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Esa-Pekka Salonen CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. BARTÓK DUKE BLUEBEARD’S CASTLE Sir John Tomlinson Bluebeard Michelle DeYoung Judith Juliet Stevenson narrator Philharmonia Voices Esa-Pekka Salonen 36 1 291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. BÉLA BARTÓK one large sound arc, in which time and structure 1881 – 1945 are measured by the successive openings of seven doors. Even in a fully staged version, Duke Bluebeard’s Castle, Op. 11 (1911-12) there is virtually no stage action. This is a Opera in one act | Libretto by Béla Balázs psychological drama, which is equally effective in concert or semi-staged performance. BARTÓK(1881-1945) DUKE BLUEBEARD’S CASTLE While Piano Concerto No. 3 was dedicated to Bartók’s second wife, Bartók’s opera Duke The opera is prefaced with a short enigmatic 1 Prologue and Introduction 16.33 Bluebeard’s Castle was dedicated to his first Prologue, which begins: ‘Once upon a time ... 2 First Door: Bluebeard’s Torture Chamber 4.29 wife, Márta Ziegler. Where did this happen? Outside, or within? 3 Second Door: The Armoury 4.50 Ancient fable, what does it mean, Ladies and 4 Third Door: The Treasure Room 2.41 The tale of Bluebeard and Judith has roots that gentlemen? The song goes on, You look at me, 5 Fourth Door: The Garden 5.22 date back to biblical times. The story took my eyes are on you. The curtain of our eyelids 6 Fifth Door: Bluebeard’s Vast & Beautiful Kingdom 6.46 Bartók’s fancy when the Hungarian poet Béla is raised: Where is the stage: outside or within, 7 Sixth Door: The Lake of Tears 14.42 Balázs read his version of it to Bartók in mid- Ladies and gentlemen?’ Bluebeard and Judith 8 Seventh Door: Bluebeard’s Wives 11.15 1910. Perhaps he saw its eternal message then appear in his gloomy castle – ‘empty, Total timings: 66.42 already being revealed in his domestic dark and forbidding like a cave hewn in the circumstance, for its autobiographical relevance heart of solid rock’. Little by little, through her is striking: a young wife wanting to know and relentless coaxing, some of the secrets of his SIR JOHN TOMLINSON BLUEBEARD love her mysterious, considerably older past are revealed. MICHELLE DEYOUNG JUDITH husband; an older husband, a loner, fearing JULIET STEVENSON NARRATOR that her youthful desire to know him and all his The first two doors open onto Bluebeard’s PHILHARMONIA ORCHESTRA secrets would be their relationship’s undoing. torture chamber and armoury, which on closer PHILHARMONIA VOICES inspection turn out to be stained with blood. ESA-PEKKA SALONEN CONDUCTOR Bartók’s setting of Balázs’s dramatic scene is But Judith wants to believe something different an immensely powerful musical construction of her husband and overlooks these obvious www.signumrecords.com that spans the best part of an hour. The work is signs of cruelty. Bartók’s music parallels the 2 3 2 3 291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. developing plot, beginning in a gloomy F-sharp she has to know all of him. But Bluebeard knows The dramatic circle is completed as Bartók folk poetry over the previous half decade. The key and, as Judith comes to see the blood that that their love cannot stand such dazzling draws in to the mournful pentatonics of the representation of Judith and some of the more covers his unsavoury possessions, introducing passion and personal exposure. He knows that opening. Both Bluebeard and Judith are dissonant passages of writing for orchestra a shrill, dissonant motive (often associated on the loss of his mystery will doom their marriage. entombed in his castle. Judith was his fourth, betray Bartók’s keen interest in Richard stage with a lighting change to a deep red). ‘The last of my doors must stay shut forever,’ he and last, chance. After the Ladies of the Dawn, Strauss, in particular Salome, which he This motif will return time and again throughout warns Judith. ‘Ask no questions.’ of Noon and of Evening, she is the Lady of the thought a brilliant work, but also Elektra, which the opera as each door reveals something Night. Bluebeard has the last word: ‘Henceforth he had just seen in 1910 and found to be not more about Bluebeard’s bloody past. Behind the sixth door is a lake of tears, ‘the all will be darkness, darkness, darkness’. as effective as Salome. water of buried grief’. The brilliant lights start The next three, central doors – opening onto to dim. The openness of the music starts to Musically, Duke Bluebeard’s Castle is If you were an innocent Hungarian girl, 17 Bluebeard’s treasury, garden and kingdom – turn. Judith’s jealousy takes on a form derived wonderfully crafted, with a simple, firm going on 18, would you not be a little worried make Judith more hopeful of his love. Here are from Bartók’s shrill ‘blood’ motive. She must symmetry in its structure that Bartók would when your 30-year-old husband dedicated the riches of his spirit, the evidence of his love now go on to the final door, behind which are imitate in several later works. In style it is not such a work to you? The plot, with its message and pride, and the wonders of his creation and Bluebeard’s three former loves, held in a yet fully mature Bartók (many a conservative of the irreconcilability of the sexes, did not power. But each turns out to be specked with timeless and idealised state. And she must listener has been pleasantly surprised at bode well. In 1910, just months after their blood – the jewels, the flowers, even the now join them. that!), but stands as a summary of all the marriage, Bartók had written to Frederick clouds. As Bartók’s music grows more and influence upon Bartók up to his 30th year – a Delius: ‘I am very much alone here, apart from more passionate and grand, culminating in a All chance of fulfilment in love is lost. The Bartók still on the verge of modernism. It is the my one friend, Kodály’. But Márta stood loyally gloriously open C major passage involving the woman’s insistence on knowing what should spiritual heir of Wagner’s Lohengrin, yet has by her man through grim years of war, organ at the fifth door, the shrill motif, with its not be known has been her undoing. For the more than a little of the dramatic intensity and epidemic and revolution, bringing up their son, blood-red associations, is still preset to return. man, the tragedy is the realisation yet again hysteria of Tristan und Isolde. running the household, even copying out her that he can never experience true love. He is husband’s music and writing out his letters. Bluebeard would like to hold their relationship at doomed to an eternal misery. Bluebeard is The opera’s clear, speech-like representation We have to wonder, however: did she actually this point of passion and wonderment. However, back to square one, as is Bartók in the music. of the Hungarian text owes much to Debussy’s find their sudden divorce in 1923 a blessed two doors remain. Judith does not yet know all In parallel with the lighting, it winds back down recent experiments with settings of the French release from Bartók’s ‘castle’? his secrets, and desires their keys. Her passion to the gloomy F-sharp – the opposite of the language in Pelléas et Mélisande but also to sweeps her on. Despite Bluebeard’s dissuading, gloriously radiant C of the fifth door. his own studies of Hungarian folk music and © Malcolm Gillies 2011 4 5 4 5 291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. [1] PROLÓGUS [1] PROLOGUE KÉKSZAKÁLLÚ BLUEBEARD (Prologue translation - Péter Bartók) Megérkeztünk. Íme lássad: Here we are now. Now at last you see Ez a Kékszakállú vára. Before you Bluebeards castle. Haj reg rejtem Once upon a time ... Nem tündököl, mint atyádé. Not a happy place like your fathers. Hová, hová rejtsem Where did this happen? Judit, jössz-e még utánam? Judith, answer. Are you coming? Hol volt, hol nem: kint-e vagy bent? Outside, or within? Régi rege, haj mit jelent, Ancient fable, what does it mean, JUDIT JUDITH Urak, asszonyságok? Ladies and gentlemen? Megyek, megyek Kékszakállú. Coming, coming, dearest Bluebeard. Im, szólal az ének. The song goes on, KÉKSZAKÁLLÚ (lejön néhány lépest) BLUEBEARD (coming slowly down the steps) Ti néztek, én nézlek . You look at me, my eyes are on you. Nem hallod a vészharangot? Do you hear the bells a-jangling? Szemünk pillás függönye fent: The curtain of our eyelids is raised: Anyád gyászba öltözködött, Child, thy mother sits in sorrow; Hol a szinpad: kint-e vagy bent, Where is the stage: outside or within, Atyád éles kardot szíjjaz, Sword and shield your father seizeth; Urak, asszonyságok? Ladies and gentlemen? Testvérbátyád lovat nyergel. Swift thy brother leaps to saddle. Judit, jössz-e még utánam? Judith, answer. Art thou coming? Keserves és boldog Bitter and joyous Nevezetes dolgok, Are the events around us. JUDIT JUDITH Az világ kint haddal tele, But the worlds armies Megyek, megyek Kékszakállú. Coming, coming, dearest Bluebeard. De nem abba halunk bele, Do not determine our fate, Urak, asszonyságok.
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