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Airs chantés [SF] 21. v. Unis la fraîcheur et le feu ...... [1.25] 1. Air romantique ...... [1.38] 22. vi. Homme au sourire tendre ...... [2.08] 2. Air champêtre...... [1.20] 23. vii. La grande rivière qui va...... [0.53] 3. Air grave ...... [2.38] Calligrammes [TO] 4. Air vif...... [1.08] 24. i. L’espionne ...... [1.48] 5. Colloque [TO] and [LA]...... [3.13] 25. ii. Mutation...... [0.44] n his notorious little 1918 pamphlet Le Coq et l’Arlequin,Jean Cocteau pronounced 26. iii. Ver s le sud ...... [1.52] that ‘a composer always has too many notes on his keyboard.’This was a lesson the 6. Mazurka [TO] ...... [3.45] 27. iv. Il pleut...... [1.12] Iyoung Francis Poulenc took to heart and observed throughout his career; and nowhere 7. La grenouillère [AM]...... [2.10] 28. v. La grâce exilée...... [0.39] more tellingly than in the piano parts of his songs – far better written, he thought, than 29. vi. Aussi bien que les cigales...... [1.52] his works for piano solo. 8...... Montparnasse [TO] [3.12] 30. vii. Voyage ...... [2.49] After the First World War, the ethos of French art across the board lay in the direction of 9...... Hyde Park [TO] [0.55] 31. La souris [LM] ...... [0.54] clarity and simplicity. Cocteau further cried for ‘an end to clouds, waves, aquariums, water Deux mélodies nymphs, an end to fogs’, and Erik Satie, the cultural godfather of the new French music, 32. Monsieur Sans Souci [JL] ...... [3.05] warned that fogs had been the death of as many composers as sailors.Another target was 10. i. Le pont [RM] ...... [1.39] (Il fait tout lui-même) the ‘music one listens to head in hands’ – Wagner most notably, but also Schumann. For 11. ii. Un poème [TO] ...... [1.15] Poulenc then, in quest of song texts, the 19th century was largely to be avoided and only 33. Nous voulons une 12. Le portrait [JMA] ...... [1.52] one of his texts,Théodore de Banville’s Pierrot,was published during it,while Jean Moréas’s petite sœur [LA]...... [5.08] four poems forming the Airs chantés were printed in the ﬁrst decade of the 20th. Otherwise Miroirs brûlants [SF] To t a l t i m i n g s : ...... [61.59] Poulenc sought either distancing through pre-Romantic poetry or immediacy through 13. i. Tu vois le feu du soir ...... [4.14] poetry of his own time. The present volume begins with the Airs chantés and continues with settings of poems entirely by Poulenc’s contemporaries. 14. ii. Je nommerai ton front...... [1.15] Lorna Anderson [LA] John Mark Ainsley [JMA] 15. …Mais mourir [JMA]...... [1.38] It is not always wise to take composers at their word. Poulenc was not alone in occasionally Sarah Fox [SF] liking to tease his readers, so his claim, that he loathed the poetry of Jean Moréas (Yannis 16. Main dominée par le cœur [TO]....[1.12] Jonathan Lemalu [JL] Papadiamantopoulos, 1856-1910) and chose these poems as being suitable for mutilation, Lisa Milne [LM] should probably be taken with a slight pinch of salt, as should his condemnation of ‘Air La fraîcheur et le feu [JMA Ann Murray [AM] grave’ as ‘certainly my worst song’, though it may be true that he was more successful 17. i. Rayons des yeux ...... [1.17] Robert Murray [RM] elsewhere in imitating ‘ancient’ textures. He professed to be annoyed by the success of the 18. ii. Le matin les branches attisent...... [0.45] Thomas Oliemans [TO] second and last songs of the set, and the only one to escape censure was the opening ‘Air 19. iii. To u t d i s p a r u t ...... [1.52] romantique’, where he concentrates the music around the tonic E minor, in parallel with 20. iv. Dans les ténèbres du jardin ...... [0.29] Malcolm Martineau piano the unvarying tempo.

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‘Colloque’, composed in 1940, was Poulenc’s only setting of words by Paul Valéry.After the 1945, and the whole put together in May and July 1946. He hoped, even so, that the song plain opening in octaves the piano, as often in Poulenc’s love songs, then proceeds largely flowed in one long wave, and insisted it should catch the burbling of the water and of the in pairs of pulsing chords, leading to one of his favourite descending sequences on the conversation going on above it. In ‘the postage stamp’ of Un poème,he admired Apollinaire’s words ‘Si ton désir…’ ‘Mazurka’, his last setting of words by Louise de Vilmorin, was ability to ‘suggest silence and emptiness in so few words’ and his music, balanced on the edge commissioned by the bass Doda Conrad in 1949 as one of a set of seven songs entitled of atonality, is the soul of emptiness, redeemed (or is it?) by a final, unforeseen major chord. Mouvements de coeur to mark the 100th anniversary of the death of Chopin. Poulenc felt his song might have accompanied the ball in the novel Le grand Meaulnes,and was pleased to The novelist Colette was a friend of Poulenc’s from the early 1930s until her death in 1954 have negotiated the tricky ‘font, font, font’ passages to his own satisfaction. but, despite his frequent entreaties, she gave him only one poem – inscribed on a large gauze handkerchief and handed to him from her hospital bed in 1938. In Le portrait Colette paints He once said that he would be happy to have inscribed on his tombstone:‘Here lies Francis a version, perhaps, of herself – ‘beautiful,unkind, deceitful, unfair’, she was certainly the first Poulenc, the musician of Apollinaire and Eluard’.The order there is not just alphabetical but, and could, at times, be the rest – and Poulenc responds with a song of wilful eccentricity, in Poulenc’s life, chronological. Starting with the tiny poems of Le bestiaire (to follow in the beginning ‘very violent and impassioned’ and only at the end finding resolution, as the two final volumes of this series), he employed his own technique, essentially traditional but hankerchief reveals ‘the very portrait of your heart’. Its own qualities aside, the composer also flexible, to mirror the apparent simplicities of Guillaume Apollinaire’s poetry, beneath felt that this song, to his own surprise, constitutes the perfect lead-in to… which flow powerful currents of humour and nostalgia. He had had in mind to set La grenouillère for years before finally turning to it in 1938, reminding him as it did of happy … ‘Tu vois le feu du soir’, the first of the pair of Miroirs brûlants,composed in 1938-9 to childhood hours spent on the banks of the Marne and of the paintings by Monet and Renoir poems by Paul Eluard. Poulenc had first met the poet in Adrienne Monnier’s bookshop at depicting boatmen and lazy Sunday afternoons (he admitted that the piano’s floating, the end of the First World War, but did not set any of his poetry until 1935. Of the two undirected thirds on the line ‘Petits bateaux vous me faites bien de la peine’ were borrowed songs making up Miroirs brûlants,he was severe on the second,but reckoned that ‘Tu from Mussorgsky). With Apollinaire, he wrote, ‘irony is always veiled by tenderness and vois…’ might well be the one song of his that he would take to his desert island. It is not melancholy’, and this song must be delivered straight, without knowing winks. hard to see why. There are the usual pulsing chords, some on, some off the beat; a predominance of minor chords, with or without attendant 7ths and 9ths; a wonderful The more he read Apollinaire, the more he realised the poetic importance of Paris in his work lightening of the mood (major chords) at ‘Tu vois un bel enfant…’; and in the voice a line and in Montparnasse the composer looks back to the ‘discovery’ of the Left Bank 30 years that seems utterly natural and yet utterly individual. earlier by Picasso, Braque, Modigliani… and Apollinaire. Hyde Park,in contrast,is nostalgia- free – one of Poulenc’s scatty, fast numbers. Le pont,like Montparnasse and many other of his The two settings of the poet he made just after the war are barely less impressive. He songs, was written piecemeal: the line ‘qui va de loin qui va si loin’ in 1944, the next line in dedicated …mais mourir to the memory of Nusch, Eluard’s second wife, who died suddenly

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of a cerebral haemorrhage in 1946 at the age of just 40. Here the piano chords pulse in groups this time by Apollinaire. From early in their gestation Poulenc settled on an overall tonal of three rather than two, but the elegance and suppleness of the vocal line remain. Referring scheme: F minor – E flat major – E major – B major, then back through E major – E flat to the ‘mains lasses retournant leurs gants’, Poulenc remembered that ‘Nusch’s hands were so major – F minor. In the event F minor became F# minor, and what he called ‘the hinge beautiful, this poem seemed to me especially made to evoke them’ (they can be seen and of B major’ for ‘Il pleut’ became B flat minor, but the to-and-fro principle remained.The admired in Francis Poulenc, Music, Art and Literature,ed.Sidney Buckland and Myriam poems took him back to his youth and he dedicated each song to a friend from those years. Chimènes, Aldershot, Ashgate, 1999, Plate 12). In Main dominée par le coeur,the composer In ‘L’espionne’, we hear again the syncopated chords that run through so many of his admitted a further borrowing, this time from himself in ‘Plume d’eau claire’ from his 1935 Eluard settings, but here the tone is ‘more sensual than lyrical’.‘Mutation’ and ‘Aussi bien Eluard set, but was proud of the song’s tonal construction: C major – D major (‘...habite...’) que les cigales’ are what he called ‘soldiers’ songs’, on the cusp between ditties and mélodies – C major – D major (‘...rien...’) – C major, mirroring the double wave of the poem. proper, although at the end of the latter he turns on the dramatics for the final line, in capitals in the original poem. Finally,‘Voyage’, ‘certainly one of the two or three songs I Poulenc’s next settings of Eluard were the seven short songs of La fraîcheur et le feu, value most… It goes from emotion to silence, passing through melancholy and love.’The composed in 1950. He described these as ‘mes mélodies les plus concertées’, using that spare octaves of the piano epilogue,‘very blurred and far away in a fog of pedals’, conjure last word in the sense of ‘unified’. The seven poems were published in Eluard’s 1940 up the noise of the trains Poulenc used to hear as a boy in July, taking people away on volume Le Livre ouvert I as a group entitled ‘Vue donne vie’, and Poulenc saw them as holiday. But surely not that alone: how better to paint ‘your face that I no longer see’… essentially making up a single work, ‘progressing wonderfully with the feeling of a crescendo’. His unified structure rests on the two distinct tempi, fast and slow, with The bass Doda Conrad was again the moving spirit behind La souris,one of 80 nothing in between.As already mentioned in the opening paragraph, his piano writing is compositions, dedications and letters he commissioned in 1956 for the 80th birthday of typically sparse, although in this case he was thinking specifically of Matisse’s sketches of his mother, the soprano Marya Freund, the original wood dove in Schönberg’s Gurrelieder a swan to illustrate a volume of Mallarmé’s sonnets, where the lines are gradually reduced and the speaker in the French premiere of Pierrot lunaire.Going back to Apollinaire’s Le in number and complexity to form the final published drawings.The set is dedicated to bestiaire,Poulenc chose ‘La souris’to mark the passing of time,gradually nibbled away by Stravinsky and the third song quotes from the latter’s neoclassical Serenade in A for piano. the mouse. His dedication though is tactful:‘Dear Marya Freund, your heart will always be The climax comes, after a ‘très long silence’, in the penultimate song where Poulenc 20 years old! Alas! The composer of Le bestiaire is a lot more than 28!’ responds once more to Eluard’s ‘côté litanies’, as he had so memorably at the end of his choral work Figure humaine. Finally, the two Chansons pour enfants of 1934 (for their companions, see volume 2) again find Francis Poulenc, alias Maurice Chevalier, on sparkling form. Even if the songs in La fraîcheur et le feu were ‘ses plus concertées’, his concern for structure had also been evident in the Calligrammes of two years earlier, again a group of seven songs, © Roger Nichols

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Airs Chantés [SF] Sung Airs 3. Air grave 3. Grave Air Jean Moréas (1856-1910) Ah! fuyez à présent, Ah! begone now, 1. Air romantique 1. Romantic Air malheureuses pensées! unhappy thoughts! O! colère, ô remords! O! anger, O remorse! J’allais dans la campagne avec le vent d’orage, I walked in the countryside with the storm wind, Souvenirs qui m’avez Memories that beset Sous le pâle matin, sous les nuages bas, beneath the pallid morning, under the low clouds, les deux tempes pressées, my two temples Un corbeau ténébreux escortait mon voyage a sinister raven followed me on my way de l’etreinte des morts. with the grip of the dead. Et dans les flaques d’eau retentissaient mes pas. and my steps splashed in the puddles . Sentiers de mousse pleins, Moss-grown paths, La foudre à l’horizon faisait courir sa flamme The lightning on the horizon forked its flame vaporeuses fontaines, vaporous fountains, Et l’Aquilon doublait ses longs gémissements; and the North Wind redoubled its long wailing; grottes profondes, voix deep grottoes, voices Mais la tempête était trop faible pour mon âme, but the tempest was too weak for my soul, des oiseaux et du vent of birds and of the wind, Qui couvrait le tonnerre avec ses battements. which drowned the thunder with its throbbing. lumières incertaines ﬁtful lights des sauvages sous-bois. of the wild undergrowth. De la dépouille d’or du frêne et de l’érable From the golden spoils of the ash and the maple L’Automne composait son éclatant butin, Autumn amassed her brilliant booty, Insectes, animaux, Insects, animals, Et le corbeau toujours, d’un vol inexorable, and the raven still, with inexorable flight, Beauté future, beauty to come, M’accompagnait sans rien changer à mon destin. bore me company changing nothing towards my fate. Ne me repousse pas do not repulse me Ô divine nature, O divine nature, Je suis ton suppliant I am your suppliant 2. Air champêtre 2. Pastoral Air Ah! fuyez à présent, Ah! begone now, Belle source, je veux me rappeler sans cesse, Lovely spring, I will never cease to remember, colère, remords! anger, remorse! Qu’un jour guidé par l’amitié Ravi, that on a day, guided by friendship entranced, j’ai contemplé ton visage, ô déesse, I gazed upon your face, O goddess, Perdu sous la mousse à moitié. half hidden beneath the moss. 4. Air vif 4. Lively Air

Que n’est-il demeuré, cet ami que je pleure, Had he but remained, this friend for whom I weep, Le trésor du verger et le jardin en fête, The riches of the orchard and the festive garden, O nymphe, à ton culte attaché, o nymph, a devotee of your cult, Les fleurs des champs, des bois the flowers of the ﬁelds, of the woods Pour se mêler encore au souffle qui t’effleure to mingle once again with the breeze that caresses you, éclatent de plaisir burst forth with delight Et répondre à ton flot caché. and to respond to your hidden waters. Hélas! et sur leur tête le vent enfle sa voix. Alas! and above their head the wind's voice is rising.

Mais toi, noble océan But you, noble ocean que l’assaut des tourmentes whom the assault of tempests Ne saurait ravager, cannot ravage, Certes plus dignement lorsque tu te lamentes most certainly with more dignity, when you lament Tu te prends à songer. you lose yourself in dreams.

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5. Colloque [LA] and [TO] 5. Colloquy 6. Mazurka [TO] 6. Mazurka Paul Valéry (1871-1945) Louise de Vilmorin (1902-1969)

D’une rose mourante Like to a dying rose Les bijoux ause poitrines, The jewels on the breasts, L’ennui se penche vers nous weariness weighs upon us; Les soleils aux plafonds, the suns on the ceiling, Tu n’es pas différente you are not different Les robes opalines, the opaline gowns, Dans ton silence doux in your sweet silence Miroirs et violons, mirrors and violins. De cette fleur mourante; from this dying flower: Elle se meurt pour nous. it dies for us … Font ainsi, font, font, font, Make thus, make, make, make, Tu me sembles pareille you seem to resemble À celle dont l’oreille her whose head Des mains tomber l’aiguille, Hands let fall the needle, Était sur mes genoux I cradled in my lap, L’aiguille de raison, the needle of reason, À celle dont l’oreille but who never Des mains de jeunes filles from hands of young girls Ne m’écoutait jamais! listened to me! Qui s’envolent et font, that fly past and make, Tu me sembles pareille Yo u s e e m t o r e s e m b l e À l’autre que j’aimais: the other whom I loved: Font ainsi, font, font, font, Make thus, make, make, make, Mais de celle ancienne but the lips of this former love Sa bouche était la mienne were one with my own. D’un regard qui s’appuie, Of a stare that is fixed, D’une ride à leur front, of a wrinkle on the brow, Que me compares-tu Why do you compare me Le beau temps ou la pluie. fine weather or rain. quelque rose fanée? to some faded rose? Ed d’un soupir larron, And of a thievish sigh, L’amour n’a de vertu Love’s one virtue que fraîche et spontanée is fresh and spontaneous. Font ainsi, font, font, font, Make thus, make, make, make, Mon regard dans le tien Gazing into your eyes Ne trouve que son bien I find only what is good. Du bal une tourmente A tempest of the ball Je m’y vois toute nue! I see myself laid bare! Où sage et vagabond, where the wise and the flighty, Mes yeux effaceront My eyes will make you D’entendre l’inconstante, hear the fickle one, Tes larmes qui seront forget your tears Dire oui, dire non, say yes, say no, d’un souvenir venues. flowing from a memory. Si ton désir naquit If your desire is born Font ainsi, font, font, font, Make thus, make, make, make, qu’il meure sur ma couche let it die on my couch Et sur mes lèvres and on my lips_ Danser l’incertitude The uncertainty dance qui t’emporteront la bouche. which will impassion your own. Dont les pas compteront. of which the steps will count. Oh! le doux pas des prudes, Oh! the soft steps of the prudes, Leurs silences profonds, their profound silences,

Font ainsi, font, font, font, Make thus, make, make, make,

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Du bal une contrée A country of the ball Un poète lyrique d’Allemagne a lyric poet from Germany Où les feux s’uniront. where ﬁres will unite. Qui voulez connaître Paris who wants to know Paris Des amours recontrées From encountered loves Vous connaissez de son pavé you know on its pavement Ainsi la neige fond. thus the snow melts. Ces raies sur lesquelles il ne faut pas these lines on which one que l’on marche must not step La neige fond, fond, fond. The snow melts, melts, melts. Et vous rêvez and you dream D’aller passer votre Dimanche à Garches of going to pass your Sunday at Garches

7. La grenouillère [AM] 7. The Froggery Il fait un peu lourd et vos cheveux sont longs it is rather sultry and your hair is long Guillaume Apollinaire (1880-1918) O bon petit poète un peu bête et trop blond O good little poet a bit stupid and too blond Vos yeux ressemblent tant à ces your eyes so much resemble these Au bord de l’île on voit By the shore of the isle one sees deux grands ballons two big balloons Les canots vides qui s’entre-cognent the empty boats that bump against each other Qui s’en vont dans l’air pur that float away in the pure air Et maintenant and now A l’aventure at random. Ni le dimanche ni les jours de la semaine neither on Sunday nor on weekdays Ni les peintres ni Maupassant ne se promènent neither the painters nor Maupassant set out Bras nus sur leurs canots avec des with bare arms in their boats with 9. Hyde Park [TO] 9. Hyde Park femmes à grosse poitrines their women friends full-bosomed Guillaume Apollinaire Et bêtes comme chou* and stupid as a cabbage Petits bateaux vous me faites bien de la peine little boats you make me very sad Les faiseurs de religion The promoters of religions Au bord de l’île by the short of the isle Prêchaient dans le brouillard were preaching in the fog Les ombres près de qui nous passions the shadowy ﬁgures near us as we passed * sweetly silly Jouaient à collin-maillard played blind man’s buff

A soixante-dix ans at seventy years old 8. Montparnasse [TO] 8. Montparnasse Joues fraîches de petits enfants fresh cheeks of small children Guillaume Apollinaire Venez venez Eléonore come along come along Eleonore Et que sais-je encore and what more besides O porte de l’hôtel avec deux plantes vertes O door of the hotel with two green plants Ver tes qui jamais green which never Regardez venir les cyclopes look at the Cyclops coming Ne porteront de fleurs will bear any flowers Les pipes s’envolaient the pipes were flying past Où sont mes fruits? Où me planté-je? where are my fruits? where do I plant myself? Mais envolez-vous-en but be off O porte de l’hôtel un ange est devant toi O door of the hotel an angel stands in front of you Regards impénitents obdurate staring Distribuant des prospectus distributing prospectuses Et l’Europe l’Europe and Europe Europe On n’a jamais si bien défendu la vertu virtue has never been so well defended Donnez-moi pour toujours une give me for ever a room Regards sacrés worshipping looks chambre à la semaine by the week Mains énamourées hands in love Ange barbu vous êtes en réalité bearded angel you are really Et les amants s’aimèrent and the lovers made love Tant que prêcheurs prêchèrant as long as the preachers preached 12 13

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Deux melodies Two M e l o d i e s 12. Le portrait [JMA] 12. The Portrait Guillaume Apollinaire Sidonie-Gabrielle Colette (1873-1954)

10. i. Le pont [RM] 10. i. The Bridge Belle,méchante,menteuse,injuste,plus changeante Beautiful, wicked, lying, unjust, more changeable than que le vent d’Avril, tu pleures de joie, tu ris de the April wind, you weep for joy, you laugh in anger, Deux dames le long de fleuve Two women along the river colère, tu m’aimes quand je te fais mal, tu te you like me when I treat you badly, you mock me Elles se parlent par-dessus l’eau they speak to each other across the water moques de moi quand je suis bon.Tu m’as when I am kind.You scarcely thanked me when I Et sur le pont de leurs paroles and upon the bridge of their words à peine dit merci lorsque je t’ai donné le beau gave you the beautiful necklace, but you blushed La foule passe et repasse en dansant the crowd passes to and fro dancing collier, mais tu as rougi de plaisir, comme une with pleasure, like a little girl, when I gave you this petite ﬁlle, le jour où je t’ai fait cadeau de ce handkerchief as a present and everyone said of you: un dieu c’est pour toi seule que le sang coule a god it is for you alone that the blood flows mouchoir et tous disent de toi :‘C’est à n’y rien “It is beyond me!” But one day I stole this handkerchief tu reviendras you will come back comprendre!’ Mais je t’ai, un jour, volé ce when you had just pressed it against your rouged lips. Hi! oh! là-bas Hi! Oh! over there mouchoir que tu venais de presser sur ta bouche And, before you snatched it away as a cat with its claws, fardée. Et, avant que to ne me l’aies enlevé d’un I had time to see that your mouth had just painted Tous les enfants savent pourquoi all the children know why coup de griffe, j’ai eu le temps de voir que ta upon it, red, naïve, designed to delight, simple and pure, Passe mais passe donc go on but go on then bouche venait d’y peindre, rouge, naïf, dessiné à the very portrait of your heart. Ne te retourne pas do not turn back ravir, simple et pur, le portrait même de ton cœur. Hi! oh! là-bas Hi! Oh! over there

Les jeunes filles qui passent sur le pont léger The young girls who cross over the airy bridge Miroirs brûlants [SF] Burning Mirrors portent dans leurs mains carry in their hands Paul Eluard (1895-1952) le bouquet de demain the bouquet of tomorrow Et leurs regards s’écoulent and their gaze pours 13. i. Tu vois le feu du soir 13. i. You see the fire of evening Dans ce fleuve à tous étranger into this river stranger to all Qui vient de loin qui va si loin that comes from far away that goes so far away Tu vois le feu du soir qui sort de sa coquille You see the fire of evening emerging from its shell Et passe sous le pont léger de vos paroles and passes under the airy bridge of your words Et tu vois la forêt enfouie dans sa fraîcheur and you see the forest buried in its coolness Ô bavardes le long de fleuve O chatterers along the river Ô bavardes ô folles le long du fleuve O chatterers O foolish ones along the river Tu vois la plaine nue aux flancs You see the bare plain at the edges du ciel traînard of the straggling sky La neige haute comme la mer the snow high as the sea 11. ii. Un poème [TO] 11. ii. A Poem Et la mer haute dans l’azur and the sea high in the azure

Il est entré He came in Pierres parfaites et bois doux Perfect stones and sweet woods Il s’est assis he sat down secours voilés veiled succours Il ne regarde pas le pyrogène he did not look at the pyrogene Tu vois des villes teintes de mélancolie you see cities tinged with gilded melancholy aux chevaux rouges with its red hair Dorée des trottoirs pleins d’excuses pavements full of excuses L’allumette flambe the match flamed Une place où la solitude a sa statue a square where solitude has its statue Il est parti he went Souriante et l’amour une seule maison smiling and love a single house

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Tu vois les animaux Yo u s e e a n i m a l s Je t’abattrai jardin secret I will destroy your secret graden Sosies malins sacriﬁés l’un à l’autre malign doubles sacriﬁced one to another Plein de pavots et d’eau précieuse full of poppies and precious water Frères immaculés aux ombres confondues immaculate brothers with intermingled shadows Je te ligoterai de mon fouet I will bind you with my whip Dans un désert de sang in a wilderness of blood Tu n’avais dans ton cœur que In your heart you had nothing but Tu vois un bel enfant quand il you see a beautiful child when he lueurs souterraines subterranean gleams joue quand il rit plays when he laughs Tu n’auras plus dans tes prunelles you will have nothing in the pupils Il est bien plus petit he is smaller que du sang of your eyes but blood Que le petit oiseau du bout des branches than the little bird on the tip of the branches Je nommerai ta bouche et tes mains I will name your mouth and your Tu vois un paysage aux saveurs you see a countryside with its savour les dernières hands the last d’huile et d’eau of oil and of water Ta bouche écho détruit tes mains your mouth destroyed echo your D’où la roche est exclue où la where the rock is excluded where the monnaie de plomb hands leaden coins terre abandonne earth abandons Je briserai les clés rouillées qu’elles I shall break the rusted keys that Sa verdure à l’été qui la her greenness to the summer which commandent they command couvre de fruits covers her with fruit Si je dois m’apaiser profondément If the day comes when I am Des femmes descendant de leur women descending from their un jour completely calmed miroir ancien ancient mirror Si je dois oublier que je n’ai pas su if I must forget that I have not known T’apportent leur jeunesse et leur bring you their youth and their vaincre victory foi en la tienne faith in yours Qu’au moins tu aies connu la grandeur at least let it be that you have known Et l’une sa clarté la voile and one of them veiled by her clarity de ma haine. the extent of my hate. qui t’entraîne who allures you Te fait secrètement voir le monde secretly makes you see the world sans toi. without yourself. 15. …Mais mourir [JMA] 15. …But to Die Paul Eluard

14. ii. Je nommerai ton front 14. ii. I will name your brow Mains agitées aux grimaces nouées Restless hands with twisted expressions Une grimace en fait une autre one expression brings another Je nommerai ton front I will name your brow L’autre est nocturne le temps passe the other is nocturnal time passes J’en ferai un bûcher au sommet I will make of it a stake at the summit Ouvrir des boîtes casser des verres to open boxes break glasses de tes sanglots of your sobs creuser des trous dig holes Je nommerai reflet la douleur I will name reflection the sorrow Et vériﬁer les formes invisibles du vide and verify the useless forms of empty space qui te déchire which rends you Mains lasses retournant leurs gants tired hands turning down their gloves Comme une épeé dans un rideau de soie like a sword in silken curtain Paupières des couleurs parfaites eyelids of perfect colours Coucher n’importe où to lie no matter where Et garder en lieu sûr and to keep in a safe place Le poison qui se compose alors the poison which is engendered then dans le calme mais mourir. in the stillness but to die. 16 17

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16. Main dominée par le cœur [TO] 16. Hand ruled by the Heart Je ne sais plus I know no longer Paul Eluard La place du bonheur vivant the place of living happiness Au bord de l’ombre sans at the edge of the shadow with neither Main dominée par le cœur Hand ruled by the heart ciel ni terre. sky nor earth. Cœur dominé par le lion heart ruled by the lion Lion dominé par l’oiseau lion ruled by the bird 18. ii. Le matin les branches attisent 18. ii. In the morning the branches stir up L’oiseau qu’efface un nuage The bird that a cloud effaces Le lion que le désert grise the lion intoxicated by the desert Le main les branches attisent In the morning the branches stir up Le cœur que la mort habite the heart where death abides Le bouillonnement des oiseaux the effervescence of the birds La main refermée en vain the hand closed in vain Le soir les arbres sont tranquilles at evening the trees are peaceful Le jour frémissant se repose. the rustling day is resting. Aucun secours tout m’échappe No help all escapes me Je vois ce qui disparaît I see that which disappears Je comprends que je n’ai rien I realize that I have nothing 19. iii. To u t d i s p a r u t 19. iii. All disappeared Et je m’imagine à peine and I barely imagine myself Tout disparut même les toits même le ciel All disappeared even the roofs even the sky Entre les murs une absence An absence between the walls Même l’ombre tombée des branches even the shade fallen from the branches Puis l’exil dans les ténèbres then the exile into the darkness Sur les cimes des mousses tendres upon the tips of the soft mosses Les yeux purs la tête inerte. the eyes pure the head inert. Même les mots et les regards bien accordés even the words and the concordant looks

Sœurs mirotières de mes larmes Sisters mirroring my tears La fraîcheur et le feu [JMA] The Coolness and the Fire Les étoiles brillaient autour de ma fenêtre the stars shone around my window Paul Eluard Et mes yeux refermant leurs ailes and my eyes closing their wings pour la nuit again for the night 17. i. Rayons des yeux 17. i. Beams of eyes Vivaient d’un univers sans bornes. lived in a boundless universe.

Rayons des yeux et des soleils Beams of eyes and of suns Des ramures et des fontaines of branches and of fountains 20. iv. Dans les ténèbres du jardin 20. iv. In the darkness of the garden Lumière du sol et du ciel light of earth and of sky De l’homme et de l’oubli de l’homme of man and man’s oblivion Dans les ténèbres du jardin In the darkness of the garden Un nuage couvre le sol a cloud covers the earth Viennent des ﬁlles invisibles come some invisible girls Un nuage couvre le ciel a cloud covers the sky Plus fines qu’à midi l’ondée. more delicate than the shower at midday. Soudain la lumière m’oublie suddenly the light is unmindful of me La mort seule demeure entière death alone remains complete Mon sommeil les a pour amies My sleep has them for friends Je suis une ombre je ne vois plus I am a shadow I see no longer Elles m’enivrent en secret they elate me secretly Le soleil jaune le soleil rouge the yellow sun the red sun De leurs complaisances aveugles. with their blind complaisance. Le soleil blanc le ciel changeant the white sun the changing sky

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21. v. Unis la fraîcheur et le feu 21. v. Unite the coolness and the fire Calligrammes [TO] Calligrams Guillaume Apollinaire Unis la fraîcheur et le feu Unite the coolness and the fire Unis tes lèvres et tes yeux unite your lips and your eyes 24. i. L’espionne 24. i. I Spy De ta folie attends sagesse await wisdom from your folly Fais image de femme et d’homme make a likeness of woman and of man. Pâle espionne de l’Amour Pale spy of love Ma mémoire à peine fidèle my memory scarcely to be trusted N’eut pour observer cette belle having watched this beautiful 22. vi. Homme au sourir tendre 22. vi. Man of the tender smile Forteresse qu’une heure un jour fortress for but one hour one day Tu te déguises disguise yourself Homme au sourir tendre Man of the tender smile A ta guise as you will Femme aux tenres paupières woman of the tender eyelids Mémoire espionne du cœur memory spy of the heart Homme aux joues rafraîchies man of the freshened cheeks Tu ne retrouves plus l’exquise you find no longer the exquisite Femme aux bras doux et frais woman of the sweet fresh arms Ruse et le cœur seul est vainqueur trickery and the heart alone is victorious Homme aux prunelles calmes man of the calm eyes Femme aux lèvres ardentes woman of the ardent lips Mais la vois-tu cette mémoire but do you see this memory Homme aux paroles pleines man of the plenitude of speech Les yeux bandés prête à mourir eyes blindfolded at the point of death Femme aux yeux partagés woman of the shared eyes Elle affirme qu’on peut l’en croire it affirms that it can be believed Homme aux deux mains utiles man of the useful hands Mon cœur vaincra sans coup férir my heart will conquer without a shot Femme aux mains de raison woman of the sensible hands Homme aux astres constants man of the steadfast stars Femme aux seins de durée woman of the enduring breasts 25. ii. Mutation 25. ii. Mutation

Il n’est rien qui vous retient there is nothing that prevents you Une femme qui pleurait A woman who wept Mes maîtres de m’éprouver. my masters from testing me. Eh! Oh! Ah! Eh! Oh! Ah! Des soldats qui passaient Soldiers who passed Eh! Oh! Ah! Eh! Oh! Ah! 23. vii. La grande rivière qui va 23. vii. The great river that flows Un éclusier qui pêchait A lock-gate keeper who was ﬁshing Eh! Oh! Ah! Eh! Oh! Ah! La grande rivière qui va The great river that flows Les tranchées qui blanchissaient The trenches that grew white Grande au soleil et petite à la lune big under the sun and small under the moon Eh! Oh! Ah! Eh! Oh! Ah! Par tous chemins à l’aventure in all directions at random Des obus qui pétaient Shells that burst Ne m’aura pas pour la montrer du doigt will not have me to point it out Eh! Oh! Ah! Eh! Oh! Ah! Des allumettes qui ne prenaient pas Matches that did not strike Je sais le sort de la lumière I know the spell of the light Et tout And all J’en ai assez pour jouer son éclat I have enough of it to play with its brilliance A tant changé Has so much changed Pour me parfaire au dos de mes paupières so that I may perfect myself behind my eyelids En moi in me Pour que rien ne vive sans moi. so that nothing lives without me. To u t s a u f m o n a m o u r All but my love Eh! Oh! Ah! Eh! Oh! Ah! 20 21

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26. iii. Ve r s l e s u d 26. iii. Towa rd s t h e S o u t h 28. v. La grâce exilée 28. v. Exiled Grace

Zénith Zenith Va-t’en va-t’en mon arc-en-ciel Away, go away my rainbow Tous ces regrets all these regrets Allez-vous-en couleurs charmantes away charming colours Ces jardins sans limite these limitless gardens Cet exil t’est essentiel this exile is essential for you Où le crapaud module un where the toad modulates a Infante aux écharpes changeantes Infanta of the changing scarves tendre cri d’azur tender cry of blue La biche du silence éperdu the doe in bewildered silence Et l’arc-en-ciel est exilé and the rainbow is exiled passe vite passes quickly Puisqu’on exile qui l’irise since she is exiled who gives it iridescence Un rossignol meurtri par l’amour chante sur a nightingale anguished by love sings on Mais un drapeau s’est envolé but a flag is flying Le rosier de ton corps the rose bush of your body Prendre ta place au vent de bise to take your place in the North wind dont j’ai cueilli les roses from which I have gathered the roses Nos cœurs pendent ensemble au our hearts hang together on the même grenadier same pomegranate tree 29. vi. Aussi bien que les cigales 29. vi. As well as the cicadas Et les fleurs de grenade en nos and the pomegranate flowers opened regards écloses in our sight Gens du midi gens du midi Folk of the south folk of the south En tombant tour à tour ont jonché le sentier falling one by one have strewn our path vous n’avez donc pas regardé les cigales so you have not watched the cicadas que vous ne savez pas creuser since you cannot dig que vous ne savez pas vous since you cannot make 27. iv. Il pleut 27. iv. It rains éclairer ni voir light or see Que vous manque-t’il donc pour voir What are you lacking that you cannot Il pleut des voix de femmes comme si It is raining women’s voices as though aussi bien que les cigales see as well as the cicadas elles étaient mortes mêmes they were dead even Mais vous savez encore boire comme But yet you can drink like dans le souvenir in memory les cigales the cicadas C’est vous aussi qu’il pleut it is you also that it is raining marvelous ô gens du midi gens du soleil O folk of the south folk of the sun merveilleuses rencontres de ma vie encounters of my life gen qui devriez savoir creuser folk who should know how to dig ô gouttelettes O droplets et voir aussi bien and see as well Et ces nuages cabrés se prennent à and these rearing clouds begin to neigh pour le moins aussi bien que les cigales at least as well as the cicadas hennir tout un univers de villes a whole universe of Eh quoi! Vous savez boire et ne savez What! You can drink and no longer auriculaires auricular cities plus pisser utilement know how to pee to some purpose Ecoute s’il pleut tandis que le regret et listen if it is raining while regret and comme les cigales like the cicadas le dédain pleurent une disdain are weeping an le jour de gloire sera celui où vous the day of glory will come when you ancienne musique ancient music saurez creuser pour bien know how to dig your way out Ecoute tomber les liens qui te retiennent hear the bonds falling that hold you sortir au soleil into the sun en haut et en bas high and low creusez buvez pissez comme les cigales dig see drink pee like the cicadas gens du midi il faut creuser voir boire folk of the south you must dig see pisser aussi bien que les cigales pour drink pee as well as the cicadas to chanter comme elles sing like they do ‘La joie adorable de la paix solaire’ ‘The adorable joy of the sun-ﬁlled peace’ 22 23

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30. vii. Voya ge 30. vii. Journey 32. Monsieur Sans Souci [JL] 32. Mister Carefree (Il fait tout lui-même) (He does everything himself) Adieu amour nuage qui fuit et n’a pas Farewell love cloud that flies and has Jean Nohain (1900-1981) chu pluie féconde not shed fertile rain refais le voyage de Dante take again the journey of Dante Quand les gens When someone Ont beaucoup d’argent, Has a lot of funds, Télégraphe telegraph Pour leur service It’s said that they oiseau qui laisse tomber ses ailes partout bird who lets its wings fall everywhere Ils ont, diton: Often employ: Larbins, nourrices A cook, a maid, and Où va donc ce train Where is this train going that dies Et marmitons. Delivery boy qui meurt au loin away in the distance Ce n’est pas ainsi, But this just won’t be Dans les vals et les beaux bois frais du in the vales and the lovely fresh woods Chez Monsieur Sans-Souci… For dear Mister Carefree. tendre été si pâle? of the tender summer so pale? Il fait tout lui même He’s found the perfect way Dans sa petit maison. In his little home. La douce nuit lunaire The gentle night moonlit C’est le bon système : None he has to pay: et pleine d’étoiles and full of stars Il a bien raison! He does it all on his own. C’est ton visage que je ne vois plus it is your face that I no longer see Il frotte, il astiqué ; He scrubs, he cleans, he plants. Pas de domestiqué. No need for servants. Son plancher reluit… His floor really shines. 31. La souris [LM] 31. The Mouse Qu’on est bien chez lui! His home is just sublime! Guillaume Apollinaire Les petits plats qu’il aime, If he likes a dish he’s tasted, Il se les fait lui même He’ll go ahead and make it. Belles journées, souris du temps, Lovely days, mouse of time Et puis, ils ‘dit:“Merci” Then he’ll tell himself “Thank ye.” Vous rongez peu à peu ma vie. little by little you nibble away my life Monsieur Sans-Souci… Dear Mister Carefree. Dieu! Je vais avoir vingt-huit ans, Heavens! I shall soon be twenty-eight years old, Et mal vécus, à mon envie. and wasted years, I fear. Au printemps, Springtime comes Il est bien content… He has so much fun. Le jardinage Gardening Prend tout son temps… Becomes his thing Malgré son âge In spite of his age C’est en chantant From him you’ll hear Des airs d’antan Songs of yesteryear Qu’il se met à l’ouvrage… As he works away Il fait tout lui même Alone, the work he does Dans son petit jardin, In his garden, you see Et les fleurs qu’il aime The flowers that he loves Il les a pour rien. He gets them for free. Il bêche, il arrosé, He plants and weeds and hoses,

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Il taille ses roses And trims and prunes his roses. Vous avez dû dû dû It must have been, been, been Et dans sa villa In his sitting room Vous avez dû la voir passer. You must have seen her going by C’est plein de lilas… Lilacs are in bloom. Le vingt décembre on les appelle: December comes and she inquires: Il a des chrysanthèmes Chrysanthemums a-plenty Que voulez-vous mesdemoiselles Dear little girls, for Christmas time, Qu’il cueille pour lui même For him should he want any, Pour votre Noël? What would you desire? Et pour les dames aussi, And for the ladies too, you see? Voulez-vous une boite à poudre? Would you like a powder box? Monsieur Sans-Souci… Dear Mister Carefree. Voulez-vous de petits mouchoirs? Would you like little handkerchiefs? Un petit nécessaire à coudre? Or how about little sewing blocks? Le bon vieux This dear old sir Un perroquet sur son perchoir? Or a pretty little parakeet? N’est jamais envieux, Envies no one ever. Voulez-vous un petit ménage? Would you like a dollhouse? Il se contente He is content Un stylo qui tache les doigts? A ball pen that your ﬁngers stains? To u j o u r s d e p e u … With what he has, Un pompier qui plonge et qui nage? A man that dives and swims around? Rien ne le tente: Impossible to tempt, Un vase á fleurs presque chinois? A nearly Chinese flower vase? Il est heureux… He’s always glad. Mais les dix-sept enfants en chœur But as one the seventeen children Son seul désir, He wants only Ont répondu: Non. Replied: No! C’est de vous faire plaisir… To make you happy. Il fait tout lui même He does it all himself Ce n’est pas ça que nous voulons We would not like any of that Pour qu’on soit content… To make our days a song. Nous voulons une petite sœur A little sister’s what we chose To u t l e m o n d e l ’ a i m e We all wish him good health. Ronde et joufflue comme un ballon With smiling lips and a little hat Il vivra longtemps… May his life be long! Avec un petit nez farceur With a cute little button nose Il est centenaire He’s lived a hundred years. Avec les cheveux blonds With golden hair at that Et déjà Saint-Pierre Already Saint Peter, Avec la bouche en cœur A little one for us to tease L’attend, m’a t’on dit, So they say, awaits Nous voulons une petite sœur We would like a little sister please Dans son paradis… At the pearly gates. Il entre ra sans peine, His admission will be easy L’hiver suivant, elles sont dix huit Next winter comes and there are eighteen Et près du Bon Dieu lui même And by the Lord’s side we’ll see Ce n’est pas trop, That’s not too many, Nous le verrons assis, Him sitting happily, Mais c’est assez But that will do Monsieur Sans-Souci. Dear Mister Carefree. Noël approche et les petites Christmas is coming and it would seem Sont bien emba ba ba That they don’t know know know Sont bien emba ba ba That they don’t know know know 33. Nous voulons une petite sœur [LA] 33. We want a little sister [LA] Sont vraiment bien embarrassées. That they don’t know what they should do. Jean Nohain Madame Eustache les appelle: Their mother calls them and inquires Décidez-vous mesdemoiselles Dear little girls, for Christmas time, Madame Eustache a dix-sept ﬁlles, Madame Eustache has seventeen daughters, Pour votre Noël: What it is that you require? Ce n’est pas trop, That’s not too many, Voulez-vous un mouton qui frise? Would you like a curly sheep? Mais c’est assez But it’s just right Voulez-vous un réveille matin? Would you like an alarm clock? La jolie petite famille The pretty little family Un coffret d’alcool dentifrice? Pink toothpaste to clean your teeth? Vous avez dû dû dû It must have been, been, been Trois petits coussins de satin? Or a brand-new satin clock?

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Voulez-vous une panoplie Would you like a dress-up kit De danseuse de l’Opéra? To have an opera dancer’s charm Un petit fauteuil qui se plie A little couch ‘pon which you can sit Et que l’on porte sous son bras? Which folds and ﬁts under your arm Mais les dix-huit enfants en chœur But as one the eighteen children Ont répondu: Non. Replied: No!

Ce n’est pas ça que nous voulons… We would not like any of that…

Elles sont dix-neuf l’année suivante There are nineteen girls the next year, Ce n’est pas trop, That’s not too much, Mais c’est assez But it’s enough Quand revient l’époque émouvante When the time comes for season’s cheer Noël va de nou nou Christmas is cu, cu cu Noël va de nou nou Christmas is cu, cu cu Noël va de nouveau passer. Once again Christmas is coming up Madame Eustache les appelle: Their mother calls them and inquires Décidez-vous mesdemoiselles Dear little girls, for Christmas time, Pour votre Noël: What is it that you require? Voulez-vous des jeux excentriques Would you like a toy that is eccentric? Avec des piles et des moteurs? With batteries and an engine too? Voulez-vous un ours électrique? A teddy bear that is electric? Un hippopotame à vapeur? An animal that steams for you? Pour coller des cartes postales Would you like a beautiful album Voulez-vous un superbe album? That you can put your postcards in? Une automobile à pédales? A pretty ring made of aluminum? Une bague en aluminium? A pedal car that you can ride in? Mais les dix-neuf enfants en chœur But as one the nineteen children Ont répondu: Non. Replied: No!

Ce n’est pas ça que nous voulons For all those things we do not care Nous voulons deux petites jumelles We would like twin sisters, if we may Deux sœurs exactement pareilles Two sisters that are just the same Deux sœurs avec des cheveux blonds! Two sisters with pretty golden hair Leur mère a dit : c’est bien The mother said: I see Mais il n’y a pas moyen But there’s no way this will be Cette année, vous n’aurez rien. So this year, you’ll get nothing.

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LORNA ANDERSON [LA] JOHN MARK AINSLEY [JMA]

Lorna Anderson has appeared in opera, concert and recital with major John Mark Ainsley was born in Cheshire, began his musical training in orchestras and festivals throughout Europe and elsewhere. As a renowned Oxford and continues to study in London with Diane Forlano. performer of the baroque repertoire she has sung with the Orchestra of the A highly versatile concert singer, his international engagements include Age of Enlightenment, Les Arts Florissants, The Sixteen, The English appearances with the London Symphony under Sir Colin Davis, Concert, St. James Baroque, London Baroque, Collegium Musicum 90, Rostropovich and Previn, the Concert D’Astrée under Haim, the London The King’s Consort, London Classical Players, La Chapelle Royale and the Philharmonic under Norrington, Les Musiciens du Louvre under Academy of Ancient Music under conductors which include William Minkowski, the Cleveland Orchestra under Welser-Möst, the Berlin Christie, Harry Christophers, Richard Egarr, Trevor Pinnock, Richard Philharmonic under Haitink and Rattle, the Berlin Staatskapelle under Hickox, Nicholas McGegan, Robert King, and Sir Charles Mackerras. Jordan, the New York Philharmonic under Masur, the Boston Symphony under Ozawa, the San In opera she has sung Morgana (Alcina) at the Halle Handel Festival, Sevilla (La Clemenza di Tito) Francisco Symphony under Tate and Norrington, the Vienna Philharmonic under Norrington, with the Flanders Philharmonic Orchestra, Handel (Theodora) with Glyndebourne Touring Pinnock and Welser-Möst, and both the Orchestra of the Maggio Musicale Fiorentino and the Opera, Handel (Riccardo Primo) at the Göttingen Festival with Nicholas McGegan, Purcell (The Orchestre de Paris under Giulini. Fairy Queen) with the English Concert and Monteverdi’s Il combattimento di Tancredi e Clorinda On the operatic stage he has sung Don Ottavio at the Glyndebourne Festival under Sir Simon with Netherlands Opera which was also filmed. Rattle, directed by Deborah Warner, the Aix-en-Provence Festival under Claudio Abbado, Lorna Anderson has also established an important reputation in the standard concert repertoire, directed by Peter Brook and for his debut at the Royal Opera House, Covent Garden, under having sung with the BBC Orchestras, the Bach Choir, London Mozart Players, Royal Liverpool Mackerras. His many appearances at the Munich Festival include Bajazet (Ta m e r l a n o ), Jonathan Philharmonic, Israel Camerata, RAI Turin (Les Noces), New World Symphony in Miami, Houston (Saul), the title role in a new production of Idomeneo at the Cuvilliestheater and as Orfeo, for Symphony Orchestra,Washington Symphony Orchestra, Scottish Chamber Orchestra, Ensemble which he received the Munich Festival Prize. He created the role of Der Daemon in the world Intercontemporain under Pierre Boulez, London Sinfonietta under Sir Simon Rattle and at the premiere of Hans Werner Henze’s L’Upupa at the Salzburg Festival and Hippolyt in the world Salzburg, Edinburgh and Aldeburgh Festivals among others. She has recently toured in Libya and premiere of Henze’s Phaedra in Berlin and Brussels. He sang Skuratov in Janacek’s From the House China with the Academy of Ancient Music. of the Dead directed by Chereau and conducted by Boulez at the Amsterdam,Vienna and Aix-en- Provence Festivals and subsequently in his house debut at La Scala, Milan under Salonen.A DVD Her numerous recordings include; The Fairy Queen under Harry Christophers, Haydn Masses of this production has also been released. He sang his first Captain Vere in Billy Budd in Frankfurt under Richard Hickox, a disc of Portuguese love songs and for Hyperion she has recorded Britten directed by Richard Jones and 2010 saw his first Captain Vere in the UK in Michael Grandage’s folksong settings with Malcolm Martineau, Handel’s L’Allegro with Robert King and is an artist production of Billy Budd for the Glyndebourne Festival. on Graham Johnson’s complete Schubert Edition. Recent releases include part of a long term project to perform and record all of Haydn’s Scottish song arrangements for voice and piano trio John Mark won the 2007 Royal Philharmonic Society Singer Award. He is a Visiting Professor at with Haydn Trio Eisenstadt. Lorna Anderson also features in a recording of ‘Lament for Mary the Royal Academy of Music. Queen of Scots’ which was commissioned from James MacMillan.

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SARAH FOX [SF] JONATHAN LEMALU [JL]

Sarah Fox studied at London University and the Royal College of Music. Jonathan Lemalu, a New Zealand born Samoan, is already at the very She won the Kathleen Ferrier Award in 1997 and the John Christie Award forefront of today’s young generation of singers. He graduated from a in 2000. Postgraduate Diploma Course in Advanced Performance on the London Royal Schools Opera Course at the Royal College of Music and was For the Royal Opera Covent Garden, she has sung Woglinde (Das awarded the prestigious Tagore Gold Medal. He is a joint winner of the Rheingold & Gotterdammerung),Waldvogel (Siefried), Zerlina (Don Giovanni), 2002 Kathleen Ferrier award and the recipient of the 2002 Royal Lucy Lockitt (The Beggar’s Opera) and Asteria (Ta m e r l a n o ). Her roles at the Philharmonic Society’s Award for Young Artist of the Year. Glyndebourne Festival include Karolka (Jenufa), Zerlina (Don Giovanni) and Susanna (Le Nozze di Figaro). Further British engagements include Jonathan’s debut recital disc was awarded the Gramophone Magazine Debut Ann Page (Sir John in Love) with ENO,Merab (Saul), Musetta and Mimi (La Boheme) with Opera Artist of the Year award. He subsequently released his ﬁrst solo recording, with the New Zealand North and Servilia (La Clemenza di Tito) with WNO. At the Edinburgh Festival, her roles have Symphony Orchestra, and then a recital disc with Malcolm Martineau, featuring the Belcea Quartet. included Iphis (Jephtha) and Cleoﬁde (Poro). He has performed at the Tanglewood Festival with the Boston Symphony Orchestra and at the Her European engagements include: Michal (Saul), Eurydice (Orphee et Euridice) and Asteria Ravinia Festival with the Chicago Symphony Orchestra under Conlon.At the Edinburgh Festival (Ta m e r l a n o ) with the Bayerische Staatsoper Munchen; Ilia (Idomeneo) with De Vlaamse Opera; he has appeared under Runnicles and Mackerras.At the BBC Proms he has performed with the Susanna (Le Nozze di Figaro) for the Royal Danish Opera; and Second Niece (Peter Grimes) Hallé Orchestra and with the New Zealand Symphony Orchestra. Other concert engagements and Woglinde (Das Rheingold) at the Salzburger Festspiele. She has also sung Zerlina for include The Flowering Tree with the Tokyo Symphony Orchestra, The Damnation of Faust with the Cincinnati Opera. Toronto Symphony Orchestra under Dutoit, the Chicago Symphony Orchestra, the London Symphony Orchestra under Sir Colin Davis and with the Berlin Philharmonic Orchestra under She has recently toured throughout Europe and the USA as Josabeth (Athalia) with the Koln Dutoit, Mendelssohn’s Elijah with the Netherlands Philharmonic Orchestra, Mozart arias with Konzert under the baton of Sir Ivor Bolton, and has performed in concert with the Bach Choir; the Salzburg Camerata, Handel’s Messiah with the New York Philharmonic and the world Halle; CBSO and The English Concert. Other concert work has included tours to Japan and premiere of Harbison’s Requiem with the Boston Symphony Orchestra under Bernard Haitink in Israel; BBC Proms; and performances with the COE and the San Francisco Symphony. Boston and New York. Her numerous recordings include Vivaldi’s Sacred Music with the Choir of Kings College His operatic engagements in the UK have included Figaro (Le Nozze di Figaro) and Don Basilio Cambridge for EMI; Vaughan Williams’ Christmas Music with the City of London Sinfonia; (The Barber of Seville) for English National Opera, Papageno (The Magic Flute) for the Leighton’s 2nd Symphony for Chandos; and Owen Wingrave and The Beggar’s Opera also for Chandos. Glyndebourne Festival and Zoroastro (Orlando) and Colline (La Boheme) at the Royal Opera House, Covent Garden. In Europe, he has sung the title roles in Saul and Le Nozze di Figaro, Argante (Rinaldo) and Leporello (Don Giovanni) for the Bayerische Staatsoper, Leporello for Hamburg Opera, Rodomonte (Orlando Palladino) and Papageno for the Theater an der Wien, Bottom for the Opera de Lyon, Bari and Rocco (Fidelio) under Gergiev at the Gergiev Festival in Rotterdam and for the Cincinnati Opera and Queegueg in Jake Heggie’s world premiere based on Moby Dick for Dallas Opera.

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LISA MILNE [LM] ANN MURRAY [AM]

Scottish soprano Lisa Milne studied at the Royal Scottish Academy of Music Ann Murray was born in Dublin and studied with Frederick Cox at the and Drama. Royal Manchester College of Music. She has established close links with both the English National Opera, for whom she has sung the title roles in In opera, her appearances have included Pamina (Die Zauberflöte) and Handel’s Xerxes and Ariodante and Donizetti’s Maria Stuarda,and with the Susanna (Le nozze di Figaro) at the Metropolitan Opera, New York and Royal Opera House, Covent Garden, where her roles have included Pamina, Marzelline (Fidelio), Micäela (Carmen) and the title roles in Cherubino, Dorabella, Donna Elvira, Rosina, Octavian, and new Rodelinda and Theodora at the Glyndebourne Festival. Her many roles at productions of L’Enfant et les Sortilèges, Ariadne auf Naxos, Idomeneo, the English National Opera have included Countess Almaviva (Le nozze di Mitridate, Re di Ponto, Cosi fan Tutte, Mosé in Egitto, Alcina and Giulio Cesare. Figaro), the title role in Alcina and Anne Trulove (The Rake’s Progress). At the Welsh National Opera she has sung Servilia (La clemenza di Tito) and she created the role of Much sought after as a concert singer, she has sung with the Orchestre de Paris under Kubelik, Sian in the world premiere of James MacMillan’s opera The Sacriﬁce.For Scottish Opera she has the Philadelphia Orchestra under Sawallisch, the Berlin Philharmonic Orchestra under Muti, the sung the title role in Semele,Adèle (Die Fledermaus), Adina (L’Elisir d’Amore), Zerlina (Don Chicago Symphony Orchestra under Solti, the Royal Concertgebouw Orchestra under Haitink Giovanni), Susanna, Ilia (Idomeno) and Despina (Così fan tutte). She has also appeared with the and in the Musikverein,Vienna under Sawallisch and Harnoncourt. She sings in Great Britain Dallas Opera, Stuttgart Opera, Royal Danish Opera, at the Göttingen Handel Festival and on tour with the leading orchestras, at the BBC Promenade Concerts (where she has sung at both the with the Salzburg Festival. First and Last Nights of the Proms) and at the major festivals. A frequent guest at the major festivals, her many concert engagements have included appearances Her discography reflects not only her broad concert and recital repertoire but also many of her with the Boston Symphony Orchestra and Levine, the Berlin Philharmonic with Rattle, the great operatic roles, including Purcell’s Dido under Harnoncourt, Dorabella under Levine, Rotterdam Philharmonic Orchestra with Gergiev, the Dresden Staatskapelle with Ticciati, the Cherubino under Muti, Hansel under Colin Davis, Sextus under Harnoncourt and Donna Elvira Budapest Festival Orchestra with Fischer and the New York and Vienna Philharmonic Orchestras under Solti. with Harding. Her operatic engagements have taken her to Hamburg, Dresden, Brussels, Paris, Berlin, Cologne, A renowned recitalist, she has appeared at the Aix-en-Provence, Edinburgh and City of London Zurich, Amsterdam, the Chicago Lyric Opera and the Metropolitan Opera, New York.At La Festivals; the Oxford Lieder Festival; the Palais des Beaux Arts in Brussels and at the Scala, Milan her roles have included Donna Elvira, Sextus, Dorabella and Cherubino under Muti. Schumannfeste in Dusseldorf. She is a regular guest at London’s Wigmore Hall. For the Bavarian State Opera, Munich she has sung Cherubino, Dorabella, Sextus, Elvira, the Composer, Octavian, Xerxes,Ariodante, Giulio Cesare and Rinaldo. Her many recordings include Ilia and Servilia with Mackerras, Atalanta (Serse) with McGegan, The Governess (The Turn of the Screw) with Hickox and Mahler’s Symphony No. 2 with Fischer In 1997 Ann Murray was made an Honorary Doctor of Music by the National University of – winner of a Gramophone Award. Ireland, in 1998 she was made a Kammersängerin of the Bavarian State Opera and in 1999 an Honorary Fellow of the Royal Academy of Music. In the 2002 Golden Jubilee Queen’s Birthday She was awarded an MBE in the Queen’s Birthday Honours in 2005. Honours she was appointed an honorary Dame Commander of the Most Excellent Order of the British Empire. In 2004 she was awarded the Bavarian Order of Merit.

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ROBERT MURRAY [RM] THOMAS OLIEMANS [TO]

Robert Murray studied at the Royal College of Music and the National Born in Amsterdam in 1977, the Dutch baritone Thomas Oliemans Opera Studio.He won second prize in the Kathleen Ferrier awards 2003 graduated from the Amsterdam Conservatory,coached by Margreet Honig. and was a Jette Parker Young Artist at the Royal Opera House Covent He continued his studies with KS Robert Holl, Elio Battaglia and Dietrich Garden. Operatic roles at the Royal Opera House include Tamino (Die Fischer-Dieskau. Zauberflote), Borsa (Rigoletto), Gastone (La Traviata), Harry (La Fanciulla del In 2005 he made his debut at the Salzburg Festival in Schreker’s Die West), Lysander (A Midsummer Night’s Dream), Agenore (Il re Pastore), Gezeichneten conducted by Kent Nagano. Further important debuts Belﬁore (La Finta Giardiniera), Jacquino (Fidelio) and Don Ottavio (Don followed in 2006 as Papageno in Mozart’s Die Zauberflöte with the Opera Giovanni). He recently sang the title role in Albert Herring for of Nantes and Angers, to great public and critical acclaim, and at the Glyndebourne On Tour, Tom Rakewell (The Rake’s Progress) for Garsington Opera, Opera de Genève as Guglielmo in Cosi fan Tutte. The Simpleton (Boris Godunov),Tamino,Toni Reischmann (Henze’s Elegy For Young Lovers) and Idamante (Idomeneo) for ENO; Benvolio (Romeo et Juliette) at the Salzburg Festival and Ferrando Most recent appearances include Marcello (La Bohème) and Donner (Das Rheingold) at the (Cosi fan Tutte) for Opera North. Nationale Reisopera, Figaro (Le Nozze di Figaro) and Figaro (Il Barbiere di Siviglia) Scottish Opera (both directed by Sir Thomas Allen), Hercule (Alceste) at the Aix-en-Provence Festival, Maximilian He has sung in concert with many of the leading early music specialists, including Sir John Eliot (Candide) and Tarquinius (The Rape of Lucretia) both at the Vlaamse Opera. Papageno (Die Gardiner for the BBC Proms, Sir Charles Mackerras, Emanuelle Haim and Harry Christophers. Zauberflöte) at the Théâtre du Capitole in Toulouse, Harlequin (Ariadne auf Naxos) at the Opera At the Aldeburgh Festival, he has performed Britten’s War Requiem with Simone Young, and National du Rhin Strasbourg, Frank (Die tote Stadt) at the Opéra National de Lorraine. His Britten’s Our Hunting Fathers with the CBSO and Thomas Adès.At the Edinburgh Festival he has strong ties to De Nederlandse Opera have resulted in parts in Don Carlo, Un Ballo in Maschera and performed Strauss’s Elektra with the Royal Scottish National Orchestra and Edward Gardner, Castor et Pollux.He also sang leading roles in two world-premiere productions of contemporary Vaughan Williams’s Serenade to Music with the Scottish Chamber Orchestra and David Jones, Dutch operas by Wagemans and Zuidam. Schumann’s Manfred with the BBC Scottish Symphony Orchestra and Ilan Volkov and Haydn’s Die sieben letzten Worte des Erlösers am Kreuze with the SCO. In Europe he appeared with the Thomas Oliemans appears regularly on the concert stage and his repertoire includes nearly all Rotterdam Philharmonic under Valery Gergiev and Yannick Nezet-Seguin; at the Gstaad Festival major works by J.S. Bach, Mahler’s orchestral song cycles, Requiems of Brahms, Fauré and with the Gabrieli Consort under Paul McCreesh; in Paris under Esa-Pekka Salonen and in Duruflé, Rossini’s Petite Messe Solenelle,Honegger’s Le roi David as well as Mendelssohn’s Elijah. Madrid with the Orquesta y Coro Nacionales de Espana. Recent concert appearances include Des Knaben Wunderhorn with the Norwegian Radio Orchestra in Oslo, Beethoven’s 9th Symphony with the Kioi Sinfonietta Tokyo and Mahler’s 8th In recital he has performed at the Newbury,Two Moors, Brighton and Aldeburgh Festivals and Symphony with the Bochumer Symphoniker. at London’s Wigmore Hall. He has toured Die Schöne Müllerin extensively with Malcolm Martineau, and recorded a recital of Brahms, Poulenc and Barber with Simon Lepper for Voices Oliemans has worked with such conductors as Ivor Bolton, Frans Brüggen, Hartmut Haenchen, on BBC Radio 3. Edo de Waart, Jaap van Zweden, Reinbert de Leeuw, Paul McCreesh, and Riccardo Chailly. His discography includes Schubert’s Winterreise,as well as the CD ‘Mirages’with song cycles by Francis Poulenc and Gabriel Fauré and Schubert’s Schwanengesang,both with pianist Malcolm Martineau. In orchestral repertoire 2010 saw the release of a disc with works by Frank Martin for baritone with the Stavanger Symphony Orchestra and conductor Steven Sloane. 36 37

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MALCOLM MARTINEAU This recording was made with generous support from Simon Yates and Kevin Roon. Malcolm Martineau was born in Edinburgh, read Music at St Catharine's College, Cambridge and studied at the Royal College of Music. Song texts are reproduced by kind permission of Kahn & Averill, Recognised as one of the leading accompanists of his generation, he has from Pierre Bernac’s Francis Poulenc: The man and his songs, worked with many of the world’s greatest singers including Sir Thomas with English translations by Winifred Radford. Allen, Dame Janet Baker, Olaf Bär, Barbara Bonney, Ian Bostridge,Angela Gheorghiu, Susan Graham,Thomas Hampson, Della Jones, Simon Keenlyside, The Steinway concert piano chosen and hired by Signum Records for Anna Netrebko, Frederica von Stade, Bryn Terfel and Sarah Walker. this recording is supplied and maintained by Steinway & Sons, London He has presented his own series at St Johns Smith Square (the complete songs of Debussy and Poulenc), the Wigmore Hall (a Britten and a Poulenc series broadcast by the BBC) and at the Edinburgh Festival (the complete lieder of Hugo Wolf). He has appeared throughout Europe (including London’s Wigmore Hall, Barbican, Queen Elizabeth Hall and Royal Opera House; La Scala, Milan; the Chatelet, Paris; the Liceu, Barcelona; Berlin’s Philharmonie and Recorded at St Michael and All Angels in Summertown, Oxford, Konzerthaus; Amsterdam’s Concertgebouw and the Vienna Konzerthaus and Musikverein), from 14-20 February and 6-10 September 2010. North America (including in New York both Alice Tully Hall and Carnegie Hall), Australia (including the Sydney Opera House) and at the Aix-en-Provence, Vienna, Edinburgh, Producer – John West Schubertiade, Munich and Salzburg Festivals. Recording Engineer & Editor – Andrew Mellor Recording projects have included Schubert, Schumann and English song recitals with Bryn Terfel Design - Darren Rumney (for Deutsche Grammophon); Schubert and Strauss recitals with Simon Keenlyside (for EMI); recital recordings with Angela Gheorghiu and Barbara Bonney (for Decca), Magdalena Kozena P2011 The copyright in this recording is owned by Signum Records Ltd. (for DG), Della Jones (for Chandos), Susan Bullock (for Crear Classics), Solveig Kringelborn (for C2011 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. NMA); Amanda Roocroft (for Onyx); the complete Fauré songs with Sarah Walker and Tom Krause; the complete Britten Folk Songs for Hyperion; and the complete Beethoven Folk Songs Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public for Deutsche Grammophon. performances or broadcasting may be obtained from Phonographic Performance Ltd.All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, Recent engagements include appearances with Sir Thomas Allen, Susan Graham, Simon electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Keenlyside, Angelika Kirchschlager, Magdalena Kozena, Dame Felicity Lott, Christopher Maltman, Kate Royal, Michael Schade, and Bryn Terfel. SignumClassics, Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. He was a given an honorary doctorate at the Royal Scottish Academy of Music and Drama in +44 (0) 20 8997 4000 E-mail: [email protected] 2004, and appointed International Fellow of Accompaniment in 2009. www.signumrecords.com

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