price? Pandarus What payment now? Diomede (amused) His daughter. Diomede They tell me her name is Cressida. The girl, your Cressida. The girl buys back your soldier Antenor. Pandarus Come, sir, you cannot fool me. Pandarus (contemptuously) What’s your business? Exchange a warrior captain for a woman! Great Agamemnon would never consent, Diomede no, nor indeed would King Priam. I bring good news for Troilus. My brother shall not have her. She stays in Troy.

Pandarus (Diomede has put out his hand. A soldier gives Good news? What news for Troilus? him the seals.)

Diomede Diomede He failed in battle to redeem Antenor, It is agreed already, past revoking. a soldier by you Trojans highly prized, Witness the royal seals of Troy and of Greece. although in Greek report as yet unnoticed. Foiled in his first attempt, your stubborn Prince (Diomede shows Pandarus the seals.) wisely resorted to a safer method. He left it to our warring kings to strike Pandarus a bargain, hoping by treaty to fetch back You barter human lives like cattle!

28 Diomede Troilus Fetch her here. 4 This thing shall be revok’d, this vile compact dissolv’d, Pandarus and quickly, too. This never was her house. Cressida Diomede O Troilus! Come now, why are you hiding her? You must not let me go. She’ll suffer no harm. I cannot bear to lose you! What’s one more woman in the camp of the Greeks? Troilus (He looks around the room, then sees Pandarus But, Cressid, how can we resist? glance at the alcove.) These kings have bargain’d over our heads. I know she’s here! This treaty bears their royal seals. (He goes to the alcove... and jerks the curtain We cannot fight both gods and men. aside. Cressida is alone, sitting at the foot of the We cannot, dare not disobey. bed. She slowly rises to her feet.) Impregnable Troy! Cressida Are these your fabled riches? Sudden misgivings chill me. I know not why. I dare not say good bye. Pandarus (despairingly) Oh, I’m no use, no use. Troilus (defiantly to Diomede) Watch out at sunset, stand at the palisade, Oh, you are Greek! And hard as the stones you at the Argive end of the camp. tread on! I’ll corrupt the sentries, night after night picking my careful way thro’ the drowsy tents. (Cressida sinks into Pandarus’ arms.) Our constant meetings will bring us comfort.

Diomede Cressida She will be thankful soon enough Swear you will send me word. to have escaped this rat-trap of a town. See her made ready. Troilus (He makes for the door.) Swear you’ll be true to me. My hour of truce is passing. Cressida (He goes out with his escort. Troilus comes in I swear it. from the balcony alongside the alcove.)

29 Troilus Act III I swear it. The Greek encampment. Early evening. Ten weeks later Both Part of the tent of Calkas juts from the wings We were alone, at right. Across the back runs a section of the and then we were alone together. dyke built to protect the camp from the sea. We were alive together. Beyond the dyke the prows of three ships are O gentle heart, would we again were drifting seen against the sky. At left a brazier for use of far from this world of waking, the sentries. The top of the dyke is approached lull’d by the peace of your arms, by steps at the down-stage end where it abuts borne on the ocean swell of deep toward the audience, and by a wide ramp at slow-breathing sleep. centre back. There is a small watch tower at left.

(There is a knock at the door. Pandarus enters Watchman (behind the scene) followed by Evadne.) 5 All’s well!

Pandarus (A sentry enters up-stage right, walks to the Come, my children. They’re waiting. watch tower, mounts the steps, and the sentry on the platform comes down as the relieving Evadne soldier takes up position with his back to the Your cloak, dear lady. stage.)

(Troilus produces the red scarf.) Watchman (further off) All’s well! Troilus This token that you gave me, wear again. (Cressida appears at the entrance of the tent.) Cherish this crimson for our sake and by this sign be still my Cressida. Watchman (still further off) All’s well! Cressida I am yours forever. (Evadne enters and Cressida runs toward her.)

(She takes the scarf. They embrace. Two Cressida spearmen enter and stand on either side of the Is there no word, no message yet from Troilus? door. Cressida goes out, followed by Evadne and (Evadne shakes her head.) the soldiers. Pandarus slumps into a chair. Troilus Ten weeks, Evadne. Ten silent weeks. flings himself onto the bed.) Love cannot feed on air.

30 Evadne Cressida Ten weeks, ten long weeks and never a word. I never asked for your counsel. Go and do as I bid you. Cressida Go back, go back again to the palisade, (Evadne turns back.) just once again, one more hour. Evadne Evadne If only the gods would give me the courage to No use, no use. act for the best, I would meet your Trojan intruder, yes, I would seize his message and Cressida destroy it. Mix with the frontier guard. Keep watch for his messenger. Cressida Go quickly, quickly. He may be turning back. And I would have you strangled, slave that you are! Evadne (She throws her down, then relents.) Night after night the same. No use, I tell you. – O Evadne, we are old and trusted friends. You torture yourself for nothing. Young men’s I have no one but you. Do not desert me now. eyes Do as I ask, this once, and go, go quickly, were made to wander. They are all alike. for the last time, the very last time. Bring me a message from my Troilus. Cressida (Evadne returns to her errand.) He would never forget me, never. (despairingly) You do not know him. Troilus! 6 No answering sign on the walls, Evadne no longed-for step in the night; If Troilus still loves you, what comfort then? only the watchman’s cry He is a Prince of Troy. and a wind in the long grass blowing. Your father’s a branded traitor! You might as well O tranquil goddess, Queen of the Dead, weep to embrace the moon as weep for your pale Persephone, Troilus. awake, hear me, gaze round thy colourless hills. Now Diomede is a handsome fellow, Is there a young man, lonely, and patient, too, for a man. Trick yourself out lying apart, just fallen asleep? in whatever the moment may offer and be thankful. Oh rouse him, tenderly rouse him. Is he grey-eyed, and newly come (Evadne moves on toward the tent.) with his sad wound from Troy? Oh speak to him. Say to him – ‘Is thy name Troilus?’

31 No sound from the shadowy deep, Tonight Prince Diomede comes for your final no sign from the quick or the dead; answer. only the watchman’s cry... He will not come again. Let him find you grown more willing. Watchmen (behind the scene) By all the gods, child, who are you to say yea All’s well! or nay? Be glad of him, welcome him, Cressida study to please him or we perish. ...and a wind in the long grass blowing. (He goes off up the ramp.) (Calkas comes out of the pavilion. He lays his hand on Cressida’s shoulder.) Cressida 8 You gods, O deathless gods, Calkas what have I done to deserve your harsh 7 Cressid, daughter, why so heavy-hearted, displeasure? always dejected, nursing a nameless sorrow? I’m alone, defenceless. I have seen you standing alone at the stockade, What strength have I but love, gazing at Troy, watching the sun go down love deep as death, but weak against the world? below the world, like your last hope. If I choose the path that promises joy, These twilight wanderings are frowned on. must I be cheated, punish’d? The whole camp is alive with gossip. Shall it be love? Shall it be Diomede? (She breaks away from him.) O Diomede, your eyes are like coals at the forge, I fetched you out of Troy to be my solace in exile, blown white hot. but day after day your heart is turn’d against me. Steadily gazing down out of the dark, they My own child drags me down. desire me and I tremble. She doubles my burden. Forsaken by Troilus, threaten’d by my father, She has become a stranger. tempted by the gods! Listen to me. All goad me on one headlong way. The omens clamour their warning. Have my own eyes betray’d me? Troy, our fair City, is doomed. My whole life crumbles. But Diomede can save you and your father. Troilus! Let him be our remedy. Give him your love. (Diomede enters. She turns and sees him.) (Cressida shrinks back. He seizes her wrist.) Ungrateful, stubborn, senseless! Cressida No, you shall hear me out. Diomede! (He forces her down.) (He walks down the ramp.)

32 Diomede Diomede 9 Proud, wondrous Cressida, am I to live or die? Then grant me this emblem of continuing hope, I claim your promis’d answer. and till tomorrow I’ll entreat no kinder answer.

Cressida Cressida I am your prisoner. How can I choose? My scarf? Why, ’tis nothing. Wear this ring for me. Diomede (approaching) Come, give me your hand. ’Tis yours. I could command. Diomede Cressida No, no, my belov’d. Nothing but this! Yes, you can command I’ll bind it blazing round my helmet. but can you command my heart? Then if your Trojan see where it flames in the field Diomede he’ll cut him a path thro’ the spears and I shall Have I not waited, always another day, know him. living on the hope, the hope that you gave me? O brightest of all the trophies out of Troy, All else that is mine is as nothing. Victory’s crown, my goddess, and my joy, I am your refuge, your strong friend in need, Cressida (smiling, leading him on) your prince, your slave to command, Once you are home I’ll be forgotten your Diomede. or only as a slave remembered. (He has dropped to his knees. Evadne enters and Diomede Cressida watches her pass into the tent, shaking I know some Trojan lingers in your thoughts. her head as though to say ‘no news’.)

Cressida Cressida (aside) He was no more than a friend. No more, my heart. Have done with waiting. I think of him no longer. (She catches hold of her scarf, and with a quick, almost savage gesture, pulls it free and thrusts it Diomede into his hands.) Then give me a token, warm from your body, 10 Take it. to show I may return. Take all you ask of me, and let it be forever.

(He touches her scarf. She shrinks back.) Diomede O Cressida, let it be forever! Cressida I give you my word. What need of tokens? 33 Cressida Troilus Let it be forever! 12 Evadne!

Diomede Pandarus This night I shall proclaim it. Evadne! Never another day shall dawn on your shame and slavery. Evadne Go now. Make ready. Troilus! Put on your best array. Come forth a Queen, Pandarus and nevermore be seen Ssh... quietly. Where is she now? in base captivity. Troilus (They embrace, Evadne has come unseen from Tell her I’m here – tell her I’ve come for her. the tent. Diomede goes off centre. Cressida goes into the tent, Evadne produces a letter from Evadne Troilus. She walks over to the brazier.) Immortal gods, this is the maddest folly.

Evadne Pandarus 11 So here’s an end of it all. They’ve declared a truce – we’ve only one hour. New life begins, and with high promise. Now once again I can safely burn my secret Troilus – more vows and tears from Troilus! My message warn’d her to be ready. (She thrusts the scroll into the brazier.) You too, Evadne. You are going to Troy. Another doting message, burn’d like the rest, the seal unbroken! Pandarus The last frail link with Troy is ashes! Come, where’s your smiling welcome? Are we Oh cruel cunning to deceive her! not here, And yet it is mercy. She will live to thank me. risking our lives, just as we promised?

(It grows darker.) Evadne Lord Pandarus – for our safety – take him away. Watchmen (behind the scene) He will ruin us all. This will destroy us. All’s well! Troilus (She squats by the brazier, warming her hands. Go, I command you! Troilus and Pandarus enter from left.) (Evadne moves toward the partition.)

34 Pandarus Cressida (suddenly tense) That woman – she is not to be trusted. The voice of Troilus... Her looks are sly and cunning. (She sees him.) We must go back. 13 Troilus! We stand in peril. (Troilus and Pandarus hurry forward.) (Cressida comes from the tent.) Pandarus Cressida Dear Cressid, I rejoice to find you ready. Evadne, do not leave me. (to Cressida and Evadne) I’m afraid. Go, put on your cloaks and to horse and homeward! (Evadne stands between her and the two others, screening them from view.) Cressida O Troilus, why did you forget me? Evadne (in dismay) No word, despite your promise! O my lady! Troilus (Troilus takes an impulsive step forward but is Time and again have I bribed the sentries, restrained by Pandarus.) sent message after message. They have played me false. Pandarus Sooner would leafless boughs lose hope of the No, wait. Observe her a while and listen. spring than I forget you. Cressida I never closed my eyes, but thro’ the dark Will he like me thus, hair loose and flowing? I saw you, and heard your step returning. Do the gold leaves match the gold of my girdle? I never touch’d a flow’r, but it became your Will I please him thus? cheek Evadne, why are you so silent? and suddenly I was yearning. Time has not passed, Evadne and there is no more pain. No more, I beg you. Go back into the tent. The night that was ours and this, they alone remain. Cressida We did but dream the solitude between. You should be proud of me. (Cressida is strangely still and silent.) Why are you weeping? And now, dear love, have courage. I have at last prevail’d upon my father. Troilus (calling) This very hour, Trojan and Greek Cressida. will bargain for your ransom. 35 Cressida (breaking down-stage of him) Cressida My ransom! Be gone, I implore you. Leave me to my fate. What breathless joy catches my heart! – But ah, too late, it comes too late. (Troilus and Pandarus retreat into the shadows at I’m beyond all ransom now. down-stage left. Cressida stands alone at centre. (Troilus and Pandarus exchange glances.) Diomede’s escort enters. Diomede and Calkas are Go back, forget me. I am bought and sold. the last to enter. Diomede takes up his position I’ll stay and weep, and Troy may keep her gold. on the ramp in the centre, wearing the crimson favour on his helmet which he carries. Evadne, (Trumpets are heard behind the scene. Troilus almost distraught, appears at the tent opening.) runs up the ramp.) Diomede (from the edge of the parapet) Troilus (from the top of the ramp) From these cold ashes rise, my Cressida. 14 What is this sudden alarm? Your people clamour to salute you. These trumpets, why are they sounding? Chorus (on stage) (The trumpets are heard closer.) Hail, Cressida! Bride of Calydon and Argos, we salute thee. Chorus (off-stage) Hail, Cressida! Troilus (to Pandarus, incredulous) Bride of Calydon and Argos! What is that crimson token?

Troilus (coming down) Diomede These voices – what are they calling? How comes it, Troilus, you wander about our camp at will? (Soldiers and camp followers start the ceremonial entrance from the right.) Troilus (aloud to Diomede) What is that crimson token? Cressida (moving over to Troilus) It is too late, I say. Too late! Pandarus Be gone, I implore you. Leave me to my fate. Prince Diomede, in time of truce Trojan and Greek are friends. Pandarus We come to ransom Cressida. Troilus, come away. I fear some evil. Troilus (coming forward) The Greeks will take us. That blood-red token! Answer me, Diomede.

36 Diomede Chorus When you and your kin False Cressida! False! have made a banquet for the kites Cressida shall reign in Argos. Sextet Diomede Troilus 15 Troy, false of heart, yet fair! Never! City of lust and lying! Who goes to market there Diomede Will be false measure buying. She gave me her troth. Shall Argos bear away This crimson bears me witness. The fruits of that tainted earth? Deep in her flaunted rose Troilus The fatal canker grows; Plundering Greek, she had nothing to give. Her vows are nothing worth And by that same red witness she is mine, And all her smiles betray. body and spirit, and I am hers forever. Troilus (Diomede has come down the steps.) Oh burning eyes, look there! What shameful banner flying! Diomede True hearts are now as rare Speak, Cressid. Speak! Denounce him. As fabl’d love undying. Say that he lies. Woman at wanton play Then, sacred truce or no, he dies. With discord fills the earth. Her kindness comes and goes Chorus With ev’ry wind that blows. She falters. She cannot speak. Each man must weigh her worth, Condemn, or forfeit pay. Diomede Speak, Cressid. Speak! Denounce him! Cressida (to Troilus) Sweet love, I long to share Chorus Your load of heavy sighing, Speak, Cressid. Speak! Denounce him! Sorrow to kindred care, Fond heart to heart replying. (She faces her moment of decision, walks over What can I do or say? to Troilus, kneels, and clings to him, back to the Our joys were doom’d at birth. audience. Troilus gazes out to front.) Oh surely my suffering shows The fount of love still flows Deep as the springs of the earth, Clear as our bridal day. 37 Pandarus (Diomede moves up-stage, gives his helmet to an Why toil we to prepare attendant and slowly returns with the scarf.) A balm for mortal sighing? To ease the world’s despair Diomede Was never worth the trying. She has brought shame on Argos! His towers soon decay (With a sudden gesture Diomede brandishes the Who builds for love or mirth. crimson favour and spurns it to the ground.) One thing man loves and knows 16 She has brought shame on Argos! – The exchange of warrior blows; I’ll not endure it. Thus beauty suffers dearth And crumbles into clay. Troilus (drawing his sword) On guard, I say, on guard! Calkas Ah, Troy, would I were there Pandarus and Calkas Tho’ all her hopes be dying Put up your sword! To mount the temple stair, My faithless deeds denying. Chorus But how can lips unsay Stand away! The words foredoom’d at birth? Fate urg’d me when I chose Troilus To parley with my foes. On guard, I say, on guard! Destiny rules the earth, And dire need points the way. (Diomede begins to go but is halted on the steps. Troilus throws himself upon Diomede, who is Evadne (to Calkas) forced to his knees. As Troilus steps back, he is Master, I swear, I swear, stabbed by Calkas. Troilus drops his sword and His doting words and lying breaks down-stage. Cressida runs to support Were burn’d in the brazier there him.) Till Cressid’s hopes were dying. Now let our patron slay Chorus This Trojan, fell him to earth. Calkas! Once he be dead, suppose A change of heart! Who knows Cressida But wrath will turn to mirth Troilus, you must not die for me. And Greece bear all away! I never dreamed that we would meet again.

Chorus Troilus False Cressida! We meet on fatal ground. And I am slain. False of heart, yet fair! 38 (Troilus is led off, supported on either side.) This much of Troilus shall still be mine. (She winds the scarf round the sword and clasps Diomede it to her breast.) He shall be given back to Troy, back to his father. Turn, Troilus, turn, on that cold river’s brim Would I had never seen such valour Beyond the sun’s far setting. squandered in a cause so base. Look back from the silent stream (Cressida attempts to follow, but is prevented by Of sleep and long forgetting. Diomede. She falls to her knees and gathers up Turn and consider me and all that was ours; the scarf. Pandarus kneels at her side, at a loss to You shall no desert see know how to comfort her.) But pale unwithering flowers. Calkas, get hence to Troy, and go in fetters. Oh never with scorn, nor with hate, Greece can prevail without Troy’s traitors. Shall Death receive me. Doubtless they have swift means there He will purge all blemish away, to curb your mischief – And you, even you, of all men under his sway, (He mounts the steps, turns and points at May yet forgive me. Cressida.) (She seems to hear approaching footsteps, looks As for that whore, and her comely graces, off-stage right, and recoils, walking backwards she shall remain with us. She has her uses. up the ramp. She stands on the edge of the parapet and pulls the sword free of the scarf.) (Diomede turns about and goes off along the Open the gates. We are riding together into Troy. ramp with his escort. The crowd begins to And by this sign I am still your Cressida. disperse.) (She stabs herself.) Calkas and Pandarus Tyrant of Calydon, is this just payment? End of the Opera That man is accurs’d to whom the Greeks are Christopher Hassall (1912 – 1963) grateful! Libretto printed courtesy of Oxford University Press (Calkas, Pandarus, and Evadne are led off at left.)

Cressida (distracted) 17 Diomede!... Father!... Pandarus!... Evadne!... Troilus! (She sees the sword of Troilus lying where it fell and picks it up.) At last a message! A token out of Troy, serene in its naked brightness. Here shines his honour.

39 The premature death of Richard Hickox on 23 November 2008, at the age of just sixty, deprived the musical world of one of its greatest conductors. The depth and breadth of his musical achievements were astonishing, not least in his remarkable work on behalf of British composers. An inspiring figure, and a guiding light to his friends and colleagues, he had a generosity of spirit and a wonderful quality of empathy for others. For someone of his musical achievements, he was never arrogant, never pompous. Indeed there was a degree of humility about Richard that was as endearing as it was unexpected. He was light-hearted and, above all, incredibly enthusiastic about those causes which he held dear. His determination to make things happen for these passions was astonishing – without this energy and focus his achievements could not have been as great as they were. He was able to take others with him on his crusades, and all in the pursuit of great music. Richard was a completely rounded musician with a patience, kindness, and charisma that endeared him to players and singers alike. His enthusiasm bred its own energy and this, in turn, inspired performers. He was superb at marshalling

40 large forces. He cared about the development of the artists with whom he worked and they repaid this loyalty by giving of their best for him. An unassuming man who was always a delight to meet, Richard was a tireless musical explorer who was able to create a wonderful sense of spirituality, which lifted performances to become special, memorable events. For these reasons, Richard was loved as well as respected. The Richard Hickox Legacy is a celebration of the enormously fruitful, long-standing collaboration between Richard Hickox and Chandos, which reached more than 280 recordings. This large discography will remain a testament to his musical energy and exceptional gifts for years to come. The series of re-issues now underway captures all aspects of his art. It demonstrates his commitment to an extraordinarily wide range of music, both vocal and orchestral, from the past three centuries. Through these recordings we can continue to marvel at the consistently high level of his interpretations whilst wondering what more he might have achieved had he lived longer.

41 Also available

Britten The Rape of Lucretia CHAN 241-51

42 You can now purchase Chandos CDs or download MP3s online at our website: www.chandos.net

For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Finance Director, Ltd, direct at the address below or via e-mail at [email protected].

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This recording is made with the assistance Grant Aid from of the William Walton Trust.

Director of Opera North production Matthew Warchus Stage director for the recording William Kerley

Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineers Richard Smoker, with thanks to Don Hartridge Editor Peter Newble Mastering Jonathan Cooper Recording venue Leeds Town Hall; 19 – 25 January 1995; by kind permission of Leeds City Council Front cover Montage by designer incorporating the original CD cover which included a photograph, by Laurie Lewis, from the dress rehearsal of the Opera North production Back cover Photograph of Richard Hickox by Greg Barrett Design and typesetting Cassidy Rayne Creative (www.cassidyrayne.co.uk) Booklet editor Finn S. Gundersen Publishers Oxford University Press p 1995 Chandos Records Ltd Digital remastering p 2014 Chandos Records Ltd c 2014 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

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