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BARTÓK DUKE BLUEBEARD’S CASTLE Sir John Tomlinson Bluebeard Michelle DeYoung Judith Juliet Stevenson narrator Philharmonia Voices
Esa-Pekka Salonen
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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
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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
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[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 Bluebeard s castle. Haj reg rejtem Once upon a time ... Nem tündököl, mint atyádé. Not a happy place like your father s. 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 lépes t) 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 world s armies Megyek, megyek Kékszakállú. Coming, coming, dearest Bluebeard. De nem abba halunk bele, Do not determine our fate, Urak, asszonyságok. Ladies and gentlemen. A Kékszakállú lejön egészen és visszafordul Judit felé, aki á lépcs Bluebeard is at the bottom of the stairs. He turns to look at Judith közepén megállt. who has stopped half way down. Nézzük egymást, nézzük, We see each other, Az ajtón bees fénykéve megvilágitja a lépcs t és kett jük alakját. The ray of light from the open door shines directly on them both. Regénket regéljük. We tell our own tales. Ki tudhatja, honnan hozzuk? Wherever we come from, KÉKSZAKÁLLÚ BLUEBEARD Hallgatjuk és csodálkozzuk, We listen with amazement, Megállsz Judit? Mennél vissza? Dearest Judith, are you frightened? Urak, asszonyságok. Ladies and gentlemen! JUDIT (mellre szoritott kézzel) JUDITH (with hands pressed to her breast) A függöny szétválik a háta mögött. The curtain rises behind the Bard. Nem. A szoknyám akadt csak fel, No, my flowing skirt was tangled, something caught the silken Felakadt szép selyem szoknyám. flounces. Zene szól, a láng ég, The music sounds, the flames are lit. Kezd djön a játék. Let the play begin. KÉKSZAKÁLLÚ BLUEBEARD Szemem pillás függönye fent. The curtain of my eyelids is raised. Nyitva van még fent az ajtó. See, the doorway standeth open. Tapsoljatok majd ha lement, Take notice until it drops again, Urak, asszonyságok. Ladies and gentlemen! JUDIT JUDITH Kékszakállú! Dearest Bluebeard! Régi vár, régi már Old is this castle, Az mese, ki róla jár, Old is the tale enclosed by its walls. Lejön néhány lépcs t. She comes a few steps down. Tik is hallgassátok. Observe carefully. Elhagytam az apám, anyám, Mother and father beloved, Elhagytam szép testvérbátyám ... Brother and sister devoted ... SZÖVEGKÖNYV LIBRETTO Halatmas kerek gótikus csarnok. Balra meredek lépcs vezet fel A vast, circular, Gothic hall. Steep stairs at Left lead up to a small Közben lejön egészen. She comes all the way down. egy kis vasajtóhoz. A lépcs t l jobbra hét nagy ajtó van a falban; iron door. To the Right of the stairs seven enormous doors, four of négy még szemben, kett már egész jobboldalt. Különbensem them directly facing the audience, the last two at one side. No Elhagytam a v legényem, All of them, I left them weeping, ablak, se dísz. A csarnok üres, sötét, rideg, sziklabarlanghoz windows, no ornamentation. The hall is empty, dark, and forbidding hogy váradba eljöhessek. All my kindred, to come hither. hasonlatos. Mikor a függöny szétválik, teljes sötétség van a like a cave hewn in the heart of solid rock. When the curtain rises színpadon, melyben a reg s elt nik. Hirtelen kinyílik fent a kis the stage is in total darkness. The minstrel steps back and is A Kékszakállúhoz simul. She snuggles up to him. vasajtó és a vakító fehér négyszögben megjelenik a Kékszakállú és swallowed up in the gloom. Suddenly the small iron door at the Judit fekete sziluettje. head of the stairs is flung wide, and in the dazzling white opening Kékszakállú! Ha ki znél, Darling Bluebeard! If you reject me appear the black, silhouetted figures of Bluebeard and Judith. Küszöbödnél megállanék, And drive me out, I ll never leave you. 6 7
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Küszöbödre lefeküdnék. I ll perish on your icy threshold. KÉKSZAKÁLLÚ BLUEBEARD Ugye, Judit, jobb volna most Judith, Judith, would it not be A Kékszakállú magához öleli. Bluebeard embraces her. V legényed kastélyában: Happier in your father s castle, Fehér falon fut a rózsa, Roses rambling round the terrace, KÉKSZAKÁLLÚ BLUEBEARD Cseréptét n táncol a nap. The sunlight dancing on the roof? Most csukódjon be az ajtó. Let the door be shut and bolted. JUDIT JUDITH A kis vasajtó fent becsukódik. A csarnok világosabb marad, de csak The small iron door swings to. The hall is only bright enough for the Ne bánts ne bánts Kékszakállú! Never, never, dearest Bluebeard! épphogy a két alak és a hét nagy fekete ajtó látható. Judit a two figures and the seven huge black doors to be just visible. Judith Nem kell rózsa, nem kell napfény! I no longer crave for daylight. Kékszakállú kezét fogva tapogatódzva el re jön, a bal fal mellett. fumbles her way along the left wall, keeping hold of Bluebeard s Nem kell rózsa, nem kell napfény! Roses, sunshine, they are nothing, hand. Nem kell... Nem kell... Nothing ... nothing ... Nem kell... Nothing ... JUDIT JUDITH Milyen sötét a te várad! Ev rything is veiled in twilight. Ez a Kékszakállú vára! Is this really Bluebeard s castle? Milyen sötét a te várad! I can hardly see your castle. Nincsen ablak? Why no windows? Milyen sötét... All is darkness. Nincsen erkély? No sweet daylight? Szegény, szegény Kékszakállú! Solemn, solemn, joyless Bluebeard.
KÉKSZAKÁLLÚ BLUEBEARD Zokogva leborul a Kékszakállú el tt és csókolja a kezét. She sinks down sobbing and kisses his hand. Nincsen. Never. KÉKSZAKÁLLÚ BLUEBEARD JUDIT JUDITH Miért jöttél hozzám, Judit? Tell me why you came here, Judith. Hiába is süt kint a nap? Can the sun never glimmer here? JUDIT (felugorva) JUDITH (jumping to her feet) KÉKSZAKÁLLÚ BLUEBEARD Nedves falát felszárítom, I shall dry these weeping flagstones Hiába. Nevermore. Ajakammal szárítom fel! With my own lips they shall be dried. Hideg kövét melegítem, I shall warm this icy marble, JUDIT JUDITH A testemmel melegítem. Warm it with my living body. Hideg marad? Sötét marad? Always icy, dark and gloomy? Ugye szabad, ugye szabad, Let me do it, let me do it Kékszakállú! Darling Bluebeard! KÉKSZAKÁLLÚ BLUEBEARD Nem lesz sötét a te várad, I shall brighten your sad castle, Hideg sötét. Always, always. Megnyitjuk a falat ketten, You and I shall breach these ramparts. Szél bejárjon, nap besüssön, Wind shall blow through, light shall enter, JUDIT (el bbre jön) JUDITH (she comes forward) nap besüssön. Light shall enter. Ki ezt látná, jaj, nem szólna. All who come here cease their gossip. Tündököljön a te várad! Bright as gold your house shall glitter. Suttogó, hír elhalkulna. All the rumours hushed in silence. KÉKSZAKÁLLÚ BLUEBEARD KÉKSZAKÁLLÚ BLUEBEARD Nem tündököl az én váram. Naught can glitter in my castle. Hírt hallottál? Do you know them? JUDIT (jobbra befelé megy) JUDITH (turns to the right, towards mid-stage) JUDIT JUDITH Gyere vezess Kékszakállú, I shall follow, gentle Bluebeard. Milyen sötét a te várad! Ev rything lies deep in shadow. Mindenhova vezess engem. Show me over all your castle.
El bbre tapogatódzva. Megrezzen. She feels her way forward. She shudders. Beljebb megy. She moves to mid-stage.
Vizes a fal! Kékszakállú! The walls are sweating. Tell me Bluebeard: Nagy csukott ajtókat látok, Ah, I see seven great shut doorways. Milyen víz hull a kezemre? Why this moisture on my fingers? Hét fekete csukott ajtót! Seven doors all barred and bolted. Sir a várad! Sir a várad! Walls and rafters, all are weeping. A Kékszakállú némán, mozdulatlanul néz utána. He follows her with his eyes, mute and motionless. Eltakarja a szemét. She covers her eyes. Mért vannak az ajtók csukva? Why are all seven bolted? 8 9
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KÉKSZAKÁLLÚ BLUEBEARD KÉKSZAKÁLLÚ BLUEBEARD Hogy ne lásson bele senki. None must see what is behind them. Áldott a te kezed, Judit. Thy sweet hands are blessed, Judith.
JUDIT JUDITH A kulcscsmomó megcsörren a sötétben. The sound of keys clinking in the darkness. Nyisd ki, nyisd ki! Nekem nyisd ki! Open, open! Throw them open. Minden ajtó legyen nyitva! All those locks must be unfasten d. JUDIT JUDITH Szél bejárjon, nap besüssön! Wind shall scour them, light shall enter! Köszönöm, köszönöm! Thank you, thank you!
KÉKSZAKÁLLÚ BLUEBEARD Visszamegy az els ajtóhoz. She goes back to the First Door. Emlékezz rá, milyen hír jár. Bear in mind the whisper d rumours. Én akarom kinyitni, én! Bluebeard, let me open it now. JUDIT JUDITH A te várad derüljön fel, Light and air will cheer your castle. Mikor a zár csattan felbúg a mély földalatti sóhajtás. As the lock turns, the reverberating sigh is heard again. A te várad derüljön fel! Happy sunshine, laughing breezes, Szegény, sötét, hideg várad! They will cheer your joyless dwelling. Hallod? Hallod? Listen, listen. Nyisd ki! Nyisd ki! Nyisd ki! Open, open, open! Az ajtó feltárul, vérvörös négyszöget nyitva a falba, mint egy seb. The door opens without a sound. It reveals a blood red rectangle in Dörömböl az els ajtón. A dörömbölésre mély, nehéz sóhajtás búg She hammers on the First Door. The sound is answered by a Az ajtó mögül mélyb l jöv véres izzás hosszú sugarat vet be a the wall like an open wound. A red glimmer comes from deep fel. Hosszú nyomott folyosókon sír fel így az éjszakai szél. cavernous sighing, as when the night wind sighs down endless, csarnok padlójára. within, throwing a long beam across the floor. gloomy labyrinths. Jaj! Woe!
Jaj! Ah! KÉKSZAKÁLLÚ BLUEBEARD Mit látsz? Mit látsz? What seest thou? What seest thou? Visszahátrál a Kékszakállúhoz. She recoils from Bluebeard. JUDIT (mellre szoritott kézzel) JUDITH (pressing her hands to her breast) Jaj! Mi volt ez? Mi sóhajtott? Woe! What was that? Who was sighing? Láncok, kések, szöges karók, Izzó nyársak ... Shackles, daggers, racks and pincers, Branding irons! Ki sóhajtott? Kékszakállú! Who was moaning? Answer, Bluebeard! A te várad! A te várad! Mournful dwelling, piteous castle, KÉKSZAKÁLLÚ BLUEBEARD A te várad! House of anguish! Ez a kínzókamra, Judit. Judith, tis my torture chamber.
KÉKSZAKÁLLÚ BLUEBEARD JUDIT JUDITH Félsz-e? Art thou afraid? Szörny a te kínzókamrád, Kékszakállú! Szörny , szörny ! Fearful is thy room of torture, Dearest Bluebeard! Dreadful, horrible!
JUDIT (csendesen sírva) JUDITH (she weeps softly) KÉKSZAKÁLLÚ BLUEBEARD Oh, a várad felsóhajtott! Oh, I heard your castle sighing. Félsz-e? Art thou afraid?
KÉKSZAKÁLLÚ BLUEBEARD JUDIT (összerezzen) JUDITH (starts in horror) Félsz? Didst thou? A te várad fala véres! Look, your castle walls are blood-stained! A te várad vérzik! Look, the walls are bleeding ... JUDIT JUDITH Véres ... vérzik ... Bleeding ... bleeding ... Oh, a várad felsóhajtott! Yes, I heard a sigh of anguish. Gyere nyissuk, velem gyere. Come we ll open, both together. KÉKSZAKÁLLÚ BLUEBEARD Én akarom kinyitni, én! I ll unlock it, only I! Félsz-e? Art thou afraid? Szépen, halkan fogom nyitni, I shall do it very gently, Halkan, puhán, halkan! Softly, softly, gently. Judit visszafordul a Kékszakállú felé. A piros fény izzó kontúrt ad az Judith turns back to Bluebeard. She is silhouetted against the red Kékszakállú, add a kulcsot, Let me have the keys, my Bluebeard. alakjának. light. Add a kulcsot, mert szeretlek! Give me them because I love you. JUDIT (sápadt, csendes elszántsággal) JUDITH (with pale, calm resolution) A Kékszakállú vállárá borul. She leans on his shoulder. Nem! Nem félek. Nézd, derül már. No! I m not afraid. See, morning breaks! 10 11
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Ugye derül? Nézd ezt a fényt. Crimson sunrise! Behold the light. szintén sötét és félelmes. A második sugár az els mellé fekszik a colour, sombre, and disturbing to behold. The second beam of light padlóra. lies on the floor alongside the first. Óvatosan a fénysáv partján visszamegy a Kékszakállúhoz. She goes back to him, walking cautiously along the beam of light. KÉKSZAKÁLLÚ BLUEBEARD Látod? Szép fénypatak. Look there, lovely radiance! Mit látsz? What seest thou?
Letérdepel és a fénybe tartja két homorú tenyerét. She kneels down and stretches out her arms as though cupping the JUDIT JUDITH light in her hands. Száz kegyetlen szörny fegyver, Piles of cruel arms and armour, Sok rettent hadi szerszám. Countless, fearful battle weapons. KÉKSZAKÁLLÚ BLUEBEARD Piros patak, véres patak! Crimson river, blood-stained waters! KÉKSZAKÁLLÚ BLUEBEARD Ez a fegyveresház, Judit. Tis my castle s armoury, Judith. JUDIT (feláll) JUDITH (she rises to her feet) Nézd csak, nézd csak! Watch and marvel, JUDIT JUDITH Hogy dereng már! watch the sunrise. Milyen nagyon er s vagy te, Thou art very strong and mighty. Nézd csak, nézd csak! Heaven brightens! Milyen nagy kegyetlen vagy te! Oh, but cruel art thou, Bluebeard! Minden ajtót ki kell nyitni! We must open all the doorways. Szél bejárjon, nap besüssön, Healthful air shall flutter through them. KÉKSZAKÁLLÚ BLUEBEARD Minden ajtók ki kell nyitni! Ev ry door must open, open! Félsz-e? Are you frightened?
KÉKSZAKÁLLÚ BLUEBEARD JUDIT JUDITH Nem tudod, mi van mögo ttük. Child, you know not what s beyond them. Vér szárad a fegyvereken, Blood on all the spears and daggers! Véres a sok hadi szerszám! Blood-stained are thy battle weapons. JUDIT JUDITH Add ide a többi kulcsot! Give me keys to all the others! KÉKSZAKÁLLÚ BLUEBEARD Add ide a többi kulcsot! I must enter all these doorways. Félsz-e? Are you frightened? Minden ajtót ki kell nyitni! We must open ev ry doorway! Minden ajtót! All the doors. JUDIT (visszafordul a Kékszakállú felé) JUDITH (turns to Bluebeard) Add ide a többi kulcsot! Give me keys to all your doorways! KÉKSZAKÁLLÚ BLUEBEARD Judit, Judit mért akarod? Tell me why you want to, Judith. KÉKSZAKÁLLÚ BLUEBEARD Judit, Judit! Judith, Judith! JUDIT JUDITH Mert szeretlek! Because I love you. Judit lassan visszajön a második fénysáv partján. Judith walks back toward Bluebeard along the second beam of light. KÉKSZAKÁLLÚ BLUEBEARD Váram sötét töve reszket, Through and through my castle trembles. You may open all the JUDIT JUDITH nyithatsz, csukhatsz minden ajtót. others. Itt a másik patak, szép fénypatak. Here s the second light stream, gleaming river. Látod! Látod! Look at it! Look at it! Átnyújtja Juditnak a második kulcsot. Kezeik a vörös fénykévében He gives her the second key and their meeting hands seem to melt Add ide a többi kulcsot! Give me keys to all the doorways. találkoznak. in the red glow. KÉKSZAKÁLLÚ BLUEBEARD Vigyázz, vigyázz a váramra, Judith, careful, tis my castle. Vigyázz, vigyázz miránk, Judit! Pray be careful, careful, Judith. Vigyázz, vigyázz miránk, Judit! Go with breathless caution, Judith. JUDIT JUDITH JUDIT (a második ajtóhoz megy) JUDITH (she goes to the Second Door) Add ide a többi kulcsot! Give me keys to all the others. Szépen, halkan fogom nyitni. I ll go gently, very softly, Szépen, halkan. Softly, softly. KÉKSZAKÁLLÚ BLUEBEARD Nem tudod, mit rejt az ajtó. Can you guess what lies behind them? Csattan a zár és feltárul a második ajtó. Nyilása sárgás vörös, de The lock snaps and it opens. The aperture is of a yellowish red 12 13
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JUDIT JUDITH KÉKSZAKÁLLÚ BLUEBEARD Idejöttem, mert szeretlek. I came hither because I love you. Ez a váram kincsesháza. Tis my castle s treasury. Itt vagyok, a tied vagyok. I am here, and I am yours. Most már vezess mindenhová, Show me all your hidden secrets. JUDIT JUDITH Most már nyiss ki minden ajtót. Let me enter ev ry doorway. Mily gazdag vagy Kékszakállú! Thou art rich, my dearest Bluebeard.
KÉKSZAKÁLLÚ BLUEBEARD KÉKSZAKÁLLÚ BLUEBEARD Váram sötét töve reszket, Through and through my castle trembles. Tiéd most már mind ez a kincs, Ev ry golden crown shall be thine. Bús sziklából gyönyör borzong. Stones of sorrow thrill with rapture. Tiéd arany, gyöngy és gyémánt. All the rubies, pearls and diamonds. Judit, Judit! H s és édes, Judith, Judith, cool and soothing Nyitott sebb l vér ha ömlik. Is the blood that oozes freshly. Judit hirtelen feláll. Judith turns in sudden alarm.
JUDIT JUDITH JUDIT JUDITH Idejöttem, mert szeretlek, I came here because I love you. Vérfolt van az ékszereken! All your precious gems are blood-stained! most már nyiss ki minden ajtót! Let me open ev ry doorway! A Kékszakállú felé fordul csodálkozva. She gazes at him in astonishment. KÉKSZAKÁLLÚ BLUEBEARD Adok neked három kulcsot. Three more heavy keys I give thee. Legszebbik koronád véres! Your brightest jewel is blood-stained! Látni fogsz, de sohse kérdezz. Thou shalt see, but ask me nothing. Akármit látsz, sohse kérdezz! Look your fill, but ask no questions. Judit egyre nyugtalanabb és türelmetlenebb. She becomes more and more agitated, and hectically impatient.
JUDIT JUDITH KÉKSZAKÁLLÚ BLUEBEARD Add ide a három kulcsot! Let me have the keys you promised. Nyisd ki a negyedik ajtót. Judith, open now the Fourth Door. Legyen napfény, nyissad, nyissad ... Bring the sunshine. Open, open! Kékszakállú átnyújtja. Judit tu relmetlenül elveszi és a harmadik He gives her the keys. She snatches the keys impatiently and ajtóhoz siet, de el tte habozva megáll. hurries to the Third Door. She hesitates in front of it. Judit hirtelen a negyedik ajtó felé fordul és gyorsan kinyitja. Az She suddenly turns to the Fourth Door and opens it. Branches ajtóból virágos a gak csapódnak ki és a falban kékes-zöld négyszög heavy with blossom crowd out through the aperture. They are KÉKSZAKÁLLÚ BLUEBEARD nyílik. A bees új fénysáv a többi mellé fekszik a padlóra. suffused with a bluish-green light. This new beam of light stretches Mért álltál meg? Mért nem nyitod? Why do you falter? Open quickly! across the floor beside the others.
JUDIT JUDITH JUDIT JUDITH Kezem a zárt nem találja. Where s the lock? I cannot find it. Oh! Virágok! Oh! Illatos kert! Ah! What lovely flowers! Sweet, fragrant garden, Hidden under Kemény sziklák alatt rejtve. rocks and boulders! KÉKSZAKÁLLÚ BLUEBEARD Judit, ne félj, most már mindegy. Judith, fear not, fear no longer. KÉKSZAKÁLLÚ BLUEBEARD Ez a váram rejtett kertje. Tis my castle s secret garden. Judit megforditja a kulcsot. Meleg, mély érchanggal nyílik az ajtó. A Judith turns the key. The door swings open with a sonorous, kiöml aranyfénysáv a többi mellé fekszik a padlóra. metallic sound. A beam of golden light stretches across the floor JUDIT JUDITH alongside the other two. Oh! Virágok! Ah, tender flowers! Embernyi nagy liljomok! Giant lilies, tall as men! JUDIT JUDITH H s-fehér patyolat rózsák, Cool silky, exquisite roses, Oh, be sok kincs! Oh, be sok kincs! Mountains of gold! Fabulous gems! Piros szekf k szórják a fényt. Red carnations gleaming with light! Sohse láttam ilyen kertet. Never have I seen such beauty. Letérdepel és vájkál benne, ékszereket, koronát, palástot kirakva a She kneels down and digs into the pile of treasures, lays jewels, a küszöbre. crown and a luxurious cape on the threshold. KÉKSZAKÁLLÚ BLUEBEARD Minden virág neked bókol, Ev ry flower nods to greet thee. Aranypénz és drága gyémánt, Bélagyöngygyel fényes ékszer, Glinting coins and flashing diamonds, Gleaming rubies, pearls that Minden virág neked bókol, Thou hast made them bud and blossom. Koronák és dús palástok! sparkle. Gowns of ermine, crowns of glory! Te fakasztod, te hervasztod, Thou hast made them swiftly wither, Szebben újra, te sarjasztod. Only to revive in glory!
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Judit hirtelen lehajol. Judith suddenly stoops down. JUDIT JUDITH Véres árnyat vet a felh ! Yonder cloud throws blood-red shadows. JUDIT (ijedten) JUDITH (frightened) Milyen felh k szállnak ottan? What are these grim clouds portending? Fehér rózsád töve véres, Your white rose is flushed with blood spots. Virágaid földje véres! All the soil around is blood-soaked! KÉKSZAKÁLLÚ BLUEBEARD Nézd, tündököl az én váram, See, how my poor castle glitters. KÉKSZAKÁLLÚ BLUEBEARD Áldott kezed ezt m velte, Thy pure blessed hands have done this. Szemed nyitja kelyheiket, Tis thine eyes that open the flowers. Áldott a te kezed, áldott gyere, Yea, thy hands are blessed, Judith. S neked csengety znek reggel. Praising thee they sing at daybreak. Kitárja karját. He opens his arms. Judit feláll, és a Kékszakállú felé fordul. Judith rises and turns to Bluebeard. Gyere, gyere, tedd szívemre! Come now, place them on my heart! JUDIT JUDITH Ki öntözte kerted földjét? Who has bled to feed your garden? Judit nem mozdul. Judith does not move.
KÉKSZAKÁLLÚ BLUEBEARD JUDIT JUDITH Judit, szeress, sohse kérdezz. Judith, love me, ask no questions. De két ajtó csukva van még. Two doors are still not open. Nézd hogy derül már a váram. Look, my castle gleams and brightens. Nyisd ki az ötödik ajtót! Judith, open now the Fifth Door! KÉKSZAKÁLLÚ BLUEBEARD Legyen csukva a két ajtó. Those two doors must stay unopened. Judit hirtelen mozdulattal az ötödik ajtóhoz fut és felrántja. Az ötödik With a sudden movement Judith runs to the Fifth Door and flings it Teljen dallal az én váram. Now my house shall ring with music. ajtó feltárul. Magas erkély látszik és messzi távlat és tündökl open. A lofty verandah is revealed, and far vistas are descried Gyere, gyere, csókra várlak! Come, my love, I yearn to kiss thee. özönben ömlik be a fény. Elvakulva a szeme elé tartja a kezét. beyond. The light pours out in a glittering cascade. Dazzled by the radiance, Judith shields her eyes with her hand. JUDIT JUDITH Nyissad ki még a két ajtót. Let the last two doors be opened. JUDIT JUDITH Ah! Ah! KÉKSZAKÁLLÚ BLUEBEARD Judit, Judit, csókra várlak. Judith, Judith, I must kiss thee. KÉKSZAKÁLLÚ BLUEBEARD Gyere, várlak. Judit várlak! Come, I m waiting. Judith, love me! Lásd ez az én birodalmam, Now behold my spacious kingdom. Meszsze néz szép könyökl m. Gaze ye down the dwindling vistas. JUDIT JUDITH Ugye, hogy szép nagy, nagy ország? Is it not a noble country? Nyissad ki még a két ajtót. Let the last two doors be opened!
JUDIT (mereven néz ki, szórakozottan) JUDITH (stares fixedly out, distracted) A Kékszakállú karja lelankod. Bluebeard lets his arms fall to his side in a gesture of resignation. Szép és nagy a te országod. Fair and spacious is your country. KÉKSZAKÁLLÚ BLUEBEARD KÉKSZAKÁLLÚ BLUEBEARD Azt akartad, felderüljön; Child, you begged for ... prayed for sunlight ... Selyemrétek, bársonyerd k, Silken meadows, velvet forests, Nézd, tündököl már a váram. See how the sun hath filled my house! Hoszszú ezüst folyók folynak, Tranquil streams of winding silver. És kék hegyek nagyon meszsze. Lofty mountains blue and hazy! JUDIT JUDITH Nem akarom, hogy el ttem Two more doors. Not one of your JUDIT JUDITH csukott ajtóid legyenek! great doors must stay shut fast against me. Szép és nagy a te országod. Fair and spacious is your country. KÉKSZAKÁLLÚ BLUEBEARD KÉKSZAKÁLLÚ BLUEBEARD Vigyázz, vigyázz a váramra, Child, beware, beware my castle. Most már Judit mind a tied. All is thine forever, Judith. vigyázz, nem lesz fényesebb már. Careful, it will shine no longer. Itt lakik a hajnal, alkony, Here both dawn and twilight flourish. Itt lakik nap, hold és csillag. Here sun, moon, and star have dwelling. JUDIT JUDITH S leszen neked játszótársad. They shall be thy deathless playmates. Életemet, halálomat, Kékszakállú! Though I perish I fear nothing, Dearest Bluebeard.
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KÉKSZAKÁLLÚ BLUEBEARD Gyere, Judit, gyere Judit, csókra várlak. Come, my Judith, come, my Judith, Let me kiss you. Judit, Judit! Judith, Judith! Judit nem mozdul. She still does not move. JUDIT JUDITH Nyissad ki még a két ajtót, Open, open those two doorways, Gyere várlak, Judit, várlak. Come, I m waiting, Judith, waiting. Kékszakállú, Kékszakállú! Bluebeard, Bluebeard, mighty Bluebeard! Judit nem mozdul. She still does not move. KÉKSZAKÁLLÚ BLUEBEARD Mért akarod, mért akarod? Why so stubborn, why so stubborn? Az utolsót nem nyitom ki. The last of my doors must stay shut, Judit! Judit! Judith! Judith! Nem nyitom ki. Shut for ever.
JUDIT JUDITH Judit lehajtott fejjel, lassan a Kékszakállúhoz megy. Kérve, szinte With bowed head Judith goes slowly up to Bluebeard, and with a Nyissad, nyissad! Open, open! szomorúan hozzásimul. look of earnest, pitiful entreaty she presses herself against him.
KÉKSZAKÁLLÚ BLUEBEARD JUDIT JUDITH Adok neked még egy kulcsot. Come, I grant thee one more key. Kékszakállú ... Szeress engem. Sweetest Bluebeard, take me, love me.
Judit némán követel n nyújtja érte a kezét. A Kékszakállú átadja a She stretches out her hand, mutely demanding. He hands her the A Kékszakállú magához öleli; hosszú csók. He embraces her and kisses her passionately. kulcsot. Judit a hatodik ajtóhoz megy. Mikor a kulcs els t fordul, key. As she turns the key in the lock a deep sobbing sigh is heard. A Kékszakállú vállán a feje. She lays her head on his shoulder. zokogó mély sóhajtás búg fel. Judit meghátrál. Judith starts back. Nagyon szeretsz, Kékszakállú? Dost thou love me, deeply, truly? Judit, Judit, ne nyissad ki! Judith, Judith: do not open! KÉKSZAKÁLLÚ BLUEBEARD Judit hirtelen mozdulattal az ajtóhoz lép és kinyitja. A csarnokon With an abrupt gesture Judith unlocks the door. The room becomes Te vagy váram fényessége, Thou, who art my castle s daylight, mintha árny futna keresztül: valamivel sötétebb lesz. slightly darker, as though a shadow were passing over. Csókolj, csókolj, sohse kérdezz. Kiss me, kiss me. Ask no questions.
JUDIT JUDITH Hosszan csókolja. A Kékszakállú vállán a feje. He kisses her again. She lays her head on his shoulder. Csendes fehér tavat la tok, I can see a sheet of water, Mozdulatlan fehér tavat. White and tranquil sleeping water. JUDIT JUDITH Milyen víz ez Kékszakállú? What is this mysterious water? Mondd meg nekem Kékszakállú, Tell me, tell me, dearest Bluebeard, Kit szerettél én el ttem? Tell me whom you loved before me? KÉKSZAKÁLLÚ BLUEBEARD Könnyek, Judit, könnyek, könnyek Tears, my Judith, tears, tears. KÉKSZAKÁLLÚ BLUEBEARD Te vagy váram fényessége, Thou, who art my castle s sunshine, JUDIT (megborzongva) JUDITH (shuddering) Csókolj, csókolj, sohse kérdezz. Kiss me, kiss me. Ask me nothing. Milyen néma, mozdulatlan. Ah, how hushed, serene, unearthly! JUDIT JUDITH KÉKSZAKÁLLÚ BLUEBEARD Mondd meg nekem, hogy szeretted? Tell me in what way you loved her, Könnyek, Judit, könnyek, könnyek. Tears, my Judith, tears, tears. Szebb volt mint én? Más volt mint én? Was she very fair? Did you love her more, Mondd el nekem Kékszakállú? More than you love me, my Bluebeard? Judit lehajol és fürkészve nézi a tavat. Judith bends down and gazes into the lake. KÉKSZAKÁLLÚ BLUEBEARD JUDIT JUDITH Judit szeress, sohse kérdezz. Judith, love me, ask no questions. Sima fehér, tiszta fehér. Sleeping, silver, smooth, unearthly. JUDIT JUDITH KÉKSZAKÁLLÚ BLUEBEARD Mondd el nekem Kékszakállú. Tell me truly, mighty Bluebeard. Könnyek, Judit, könnyek, könnyek. Tears, my Judith, tears, tears. KÉKSZAKÁLLÚ BLUEBEARD Judit lassan megfordul és némán szembenéz a Kékszakállúval. Judith gazes intently and silently into Bluebeard s eyes. He opens Judit szeress, sohse kérdezz. Judith, love me, ask no questions. Kékszakállú lassan kitárja karját. his arms. 18 19
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Kibontakozik az ölelésb l. She frees herself from his embrace. Judit megdöbbenve hátrál. Judith shrinks back, astounded and horrified.
JUDIT JUDITH JUDIT JUDITH Nyisd ki a hetedik ajtót! Open the seventh and last door! Élnek, élnek, itten élnek! Living, breathing. They live here!
A Kékszakállú nem felel. He remains silent. A hetedik ajtóból el jönnek a régi asszonyok. Hárman koronásan, Through the Seventh Door his former wives come forth. They are kinccsel rakottan, glóriásan. Sápadt arccal, büszke járással jönnek three in number. They wear crowns on their heads and their bodies Tudom, tudom, Kékszakállú. I have guessed your secret, Bluebeard. egymás mögött és megállnak szemben a Kékszakállúval, aki térdre are ablaze with priceless gems. Pale of face but with proud and Mit rejt a hetedik ajtó. I can guess what you are hiding. ereszkedik. Kékszakállú kitárt karokkal, mintha álmodna. haughty gait they step forward one after the other, and stand before Vér szárad a fegyvereken. Bloodstains on your warrior s weapons. Bluebeard who sinks to his knees in homage. As though in a trance Legszebbik koronád véres, Blood upon your crown of glory. he stretches out his arms to them. virágaid földje véres, Red the soil around your flowers. Véres árnyat vet a felh ! Red the shade your cloud was throwing. KÉKSZAKÁLLÚ BLUEBEARD Tudom, tudom, Kékszakállú, Now I know it all, oh, Bluebeard, Szépek, szépek, százszor szépek. Radiant, royal! Matchless beauty! Fehér könnytó kinek könnye. Know whose weeping filled your white lake. Mindig voltak, mindig éltek. They shall ever live immortal. Ott van mind a régi asszony All your former wives have suffer d, Sok kincsemet k gy jtötték, They have gathered all my riches. legyilkolva, vérbefagyva. Suffer d murder, brutal, bloody. Virágaim k öntözték, They have bled to feed my flowers. Jaj, igaz hír, suttogó hír. Ah, those rumours, truthful rumours! Birodalmam növesztették, Yea, they have enlarged my kingdom. Övék minden, minden, minden. All is theirs now, all my treasures. KÉKSZAKÁLLÚ BLUEBEARD Judit! Judith! Judit a régi asszonyok mellett áll negyediknek, meggörnyedve, Judith stands with the others so as to make the fourth in the line, félve. looks broken in spirit and afraid. JUDIT JUDITH Igaz, igaz! Truthful, truthful! JUDIT JUDITH Most én tudni akarom már. I must prove them, ev ry detail. Milyen szépek, milyen dúsak, Dazzling beauty past believing. Nyisd ki a hetedik ajtót! Open the last of your doorways! Én, jaj, koldus kopott vagyok. Oh, compared with these I m nothing.
KÉKSZAKÁLLÚ BLUEBEARD Kékszakállú feláll; suttogó hangon. Bluebeard rises to his feet and whispers intently to Judith. Fogjad ... Fogjad ... Itt a hetedik kulcs. Take it. Take it. Here s the seventh and last key. KÉKSZAKÁLLÚ BLUEBEARD Judit mereven nézi, nem nyúl érte. Nyisd ki, Judit, lássad ket. Judith stands rigid, gazing at him. She does not put out her hand Hajnalban az els t leltem, The first I found at daybreak, for the key. Piros szagos szép hajnalban. Crimson, fragrant early morning. Övé most már minden hajnal, Hers is now the swelling sunrise. Ott van mind a régi asszony. Open now the door and see them. All my former wives await thee. Övé piros, h s palástja, Hers its cool and colour d mantle, Övé ezüst koronája, Hers its gleaming crown of silver, Judit még egy ideig mozdulatlan. Aztán lassan, bizonytalan kézzel For a while she stands motionless then she takes the key with Övé most már minden hajnal. Hers the dawn of ev ry new day. átveszi a kulcsot és lassan, ingó lépéssel a hetedik ajtóhoz megy faltering hand, and goes, her body swaying slightly, to the Seventh és kinyitja. Mikor a kulcs csattan, halk sóhajtással becsukódik a Door. When the lock snaps the Fifth and Sixth Doors swing to with JUDIT JUDITH hatodik és az ötödik ajtó. Jóval sötétebb lesz. Csak a négy a gentle sighing sound. It becomes much darker. Only the opposite Jaj, szebb nálam, dúsabb nálam! Ah, she s richer far than I am! szemközti ajtónyílás világítja színes sugaraival a csarnokot. four open doorways illuminate the hall with their beams of coloured És akkor kinyílik a hetedik ajtó és holdezüst fény vet dik be rajta, light. Az els asszony lassan visszamegy. The first wife slowly returns whence she came. hosszú sugárban, megvilágítva Judit arcát és a Kékszakállúét. And now the Seventh Door opens and a long, tapering beam of silvery moonshine reaches out from the aperture and bathes the KÉKSZAKÁLLÚ BLUEBEARD faces of Judith and Bluebeard in its silvery light. Másodikat délben leltem, The second one I found at noon, néma ég arany délben. Silent, flaming, golden-haired noon. KÉKSZAKÁLLÚ BLUEBEARD Minden dél az övé most már, Hers is ev ry noon hereafter. Lásd a régi aszszonyokat, Hearts that I have loved and cherished! Övé nehéz t zpalástja, Hers their heavy burning mantle. Lásd, akiket én szerettem. See, my former loves, sweet Judith. Övé arany koronája. Hers their golden crown of glory.
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Minden dél az övé most már. Hers the blaze of ev ry midday. Judit fejere teszi a koronát. Bluebeard places the crown on her head.
JUDIT JUDITH KÉKSZAKÁLLÚ BLUEBEARD Jaj, szebb nálam, dúsabb nálam. Ah, she s fairer far than I am! Tied gyémánt koronája. Thine is now the crown of diamonds.
A második asszony visszamegy. The second wife goes back through the door. JUDIT JUDITH Jaj, jaj, Kékszakállú, vedd le. Spare me, oh it is too heavy. KÉKSZAKÁLLÚ BLUEBEARD Harmadikat este leltem. The third I found at evening. Judit nyakába akasztja az ékszert. Bluebeard hangs the jewels round her neck. Békés bágyadt barna este. Quiet, languid, sombre twilight. Övé most már minden este, Hers is each returning sunset. KÉKSZAKÁLLÚ BLUEBEARD Övé barna búpalástja, Hers that grave and umbered mantle. Tied a legdrágább kincsem. Thine is the wealth of my kingdom. Övé most már minden este. Hers is ev ry solemn sundown. JUDIT JUDITH JUDIT JUDITH Jaj, jaj, Kékszakállú, vedd le! Spare me, oh it is too heavy. Jaj, szebb nálam, dúsabb nálam. Fairer, richer far than I am! KÉKSZAKÁLLÚ BLUEBEARD A harmadik asszony visszamegy. The third wife returns. Szép vagy, szép vagy, Thou art lovely, százszor szép vagy, passing lovely, A Kékszakállú megáll Judit el tt. Hosszan szembenéznek. A Far a long time Bluebeard stands confronting Judith in silence. Te voltál a legszebb aszszony, Thou art queen of all my women, negyedik ajtó lassan becsukódik. They gaze into each other s eyes. The Fourth Door closes slowly. a legszebb aszszony! My best and fairest!
KÉKSZAKÁLLÚ BLUEBEARD Hosszan szembenéznek. Judit lassan meggörnyed a palást súlya They gaze into each other s eyes. Bowed down by the weight of the Negyediket éjjel leltem. The fourth I found at midnight. alatt és gyémántkoronás fejét lehorgasztva, az ezüst fénysáv cloak, her head dropping, Judith goes the way of the other women, mentén bemegy a többi asszony után a hetedik ajtón. Az is walking along the beam of moonshine toward the Seventh Door. JUDIT JUDITH becsukódik. She enters, and it closes after her. Kékszakállú, megállj, megállj! No more, no more, Bluebeard, no more. És mindég is éjjel lesz már ... Henceforth all shall be darkness ... darkness ... KÉKSZAKÁLLÚ BLUEBEARD Éjjel ... éjjel ... Darkness ... darkness ... Csillagos, fekete éjjel. Starry ebonmantled midnight. Teljes sötétség, melyben a Kékszakállú elt nik. The stage is slowly plunged into total darkness, blotting Bluebeard JUDIT JUDITH from sight. Hallgass, hallgass, itt vagyok még! No more, no more, I am still here. Hungarian Libretto by Béla Balázs, reproduced by English translation by Christopher Hassall, reproduced KÉKSZAKÁLLÚ BLUEBEARD arrangement with Universal Edition (London) Ltd. by arrangement with Universal Edition (London) Ltd. Fehér arcod sütött fénynyel. Thy pale face was all a-glimmer. Barna hajad felh t hajtott. Splendid was thy silky brown hair. Tied lesz már minden éjjel. Ev ry night is thine hereafter.
A harmadik ajtóhoz megy és a koronát, palástot, ékszert, amit Judit He goes to the Third Door and brings forth the crown, cloak and a küszöbre rakott, elhozza. A harmadik ajtó becsukódik. Judit jewels, that Judith had placed on the threshold. The Third Door vállára teszi a palástot. closes. He lays the cloak over Judith s shoulders.
Tied csillagos palástja. Thine is now the starry mantle.
JUDIT JUDITH Kékszakállú nem kell, nem kell! Bluebeard, Bluebeard, spare me, spare me.
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John Tomlinson’s engagements include Die Zauberflöte, Leporello and Commendatore Engagements in the 2013/14 season include performances at La Scala, Milan, Rome, Don Giovanni, Lindorf, Coppelius, Dr Miracle Doctor Wozzeck for Royal Opera House, Covent Barcelona, Geneva, Lisbon, New York, and Dapertutto Les contes d’Hoffmann, Garden, Boris Timofeyevich Ismailov Lady Chicago, San Francisco, San Diego, Paris, Golaud and Arkel Pelléas et Mélisande, Boris Macbeth Of Mtsensk for De Vlaamse Opera, © © Workman Robert Amsterdam, Berlin (Deutsche Oper and Timofeyevich Ismailov Lady Macbeth of Antwerp, Moses Moses Und Aron for Welsh Deutsche Staatsoper), Dresden, Hamburg, Mtsensk, Pimen Boris Godunov, The General National Opera and concerts including Green Frankfurt, Munich, Vienna and Bilbao and the The Gambler and Thomas à Becket Knight Gawain for BBC Symphony Orchestra. Festivals of Bayreuth (where he sang for Assassinio Nella Cattedrale and title roles in Future performances include engagements at eighteen consecutive seasons), Orange, Aix- Duke Bluebeard’s Castle, Boris Godunov, Royal Opera, Covent Garden, Berlin, Hamburg, en-Provence, Salzburg, Edinburgh and the Oberto, Mose In Egitto, Der Fliegende Frankfurt, Tokyo and Salzburg. Maggio Musicale, Florence. He has sung Holländer, and the world premiere of regularly with English National Opera since Birtwistle’s The Minotaur 1974 and with the Royal Opera, Covent Garden, since 1977 and has also appeared John Tomlinson has a large concert repertoire with all the other leading British opera and has sung with all the leading British companies. His repertoire includes Wotan orchestras and in Germany, Italy, Belgium, Das Rheingold and Die Walküre, Wanderer Holland, France, Spain, Denmark and the Siegfried, Hagen Götterdämmerung, Titurel U.S.A. He has made many recordings including SIR JOHN TOMLINSON and Gurnemanz Parsifal, King Marke Tristan Wotan, Wanderer, Hagen, Hans Sachs, Titurel, Und Isolde, Heinrich Lohengrin, Hans Sachs Don Alfonso Così Fan Tutte, Leporello, and title John Tomlinson was born in Lancashire. He Die Meistersinger von Nürnberg, Landgraf roles Le Nozze Di Figaro and Bluebeard’s gained a BSc in Civil Engineering at Tannhäuser, Baron Ochs Der Rosenkavalier, Castle, Beethoven Choral Symphony, Messiah, Manchester University before winning a Boromeo Palestrina, Orestes Elektra, Moses Acis And Galatea and the Verdi Requiem. scholarship to the Royal Manchester College Moses Und Aron, Green Knight in the world Videos include Maria Stuarda, Peter Grimes, of Music. He was awarded a CBE in 1997 premiere of Harrison Birtwistle’s Gawain, Giulio Cesare, Rigoletto, Das Rheingold, Die and knighted in the Queen’s Birthday Claggart Billy Budd, Rocco Fidelio, King Philip Walküre, Siegfried and The Minotaur. Honours of 2005. and Grand Inquisitor Don Carlos, Sarastro
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Pittsburgh Symphony Orchestra, The Met A multi-Grammy award winning recording JULIET STEVENSON Orchestra, Philharmonia Orchestra, London artist, Ms DeYoung’s impressive discography Symphony Orchestra, BBC Symphony Orchestra, includes Kindertotenlieder, Mahler’s Although Juliet Stevenson CBE has gained Orchestre de Paris, Vienna Philharmonic, Berliner Symphony No. 3, and Das Klagende Lied with fame through her television and film roles, she © Christian Steiner Staatskapelle, and the Concertgebouworkest. Michael Tilson Thomas and the San Francisco is also well known for her work on the stage. In She has also performed at the prestigious Symphony (SFS Media), Les Troyens with Sir 1992 Stevenson was honored with a Laurence festivals of Ravinia, Tanglewood, Saito Kinen, Colin Davis and the London Symphony Olivier Theatre Award for Best Actress for her Edinburgh, and Lucerne. Orchestra (LSO Live), Mahler Symphony No. 3 performance in Death and Maiden. Seven with the Chicago Symphony Orchestra and years later she was awarded the CBE Equally at home on the opera stage, Ms Bernard Haitink (CSO Resound) and with the (Commander of the Order of the British DeYoung has appeared with the Metropolitan Pittsburgh Symphony and Manfred Honeck Empire) in the 1999 Queen’s Birthday Opera, Lyric Opera of Chicago, Los Angles (Challenge Records International); and Das Honours List for her services to drama. Most Opera, Houston Grand Opera, Teatra alla Lied von der Erde with the Minnesota recently Stevenson completed filming on The Scala, Bayreuth Festival, Berliner Staatsoper, Orchestra (Reference Recordings). Her first Letters, directed by William Reaid in which she Paris Opera, Theater Basel, Opera de Nice, and solo disc was released on the EMI label. stars as Mother Teresa. For her lead role as the Tokyo Opera. Her many roles include Nina in Anthony Minghella’s Truly, Madly Fricka, Sieglinde and Waltraute in The Ring Deeply, Stevenson earned a BAFTA Cycle; Kundry in Parsifal, Venus in Tannhäuser, nomination for Best Actress. She went on to MICHELLE DEYOUNG Brangäne in Tristan und Isolde, Eboli in Don win Best Actress awards at the Evening Carlos, Amneris in Aida, Marguerite in Le Standard British Film Awards, the Mystfest Michelle DeYoung has already established Damnation de Faust, Judith in Duke Film Awards and the Sitges-Catalonian Film herself as one of the most exciting artists of her Bluebeard’s Castle, Dido in Les Troyens, the Awards. Other notable screen credits include: generation. She continues to be in demand title role in Samson et Dalilah, Gertrude in Emma, Bend it Like Beckham, When did you throughout the world, appearing regularly with Hamlet, Jocaste in Oedipus Rex, and the title last see your father?, Nicholas Nickleby, Being the New York Philharmonic, Boston Symphony role in The Rape of Lucretia. She also created Julia, Drowning by Numbers, Breaking and Orchestra, Chicago Symphony Orchestra, the role of the Shaman in Tan Dun’s The First Entering, Infamous and Mona Lisa Smile. Cleveland Orchestra, San Francisco Symphony, Emperor at the Metropolitan Opera.
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Stevenson has graced the small screen on Tempest. She has also performed in Duet for PHILHARMONIA ORCHESTRA projects – City of Dreams: Vienna 1900 -1935 some of Britain’s finest TV series. Most recently One (Almeida Theatre and the West End), (2009), Bill Viola’s Tristan und Isolde (2010), she was seen in The Village, The Hour and Country, Alice Trilogy, and The Heretic (Royal The Philharmonia Orchestra is one of the Infernal Dance: Inside the World of Béla Bartók White Heat for the BBC. Her earlier television Court), Yerma, Hedda Gabler, Private Lives and world’s great orchestras. Acknowledged as the (2011) and Woven Words, a celebration of credits include: Lewis, The Mallens, The Seagull (Royal National Theatre), and The UK’s foremost musical pioneer, with an Witold Lutosławski’s centenary year – have Pierrepoint, Maybury, 10 Days of War, Miss Duchess of Malfi and Burn This (West End). extraordinary recording legacy, the been critically acclaimed. Marple and Place of Execution. For her roles in Philharmonia leads the field for its quality of the drama series, The Accused, The Politician’s Born in Essex, England, Stevenson is a playing, and for its innovative approach to For 17 years now the Orchestra’s work has been Wife and Performance: A Doll’s House, graduate of the RADA and is an associate audience development, residencies, music underpinned by its much admired UK and Stevenson earned BAFTA TV nominations for artist of The Royal Shakespeare Company. education and the use of new technologies in International Residency Programme, which Best Actress. reaching a global audience. Together with its began in 1995 with the launch of its residencies relationships with the world’s most sought- at the Bedford Corn Exchange and London’s The incredibly versatile actress has also after artists, most importantly its Principal Southbank Centre. During 2013/14 the starred in the television movies; The Snow Conductor and Artistic Advisor Esa-Pekka Orchestra not only performs more than 35 Queen, Trial by Fire, Cider with Rosie, Hear the Salonen, the Philharmonia Orchestra is at the concerts at Southbank Centre’s Royal Festival Silence, The Pact and the award-winning The heart of British musical life. Hall, but also celebrates its 17th year as Road from Coorain for which she won an AFI Resident Orchestra of De Montfort Hall in for Best Actress. Throughout her career, Today, the Philharmonia has the greatest claim Leicester and its 13th year as Orchestra in Stevenson’s work on the stage has continued of any orchestra to be the UK’s National Partnership at The Anvil in Basingstoke; and to be honoured and recognized, earning her a orchestra. It is committed to presenting the enters the third year of its residencies at the new total of five Olivier Award nominations for Best same quality, live music making in venues Marlowe Theatre in Canterbury and the Three Actress. She started her career at The Royal throughout the country as it brings to London Choirs Festival. The Orchestra’s extensive touring Shakespeare Theatre Company in the early and the great concert halls of the world. In schedule this season also includes concerts in 1980’s starring in productions which include: 2013/14 the Orchestra is performing more Russia, Austria, Switzerland, Italy, Germany, Les Liaisons Dangereuses, As You Like It, than 160 concerts, as well as recording scores France and Spain with Esa-Pekka Salonen, a Money, Measure for Measure, Troilus and for films, CDs and computer games. Under Esa- two week residency at the Théâtre des Champs- Cressida, Antony and Cleopatra and The Pekka Salonen a series of flagship, visionary Elysées in Paris performing Poulenc’s Les
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Dialogues des Carmelites under Jérémie Rhorer, players have solo or chamber music careers people since 1945 have enjoyed their first in 2013 Universe of Sound will form part of a and tour of China in June with Salonen. alongside their work with the Orchestra. The experience of classical music through a major new audience development and Philharmonia’s Martin Musical Scholarship Philharmonia recording, and in 2013/14 education initiative on the South West During its first six decades, the Philharmonia Fund has for many years supported talented audiences can engage with the Orchestra Peninsula in 2014 and 2015, alongside RE- Orchestra has collaborated with most of the musicians at the start of their careers, through computer games, film scores and RITE and a new mobile “pop-up” installation. great classical artists of the 20th century. including an Orchestral Award, which allows through its YouTube and Vimeo channels Conductors associated with the Orchestra two young players every year to gain featuring the Orchestra’s award-winning Recording and broadcasting both continue to include Furtwängler, Richard Strauss, performing experience within the Orchestra. documentary films, which have been watched play a significant part in the Orchestra’s Toscanini, Cantelli, Karajan and Giulini. Otto by more than a million people worldwide. In activities, notably through its partnership with Klemperer was the first of many outstanding The Orchestra is also recognised for its May 2010 the Orchestra’s digital ‘virtual Signum Records, releasing new live recordings Principal Conductors, and other great names innovative programming policy, at the heart of Philharmonia Orchestra’ project, RE-RITE, won of Philharmonia performances with its key have included Lorin Maazel (Associate which is a commitment to performing and both the RPS Audience Development and conductors. Since 2003 the Philharmonia has Principal Conductor), Sir Charles Mackerras commissioning new works by leading Creative Communication Awards, and after enjoyed a major partnership with Classic FM, (Principal Guest Conductor), Riccardo Muti composers, among them the Artistic Director appearances in London, Leicester and Lisbon, as The Classic FM Orchestra on Tour, as well as (Principal Conductor and Music Director), Kurt of its Music of Today series, Unsuk Chin. toured to Dortmund in November 2011, continuing to broadcast on BBC Radio 3. Sanderling (Conductor Emeritus) and Tianjin in China in April/May 2012, Izmir Giuseppe Sinopoli (Music Director). As well as Since 1945 the Philharmonia Orchestra has (Turkey) in June 2012, and in 2013 to www.philharmonia.co.uk Esa-Pekka Salonen, current titled conductors commissioned more than 100 new works from Hamburg and the Salzburg Festival. RE-RITE, are Christoph von Dohnányi (Honorary composers including Sir Harrison Birtwistle, Sir devised with Esa- Pekka Salonen, secured the Conductor for Life) and Vladimir Ashkenazy Peter Maxwell Davies, Mark-Anthony Turnage Philharmonia’s position as a digital innovator (Conductor Laureate). and James MacMillan. and its follow-up audio-visual installation to RE-RITE, Universe of Sound: The Planets, The Philharmonia Orchestra continues to pride Throughout its history, the Philharmonia premiéred at the Science Museum from May itself on its long-term collaborations with the Orchestra has been committed to finding new to August 2012, receiving more than 67,000 finest musicians of our day, supporting new as ways to bring its top quality live performance visitors. It won the 2012 RPS Award for well as established artists. This policy extends to audiences worldwide, and to using new Audiences and Engagement. Following touring into the Orchestra itself, where many of the technologies to achieve this. Many millions of appearances in Birmingham and Canterbury
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PHILHARMONIA VOICES Christoph von Dohnányi. Highlights of the Angeles Philharmonic, where he was Music Aidan Oliver Chorus Master choir’s early history included memorable Director from 1992 until 2009. His pieces performances with the Philharmonia of Floof and LA Variations have become Philharmonia Voices was formed in 2004 to Britten’s Death in Venice and Vaughan © Tähjä Katja established modern classics, and new work with the Philharmonia Orchestra and Williams’s The Pilgrim’s Progress under compositions continue to be performed international conductors on performances of Richard Hickox. around the globe. Three major retrospectives the great choral-orchestral repertoire. Since of his work have been held at: Festival then the choir has established itself as one of The members of Philharmonia Voices are Présences Paris (2011); at the Stockholm the most exciting professional choruses in drawn from some of the finest young singers in International Composer Festival (2004); and London, attracting consistently high praise the country, most of them either at the start of Musica Nova, Helsinki (2003). His Violin from the critics for its collaborations with the their professional careers or completing their Concerto, which premiéred with the Los Orchestra in a huge range of repertoire. conservatoire studies. Working exclusively with Angeles Philharmonic and Leila Josefowicz in the Philharmonia Orchestra, the size and 2009, won the 2012 University of Louisville Under Esa-Pekka Salonen the choir has make-up of the choir is able to be tailored Grawemeyer Award for Music Composition and enjoyed several notable triumphs, particularly precisely to the varying demands of each was released on Deutsche Grammophon in 20th-century and contemporary repertoire. collaboration by Chorus Master Aidan Oliver, along with Salonen’s Nyx in 2012. These have included performances of providing the Orchestra with a choral Stravinsky’s Oedipus rex (after which a Sunday partnership of unique flexibility. September 2013 marked the 30th anniversary Times review described the choir as ESA-PEKKA SALONEN of Salonen’s début with the Philharmonia ‘spectacularly good’); Schoenberg’s Orchestra. The 2013/14 season is bookended Gurrelieder, subsequently released as a As both a lauded composer and a world with the Philharmonia: it began in September critically lauded live recording; and an renowned conductor, Esa-Pekka Salonen has with concerts throughout Europe including the acclaimed performance of Dallapiccola’s a restless innovation that marks him as one of Grafenegg, Berlin and Lucerne festivals; and neglected one-act opera Il Prigioniero. the most important artists in classical music. now ends in June with these engagements at Philharmonia Voices have also worked with Salonen is currently the Principal Conductor Southbank Centre’s Royal Festival Hall. conductors including John Wilson, Kent and Artistic Advisor of the Philharmonia Throughout their relationship, Salonen and the Nagano, Lorin Maazel, Vladimir Ashkenazy and Orchestra and Conductor Laureate for the Los Philharmonia have curated landmark multi-
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disciplinary festivals. Last season, they marked their famed Walt Disney Concert Hall, which important works recorded with the Orchestre a new collaboration with the Philharmonia the centenary of the birth of Salonen’s mentor celebrated its 10th anniversary last autumn. Philharmonique de Radio France in the Orchestra’s partner label Signum was Witold Lutosławski with Woven Words: “Music He has presided over countless premiéres and presence of the composer was released in launched with the release of a live recording of begins where words end”. Salonen and the contemporary work; began the Esa-Pekka 2013 on Deutsche Grammophon on the Schoenberg’s Gurrelieder; his other recordings Philharmonia previously created the award- Salonen Commissions Fund; made the Los composer’s 97th birthday. Also that month, with the Philharmonia on Signum include winning RE-RITE installation, which was first Angeles Philharmonic one of the best Sony completed a recording project that Berlioz’s Symphonie fantastique; Mahler’s exhibited in London in 2009 and has since attended and funded orchestras in the began with Salonen and the Los Angeles Sixth and Ninth symphonies; and, most travelled to Portugal, China, Turkey, Germany country, and became, in the words of the Los Philharmonic nearly 30 years ago: a two-disc recently, Bartók’s Duke Bluebeard’s Castle. and Austria. The digital residency allows Angeles Times, an ‘open, communicative, set of the orchestral works of Lutosławski, members of the public to conduct, play and imaginative artist – among the most beloved released in what would have been the Esa-Pekka Salonen is Artistic Director and step inside the Philharmonia Orchestra with of our town and time’. composer’s 100th year. DG has also released co-founder of the Baltic Sea Festival, an event that Salonen through audio and video projections a portrait CD of Salonen’s orchestral works annually invites celebrated orchestras, conductors of musicians performing The Rite of Spring. Salonen performs frequently as a guest with performed by the Finnish Radio Symphony and soloists to promote unity and ecological Their follow-up installation, Universe of Sound, the world’s top orchestras. During 2013/14, Orchestra and conducted by the composer; awareness among the Baltic Sea States. based on Holst’s The Planets, premiéred at he appears with the Chicago Symphony, Schoenberg’s Violin Concerto and Sibelius’s London’s Science Museum and won the 2012 Orchestre Philharmonique de Radio France, Violin Concerto with Hilary Hahn and the www.esapekkasalonen.com Royal Philharmonic Society Award for Bavarian Radio Symphony Orchestra and the Swedish Radio Symphony Orchestra (Grammy Audiences and Engagement. Salonen and the Filarmonica della Scala. He is also an Award winner in 2008); and Salonen’s Piano Philharmonia Orchestra, in partnership with enthusiastic conductor of opera. In July 2013, Concerto and his works Helix and Dichotomie Music Sales Group, Rite Digital and Touch he led a new production of Strauss’s Elektra at with the Los Angeles Philharmonic and Yefim Recorded live at the Konzerthaus, Vienna, 8 November 2011 Press, recently released a successful iPad app, the Aix-en-Provence Festival in a co- Bronfman (nominated for a Grammy in 2009). Producer – Misha Donat The Orchestra: ‘strikes all the right notes...so production with La Scala and The Metropolitan A CD of five of his orchestral works is available Recording Engineer – Jonathan Stokes, Classic Sound Ltd good’ The Guardian. Opera, where it will appear in forthcoming on Sony. 2012 saw the release of the first ever Design – With Relish (for the Philharmonia Orchestra) and Darren Rumney seasons under his baton. recording of Shostakovich’s previously Bluebeard's Castle © Universal Edition (London) Ltd. During his 17-year tenure as Music Director of undiscovered opera prologue Orango with the the Los Angeles Philharmonic, Salonen was Salonen has an extensive recording career. A Los Angeles Philharmonic, conducted by P2014 Philharmonia Orchestra instrumental in helping the orchestra to open new album of one of Henri Dutilleux’s most Salonen, on Deutsche Grammophon. In 2009, C2014 Signum Records
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291.0mm x 169.5mm CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title SIGNUM CLASSICS SIGCD372 BARTÓK: DUKE BLUEBEARD’S CASTLE CASTLE BLUEBEARD’S DUKE BARTÓK: BARTÓKDUKE BLUEBEARD’S CASTLE (1881-1945) 1 Prologue and Introduction 16.33 2 First Door: Bluebeard’s Torture Chamber 4.29 3 Second Door: The Armoury 4.50 4 Third Door: The Treasure Room 2.41
PHILHARMONIA ORCHESTRA 5 Fourth Door: The Garden 5.22 6 Fifth Door: Bluebeard’s Vast & Beautiful Kingdom 6.46 7 Sixth Door: The Lake of Tears 14.42 8 Seventh Door: Bluebeard’s Wives 11.15 Total timings: 66.42 PHILHARMONIA ORCHESTRA PHILHARMONIA
SIR JOHN TOMLINSON BLUEBEARD MICHELLE DEYOUNG JUDITH JULIET STEVENSON NARRATOR PHILHARMONIA ORCHESTRA PHILHARMONIA VOICES
BARTÓK: DUKE BLUEBEARD’S CASTLE ESA-PEKKA SALONEN CONDUCTOR www.signumrecords.com
Signum Records Ltd, Suite 14, 21 Wadsworth Road, SIGCD372
CLASSICS Perivale, Middx UB6 7JD, United Kingdom LC15723 P DDD www.signumrecords.com SIGCD372 2014 Philharmonia Orchestra C 2014 Signum Records 24 bit digital recording SIGNUM 6 35212 03722 5 www.philharmonia.co.uk
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