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Home , Au monde, Befreit, Castleward Opera, Charles Mackerras, Dance of the Seven Veils, Der Rosenkavalier

Susan Bullock John Graham-Hall John Wegner

Philharmonia Sir

CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss in one act

Libretto by the composer after Hedwig Lachmann’s German translation of Wilde’s play of the same name, English translation of the German by Tom Hammond

Richard Strauss 3 , Tetrarch of Judea John Graham-Hall COMPACT DISC ONE Time Page , his wife Sally Burgess mezzo- Salome, Herod’s stepdaughter soprano Scene One Jokanaan () John Wegner 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. 99] Jokanaan, Salome, Narraboth 7 ‘He is terrible’ 4:54 [p. 99] Gareth Hancock assistant conductor Salome, Narraboth, Jokanaan Sir Charles Mackerras

4 5 Time Page COMPACT DISC TWO Time Page 8 ‘Jokanaan! I am in love with your pale flesh, Jokanaan!’ 2:59 [p.101] Scene Four, cont. 9 ‘I’m enamoured of your hair, Jokanaan’ 2:43 [p.101] 1 Salome’s Dance of the Seven 9:30 [p.111] Salome, Jokanaan 2 ‘Ah, heavenly! Wonderful, wonderful!’ 7:27 [p.111] 10 ‘It’s your mouth that I desire, Jokanaan’ 11:08 [p.101] Herod, Salome, Herodias Salome, Jokanaan, Narraboth 3 ‘Salome, just think what you’re doing’ 3:13 [p.113] Herod, Salome, Jews Scene Four 4 ‘Give me the head of Jokanaan!’ 2:12 [p.114] 11 ‘Where is Salome?’ 4:06 [p.103] Salome, Herod, Herodias Herod, Herodias, First Soldier 5 ‘I hear no noise from below there’ 2:36 [p.114] 12 ‘Salome, come drink wine with me’ 2:47 [p.104] 6 ‘Ah! You would not let me kiss your mouth, Jokanaan!’ 6:47 [p.114] Herod, Salome, Herodias 7 ‘Your body was an ivory column’ 5:32 [p.115] 13 ‘See, the time is upon us’ 3:38 [p.105] Salome Jokanaan, Herodias, Herod, Jews, First Nazarene 8 ‘You have an evil monster for a daughter’ 5:29 [p.115] 14 ‘Brothers, the day is near us, the day of the Lord’ 2:51 [p.107] Herod, Herodias, Salome Jokanaan, Herod, First Nazarene, First Jew, Second Nazarene, Herodias

15 ‘Men shall soon rebel against this dissolute woman’ 2:12 [p.108] 9 Salome’s Dance of the Seven Vails (concert version) 9:37 [p.116] Jokanaan, Herodias, Herod TT 52:40 16 ‘Dance for me, Salome’ 4:25 [p.108] Herod, Herodias, Salome, Jokanaan TT 61:39

6 7 Salome is a shocking story which still resonates today. Nowhere is its depiction of obsession, lust, innocence and depravity more powerfully portrayed than in Richard Strauss’s fabulous opera. Unbelievably, this is the first time that Charles Mackerras has recorded this visceral work and we are thrilled that he chose to do so for Opera in English. Listen to him unleashing its maelstrom of human emotions with a superb cast led by Susan Bullock as Salome and the musicians of the Philharmonia Orchestra. Fasten your seat belts, switch on, and enjoy the ride!

Sir Peter Moores, CBE, DL November 2008 Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 8 9 to him a musical idea – and key, C sharp disposes of Mahler’s fear that Strauss had left Strauss’s active volcano minor – which he scribbled in the margin the Dance until he was out of the mood. of his copy. The same occurred with other The performance on these discs is sung in There is no mention of the name Salome Salomé, written in French and illustrated by crucial lines. So when he went to see the play the English translation by Tom Hammond. in the New Testament. In the gospels of St , there were paintings by in November 1902 and a friend remarked to In effect the of the German version Matthew and St Mark we read merely of ‘the Gustave Moreau and Lovis Corinth, a short him ‘Surely there’s an opera in this for you?’ he is Strauss’s own work. He Wilde’s play daughter of Herodias’ by her first husband story (Hérodias, 1877) by Flaubert, and the could truthfully reply ‘I’m already composing by nearly half, eliminated some secondary Herod Philippus. He was deserted by Herodias opera Hérodiade by Massenet (1881). But it it’. But it was not until July 1903, on holiday characters and many of Wilde’s flowery for his half-brother Herod Antipas, son of was Wilde who added Salome’s obsession for in Marquartstein, that he began serious work phrases, shortened the religious debates and, , and this second marriage was John and Herod’s for Salome, and had Salome on it, composing on an upright in the anticipating censorship trouble, deleted denounced as ‘incestuous’ by John the Baptist killed on Herod’s orders. His interest in the ‘ room’ and writing at the ironing Salome’s line in her final speech when she who claimed to be preparing the way for the subject was a response to Moreau’s paintings. table. He continued work while on a tour of says ‘I was a virgin and you deflowered me. . This was enough for Herod Antipas His play was a failure in and was banned America in 1904 when he conducted the first I was chaste and you filled my veins with to imprison him in a dungeon (or cistern) in , but was a success in 1901 in performance of his and fire’. In the first scene when Salome leaves at Machaerus, east of the Dead Sea. After Breslau in a German translation. In the completed the full score in Berlin on 20 June the banquet because she is bored by the a banquet on Herod’s birthday, Herodias’s following year, produced by , 1905, three weeks after the death of his father religious discussions and doesn’t like the way daughter danced for the guests and pleased it had 200 performances in another German to whom he had played some of the opera. her stepfather Herod is looking at her, Strauss Herod so much that he promised her whatever translation by Hedwig Lachmann. The old man had remarked ‘My God, what omitted the next line in Wilde (‘I know she wanted. Egged on by her mother, she asked Richard Strauss had been living in Berlin, nervous music. I feel as if my were not what it means. In truth, yes, I know it’) for the head of John the Baptist. Herod, say where he was court conductor for Kaiser full of insects’. As soon as Strauss had finished because he viewed his heroine as an innocent both gospels, was ‘sorry’, but kept his promise. Wilhelm II, since 1898. A young Viennese this version he adapted Wilde’s French text virgin. It is a pungent libretto, but Strauss Herodias’s daughter became Salome some writer, Anton Lindner, one of whose for a second version of the opera which he wrote to his friend Romain Rolland: ‘You are time in the nineteenth century when there Strauss had set in 1898, offered to write an completed in September 1905. He modified right. The text of Salome is not good. I took was a vogue for the story. It chimed in with opera libretto on Salome and sent him some the rhythm and melody of the score ‘to fit the it because I hadn’t anything else and because I the obsession for the , the sexually sample scenes. Strauss was unimpressed and character of the French language’. The two had something to say. What was I to do? I can’t aware woman be she Salome, Judith or Hanna preferred the Lachmann translation. Its first versions differ in several subtle respects and the write my libretti like ’. Glawari of . Think only line, ‘Wie schön ist die Prinzessin Salome second does sound like a . It was Following the successful premiere in of Wedekind’s Erdgeist, Zola’s Nana and the heute Nacht!’ (‘How beautiful the Princess while working on the French version that he of his second opera, the one-act paintings of Klimt and Schiele. Besides Wilde’s Salome is tonight!’) immediately suggested composed the . This , Strauss offered Salome, also in one

10 11 act, to Dresden and warned the conductor two performances of Salome within a week in made some ludicrous modifications to the dance should be purely oriental, as serious and that the singers of the three Berlin in January 1907 with German text which were ignored by the measured as possible, and thoroughly decent principal roles – Salome, John (Jokanaan) and in the title-role, wrote: ‘I am singers and nobody noticed. Berlin waited a as though it were being done on a prayer-mat’. Herod – should give themselves three months firmly convinced that it is one of the greatest year to perform it because of objections from Heaven knows what he would think of what to learn their parts. The Wagnerian soprano masterpieces of our time… emphatically a the Empress and her family. The solution we often see on the stage today. allowed only one month and work of genius and very powerful. An active there was the anachronistic display of the Star Not many in the twenty-first century are when she studied Salome’s part could scarcely volcano is at work under a heap of slag, a of Bethlehem on the backcloth. The Kaiser shocked by Salome. They are more likely to believe her eyes and poured out her woes to subterranean fire – not merely a firework!’ never attended a performance, but remarked dismiss it as Kitsch. The vast majority, though, . At the first piano rehearsal, After Dresden Salome was staged in Breslau that Salome would do Strauss a great deal of are likely to be excited and astounded by the Wittich and all the other singers except the and, within two years, in fifty other towns harm, to which Strauss retorted that the harm sheer audacity and colour of this revolutionary Czech tenor (the Herod) who and cities. The public was eager to experience it did him enabled him to build his villa in score, the opera which paved the way for not already knew his part by heart queued to hand this ‘blasphemous ’, but the opera Garmisch. After the first of two performances only Strauss’s own but Berg’s Marie and their scores to Schuch. Later, Wittich objected encountered censorship problems. Mahler scheduled for the in New , Korngold’s Marietta and Shostakovich’s to the simulated ‘perversity’ demanded of her could not get it past the court censor for the York in 1907, the daughter of the financier Katerina Ismailova, among many others. He by the producer and told Strauss ‘I won’t do it. Opera where he was director and J. Pierpont Morgan had the opera removed put pathological obsession on the opera stage. I’m a decent woman’. Strauss was so annoyed threatened to resign, but Strauss dissuaded from its repertory and it was not performed He depicts the depravity of the main characters by her attitude that he threatened to take the him, saying ‘For heaven’s sake don’t let Salome there until 1934. Arriving in New York at that but the music remains predominantly lyrical. premiere from Dresden and give it to Leipzig give rise to a question of confidence! We need time to conduct his oratorios was Sir Edward Although scored for 105 instrumentalists, or Vienna. But in spite of ‘Auntie Wittich’, an artist of your determination, your genius Elgar who was amazed to be asked to lead a it sounds best when conducted, as Strauss as he called her, all went well. After the and your outlook too badly for you to put public prayer meeting to deliver the city from recommended, with a light touch. ‘It is a rehearsal there was a stunned silence and anything at stake on Salome’s account. In the the scourge of Salome. He refused, pointing scherzo with a fatal conclusion’, he said. With Strauss was heard to say: ‘Well, I really enjoyed end we shall attain our ends without this!’ out that Strauss was ‘the greatest genius of the first notes of the which open the that!’ At the premiere on 9 December 1905 They were not attained in that particular the age’. A lot of the trouble with the censors opera we are transported into that strange there were thirty-eight curtain-calls, but almost until 1918, but the Austrian was caused by Salome’s Dance of the Seven Mediterranean night of two thousand years ago all the German critics poured abuse on the premiere was in in 1906 attended, it is Veils. Strauss was very clear about how this with its full moon, sultriness and atmosphere opera. After all, Strauss’s series of tone-poems said by, Adolf Hitler, and the Breslau company should be done and objected to ‘dramatics’ of impending violence which Herod senses on composed in the 1890s were still regarded by performed it in another Vienna theatre in imported into it – ‘no flirting with Herod, no his entrance. Strauss grabs us by the throat at critics, if not by the public, as the embodiment 1907. banned it in 1907 but relented playing to Jokanaan’s cistern, only a moment’s the outset and for the next hundred minutes of cacophony and decadence. After attending four years later provided Sir pause beside the cistern on the final trill. The never lets us go.

12 13 Strauss admired many of the singers of over the severed head. The scene is hair- refuses, but finally gives in. 6 Freed from of the Temple. She refuses all of these and Salome but was always searching for his ideal. raising in its horror still, yet it is monstrously the cistern, Jokanaan continues to denounce Herod is forced to relent. Perhaps he found her at the end of his life beautiful as music. Strauss wins our grudging Herod and Herodias. Salome is fascinated by 6 - 7 Jokanaan’s head is presented to in and . At sympathy for Salome as he weaves all the him. 7 When Jokanaan realizes who she is, Salome on a silver charger and she finally kisses one time he toyed with the idea of Elisabeth principal themes of the score into a vocal and he turns on her too, urging her to repent. his lips. 8 Revolted, Herod orders his soldiers Schumann, one of Nature’s Zerlinas, as Salome instrumental orgasm of erotic longing. For 8 - 10 Salome tells him of her desire for his to kill her. and offered to ‘damp down’ the orchestra for all the monumental glories of Elektra, it is in body, his hair and his mouth. Narraboth, her. She fulfilled his idea of a light capricious Salome that Strauss is at his most innovative, appalled at what he is seeing, kills himself. John Graham-Hall Salome instead of ‘the 16-year-old princess daring and varied. With it, it can safely be said, Cursing Salome, Jokanaan returns to the (Herod) studied with the voice of Isolde’ he had formerly he changed the face of opera. cistern. at ’s College‚ prescribed. Wisely perhaps, she never agreed 11 - 15 Herod and Herodias emerge from the Cambridge and © 2008 Michael Kennedy Williamson © Stu to try the experiment. But Herbert von feast. Herod has become increasingly obsessed the Royal College Karajan remembered Strauss saying to him: by his stepdaughter Salome, and his advances of Music. He has ‘Nowadays all the heavy are singing Synopsis are interrupted by Jokanaan’s voice. Herodias sung with all the Salome. It’s all gone out of control. I don’t urges Herod to give the prisoner up to the major British opera want that’. His brilliance at characterisation as COMPACT DISC ONE Jews but the Tetrarch refuses. 16 As a diversion, companies where demonstrated in his tone-poems carried over he asks Salome to dance for him. She refuses. roles include Albert into Salome. He had the utmost contempt for 1 Narraboth, the young Captain of the Herod promises to give her anything she wants Herring at House‚ Covent religion and despised John the Baptist as an Guard, stands on the terrace of Herod’s great if only she will dance. Only after he swears an Garden; ‚ Vanya Kudrjas ‘imbecile’. But he still wrote fine music for palace and is entranced by Salome who is in oath does she agree. (Katya Kabanova)‚ (A Midsummer him, whatever his feelings, and captured the the banqueting hall. 2 From a cistern comes Night’s Dream) and Bob Boles () prophet’s obsessions as acutely as he captured the voice of Jokanaan (John the Baptist) who COMPACT DISC TWO for Festival Opera; Valzacchi Herod’s and Herodias’s and those of members has been imprisoned for defaming the Tetrarch ()‚ Don Basilio‚ Monostatos‚ of the religious groups like the Jews who are and his wife. He is guarded by soldiers and 1 Dance of the Seven Veils. 2 - 5 After she Lysander (A Midsummer Night’s Dream) and interminably arguing among themselves. watched by a small group of Nazarenes. has finished the dance Herod calls her over and Herod for ; Cassio It is Salome herself, however, who rightly 3 - 5 Herod has ordered that no one should asks what her reward will be. She asks for the () for ; Eisenstein dominates her opera. The genius of the music be allowed to speak to the prisoner, but when head of Jokanaan. Horrified, Herod tries to and Schoolmaster () is nowhere more powerfully illustrated than Salome appears and hears Jokanaan she urges persuade her to choose something else, offering for ; and Aschenbach (Death in in Salome’s final crazed Liebestod as she drools Narraboth to let her see him. At first, he her jewels, his white peacocks and even the Venice)‚ Lysander‚ Albert Herring and Ferrando

14 15 (Così fan tutte) for Glyndebourne Touring Case), Monostatos (The Flute) and DC with , in Seattle with Opera Company, at the Teatro Nacional de Opera. Isacco (The Thieving Magpie). Gerard Schwarz, in Houston and Bordeaux Sao Carlos in Lisbon and at . She As one of Britain’s leading international with Hans Graf, in San Diego with Jahja Ling, has performed the role of Isolde in London, singers his operatic engagements abroad have Sally Burgess and throughout Europe with other acclaimed Frankfurt, Verona, and Rouen. The role included the Dancing Master (Ariadne auf (Herodias) has been maestros in performances recorded for national of Richard Strauss’s Elektra has brought Susan Naxos)‚ Cassio and Basilio at particularly acclaimed TV and radio networks. For her performance in Bullock particular international acclaim. in Brussels; and two roles in Moses and Aaron for her portrayal of the Royal Shakespeare Company/ Other recent roles have included Marie © Sian Trenberth © Sian for Netherlands Opera and at the Salzburg Bizet’s , a role co-production of Showboat in London’s West in at Covent Garden under Daniel Festival. He sang Shapkin (From the House she has performed End she was nominated for an Olivier Award Harding, Female Chorus (The Rape of of the Dead) for Nice Opera; Lysander in for the Metropolitan for best actress in a musical. Sally Burgess’ Lucretia) for Bayerische Staatsoper, Lady Paris‚ Lyon‚ Caen‚ Montpellier‚ Rome‚ at the Opera in New York, many recordings include, for Chandos, Judith (Bloch’s Macbeth) in Vienna, Ravenna Festival; Lensky () in the Opéra de Paris- (Bluebeard’s Castle, as part of the Opera in Schreker’s Der Schatzgräber with Oper Lyon and Toronto; Ferrando in Vancouver; Bastille, in , English series) and Florence Pike (Albert Frankfurt, and Ellen Orford (Peter Grimes) for Cassio and Telemacus (Il ritorno d’Ulysse in London, Zurich, Berlin, Bregenz, New Herring), as well as West Side Story, English National Opera and the Royal Danish Patria) in Lisbon; Achilles (King Priam) and Zealand and Portland. She has sung with The King and I, Sally Burgess Sings Jazz, Opera. Painter (Lulu) in Antwerp; and Basilio and English National Opera, Welsh National The Other Me and Happy Talk all of which Susan Bullock’s concert work has been Spoletta () for Netherlands Opera. He Opera, Opera North, Scottish Opera, the have further expanded her reputation as an vast and diverse, and has recently included was until recently a member of English and De Nederlandse artist of limitless talent. her debut with the National Opera where roles include Eisenstein Opera. Other roles in her repertoire include Orchestra under (Hänsel und (The Merry Widow), Mime (The Cycle)‚ Azucena (), Mistress Quickly Susan Bullock Gretel); Schoenberg’s with the BBC Herod‚ Valzacchi‚ Sylvester (The Silver ( ), Baba the Turk (The Rake’s Progress), (Salome) is now one Orchestra under David Robertson; Tassie)‚ Goro (Madam Butterfly)‚ Triquet Hanna Glawari (The Merry Widow), Dalila of the world’s most the Prelude & Liebestod from and (Eugene Onegin)‚ Monostatos (The Magic (Samson et Dalila), Fricka (The Ring Cycle), sought after dramatic Isolde with conductor Esa-Pekka Salonen and © Sussie Ahlburg © Sussie Flute)‚ Shabby Peasant (Lady Macbeth of Judith (Bluebeard’s Castle), Kabanicha (Katya and in the Philharmonia Orchestra, and with Zubin Mtsensk) and Alwa (Lulu). Kabanova), and Herodias (Salome) to name but recent seasons she has Mehta and the Orchestra of the Bayerische Recordings for Chandos include Hob a few, and have taken her worldwide. appeared as Brünnhilde Staatsoper. Susan Bullock made her official (Vaughan Williams’ The Poisoned Kiss), and, In concert and recital Sally Burgess has at the New National recital debut in 2005. for the Opera in English series Alwa (Lulu), performed in New York with , in Theatre in Tokyo, Recordings include Genièvre (Chausson’s the Idiot (Wozzeck), Vítek (The Makropulos London with , in Washington with the Canadian ), and for Chandos Lady Billows

16 17 (Albert Herring), Hindemith’s Sancta Susanna, Nederlandse Opera in Amsterdam, English the Glyndebourne (), Ismaele (), Macduff and Magda (Menotti’s The Consul) with the National Opera, Opera North, Opera Ireland, Festival Chorus (Macbeth), Alfredo (La traviata) and various Spoleto Festival Orchestra under Richard and all over Australia. before completing roles in Wallen’s The Silent Twins. He created Hickox. She has released a recital disc with John Wegner’s large repertoire includes his studies at the the role of Ryan in Jonathan Dove’s When She pianist Malcolm Martineau (which includes the roles of Wotan/Wanderer, Alberich, Guildhall School of Died: Death of a Princess for Channel 4. Wagner’s and Prokofiev’s Günther, Fasolt and Donner (The Ring Music and Drama. Five Poems of Anna Akhmatova). Cycle), Telramund (), the title role In 2001 he became Rebecca de Pont in The Flying Dutchman, Kurwenal (Tristan a member of English Davies (Herodias’ Born in , John and Isolde), Klingsor (), Biterolf National Opera’s page) was born in Wegner (Jokanaan) (Tannhäuser), Pizarro, Jokanaan (Salome), Jerwood Young London and trained at

© Jeff Busby © Jeff went to Australia (Elektra), Scarpia (Tosca), Iago (Otello), Artist Programme and was later a company the Guildhall School at an early age and Alfio Cavalleria( rusticana), Rance principal, where he performed many roles of Music and Drama, was a member of (), St Bris (Les Huguenots), including Narraboth. Concert performances where she won many Melbourne’s St Patrick’s the title roles in , Falstaff, include The Dream of Gerontius in Helsinki prizes. She made Cathedral . He Cardillac and , Escamillo and Dublin, Cavaradossi (Tosca) and her operatic debut completed an associate (Carmen), Lindorf, Coppelius, Dr. Miracle Fisherman (Le Rossignol) with the City of with Glyndebourne diploma in Opera and and Dapertutto (), Birmingham Symphony Orchestra, Judith Touring Opera in Britten’s Death in Venice. Music Theatre at the Méphistophèles (), Prus (The Makropulos Weir’s Blonde Eckbert with NDR Hamburg, She made her English National Opera Victorian College of the Arts. Case) and Kissinger in the Australian premiere Schnittke’s Faust Kantate in and Zurich, debut as Emilia (Otello) and for a period John Wegner was a member of Opera of ’ . Liszt’s Missa Solemnis and Beethoven’s Missa was a company principal. Roles there have Australia from 1981 to 1992 and has Other engagements include Sebastiano Solemnis in Basel. included Mrs Sedley (Peter Grimes), Annina continued to appear as a guest artist. He is () and Battistelli’s Richard III for He has performed at many of the major (Der Rosenkavalier), Genevieve (Pelleas and currently a member of the Deutsche Oper am Deutsche Oper am Rhein, and The Tales concert halls across the UK, sung live on Melisande), Ottavia (The of Poppea), Rhein Düsseldorf/Duisburg. He has sung of Hoffmann and Claggart () for Radio 3’s In Tune and performed at the Henley, Mistress Quickly (Falstaff ), and Ulrica at , Milan, with the Royal Danish . Chelsea, Newbury Spring and North Wales (A Masked Ball). In 2001 she created the role Opera; Copenhagen; Norwegian National International Festivals. of Suzanne in the world premiere of Martin Opera; the Théâtre Royale de la Monnaie, Andrew Rees (Narraboth) was born in Other roles include Boris (Katya Butler’s A Better Place. Brussels; Théâtre du Capitole, Toulouse; , West Wales and studied at the Kabanova), Sergei (Lady Macbeth of Mtsensk), Other roles include Mrs Sedley in Barcelona Komische Oper and Staatsoper Berlin; De Royal Northern College of Music. He joined Pinkerton (), The Lawyer and in concert in Valencia, Beroe (Henze’s

18 19 ) at the Théâtre du Châtelet in Salome, La traviata, Der Rosenkavalier, Boris Tamino (); for Opera North For Glyndebourne he has sung Remendado Paris, Maddalena () for Opera North, Godunov, Shostakovich’s Lady Macbeth of Prunier () and Fenton (Falstaff ), (Carmen), Coryphee (Le Comte Ory), Gaston Mother in the world premiere of Jonathan Mtsensk, Janácˇek’s The Cunning Little Vixen and for English National Opera roles have (La traviata) and Andrew (The Last Supper) Harvey’s opera in Amsterdam, and From the House of the Dead, Henze’s included Alfredo and Cavaradossi (Tosca). He which he also performed at the Staatsoper Luxembourg and Paris, and Actress (Judith The Prince of Homburg, Zimmermann’s Die has appeared with Scottish Opera, Chelsea Berlin. For Scottish Opera he has performed Weir’s A Night at the Chinese Opera) and Soldaten and the world premieres of Gavin Opera Group, Castleward Opera, the Classical Borsa (Rigoletto), Alfred (), Moksada (Param Vir’s Snatched from the Gods) Bryars’ Doctor Ox’s Experiment and Mark Opera Company, Almeida Opera and Opera L’incredibile (Andrea Chenier), Remendado for Scottish Opera. Anthony Turnage’s The Silver Tassie. Northern Ireland. and Jaquino (). Colin Judson was Active as a concert singer, Rebecca de Pont For Kentish Opera he has sung Hermann A busy concert soloist, Wynne Evans a member of the Cologne Opera where Davies has sung with many in (The of Spades), Gustavus (A Masked works regularly with the Royal Philharmonic he appeared in many roles, most notably repertoire ranging from the major works of Ball ), Radames (), Pinkerton (Madam Orchestra, the BBC Symphony Orchestra, the Goro (Madama Butterfly), Pedrillo (Die Bach and Handel through to Rossini’s Petite Butterfly), Ismaele (Nabucco), Alvaro (The Force City of Birmingham Symphony Orchestra, Entführung aus dem Serail ) and Truffaldino Messe solennelle, Mendelssohn’s and of Destiny) and Canio (). Anton Rich the Halle, the London Symphony Orchestra (The Love for Three Oranges). His debut at Verdi’s to Mahler’s Symphony No 2, has an extensive oratorio repertoire and has and the City of London , and has the , Covent Garden was Elgar’s and The Dream of Gerontius appeared at all the principal London concert given solo recitals and concerts in London and as Pang (). Further international and Tippett’s A Child of our Time. Recordings venues. Cardiff. engagements include roles in The Magic Flute include Mistress Quickly as part of Chandos’ and Salome for English National Opera, Opera in English series. Born in Wales, Colin Judson (Third Snout (A Midsummer Night’s Dream) for the Wynne Evans (Second Jew) studied at the Teatro Real Madrid and the Royal Opera Anton Rich (First Jew) Jew) studied at the Guildhall School House Covent Garden, Flute (A Midsummer was born in Devon Guildhall School of of Music, and has Night’s Dream) for Opera North, Squeak for and studied at the Music and Drama and appeared with Scottish Glyndebourne Festival Opera and Mime Royal Academy of the National Opera Opera, Glyndebourne (The Ring Cycle) for the Opera National du Music. On leaving the Studio. For Welsh Festival Opera, English Rhin and the Sao Carlos Lisbon. RAM he joined the National Opera he has Touring Opera, Glyndebourne Chorus sung Duca (Rigoletto), Glyndebourne Touring One of Europe’s leading character , and then English Rodolfo (La Bohème), Opera, English Alasdair Elliott (Fourth Jew) has recently National Opera, where Alfred (Die Fledermaus), Alfredo (La traviata), National Opera and the Royal Opera House, performed roles such as Mime for Scottish he has sung roles in Chevalier (Dialogues of the Carmelites), Covent Garden. Opera’s new production of The Ring Cycle;

20 21 Pong (Turandot) for the Born in Liverpool Cesare) for the Grand-Théâtre de Bordeaux; appearances in Peter Grimes, , Teatro Real, Madrid, and educated at and Kecal, Superintendent Budd (Albert Albert Herring, Otello, Eugene Onegin, Die the Royal Opera, Oxford, Jeremy White Herring), Dikoy (Katya Kabanova), Talbot Zauberflöte and Pelléas et Mélisande. Abroad Covent Garden and (Fifth Jew) enjoys an (Giovanna D’Arco) and () he has appeared in productions with Théatre Reisopera, Netherlands; international career for Opera North. du Châtelet and Opéra Bastille, Paris, Opéra David (Die Meistersinger in opera, concert and Recordings include with de Lyon, Opéra de Toulouse, Opéra National von Nürnberg) for recording, in repertoire Andrew Parrott, Monteverdi’s Vespers with de Montpellier, New Israeli Opera and at Staatstheater Stuttgart; ranging from early Harry Christophers, and, for Chandos, La Monnaie, Brussels. He has worked with and Monostatos (The music to the latest Vaughan Williams’ The Pilgrim’s Progress and conductors such as , Daniel Magic Flute) in Lisbon of contemporary Britten’s . Jeremy White appears Barenboim, Christoph von Dohnányi, Bernard and for English National Opera. Other operatic composition. He has had a long association by kind permission of the Royal Opera House. Haitink, Richard Hickox, and roles include Brighelle () with conductors such as , . for The Royal Opera and English National Andrew Parrott, Adam Fischer and Harry Michael Druiett (First Opera; Snout (A Midsummer Night’s Dream) for Christophers in Bach, Handel and Mozart, Nazarene) studied Graeme Broadbent Glyndebourne Festival Opera; and Bardolpho while engagements in the twentieth-century at the Britten – Pears (First Soldier) was and Caius (Falstaff ) for Scottish Opera and repertoire have included Webern with Boulez School, Royal College born in Halifax and with the London Symphony Orchestra. and Britten with Graf, as well as appearances of Music and National studied at the Royal Alasdair Elliott is well known for his interest with Luciano Berio, Arvo Pärt and John Opera Studio. He College of Music with in contemporary music, performing Festus Adams in their own works. subsequently joined Lyndon Vanderpump, (Legende) in the world premiere, Guidoblad Roles have included Parsons (1984) at La English National and then with Usodimare (Die Gezeichneten), Vova (Schnittke’s Scala and in Valencia; Kecal (The Bartered Opera as principal Yevgeny Nesterenko Life with an Idiot) and The Servant in the Bride), Snug (A Midsummer Night’s Dream), bass and appearances at the Tchaikovsky world premiere of John Buller’s . Sourin (Pique Dame) and Ligniere (Cyrano include roles in Wozzeck, Salome, The Cunning Conservatoire. In opera and in concert he has worked with de Bergerac) at the Royal Opera House; Pluto Little Vixen, La Bohème, , , He has performed in recital and oratorio some of the world’s leading conductors and has (Orfeo), Varlaam (Boris Godunov), and the title Rigoletto, , and Lohengrin. In the throughout the UK and abroad, appearing at performed regularly in concert with the London role in The Turk in for English National UK he has also appeared regularly for Welsh all the major London concert halls and at the Symphony Orchestra, Monteverdi Choir, the Opera; Fabrizio (La gazza ladra) with the National Opera, Scottish Opera and , in repertoire ranging from Monteverdi English Concert, and the London Mozart Philharmonia; Where the Wild Things are Royal Opera House Covent Garden. For to Schoenberg. Roles have included Basilio Players. with the Berlin Philharmonic; Achilla (Giulio Glyndebourne Festival Opera he has made () for English National

22 23 Opera; Gremin (Eugene Onegin) for Opera Hickox and Daniel Oren. Especially known bass solo in much of the oratorio repertoire, provide an ideal opportunity to expand a Holland Park; Sarastro (The Magic Flute) for for his singing of virtuoso Handel roles, most recently the Mozart Requiem, Haydn’s dynamic educational and community-based New Zealand Opera; he made his debut at the heard on award-winning recordings of Acis Creation and Bach’s B minor Mass. programme. Winner of numerous awards, it Glyndebourne Festival as the Commendatore and Galatea and , his work now has garnered unanimous critical acclaim for its (Don Giovanni) and sang in Thomas extends into the mainstream of bass repertory At the beginning of 2008/09 season, Esa- innovative programming policy, at the heart Ades’ Powder her Face for the Almeida and including Osmin for both William Christie Pekka Salonen took up the position of of which is a commitment to performing and Aldeburgh Festivals. (in Strasbourg) and Marc Minkowski, Seneca, Principal Conductor and Artistic Advisor of commissioning new music by today’s leading His many roles as a member of The Royal Sarastro, Leporello, Heinrich der Vogler, the Philharmonia Orchestra; Christoph von composers. Opera have included Colline (La Bohème), Baron Ochs, Duke Bluebeard and Sondheim’s Dohnányi became Honorary Conductor for An increasing number of the Orchestra’s Angelotti (Tosca), Timur (Turandot), Dr . Life. Other conductors associated with the concerts are being broadcast by BBC Radio Grenvil (La traviata), Nightwatchman (Die Orchestra include Lorin Maazel (as Associate 3, including its annual performance at the Meistersinger von Nürnberg), Leone (), Roger Begley Principal Conductor), (as BBC Proms. As the world’s most recorded and King Marke (). (Cappadocian) studied Principal Conductor and Music Director), symphony orchestra, with over 1000 releases to at the Royal College (as Music Director) and, its credit, among these a number of television Irish bass Alan Ewing of Music and in 1971 currently, (as Conductor and feature film soundtracks, the Philharmonia (Second Soldier) has joined the Chorus Emeritus), (as Conductor Orchestra enjoys a worldwide reputation. The in recent years sung at of English National Laureate) and Sir Charles Mackerras (as discography includes, for Opera Rara, several the Berliner Staatsoper, Opera. He has Principal Guest Conductor), besides such recital discs as well as numerous complete the Opernhaus Zürich, performed many roles eminent figures as , Wilhelm , and for Chandos, in the Opera in the Maggio Musicale including Varsonofiev Furtwängler, Richard Strauss, Arturo English series sponsored by the Peter Moores Florence, the Aix-en- (), Toscanini, Guido Cantelli, Herbert von Foundation, Hansel and Gretel, The Marriage Provence Festival, the Captain Petrovich (Eugene Onegin), Ser Karajan and . It continues of Figaro, The Thieving Magpie, Wozzeck, Netherlands Opera, Amantio di Nicolao (), Benoit to engage world-class conductors and soloists, Don Giovanni, The Elixir of Love, Lucia of and the Royal Opera (La Bohème), and Antonio (The Marriage and attracts Europe’s most talented young Lammermoor, Faust, Carmen, Aida, La Bohème, House Covent Garden, and in concert at the of Figaro). He has also sung several roles for players to join its orchestral ranks. Madam Butterfly, Turandot, the award-winning Salzburger Pfingsten Festspiel, the Lucerne Opera Brava, including the title role in Don Resident Orchestra at the Royal Festival Tosca and solo recital albums of operatic Festival, the Konzerthaus Berlin, the Barbican Pasquale, Dr Bartolo (The Barber of Seville), Hall, the Philharmonia Orchestra maintains with , Bruce Ford, and the Concertgebouw with conductors such Don Magnifico La( Cenerentola), Benoit/ a central position in British musical life Diana Montague, Dennis O’Neill, Alastair as Sir , , Richard Alcindoro (La Bohème). Roger Begley has sung also through regional residencies which Miles, and .

24 25 The Philharmonia Orchestra continues to (1970 – 77), and for Welsh National Opera . He is at present Principal Merit from the Czech Republic in 1996 and consolidate its international renown through when he became their Musical Director Guest Conductor of the Philharmonia made a Companion of the Order of Australia regular tours and through prestigious (1987–1992). He has been a pioneer in Orchestra, Conductor Laureate of the Scottish in 1997. In 2003 he became a Companion of residencies at the Châtelet Théâtre Musical in the dissemination of the music of Janácˇek Chamber Orchestra, Conductor Emeritus of Honour in the Queen’s Birthday Honours. In Paris, the Megaron in Athens and the Lincoln throughout the capitals of Europe and in the Welsh National Opera and Principal Guest May 2005 he was presented with the Royal Center for the Performing Arts in New York. USA and Australia. Jenu˚fa has been a particular Conductor Emeritus of the . Philharmonic Society Gold Medal and in favourite. Sir Charles received a CBE in 1974, was November 2005 was the first recipient of the Sir Charles Mackerras He has had a long association with the knighted in 1979, honoured with the medal of Queen’s Medal for Music. studied at the and recorded most of Conservatorium of Janácˇek’s orchestral works with them as well Music and came to as Katya Kabanova and Dvorˇák’s . England in 1947 Included in his vast discography is an award- He gained a British winning cycle of the Janácˇek operas with the Council Scholarship in the early 1980s. For to study further at the Chandos he has recorded Janácˇek’s Glagolitic Academy of Music Mass in the original version, and Kodály’s in . His great Psalmus Hungaricus. As part of the Opera in interest and love for Janácˇek commenced in English series he has recorded Osud, 1947 on hearing Katya Kabanova conducted by La traviata, , Julius Caesar, Mary Stuart, the great Václav Talich. Eugene Onegin, Jenu˚fa, The Magic Flute, As an assistant conduxtor at Sadler’s Wells , The Makropulos Case, in 1951 he gave the first performance of Hansel and Gretel and Così fan tutte. Katya Kabanova in the English-speaking world. Sir Charles has also undertaken much Later he introduced The Makropulos Case and research into the music of the eighteenth From the House of the Dead at Sadler’s Wells century, particularly Handel and Mozart. He and continued highly successful has recorded a complete series of Mozart, productions of Janácˇek’s operas as well as Beethoven and Brahms , several more standard repoertoire when he became oratorios by Handel, symphonies by Mahler Musical Director of English National Opera and Elgar, and a series of operas by Mozart and

26 27 On session: Sally Burgess and John Graham-Hall On session: Anton Rich and John Wegner

28 29 British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 to University (providing the lead donation which paved the way for the development of the realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust in Said Business School). 1993 to create a new art gallery in the country. Through his charities he has disbursed many millions to a wide variety of arts, environmental and social causes ‘to get things done and In 1993 the Foundation bought Compton Verney, a Grade I Georgian mansion in open doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world- Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a class art gallery that would provide an especially welcoming environment for the ‘first-time’ number of young artists in the crucial, early stages of their careers, several of whom – Dame gallery visitor. The gallery, which houses six permanent collections, a Learning Centre for all , Sir Colin Davis and the late Sir Geraint Evans amongst them – became ages, and facilities for major visiting exhibitions, was opened in March 2004 by HRH the world-famous. Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk

Today, the Peter Moores Foundation supports talented young singers with scholarships, Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, has made it possible for to issue the world’s largest catalogue of operas Oxford. He was a student at the Vienna Academy of Music, where he produced the Austrian recorded in English translation, and enabled Opera Rara to record rare repertoire premiere of ’s The Rape of Lucretia, and at the same time was an assistant which would otherwise remain inaccessible to the general public. producer with the , working with Viennese artists in Naples, Geneva and Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He In live performance, the Foundation has encouraged the creation of new work and schemes was Vice-Chairman of Littlewoods in 1976, Chairman from 1977 to 1980 and remained a to attract new audiences, financed the publication of scores, especially for world premieres director until 1993. of modern operas, and enabled rarely heard works to be staged by British opera companies and festivals. He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern Projects supported by the Foundation to help the young have ranged from a scheme College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by to encourage young Afro-Caribbeans ‘stay at school’ for further education, to the HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for his endowment of a Faculty Directorship and Chair of Management Studies at Oxford charitable services to the arts.

30 31 vertont hatte, bot ihm an, über Salome Fassung vollendet hatte, adaptierte er Wildes Strauss’ aktiver Vulkan ein Opernlibretto zu schreiben und sandte französischen Text für eine zweite Fassung der ihm einige Probeszenen. Strauss war nicht Oper, die er im September 1905 fertigstellte. Der Name Salome findet im Neuen Testament sei es Salome, Judith oder Hanna Glawari beeindruckt und zog Lachmanns Übersetzung Dabei modifizierte er Rhythmus und Melodie keine Erwähnung. In den Evangelien von aus der Lustigen Witwe. Man denke nur an vor. Deren erste Zeile, “Wie schön ist die seiner Musik, um sie “dem Charakter der Matthäus und Markus hören wir lediglich von Wedekinds Erdgeist, Zolas Nana oder die Prinzessin Salome heute Nacht!” inspirierte französischen Sprache anzupassen”. Die beiden der “Tochter der Herodias” aus deren erster Bilder von Klimt und Schiele. Neben Wildes ihn unmittelbar zu einer musikalischen Idee Fassungen unterscheiden sich in verschiedenen Ehe mit Herodes Philippus. Herodias verließ Salomé mit den Illustrationen von Aubrey – und der Tonart cis-Moll –, die er auf den subtilen Aspekten und die zweite klingt ihn für seinen Halbbruder Herodes Antipas Beardsley gab es Gemälde von Gustave Moreau Rand seines Exemplars kritzelte. Ähnlich tatsächlich wie eine französische Oper. und diese zweite Ehe verurteilte der Evangelist und Lovis Corinth, eine Kurzgeschichte verfuhr er mit anderen zentralen Zeilen. Während er an dieser französischen Fassung Johannes der Täufer, der die Erde für Gottes (Hérodias, 1877) von Flaubert und die Oper Als er sich daher das Stück 1902 in Theater arbeitete, komponierte Strauss den Tanz der Erscheinen vorbereiten wollte, als “inzestuös”. Hérodiade von Massenet (1881). Doch Wilde anschaute und ein Freund bemerkte, “Darin Sieben Schleier. Damit erübrigt sich Mahlers Dies war für Herodes Antipas Anlass genug, war es, der Salomes krankhafte Fixierung auf steckt doch sicherlich eine Oper für Sie?”, Befürchtung, er habe den Tanz aufgeschoben, ihn in dem östlich des Toten Meeres gelegenen Johannes und die des Herodes auf Salome konnte er wahrheitsgemäß antworten: “Ich bis er nicht mehr in der richtigen Stimmung Ort Machaerus in ein Verließ (oder eine erfand und Salome auf Herodes’ Befehl komponiere schon daran.” Doch erst während war. Zisterne) zu sperren. Nach einem Bankett töten ließ. Sein Interesse an dem Thema war eines Ferienaufenthalts in Marquartstein im Die Einspielung auf dieser CD wird in der zu Ehren von Herodes’ Geburtstag tanzte durch Moreaus Bilder geweckt worden. Sein Juli 1903 machte er sich ernsthaft an die englischen Übersetzung von Tom Hammond Herodias’ Tochter für die Gäste; dies gefiel Schauspiel war in Paris ein Misserfolg und Arbeit, wobei er an einem schlichten Klavier gesungen. Das Libretto der deutschen Fassung Herodes so sehr, dass er versprach, ihr jeden wurde in England von der Zensur verboten, in der “Bügelkammer” komponierte und seine ist letztlich Strauss’ eigene Schöpfung. Er Wunsch zu erfüllen. Angetrieben von ihrer nur in Breslau war es 1901 in deutscher Gedanken auf einem Bügelbrett niederschrieb. kürzte Wildes Schauspiel um annähernd Mutter verlangte sie den Kopf Johannes Übersetzung erfolgreich. Im folgenden Jahr Er setzte seine Arbeit 1904 während einer Tour die Hälfte, entfernte einige zweitrangige des Täufers. Herodes, so heißt es in beiden inszenierte Max Reinhardt das Stück in einer durch Amerika fort, wo er die Erstaufführung Charaktere sowie viele von Wildes blumigen Evangelien, war voll des Bedauerns, löste zweiten deutschen Übersetzung, die Hedwig seiner Symphonia domestica dirigierte, und am Phrasen, kürzte die religiösen Debatten und jedoch sein Versprechen ein. Lachmann besorgte; diese Inszenierung brachte 20. Juni 1905 vollendete er die Partitur – drei strich – um Probleme mit der Zensur zu Zu Salome wurde Herodias’ Tochter es auf zweihundert Aufführungen. Wochen nach dem Tod seines Vaters, dem vermeiden – die Stelle in Salomes letzter Rede, irgendwann im 19. Jahrhundert, als die Richard Strauss hatte seit 1898 als er einzelne Passagen vorgespielt hatte. Der wo sie sagt: “Ich war eine Jungfrau und du hast Geschichte in Mode kam. Dies passte zu dem Hofdirigent Kaiser Wilhelms II. in Berlin alte Mann hatte bemerkt, “Mein Gott, was mich entjungfert. Ich war keusch und du hast an Besessenheit grenzenden Interesse an der gelebt. Der junge Wiener Schriftsteller Anton für nervöse Musik. Mir ist als wären meine meine Adern mit Feuer gefüllt.” In der ersten Femme fatale, der sexuell emanzipierten Frau, Lindner, von dem Strauss 1898 ein Gedicht Hosen voller Insekten.” Sobald Strauss diese Szene, in der Salome das Festmahl verlässt, weil

32 33 sie von den religiösen Erörterungen gelangweilt auswendig beherrschte, Schuch ihre Noten aktiver Vulkan arbeitet da unter einem Haufen dass Sir Thomas Beecham an dem deutschen ist und nicht mag, wie ihr Stiefvater Herodes zurück. Später wehrte Wittich sich gegen die Schlacke, ein unterirdisches Feuer – nicht nur Text einige lächerliche Änderungen vornahm, sie anblickt, strich Strauss die nächste Zeile simulierte “Perversität”, die der Regisseur ein Feuerwerk!” die die Sänger jedoch ignorierten, was aber Wildes (“Ich weiß nicht, was es bedeutet. Ja von ihr verlangte und teilte Strauss mit: “Das Nach Dresden wurde Salome in Breslau niemandem auffiel. Berlin wartete ein Jahr wirklich, ich weiß es”), da er seine Heldin als mache ich nicht. Ich bin eine anständige und innerhalb von zwei Jahren in fünfzig mit der Aufführung, da die Kaiserin und unschuldige Jungfrau sah. Das Libretto ist von Frau.” Strauss war über ihre Haltung so weiteren kleineren und größeren Städten ihre Familie Vorbehalte äußerten. Hier beißender Schärfe, doch Strauss schrieb an verärgert, dass er drohte, die Premiere nicht gegeben. Das Publikum war gespannt, lag die Lösung in der anachronistischen seinen Freund Romain Rolland: “Sie haben in Dresden stattfinden zu lassen, sondern diesen “blasphemischen Schocker” zu sehen, Abbildung des Sterns von Bethlehem auf Recht. Der Text von Salome ist nicht gut. Ich sie nach Leipzig oder Wien zu geben. Doch doch es gab auch Probleme mit der Zensur. dem Bühnenbild. Der Kaiser war bei keiner habe ihn genommen, weil ich nichts anderes trotz “Tantchen Wittich”, wie er sie nannte, Mahler, dem Direktor der Wiener Oper, Aufführung anwesend, bemerkte jedoch, hatte und weil ich etwas zu sagen hatte. Was ging alles gut. Am Ende der Generalprobe gelang es nicht, das Werk von der Hofzensur Salome werde Strauss sehr schaden, worauf sollte ich machen? Ich kann nicht wie Wagner herrschte ein Augenblick betäubter Stille und genehmigen zu lassen, und er drohte zu Strauss erwiderte, dass dieser Schaden ihm meine eigenen Libretti schreiben.” man hörte, wie Strauss sagte: “Nun, das habe kündigen, doch Strauss brachte ihn davon ab, erlaube, den Bau seiner Villa in Garmisch zu Nach der erfolgreichen Dresdner Premiere ich jetzt sehr genossen!” Bei der Premiere am indem er sagte: “Um Gottes Willen, lassen Sie finanzieren. Nach der ersten von zwei 1907 seiner zweiten Oper, dem Einakter Feuersnot, 9. Dezember 1905 gab es 38 Vorhänge, doch es wegen Salome nicht zu einer Vertrauensfrage an der Metropolitan Opera in New York bot Strauss dort auch die ebenfalls einaktige nahezu sämtliche deutschen Kritiker verrissen kommen! Wir brauchen einen Künstler von geplanten Aufführungen sorgte die Tochter Salome an und warnte den Dirigenten die Oper mit vernichtenden Worten. Selbst Ihrer Entschlossenheit, Ihrem Genie und Ihrer des Financiers J. Pierpont Morgan dafür, das Ernst von Schuch, dass die Sänger der drei Strauss’ in den 1890ern entstandene Serie von Zukunftsvision viel zu sehr, um Sie wegen die Oper aus dem Repertoire entfernt wurde; Hauptrollen – Salome, Johannes (Jochanaan) Tongedichten wurde von den Kritikern – Salome etwas riskieren zu lassen. Letztlich erst 1934 wurde sie dort schließlich wieder und Herodes – sich für das Einstudieren ihrer nicht aber vom Publikum – zu dieser Zeit werden wir unsere Ziele auch ohne dies gegeben. Sir , der zu dieser Zeit Partien mindestens drei Monate Zeit nehmen schließlich noch als Inbegriff der Kakophonie erreichen!” In diesem spezifischen Opernhaus in New York eintraf, um seine Oratorien zu sollten. Die Wagner-Sopranistin Marie Wittich und Dekadenz betrachtet. Nachdem er sich im wurden diese Ziele zwar erst 1918 erreicht, dirigieren, war überaus erstaunt, als man ihn veranschlagte nur einen Monat und traute Januar 1907 in Berlin innerhalb einer Woche aber die österreichische Premiere fand bereits aufforderte, eine öffentliche Andacht zu leiten, kaum ihren Augen, als sie sich ihre Partie zwei Aufführungen der Salome mit Emmy 1906 in Graz statt – es heißt, Adolf Hitler sei in der man für die Befreiung der Stadt von schließlich vornahm, wie sie Cosima Wagner Destinn in der Titelrolle angesehen hatte, bei dieser Gelegenheit anwesend gewesen – der Plage der Salome beten wollte. Er weigerte gegenüber klagte. Bei der ersten Klavierprobe schrieb Gustav Mahler: “Ich bin der festen und 1907 gab das Breslauer Ensemble sie in sich mit dem Hinweis, Strauss sei “das größte gaben Wittich und alle anderen Sänger mit Überzeugung, dass dies eines der größten einem anderen Wiener Theater. In London Genie dieses Zeitalters”. Der Ärger mit der Ausnahme des tschechischen Tenors Karel Meisterwerke unserer Zeit ist... eindeutig das verbot die Zensur die Oper 1907, lenkte vier Zensur war vor allem Salomes Tanz der sieben Burian (Herodes), der seine Partie bereits Werk eines Genies und überaus kraftvoll. Ein Jahre später jedoch unter der Bedingung ein, Schleier zu verdanken. Strauss hatte sehr klare

34 35 Vorstellungen, wie dieser auszuführen sei, und empfohlen , mit leichter Hand dirigiert schweren Stimmen die Salome. Das hat sich Mit diesem Werk – so lässt sich mit war gegen jegliche zusätzliche “Dramatik” – wird. “Es ist ein Scherzo mit fatalem Ende”, alles verselbständigt. Ich will das nicht.” Die in Überzeugung behaupten – veränderte er die “kein Flirten mit Herodes, keine Gebärden sagte er. Schon mit den ersten Klängen der seinen Tondichtungen demonstrierte Brillanz Gattung der Oper für immer. in Richtung von Jochanaans Zisterne, nur Klarinette, mit denen die Oper beginnt, seiner Charakterisierung findet sich auch in © 2008 Michael Kennedy ein kurzes Verhalten bei der Zisterne auf dem werden wir in jene seltsame mediterrane Nacht Salome. Er empfand für Religion nur die tiefste letzten Triller. Der Tanz soll ganz und gar vor zweitausend Jahren versetzt mit ihrem Verachtung und tat Johannes den Täufer als orientalisch sein, so ernst und gemessen wie Vollmond, ihrer schwülen Atmosphäre und “schwachsinnig” ab. Doch ungeachtet seiner Synopse möglich und absolut sittsam, als fände er auf Stimmung drohender Gewalt, die Herodes bei Gefühle schrieb er trotzdem auch für ihn einem Gebetsteppich statt.” Der Himmel seinem Erscheinen entgegenschlägt. Strauss schöne Musik und fing so die Obsessionen COMPACT DISC ONE weiß, was er von dem halten würde, was packt uns gleich zu Beginn an der Kehle und des Propheten genauso präzise ein wie die von man heutzutage oft auf der Bühne zu sehen hält uns für die nächsten hundert Minuten in Herodes und Herodias und den Mitgliedern 1 Narraboth, der junge Hauptmann der bekommt. seinem Bann. der verschiedenen religiösen Gruppierungen, Wache, steht auf der Terrasse von Herodes’ Kaum jemand ist im 21. Jahrhundert noch Strauss bewunderte zwar viele wie etwa den unentwegt miteinander prächtigem Palast; er ist von Salome von Salome schockiert. Eher wird man das Interpretinnen der Salome, suchte aber streitenden Juden. bezaubert, die sich im Festsaal befindet. Werk wohl als kitschig abtun. Die Mehrzahl immer nach seiner Idealbesetzung. Vielleicht Doch es ist Salome selbst, die – zu Recht – 2 Aus einer Zisterne erklingt die Stimme des der Zuhörer wird jedoch mit Erstaunen und fand er sie zum Ende seines Lebens in die Oper dominiert. Der Genius der Musik Jokanaan (Johannes der Täufer), der gefangen Erregung auf den schieren Wagemut und Maria Cebotari und Ljuba Welitsch. Einmal kommt nirgendwo so kraftvoll zum Ausdruck genommen wurde, weil er den Tetrarchen die Farbigkeit dieser revolutionären Musik spielte er mit dem Gedanken an Elisabeth wie in Salomes abschließendem irren und seine Gemahlin verleumdet hat. Er reagieren, dieser Oper, die den Weg nicht nur Schumann – einer geborenen Zerlina – in der Liebestod, als sie über dem abgeschlagenen wird von Soldaten bewacht und von einer für Strauss’ eigene Elektra ebnete, sondern auch Rolle der Salome und bot an, das Orchester Kopf geifert. Die Szene ist auch heute noch kleinen Gruppe von Nazarenern beobachtet. für Bergs Marie und Lulu, Korngolds Marietta, für sie “abzudämpfen.” Sie entsprach seiner haarsträubend in ihrem Horror, doch die 3 - 5 Herodes hat angeordnet, dass niemand Schostakovichs Katerina Ismailova und viele Vorstellung einer leichten, kapriziösen Salome Musik ist von monströser Schönheit. Strauss mit dem Gefangenen sprechen dürfe, doch andere. Strauss hat als erster die pathologische anstelle der “sechzehnjährigen Prinzessin gewinnt unsere widerstrebende Sympathie für als Salome erscheint und Jokanaan hört, Obsession auf die Opernbühne gebracht. mit der Stimme einer Isolde”, wie er sie Salome, indem er sämtliche Hauptthemen des bedrängt sie Narraboth, er möge sie ihn sehen Er stellt die Hauptpersonen in ihrer ganzen früher beschrieben hatte. Es war wohl eine Werks zu einem vokalen und instrumentalen lassen. Dieser weigert sich zunächst, gibt seelischen Verderbtheit dar, doch die Musik weise Entscheidung der Schumann, dieses Orgasmus erotischen Verlangens verbindet. dann aber nach. 6 Aus der Zisterne , bleibt weitgehend lyrisch. Das Werk sieht zwar Experiment nie zu wagen. Doch Herbert von Trotz all der monumentalen Pracht der fährt Jokanaan fort, Herodes und Herodias eine Besetzung von 105 Instrumenten vor, Karajan erinnerte sich daran, dass Strauss zu Elektra zeigt sich Strauss doch in Salome am anzuklagen. Salome ist von ihm fasziniert. klingt aber am besten, wenn es, wie Strauss ihm gesagt hatte: “Heutzutage singen all die innovativsten, gewagtesten und vielseitigsten. 7 Als Jokanaan begreift, wer sie ist, wendet er

36 37 sich direkt an sie und bedrängt sie, Reue zu Schleier des Tempels. Sie weist alles zurück Als einer der führenden internationalen (Lulu), den Idioten (Wozzeck), Vítek (The zeigen. 8 - 10 Salome erzählt ihm von ihrem und Herodes ist gezwungen, nachzugeben. Sänger Großbritanniens haben zahlreiche Makropulos Case), Monostatos (The Magic Verlangen nach seinem Körper, seinem Haar 6 - 7 Jokanaans Kopf wird Salome auf Engagements John Graham-Hall auch an Flute) und Isacco (The Thieving Magpie) und seinem Mund. Narraboth ist entsetzt einer Silberschüssel gereicht und sie küsst Opernhäuser im Ausland geführt; so spielte er aufgenommen. von dem, was er sieht, und tötet sich selbst. endlich seine Lippen. 8 Abgestoßen von ihrer den Tanzmeister (Ariadne auf Naxos), Cassio Jokanaan verflucht Salome und kehrt in seine Tat befiehlt Herodes seinen Soldaten, sie zu und Basilio an La Monnaie in Brüssel sowie Sally Burgess (Herodias) wurde besonders Zisterne zurück. töten. gleich zwei Rollen in Moses und Aaron für die für ihre Interpretation der Titelrolle in Bizets 11 - 15 Herodes und Herodias kommen aus Nederlandse Opera und auf dem Salzburg- Carmen gefeiert, die sie an der Metropolitan Übersetzung: Stephanie Wollny dem Festsaal. Herodes ist seiner Stieftochter Festival. Er hat den Schapkin (Aus einem Opera in New York, der Opéra de Paris- Salome mehr und mehr verfallen; seine Totenhaus) an der Oper von Nizza gesungen; Bastille sowie in München, London, Zürich, Annäherungsversuche werden nun von der John Graham-Hall (Herodes) studierte am den Lysander in Paris, Lyon, Caen, Montpellier Berlin, Bregenz, Neuseeland und Portland Stimme Jokanaans unterbrochen. Herodias King’s College in Cambridge und am Royal und Rom sowie auf dem Ravenna-Festival; gab. Bisherige Engagements haben sie an die drängt Herodes, er möge den Gefangenen den College of Music. Er hat in allen größeren Lensky (Eugen Onegin) in Lyon und Toronto; English National Opera, die Welsh National Juden übergeben, doch der Tetrarch weigert britischen Opernensembles gesungen; dabei Ferrando in Vancouver; Cassio und Telemacus Opera, die Opera North, die Scottish sich. 16 Zur Ablenkung bittet er Salome, zählten zu seinen Rollen Albert Herring am (Il ritorno d’Ulisse in patria) in Lisbon; Achilles Opera, die Bayerische Staatsoper und De für ihn zu tanzen. Sie schlägt seine Bitte ab. Royal Opera House Covent Garden; Albert (König Priam) und den Maler (Lulu) in Nederlandse Opera geführt. Zu ihrem weltweit Herodes verspricht, ihr jeden Wunsch zu Herring, Vanya Kudrjas (Katya Kabanova), Antwerpen sowie Basilio und Spoletta (Tosca) dargebotenen Repertoire zählen Azucena erfüllen, wenn sie nur für ihn tanzt. Erst als er Flöte (Ein Sommernachtstraum) und Bob an der Niederländischen Oper. Bis vor kurzem (Il trovatore), Mistress Quickly (Falstaff ), Baba dies beschwört, willigt sie ein. Boles (Peter Grimes) an der Glyndebourne war er Ensemblemitglied der English National der Türke (The Rake’s Progress), Hanna Glawari Festival Opera; Valzacchi (Der Rosenkavalier), Opera, wo Eisenstein (Die lustige Witwe), (Die lustige Witwe), Dalila (Samson et Dalila), COMPACT DISC TWO Don Basilio, Monostatos, Lysander (Ein Mime (Der Ring der Nibelungen), Herodes, Fricka (Der Ring der Nibelungen), Judith Sommernachtstraum) und Herodes an der Valzacchi, Sylvester (The Silver Tassie), Goro (Herzog Blaubarts Burg), Kabanicha (Katya 1 Tanz der sieben Schleier. 2 - 5 Nachdem English National Opera; Cassio (Otello) an (Madama Butterfly), Triquet (Eugen Onegin), Kabanova) und Herodias (Salome), um nur sie ihren Tanz beendet hat, ruft Herodes sie der Welsh National Opera, Eisenstein und Monostatos (Die Zauberflöte), der ärmliche einige Rollen zu nennen. zu sich und fragt, was sie sich zur Belohnung der Schulmeister (Das schlaue Füchslein) Bauer (Die Lady Macbeth von Mtsensk) und Im Konzert und Recital ist Sally Burgess wünsche. Sie bittet um den Kopf des an der Scottish Opera und Aschenbach Alwa (Lulu) zu seinen Rollen zählten. in New York mit Jane Glover, in London Jokanaan. Entsetzt versucht Herodes, sie zu (Tod in Venedig), Lysander, Albert Herring Für Chandos hat John Graham-Hall den mit Richard Hickox, in Washington DC überreden, etwas anderes zu wählen, bietet ihr sowie Ferrando (Così fan tutte) mit der Hob (in Vaughan Williams’ The Poisoned Kiss) mit Leonard Slatkin, in Seattle mit Gerard Juwelen, seine weißen Pfauen und sogar den Glyndebourne Touring Opera. sowie für die Serie “Opera in English” Alwa Schwarz, in Houston und Bordeaux mit Hans

38 39 Graf, in San Diego mit Jahja Ling und in Aufmerksamkeit erregende Elektra in der Hindemiths Sancta Susanna und Magda (in in Prag und Bern und auf den Festivals von ganz Europa mit weiteren gefeierten Maestri gleichnamigen Oper von Richard Strauss. Gian Carlo Menottis The Consul) mit dem Bayreuth und Adelaide, und in Australia. aufgetreten, wobei ihre Konzerte häufig auch Weitere Rollen in der jüngeren Spoleto Festival-Orchester unter Richard Zu John Wegners umfassendem Repertoire vom nationalen TV-Sender und Rundfunk Vergangenheit umfassen die Marie in Wozzeck Hickox. Außerdem hat Susan Bullock zählen die Rollen von Wotan/Wanderer, aufgezeichnet wurden. Für ihre Mitwirkung an Covent Garden unter Daniel Harding, zusammen mit dem Pianisten Malcolm Alberich, Günther Fasolt und Donner (Der in dem von der Royal Shakespeare Company den Frauenchor (The Rape of Lucretia) an Martineau eine Recital-CD aufgenommen, die Ring der Nibelungen), Telramund (Lohengrin), und der Opera North koproduzierten Musical der Bayerischen Staatsoper, Lady Macbeth Wagners Wesendonck-Lieder und Prokofievs die Titelrolle im Fliegenden Holländer, Showboat im Londoner West End wurde sie (in Ernest Bloch’s Macbeth) in Wien, Franz Fünf Gedichte von Anna Achmatova enthält. Kurwenal (Tristan und Isolde), Klingsor als “best actress in a musical” für den Olivier Schrekers Der Schatzgräber an der Frankfurter (Parsifal ), Biterolf (Tannhäuser), Pizarro Award nominiert. Zu Sally Burgess’ zahlreichen Oper und Ellen Orford (Peter Grimes) an der John Wegner (Jokanaan) wurde in (Fidelio), Jokanaan (Salome), Orestes (Elektra), Einspielungen zählen, bei Chandos, die Judith English National Opera und der Königlichen Deutschland geboren und ging früh nach Scarpia (Tosca), Iago (Otello), Alfio Cavalleria( (in Herzog Blaubarts Burg, erschienen in der Dänischen Oper. Australien, wo er im St. Patrick’s Cathedral rusticana), Jack Rance (La fanciulla del West), Chandos-Reihe “Opera in English”) und Susan Bullocks Konzertrepertoire ist Choir von Melbourne sang. Am Victorian St Bris (Les Huguenots), die Titelrollen in Boris Florence Pike (Albert Herring) sowie West Side groß und vielseitig; zu ihren Engagements College of the Arts erwarb er ein Diplom im Godunov, Falstaff, Cardillac und Prince Igor, Story, The King and I, Sally Burgess sings Jazz, in jüngerer Zeit zählen ihr Debüt mit den Oper und Musiktheater. Escamillo (Carmen), Lindorf, Coppelius, The Other Me und Happy Talk; all diese haben Berliner Philharmonikern unter Mark Elder Von 1981 bis 1992 war John Wegner Dr. Miracle und Dapertutto (Hoffmanns ihren Ruf einer Künstlerin mit unbegrenztem (Hänsel und Gretel ), Schönbergs Erwartung Mitglied der Opera Australia; seither tritt er Erzählungen), Méphistophèles (Faust), Prus Talent noch weiter gefestigt. mit dem BBC Symphony Orchestra unter der dort regelmäßig als Gast auf. Gegenwärtig (Die Sache Makropulos) sowie Kissinger in der Leitung von David Robertson und schließlich ist er Ensemblemitglied der Deutschen Oper australischen Erstaufführung von John Adams’ Susan Bullock (Salome) ist gegenwärtig Vorspiel & Liebestod aus Tristan und Isolde am Rhein Düsseldorf/Duisburg. Auftritte Nixon in China. eine der weltweit gefragtesten dramatischen mit dem Dirigenten Esa-Pekka Salonen und hatte er bisher an der Mailänder Scala, der Engagements in jüngerer Zeit umfassen Sopranistinnen. Zu ihren Auftritten in den dem Philharmonia Orchestra sowie mit Zubin Königlichen Dänischen Oper in Kopenhagen, Sebastiano (Tiefland ) und Battistellis Richard letzten Spielzeiten zählt die Brünnhilde Mehta und dem Orchester der Bayerischen der Norwegischen Nationaloper, dem Théâtre III an der Deutschen Oper am Rhein, Jack am New National Theatre in Tokio, mit Staatsoper. Ihr offizielles Recital-Debüt an der Royale de la Monnaie in Brüssel, dem Théâtre Rance in Prag, Die Gezeichneten an De der , am Teatro Wigmore Hall feierte Susan Bullock im Jahr du Capitole in Toulouse, der Komischen Oper Nederlandse Opera in Amsterdam sowie Nacional de Sao Carlos in Lissabon und an La 2005. und der Staatsoper Berlin sowie in Stuttgart, Hoffmanns Erzählungen und Claggart Fenice. Die Rolle der Isolde hat sie in London, CD-Einspielungen umfassen die Genièvre München und Bonn, De Nederlandse Opera (Billy Budd ) an der Opera Australia. Zu Frankfurt, Verona, Leeds und Rouen gesungen. (in Ernest Chaussons Le Roi Arthus) sowie für in Amsterdam, der English National Opera, John Wegners weiteren Verpflichtungen im Besonders gefeiert war ihre internationale Chandos Lady Billows (Albert Herring), Paul der Opera North, der Opera Ireland sowie Jahr 2008 zählen die Titelrolle im Fliegenden

40 41 Holländer an der Deutschen Oper am Rhein, Macduff (Macbeth), Alfredo (La traviata) sowie Opera North, Mother in der Weltpremiere den Weltpremieren von Gavin Bryars’ Doctor Jokanaan in Tokio, Scarpia in Duisburg, verschiedene Rollen in Wallens The Silent von Jonathan Harveys Oper Wagner Dream in Ox’s Experiment und Mark Anthony Turnages Klingsor an der Bayerischen Staatsoper Twins. Zudem schuf Andrew Rees für den Amsterdam, Luxembourg und Paris sowie die The Silver Tassie übernahm. in München, Telramund an der Wiener TV-Sender Channel 4 die Rolle des Ryan in Schauspielerin (in Judith Weirs A Night at the An der Kentish er Hermann Staatsoper und Pizarro (Fidelio) an der Opéra Jonathan Doves When She Died: Death of a Chinese Opera) und Moksada (in Param Virs (Pique Dame), Gustavus (Un ballo in National du Rhin. Princess. Snatched from the Gods) an der Scottish Opera. maschera), Radames (Aida), Pinkerton Auch als Konzertsängerin hat Rebecca de (Madama Butterfly), Ismaele (Nabucco), Alvaro Andrew Rees (Narraboth) wurde in Rebecca de Pont Davies (Herodias’ Page) Pont Davies sich einen Namen gemacht; sie (La forza del destino) und Canio (Pagliacci) Carmarthen in West Wales geboren und wurde in London geboren und an der hat mit vielen Orchestern zusammengearbeitet, gesungen. Anton Rich verfügt zudem über studierte am Royal Northern College of Guildhall School of Music and Drama wobei ihr Repertoire von den großen Werken ein ausgedehntes Oratorienrepertoire und Music. Noch bevor er sein Studium an ausgebildet, wo sie zahlreiche Auszeichnungen Bachs und Händels über Rossinis Petite Messe ist in sämtlichen namhaften Londoner der Guildhall School of Music and Drama gewann. Ihr Operndebüt feierte sie mit der Solennelle, Mendelssohns Elias und Verdis Konzertreihen aufgetreten. vollendete, wurde er in den Glyndebourne Glyndebourne Touring Opera in Benjamin Requiem bis zu Mahlers Zweiter Sinfonie, Festival Chorus aufgenommen. An der English Brittens Tod in Venedig. Zu ihrem Debüt Edward Elgars Sea Pictures, The Dream of Wynne Evans (Zweiter Jude) wurde in Wales National Opera wurde er zunächst Mitglied des an der English National Opera sang sie die Gerontius und Michael Tippetts A Child of our geboren und studierte an der Guildhall School Jerwood Young Artist Programme und später Emilia (Otello), danach war sie eine Zeitlang Time reicht. Zu ihren Einspielungen zählt die of Music and Drama sowie am National Opera Ensemble-Prinzipal. In dieser Funktion sang er Prinzipalin der ENO). Ihre Rollen dort Mistress Quickly im Rahmen der Chandos- Studio. An der Welsh National Opera hat er zahlreiche Rollen. Zu seinen Konzertauftritten umfassten Mrs. Sedley (Peter Grimes), Annina Reihe “Opera in English”. den Duca (Rigoletto), Rodolfo (La Bohème), zählen The Dream of Gerontius in Helsinki (Der Rosenkavalier), Genevieve (Pelléas et Alfred (Die Fledermaus), Alfredo (La traviata), und Dublin, Cavaradossi (Tosca) mit dem Mélisande), Ottavia (Die Krönung der Poppea), Anton Rich (Erster Jude) wurde in Devon den Chevalier (Dialogues des Carmélites) und City of Birmingham Symphony Orchestra, Mistress Quickly (Falstaff ) sowie Ulrica geboren und studierte an der Royal Tamino (Die Zauberflöte), an der Opera Judith Weirs Der blonde Eckbert mit dem NDR (). 2001 schuf sie die Rolle Academy of Music. Anschließend sang er North den Prunier (La Rondine) und Fenton Hamburg, Alfred Schnittkes Faust-Kantate in der Suzanne in der Weltpremiere von Martin im Glyndebourne Chorus und ging sodann (Falstaff ) sowie an der English National Opera Basel und Zürich sowie Liszts Missa Solemnis Butlers A Better Place. zur English National Opera, wo er Rollen in unter anderem Alfredo und Cavaradossi (Tosca) und Beethovens Missa Solemnis in Basel. Zu ihren weiteren Rollen gehören Mrs. Salome, La traviata, Der Rosenkavalier, Boris gesungen. Weitere Engagements hatte er an der Weitere Rollen umfassen Boris (Katya Sedley in Barcelona und in einer konzertanten Godunov, Schostakovichs Die Lady Macbeth Scottish Opera, mit der Chelsea Opera Group, Kabanova), Sergei (Die Lady Macbeth von Aufführung in Valencia, Beroe (in Hans von Mtsensk, Janácˇeks Das schlaue Füchslein der Castleward Opera, der Classical Opera Mtsensk), Pinkerton (Madama Butterfly), den Werner Henzes The Bassarids) am Théâtre du und Aus einem Totenhaus, Henzes Prinz von Company, der Almeida Opera und der Opera Lawyer (Punch and Judy), Ismaele (Nabucco), Châtelet in Paris, Maddalena (Rigoletto) an der Homburg, Zimmermanns sowie in Northern Ireland.

42 43 Auch als Konzertsolist hat Wynne Evans denen vor allem Goro (Madama Butterfly), Opernrollen zählen Brighelle (Ariadne auf Fischer und Harry Christophers, während eine rege Tätigkeit entfaltet; er arbeitet Pedrillo (Die Entführung aus dem Serail), Naxos) an der Royal Opera und der English zu seinen Engagements mit Werken des 20. regelmäßig mit dem Royal Philharmonic und Truffaldino (The Love for Three Oranges) National Opera, Snout (A Midsummer Night’s Jahrhunderts Webern unter Boulez und Orchestra, dem BBC Symphony Orchestra, zu nennen sind. Sein Debut am Royal Dream) an der Glyndebourne Festival Opera Britten unter Graf sowie auch Auftritte mit dem City of Birmingham Symphony Opera House Covent Garden feierte er als sowie Bardolpho und Caius (Falstaff ) an der Luciano Berio, Arvo Pärt und John Adams Orchestra, dem Hallé Orchestra, dem Pang (Turandot). Weitere internationale Scottish Opera. mit deren eigenen Kompositionen zählen. London Symphony Orchestra und der City of Engagements umfassen Rollen in der Alasdair Elliott ist vor allem auch für sein Seine bisherigen Opernrollen umfassen London Sinfonia zusammen. Zudem hat er in Zauberflöte und in Salome an der English Interesse an zeitgenössischer Musik bekannt; Parsons (1984 ) an der Mailänder Scala und London und Cardiff Solo-Recitals und andere National Opera, Snout (A Midsummer Night’s er hat die Rolle des Vova in Schnittkes Leben in Valencia, Kecal (Die verkaufte Braut), Snug Konzerte gegeben. Dream) am Teatro Real Madrid sowie am mit einem Idioten und die des Dieners in der (A Midsummer Night’s Dream), Sourin (Pique Royal Opera House Covent Garden, Flute Weltpremiere von John Bullers The Bacchae Dame) und Ligniere (Cyrano de Bergerac) Colin Judson (Dritter Jude) studierte an (A Midsummer Night’s Dream) an der Opera gesungen. An der Oper wie auch im Konzert am Royal Opera House, Pluto (Orfeo), der Guildhall School of Music und hatte North, Squeak an der Glyndebourne Festival hat er mit einigen der weltweit führenden Varlaam (Boris Godunov) und die Titelrolle bisher Auftritte an der Scottish Opera, der Opera und Mime (Ring-Zyklus) an der Opera Dirigenten zusammengearbeitet, wobei er in The Turk in Italy an der English National Glyndebourne Festival Opera, der English National du Rhin und an Sao Carlos in regelmäßig in Konzerten mit dem London Opera, Fabrizio (La gazza ladra) mit der Touring Opera, der Glyndebourne Touring Lissabon. Symphony Orchestra, dem Monteverdi Philharmonia, Where the Wild Things Are mit Opera, der English National Opera und dem Choir, dem English Concert und den London den Berliner Philharmonikern, Achilla (Giulio Royal Opera House Covent Garden. Alasdair Elliott (Vierter Jude) ist einer Mozart Players aufgetreten ist. Cesare) am Grand-Théâtre de Bordeaux sowie Für Glyndebourne hat er den Remendado der führenden Charakter-Tenöre Europas; Kecal, Superintendent Budd (Albert Herring), (Carmen), Coryphee (Le Comte Ory), in jüngerer Zeit war er in Rollen wie der Jeremy White (Fünfter Jude) wurde in Dikoy (Kat’a Kabanova), Talbot (Giovanna Gaston (La traviata) und den Andrew des Mime in der neuen Inszenierung des Liverpool geboren und in Oxford ausgebildet D’Arco) und Tiresias (Oedipus Rex) an der (The Last Supper) gesungen, den er auch an Ring-Zyklus an der Scottish Opera, als Pong und hat eine internationale Laufbahn an der Opera North. der Staaatsoper Berlin gegeben hat. Seine (Turandot) am Teatro Real in Madrid, an Oper, im Konzert und im Aufnahmestudio Zu seinen CD-Einspielungen zählen Israel Rollen an der Scottish Opera umfassen den der Royal Opera Covent Garden, sowie der eingeschlagen, wobei sein Repertoire sich in Egypt mit Andrew Parrott, Monteverdis Borsa (Rigoletto), Alfred (Die Fledermaus), niederländischen Reisopera, als David (Die von der Alten Musik bis zu den neuesten Vespern mit Harry Christophers sowie für L’incredibile (Andrea Chenier), Remendado Meistersinger von Nürnberg) am Stuttgarter zeitgenössischen Kompositionen erstreckt. Chandos Vaughan Williams’ The Pilgrim’s und Jaquino (Fidelio). Colin Judson war Staatstheater und als Monostatos (Die Bei Bach, Händel und Mozart verbindet ihn Progress und Brittens Paul Bunyan. Jeremy Ensemblemitglied an der Kölner Oper, wo Zauberflöte) in Lissabon und an der English eine lange Zusammenarbeit mit Dirigenten White erscheint hier mit freundlicher er in zahlreichen Rollen aufgetreten ist, von National Opera zu hören. Zu seinen weiteren wie Trevor Pinnock, Andrew Parrott, Adam Genehmigung des Royal Opera House.

44 45 Michael Druiett (Erster Nazarene) studierte an und danach bei Yevgeny Nesterenko am Maggio Musicale in Florenz, auf dem Festival hat er verschiedene Rollen an der Opera Brava der Britten – Pears School, dem Royal College Tchaikovsky-Konservatorium. von Aix-en-Provence, an der Nederlandse gesungen, darunter die Titelrolle in Don of Music und dem . Mit einem Repertoire, das von Monteverdi Opera und am Royal Opera House Covent Pasquale, Dr. Bartolo (Der Barbier von Sevilla), Anschließend wurde er als Bass-Prinzipal bis Schönberg reicht, ist Graeme Broadbent Garden sowie in Konzerten während der Don Magnifico La( Cenerentola) und Benoit/ festes Ensemblemitglied der English National in Recitals und Oratorienaufführungen in Salzburger Pfingstfestspiele und auf dem Alcindoro (La Bohème). Roger Begley hat die Opera, wo er Rollen in Wozzeck, Salome, Das ganz Großbritannien sowie auch im Ausland Luzern-Festival, im Berliner Konzerthaus, Basspartien in einem Großteil des gängigen schlaue Füchslein, La Bohème, Orfeo, Ariodante, aufgetreten und hat in sämtlichen großen im Barbican und im Concertgebouw unter Oratorienrepertoires gesungen, darunter in Rigoletto, Don Carlos und Lohengrin sang. In Londoner Konzertsälen und auf den Proms Dirigenten wie Sir Colin Davis, Philippe jüngerer Zeit Mozarts Requiem, Haydns Großbritannien hatte er auch häufig Auftritte gesungen. Zu seinen Opernrollen zählen Jordan, Richard Hickox und Daniel Oren Schöpfung und Bachs H-Moll-Messe. an der Welsh National Opera, der Scottish Basilio (Der Barbier von Sevilla) an der English gesungen. Alan Ewing wird besonders für seine Opera, sowie der Royal Opera Covent Garden. National Opera und Scottish Opera, Gremin virtuosen Händel-Rollen gefeiert – zu hören Zu Beginn der Konzertsaison 2008/09 Für die Glyndebourne Festival Opera sang er (Eugene Onegin) an der Opera Holland Park auf seinen preisgekrönten Einspielungen von wird Esa-Pekka Salonen die Position des in Peter Grimes, Don Giovanni, Albert Herring, und Sarastro (Die Zauberflöte) an der New Acis & Galatea und Giulio Cesare –, verfügt Chefdirigenten und Künstlerischen Beraters Otello, Eugen Onegin, Die Zauberflöte und Zealand Opera. Sein Debüt feierte er auf dem aber auch über das gängige Bass-Repertoire, des Philharmonia Orchestra über nehen; Pelléas et Mélisande. Im Ausland ist Michael Glyndebourne Festival als Commendatore darunter Osmin, den er unter William Christie Christoph von Dohnányi wird Ehrendirigent Druiett in Inszenierungen am Théâtre du (Don Giovanni), zudem hatte er Auftritte in (Straßburg) und Marc Minkowski (Aix auf Lebenszeit. Weitere mit dem Orchester Chatelet und an der Opéra-Bastille in Paris, Thomas Ades’ Powder her Face auf den Festivals 2007) gesungen hat, sowie Seneca, Sarastro, assoziierte Dirigenten sind Lorin Maazel der Opéra de Lyon, der Opéra de Toulouse, von Almeida und Aldeburgh. Leporello, Heinrich der Vogler, Baron Ochs, (Erster Gastdirigent), Riccardo Muti der Opéra National de Montpellier, der New Seine zahlreichen Rollen als Ensemble- Herzog Blaubart und Sondheims Sweeney (Chefdirigent und Musikalischer Leiter), Israeli Opera und an La Monnaie in Brüssel Mitglied der Royal Opera umfassen Colline Todd. Giuseppe Sinopoli (Musikalischer Leiter), aufgetreten. Er hat mit Dirigenten wie Daniel (La Bohème), Angelotti (Tosca), Timur Kurt Sanderling (Emeritierter Dirigent), Barenboim, Christoph von Dohnányi, Bernard (Turandot), Dr. Grenvil (La traviata), Roger Begley (Cappadocian) studierte am Vladimir Ashkenazy (Ehrendirigent) und Sir Haitink, Richard Hickox, Kent Nagano, den Nachtwächter (Die Meistersinger von Royal College of Music und wurde 1971 Charles Mackerras (Hauptgastdirigent), und Gennady Rozhdestvensky und Georg Solti Nürnberg), Leone (Attila) und König Marke Mitglied des Chors der English National auch Otto Klemperer, Wilhelm Furtwängler, zusammengearbeitet. (Tristan und Isolde). Opera. Er ist in zahlreichen Rollen aufgetreten, Richard Strauss, , Guido darunter Varsonofiev Khovanshchina( ), Captain Cantelli, und Carlo Graeme Broadbent (Erster Soldat) wurde Der irische Bass Alan Ewing (Zweiter Soldat) Petrovich (Eugene Onegin), Ser Amantio di Maria Giulini. Das Orchester verpflichtet in Halifax geboren und studierte am Royal hat in den letzten Jahren an der Berliner Nicolao (Gianni Schicchi), Benoit (La Bohème) weiterhin Gastdirigenten und Solisten von College of Music bei Lyndon Vanderpump Staatsoper, am Opernhaus Zürich, auf dem und Antonio ( des Figaro). Zudem Weltrang, während einige der größten

46 47 europäischen Nachwuchstalente in seine English” für Chandos mit Unterstützung Opernhaus Sadler’s Wells dirigierte er 1951 Serie “Opera in English” hat er Osud, Reihen aufgenommen werden. durch die Peter Moores Foundation Hansel die erste Aufführung von Katja Kabanowa La traviata, Werther, Julius Caesar, Mary Stuart, Das Philharmonia Orchestra ist in der and Gretel, , in der englischsprachigen Welt und brachte Eugene Onegin, Jenu˚fa, The Magic Flute, ansässig und nimmt The Thieving Magpie, Wozzeck, Don Giovanni, später auch Die Sache Makropulos und The Bartered Bride, The Makropulos Case, eine zentrale Position im Musikleben The Elixir of Love, Lucia of Lammermoor, Aus einem Totenhaus nach Sadler’s Wells. Hansel and Gretel und Così fan tutte Großbritanniens ein, nicht nur durch seine Faust, Carmen, Aida, La Bohème, Madam Hocherfolgreiche Inszenierungen von Janácˇeks aufgenommen. Londoner Konzerte, sondern auch durch feste Butterfly, Turandot, die preisgekrönte Tosca Opern sowie vertrautere Werke aus dem Sir Charles hat auch die Musik des Kontakte mit Aufführungsstätten in anderen und Opernarien in Solorecitals mit Christine Standardrepertoire leitete er auch während 18. Jahrhunderts erforscht, insbesondere Teilen des Landes, die eine ideale Gelegenheit Brewer, Bruce Ford, Diana Montague, Dennis seiner Zeit als Musikdirektor der English Händel und Mozart. Er hat eine Reihe von für die Erweiterung seines dynamischen und O’Neill, , Yvonne Kenny National Opera (1970 –77) und der Welsh Mozart-Opern und Gilbert-und-Sullivan- bevölkerungsnahen musikpädagogischen und John Tomlinson aufgenommen. Das National Opera (1987–1992). In ganz Europa, Operetten sowie Gesamtaufnahmen der Programms . Das Orchester ist mit Philharmonia Orchestra untermauert seinen den USA und Australien gilt er als Wegbereiter Sinfonien von Mozart, Beethoven und zahlreichen Preisen ausgezeichnet worden internationalen Rang durch regelmäßige der Musik Janácˇeks. Jenu˚fa ist ihm besonders Brahms, mehrere Oratorien von Händel und hat beispiellose kritische Unterstützung Tourneen und Gastauftritte an berühmten ans Herz gewachsen. sowie Sinfonien von Mahler und Elgar für seine innovative Programmpolitik Häusern wie dem Châtelet Théâtre Musical Name verbindet sich seit langem mit vorgelegt. Derzeit ist er Hauptgastdirigent des gewonnen, die in ihrem Kern der Bestellung in Paris, dem Megaron in Athen und dem der Tschechischen Philharmonie, mit der Philharmonia Orchestra, Conductor Laureate und Darbietung neuer Musik von führenden Lincoln Center for the Performing Arts in er die meisten Orchesterwerke Janácˇeks, des Scottish Chamber Orchestra sowie Komponisten unserer Zeit verpflichtet ist. New York. Katja Kabanowa und Dvorˇáks Rusalka Conductor Emeritus der Welsh National Die Konzerte des Orchesters werden immer aufgenommen hat. Seine umfangreiche Opera und der San Francisco Opera. häufiger von BBC Radio 3 übertragen, nicht Sir Charles Mackerras studierte am Diskographie enthält einen preisgekrönten Sir Charles wurde 1974 mit dem britischen zuletzt im Rahmen der jährlichen BBC Proms. Konservatorium in Sydney und kam 1947 Zyklus von Janácˇek-Opern mit den Wiener Verdienstorden CBE ausgezeichnet, 1979 zum Mit über 1000 Schallplattenaufnahmen nach England. Von der Kulturorganisation Philharmonikern aus den frühen achtziger Ritter geschlagen, 1996 mit der Ehrenmedaille verfügt das Philharmonia Orchestra über die erhielt er ein Stipendium Jahren. Für Chandos hat er Janácˇeks der Tschechischen Republik gewürdigt und größte Orchesterdiskographie der Welt, die zur Erweiterung seines Studiums an der Glagolitische Messe in der Originalfassung, 1997 zum Companion of the Order of auch Fernseh- und Filmmusik beinhaltet, Musikakademie Prag. In jenem Jahr begann Kodálys Psalmus Hungaricus und Dvorˇáks Australia ernannt. 2003 erhob ihn Königin und genießt weltweit höchstes Ansehen. Das seine Leidenschaft für die Musik Janácˇeks, Cellokonzert eingespielt. Für die Chandos- Elizabeth II. zum Companion of Honour. Orchester hat für Opera Rara mehrere als er Katja Kabanowa unter der Leitung des Recitals sowie dreizehn komplette Opern großen Václav Talich hörte. eingespielt und in der Reihe “Opera in Als Assistant Conductor am Londoner

48 49 On session: Michael Druiett and Roger Begley On session: Andrew Rees and Jeremy White

50 51 On session: John Graham-Hall and Susan Bullock

52 plusieurs échantillons de scènes. Strauss ne version de l’opéra qu’il termina en septembre Le volcan actif de Strauss fut pas impressionné et préféra la traduction 1905. Il modifia les rythmes et les mélodies de de Lachmann. Sa première ligne, “Wie schön la partition pour “convenir au caractère de la Le nom de Salomé ne figure nulle part dans le Glawari dans Die lustige Witwe. Il n’est qu’à ist die Prinzessin Salome heute Nacht!” lui langue française”. Les deux versions diffèrent Nouveau Testament. Dans les évangiles selon songer à Erdgeist de Wedekind, à Nana de suggéra immédiatement une idée musicale de manière subtile, et la seconde sonne saint Matthieu et saint Marc il est seulement Zola ou aux tableaux de Klimt et de Schiele. – et une tonalité, ut dièse mineur – qu’il vraiment comme un opéra français. C’est question de “la fille d’Hérodiade”, née de Outre la Salomé d’, illustrée par griffonna dans la marge de son exemplaire. pendant qu’il travaillait à la version française son premier mariage avec Hérode Philippe. Aubrey Beardsley, il existe des peintures de La même chose se produisit avec d’autres qu’il composa la Danse des sept voiles. Ceci Elle l’abandonna pour Hérode Antipas, le Gustave Moreau et de Lovis Corinth, une phrases cruciales. Aussi quand il alla voir la éliminait la crainte de Mahler qui pensait que demi-frère de Philippe, et ce second mariage nouvelle (Hérodias, 1877) de Flaubert, et pièce en novembre 1902 et qu’un ami lui dit Strauss avait laissé la Danse de côté jusqu’à ce fut dénoncé comme étant “incestueux” par l’opéra Hérodiade de Massenet (1881). Mais “Sûrement, il y a ici un opéra pour vous?”, il qu’il soit hors d’humeur de le faire. le prophète Jean le Baptiste qui prétendait c’est Wilde qui ajoute l’obsession de Salomé put répondre sans mentir: “Je suis déjà en L’interprétation enregistrée ici est chantée préparer le chemin pour la venue de Dieu pour Jean-Baptiste et d’Hérode pour Salomé, de le composer!”. Mais ce n’est pas avant le en anglais dans une traduction de Tom sur terre. C’était une raison suffisante pour et qui fait tuer Salomé par ordre d’Hérode. mois de juillet 1903, pendant des vacances à Hammond. En fait, Strauss rédigea lui-même qu’Hérode Antipas le détienne dans un Son intérêt pour ce sujet était une réponse Marquarstein, qu’il commença sérieusement le livret de la version allemande. Il raccourcit donjon (ou citerne) à Machéronte à l’est de aux tableaux de Moreau. Sa pièce fut un échec à travailler à la partition, composant à l’aide presque de moitié la pièce de Wilde, élimina la Mer morte. Après un banquet donné pour à Paris et interdite en Angleterre, mais elle d’un piano droit dans la “salle de repassage” et plusieurs personnages secondaires et maintes l’anniversaire d’Hérode, la fille d’Hérodiade remporta du succès à Breslau en 1901 dans écrivant sur la table à repasser. Il continua à y phrases fleuries de l’écrivain, écourta les débats dansa pour les convives et plut tant au une traduction allemande. Produite par Max travailler pendant une tournée en Amérique en religieux, et anticipant la censure, omit la tétrarque qu’il lui jura de lui donner tout ce Reinhardt à Berlin l’année suivante, elle fut 1904 où il devait diriger la première mondiale ligne du monologue final de Salomé quand qu’elle voudrait. Poussée par sa mère, elle représentée deux cents fois dans une nouvelle de sa Symphonia Domestica, et il termina la elle dit: “J’étais une vierge tu m’as déflorée. demanda la tête de Jean le Baptiste. Hérode, traduction allemande de Hedwig Lachmann. partition complète à Berlin le 20 juin 1905, J’étais chaste, tu as remplis mes veines de feu.” nous disent les Évangiles, fut “attristé”, mais Richard Strauss vivait à Berlin, où il occupait trois semaines après la mort de son père à qui Quand dans la première scène Salomé quitte le tint sa promesse. le poste de chef d’orchestre de la cour de il avait joué des extraits de l’ouvrage. Le vieil banquet parce qu’elle en a assez de la discussion La fille d’Hérodiade devint Salomé au dix- l’empereur Guillaume II, depuis 1898. Anton homme avait fait la remarque: “Mon Dieu, religieuse et n’apprécie pas la manière dont neuvième siècle quand l’histoire connut une Lindner, un jeune écrivain viennois dont quelle musique nerveuse. J’ai l’impression que son beau-père Hérode la regarde, Strauss retira vogue. Elle s’accordait avec l’obsession pour Strauss avait mis en musique l’un des poèmes mon pantalon est rempli d’insectes”. Aussitôt la phrase suivante de Wilde (“Je ne sais pas la femme fatale, la femme consciente de sa en 1898, offrit d’écrire un livret d’opéra après avoir achevé cette version, Strauss adapta ce que cela veut dire. Au fait, si, je le sais”) sexualité, qu’elle fût Salomé, Judith ou Hanna d’après Salomé, et envoya au compositeur le texte français de Wilde pour une seconde car il percevait son héroïne comme étant une

54 55 vierge innocente. C’est un livret caustique, menaça d’enlever la création de Dresde et de pas à le soustraire au censeur de la cour villa à Garmisch. Après la première des deux mais Strauss écrivit à son ami Romain Rolland: la confier à Leipzig ou à Vienne. Mais en dépit pour l’Opéra de Vienne où il était directeur, représentations prévues au Metropolitan Opera “Vous avez raison. Le texte de Salomé n’est pas de “Tante Wittich”, comme il la surnommait, et menaça de démissionner. Mais Strauss de New York en 1907, la fille du financier bon. Je l’ai pris parce que je n’avais rien d’autre tout se passa bien. Après la répétition générale, le dissuada, déclarant: “Pour l’amour du J. Perpont Morgan fit retirer l’opéra de son et parce que j’avais quelque chose à dire. Que il y eut un silence stupéfait et Strauss s’écria: ciel, ne laissez pas Salomé donner naissance répertoire, et il ne fut plus rejoué dans ce lieu pouvais-je faire? Je ne peux pas écrire mes “Eh bien, ça m’a vraiment plu!”. À la création à une question de confiance! Nous avons avant 1934. Arrivant à New York au même livrets comme Wagner.” le 9 décembre 1905, il y eut trente-huit rappels beaucoup trop besoin d’un artiste possédant moment pour diriger ses oratorios, Sir Edward À la suite du succès remporté par la création devant le rideau, mais presque tous les critiques votre détermination, votre génie et votre Elgar fut sidéré qu’on lui demande de conduire mondiale à Dresde de son deuxième opéra, allemands déversèrent des insultes sur l’opéra. approche pour que vous risquiez tout à cause une prière publique pour délivrer la cité du Feuersnot en un acte, Strauss offrit à cette ville Après tout, la série des poèmes symphoniques de Salomé. Nous finirons bien par atteindre à fléau deSalomé . Il refusa, faisant remarquer Salomé, également en un seul acte, et avertit composée par Strauss pendant les années 1890 notre but sans cela!” Il ne fut atteint à l’Opéra que Strauss était “le plus grand génie de son le chef d’orchestre Ernst von Schuch que les était encore considérée par les critiques, sinon de Vienne qu’en 1918, mais la création en temps”. La Danse des sept voiles de Salomé interprètes des trois principaux rôles – Salomé, par le public, comme l’expression même de Autriche eut lieu à Graz en 1906, Adolf Hitler provoqua de nombreuses difficultés avec la Jean-Baptiste (Jokanaan) et Hérode – devraient la cacophonie et de la décadence. Après avoir y aurait assisté, et la compagnie de Breslau censure. Strauss avait une idée très précise se donner trois mois pour apprendre leurs assisté à deux représentations de Salomé au représenta l’ouvrage dans un autre théâtre sur la manière dont elle devait être exécutée, parties. La soprano wagnérienne Marie Wittich cours d’une même semaine à Berlin en janvier viennois en 1907. Londres l’interdit en 1907, et s’opposait à tout ajout dramatique – “pas ne le fit qu’en un mois, et quand elle se mit 1907 avec Emmy Destinn dans le rôle titre, mais céda quatre ans plus tard à condition de flirt avec Hérode, pas de jeu autour de la à étudier le rôle de Salomé, elle put à peine Gustav Mahler écrivit: “Je suis fermement que Sir Thomas Beecham apporte quelques citerne de Jokanaan, seulement une pause près en croire ses yeux et alla se lamenter auprès convaincu que c’est l’un des plus grands chefs- modifications ridicules au texte allemand qui de la citerne pendant le dernier trille. La danse de Cosima Wagner. Lors de la première d’œuvre de notre temps… une véritable œuvre furent ignorées par les interprètes et personne doit être purement orientale, aussi sérieuse répétition avec piano, Wittich et tous les autres de génie, très puissante. Un volcan actif est ne remarqua rien. Berlin attendit un an pour et mesurée que possible, et avec une totale chanteurs, à l’exception du ténor tchèque Karel au travail sous un monceau de scories, un feu représenter l’opéra à cause des objections de modestie comme si elle était faite sur un tapis Burian (Hérode) qui connaissait déjà sa partie souterrain – pas un simple feu d’artifice!” l’impératrice et de sa famille. La solution fut de de prière”. Dieu sait ce qu’il penserait de ce que par cœur, firent la queue pour remettre leurs Après Dresde Salomé fut représenté à faire figurer de manière anachronique l’Étoile nous voyons souvent sur scène de nos jours! partitions à Schuch. Plus tard, Wittich souleva Breslau et, en l’espace de deux ans, dans de Bethléem sur la toile de fond. L’empereur Salomé ne choque pas beaucoup de monde des objections contre la “perversité” simulée cinquante autres villes. Le public était avide n’assista jamais à aucune représentation, mais au vingt-et-unième siècle et l’ouvrage risque demandée par le producteur et déclara à de faire l’expérience de cette “provocation déclarant que Salomé ferait beaucoup de mal plutôt d’être rejeté comme étant kitsch. Il est Strauss: “Je ne le ferai pas. Je suis une honnête blasphématoire”, mais l’opéra rencontra des à Strauss, le compositeur rétorqua que le plus probable que la grande majorité réagisse femme.” Son attitude ennuya tant Strauss qu’il difficultés avec la censure. Mahler ne parvint mal qu’elle lui fit lui permit de construire sa avec enthousiasme et stupéfaction devant

56 57 l’audace et les couleurs incroyables de cette Nature, pour Salomé et offrit d’“atténuer” cheveux sur la tête, et cependant sa musique l’autorisation de le voir. Après avoir d’abord partition révolutionnaire, l’opéra qui prépara l’orchestre pour elle. Elle remplissait son idée est monstrueusement belle. Strauss conquiert refusé, il lui cède. 6 Sorti de la citerne, la voie non seulement à Elektra de Strauss, d’une Salomé légère et capricieuse au lieu de notre sympathie réticente pour Salomé tandis Jokanaan continue à dénoncer Hérode et mais également à Marie et Lulu de Berg, “la princesse de seize ans avec la voix d’Isolde” qu’il tisse tous les thèmes principaux de la Hérodiade. Salomé est fascinée par lui. 7 Marietta de Korngold et Katerina Ismailova qu’il avait auparavant recommandée. Avec partition en un orgasme vocal et instrumental Quand Jokanaan réalise qui elle est, il se de Chostakovitch, parmi tant d’autres. Il sagesse peut-être, elle n’accepta jamais de de désir érotique. Malgré toutes les gloires met à la condamner elle aussi, et la presse de a introduit l’obsession pathologique sur les faire l’expérience. Mais Herbert von Karajan monumentales d’Elektra, c’est dans Salomé se repentir. 8 - 10 Salomé lui déclare qu’elle scènes d’opéra. S’il dépeint la dépravation se souvint que Strauss lui avait dit: “De nos que Strauss se montre le plus innovateur, le désire son corps, ses cheveux et sa bouche. des principaux personnages, la musique jours, toutes les voix lourdes chantent Salomé. plus osé et le plus varié. Avec cette œuvre, on Narraboth, désespéré par ce spectacle, se tue. demeure essentiellement lyrique. Bien C’est devenu incontrôlable. Je ne veux pas peut dire qu’il a changé la face de l’opéra. Maudissant Salomé, Jokanaan redescend dans qu’orchestré pour cent-cinq instrumentistes, de ça”. Sa brillante manière de caractériser la citerne. © 2008 Michael Kennedy l’opéra sonne mieux quand il est dirigé, démontrée par ses poèmes symphoniques 11 - 15 Hérode et Hérodiade sortent de comme Strauss l’avait recommandé, avec une se retrouve dans Salomé. Il éprouvait le plus la fête. Hérode est de plus en plus obsédé touche légère. “C’est un scherzo avec une grand dédain pour la religion et méprisait Argument par sa belle-fille Salomé, et ses avances conclusion fatale”, déclara-t-il. Les premières Jean-Baptiste qu’il qualifiait d’“imbécile”. sont interrompues par la voix de Jokanaan. notes de la clarinette qui ouvrent l’œuvre Il composa cependant pour lui une musique compact disc one Hérodiade demande à Hérode de remettre le nous transportent dans cette étrange nuit remarquable, en dépit de ses sentiments, prisonnier aux Juifs, mais il refuse. 16 Pour méditerranéenne il y a deux mille ans avec sa et captura les obsessions du prophète aussi 1 Narraboth, le jeune capitaine des gardes, se changer le sujet, il demande à Salomé de pleine lune, sa chaleur étouffante et son climat précisément qu’il captura celles d’Hérode, tient sur la terrasse du grand palais d’Hérode, danser pour lui. Elle refuse. Hérode promet de violence imminente qu’Hérode ressent lors d’Hérodiade et de ces membres de groupes et est envoûté par Salomé qui se trouve dans alors que si elle danse, il lui donnera tout ce de son entrée. Strauss nous saisit à la gorge dès religieux tels que les Juifs qui passent leur la salle des banquets. 2 D’une citerne s’élève qu’elle voudra. Elle accepte seulement après le début et ne nous lâche plus pendant les cent temps à se disputer entre eux. la voix de Jokanaan (Jean le Baptiste) qui est lui avoir fait jurer de tenir parole. minutes qui suivent. Cependant, c’est le personnage de Salomé emprisonné pour avoir diffamé de tétrarque et Strauss admirait un grand nombre des qui, à juste titre, domine l’opéra. Le génie sa femme. Il est placé sous la garde des soldats, compact disc two interprètes de Salomé mais recherchait tout de la musique n’est nulle part illustré de et un petit groupe de Nazaréens l’observe. le temps son idéal. Peut-être le trouva-t-il à manière plus forte que dans le final Liebestod 3 - 5 Hérode a donné l’ordre que personne 1 Danse des sept voiles. 2 - 5 Une fois la la fin de sa vie avec Maria Ceborati et Ljuba envahi par la folie de Salomé tandis qu’elle ne soit autorisé de parler au prisonnier, mais danse finie, Hérode demande à Salomé ce Welitsch. Pendant un temps il songea à bave d’envie devant ta tête décapitée. La quand Salomé paraît et entend Jokanaan, qu’elle désire. Elle veut la tête de Jokanaan. Élisabeth Schumann, l’une des Zerlina de la scène est d’une horreur à vous faire les elle demande avec insistance à Narraboth Horrifié, Hérode tente de la persuader de

58 59 choisir autre chose, et lui offre des pierres Lysander‚ Albert Herring et Ferrando (Così fan Sally Burgess (Hérodiade) est particulièrement Royal Shakespeare Company et l’Opera North précieuses, ses paons blancs et même le Voile tutte) avec le Glyndebourne Touring Opera. acclamée pour son interprétation du rôle représenté dans le West End de Londres, du Temple. Mais elle refuse, et Hérode est À l’étranger, John Graham-Hall a chanté de Carmen de Bizet qu’elle a chanté au lui a valu une nomination pour un Olivier contraint de céder. le Maître de danse (Ariadne auf Naxos)‚ Metropolitan Opera de New York, à l’Opéra Award dans la catégorie “Meilleure actrice de 6 - 7 La tête de Jokanaan est présentée Cassio et Basilio au Théâtre de La Monnaie de Paris-Bastille, à Munich, Londres, Zurich, comédie musicale”. La riche discographie de à Salomé sur un plateau d’argent, et enfin de Bruxelles; deux rôles dans Moses und Aron Berlin, Bregenz, en Nouvelle Zélande et Sally Burgess inclut, pour Chandos, Judith elle embrasse ses lèvres. 8 Révolté, Hérode au De Nederlandse Opera et au Festival de à Portland. Elle s’est produite à l’English (Bluebeard’s Castle dans la série “Opera in ordonne à ses soldats de la tuer. Salzbourg; Chapkine (La Maison des Morts) à National Opera, au Welsh National Opera, English”) et Florence Pike (Albert Herring), l’Opéra de Nice, Lysander à Paris‚ Lyon‚ Caen‚ à l’Opera North, au Scottish Opera, au ainsi que West Side Story, The King and I, Sally Traduction: Francis Marchal Montpellier‚ Rome et au Festival de Ravenne; Bayerische Staatsoper et au De Nederlandse Burgess Sings Jazz, The Other Me et Happy Lensky (Eugène Onéguine) à Lyon et à Toronto; Opera. Son répertoire comprend également de Talk; tous ces enregistrements ont renforcé sa John Graham-Hall (Hérode) est salué dans Ferrando à Vancouver; Cassio et Telemacus (Il nombreux autres rôles qu’elle a chanté dans le réputation d’artiste aux talents illimités. le monde entier comme l’un des meilleurs ritorno d’Ulisse in patria) à Lisbonne; Achilles monde entier, notamment Azucena chanteurs britanniques. Il a fait ses études (King Priam) et le Peintre (Lulu) à Anvers; (Il trovatore), Mistress Quickly (Falstaff ), Baba Susan Bullock (Salomé) est aujourd’hui l’une au King’s College de Cambridge et au Royal Basilio et Spoletta (Tosca) au De Nederlandse the Turk (The Rake’s Progress), Hanna Glawari des sopranos dramatiques les plus demandées College of Music de Londres. Il s’est produit Opera. Il a été jusque récemment membre de (Die lustige Witwe), Dalila (Samson et Dalila), sur les scènes internationales. Elle s’est avec toutes les grandes compagnies lyriques l’English National Opera où il s’est produit Fricka (), Judith récemment produite dans le rôle de Brünnhilde de Grande-Bretagne dans des rôles tels que dans les rôles de Eisenstein (Die lustige Witwe), (Le Château de Barbe-Bleue), Kabanicha au Nouveau théâtre national de Tokyo, avec la Albert Herring au Royal Opera de Covent Mime (Der Ring des Nibelungen)‚ Hérode‚ (Katya Kabanova), et Hérodiade (Salome). Canadian Opera Company, au Teatro Nacional Garden, Albert Herring‚ Vanya Kudrjas Valzacchi‚ Sylvester (The Silver Tassie)‚ Goro En concert, Sally Burgess s’est produite à de Sao Carlos à Lisbonne et à La Fenice de (Katya Kabanova)‚ Flute (A Midsummer (Madama Butterfly)‚ Triquet (Eugène Onéguine)‚ New York avec Jane Glover; à Londres avec Venise. Elle a chanté le rôle d’Isolde à Londres, Night’s Dream) et Bob Boles (Peter Grimes) Monostatos (Die Zauberflöte)‚ l’Ivrogne Richard Hickox; à Washington avec Leonard Francfort, Vérone, Leeds et Rouen. Susan au Festival de Glyndebourne, Valzacchi (Der (Lady Macbeth de Mtsensk) et Alwa (Lulu). Slatkin; à Seattle avec Gerard Schwarz; à Bullock est particulièrement acclamée dans le Rosenkavalier)‚ Don Basilio‚ Monostatos‚ John Graham-Hall a enregistré pour Houston et Bordeaux avec Hans Graf; à monde entier pour son interprétation du rôle Lysander (A Midsummer Night’s Dream) et Chandos le rôle de Hob (The Poisoned Kiss de San Diego avec Jahja Ling et à dans toute d’Elektra de Richard Strauss. Hérode à l’English National Opera, Cassio Vaughan Williams), et dans la série “Opera in l’Europe avec d’autres chefs d’orchestre Parmi les autres rôles qu’elle a récemment (Otello) au Welsh National Opera, Eisenstein English”, Alwa (Lulu), l’Idiot (Wozzeck), Vítek réputés dans des concerts enregistrés pour incarnés, on citera Marie dans Wozzeck à et le Maître d’école (Le Petit Renard rusé) au (The Makropulos Case), Monostatos (The Magic la télévision et la radio. Sa prestation dans Covent Garden sous la direction de Daniel Scottish Opera, Aschenbach (Death in Venice)‚ Flute) et Isacco (The Thieving Magpie). Showboat, un spectacle co-produit par la Harding, le Chœur de Femmes (The Rape

60 61 of Lucretia) au Bayerische Staatsoper, Lady Né en Allemagne, John Wegner (Jokanaan) Biterolf (Tannhäuser), Pizarro, Jokanaan avant de terminer ses études à la Guildhall Macbeth (Macbeth d’Ernst Bloch) à Vienne, est allé vivre très jeune en Australie où il (Salomé), Orestes (Elektra), Scarpia (Tosca), School of Music and Drama de Londres. Il Der Schatzgräber de Franz Schreker à l’Opéra a été choriste à la cathédrale Saint-Patrick Iago (Otello), Alfio Cavalleria( rusticana), est devenu membre du Jerwood Young Artist de Francfort, Ellen Orford (Peter Grimes) de Melbourne. Il est titulaire d’un diplôme Jack Rance (La Fanciulla del west), le Comte Programme à l’English National Opera puis à l’English National Opera à Londres et à (Association Diploma in Opera and Music de Saint-Bris (Les Huguenots), le rôle titre “Company Principal”, chantant de nombreux l’Opéra royal danois. Theatre) du Victorian College of the Arts. John dans Boris Goudonov, Falstaff, Cardillac, le rôles. En concert, il s’est produit dans The Le répertoire de concert de Susan Bullock Wegner a été membre de l’Opera Australia de Prince Igor, Escamillo (Carmen) Lindorf, Dream of Gerontius à Helsinki et Dublin, dans est très vaste et varié. Elle a récemment fait 1981 à 1992 et continue à s’y produire comme Coppelius, Dr. Miracle et Dapertutto (Les le rôle de Cavaradossi (Tosca) avec le City ses débuts avec la Philharmonie de Berlin artiste invité. Il est actuellement membre Contes d’Hoffmann), Méphistophélès (Faust), of Birmingham Symphony Orchestra, dans sous la direction de Mark Elder (Hänsel und du Deutsche Oper am Rhein Düsseldorf/ Prus (L’Affaire Makropoulos) et Kissinger dans Blonde Eckbert de avec le NDR Gretel ), chanté Erwartung de Schoenberg Duisburg. Il a chanté à La Scala de Milan, à la première australienne de Nixon in China de Hamburg, dans la Faust Kantate de Schnittke à avec le BBC Symphony Orchestra sous la l’Opéra royal danois de Copenhague, à l’Opéra John Adams. Bâle et Zurich, dans la Missa Solemnis de Liszt direction de David Robertson, le “Prélude et national de Norvège, au Théâtre de la Monnaie Ses engagements récents incluent Sebastiano et la Missa Solemnis de Beethoven à Bâle. Liebestod” extrait de Tristan und Isolde avec de Bruxelles, au Théâtre du Capitole de (Tiefland ) et Richard III de Battistelli pour D’autres rôles incluent Boris (Katya le Philharmonia Orchestra sous la direction Toulouse, au Komische Oper et au Staatsoper le Deutsche Oper am Rhein, Jack Rance à Kabanova), Sergei (Lady Macbeth de Mtsensk), de Esa-Pekka Salonen, et sous la direction de de Berlin, à Stuttgart, Munich et Bonn, à Prague, Die Gezeichneten au De Nederlandse Pinkerton (Madama Butterfly), The Lawyer avec l’Orchestre du Bayerische l’Opera Australia de Sydney, à Melbourne, au Opera d’Amsterdam, Les Contes d’Hoffmann et (Punch and Judy), Ismaele (Nabucco), Macduff Staatsoper. Elle a fait ses débuts en récital au Lyric Opera de Queensland, à l’Opéra d’État Claggart (Billy Budd) à l’Opera Australia. En (Macbeth), Alfredo (La traviata) et plusieurs Wigmore Hall de Londres en 2005. d’Afrique du Sud, au De Nederlandse Opera 2008, d’autres engagements incluent le rôle rôles dans The Silent Twins de Wallen. Andrew La discographie de Susan Bullock inclut le d’Amsterdam, à l’English National Opera de titre dans Der fliegende Holländer au Deutsche Rees a créé le rôle de Ryan dans When She rôle de Genièvre (Le Roi Arthus de Chausson), Londres, à l’Opera North, à l’Opéra d’Irlande, Oper am Rhein, Jokanaan à Tokyo, Scarpia à Died: Death of a Princess de Jonathan Dove et pour Chandos Lady Billows (Albert Herring), à Prague, Berne, et aux festivals de Bayreuth et Duisburg, Klingsor au Bayerische Staatsoper de pour la chaîne de télévision britannique Sancta Susanna d’Hindemith et Magda (The d’Adélaïde. Munich, Telramund au Staatsoper de Vienne et Channel 4. Consul de Menotti) avec l’Orchestre du Le vaste répertoire de John Wegner inclut Pizarro (Fidelio) à l’Opéra National du Rhin. Festival de Spolète sous la direction de Richard les rôles de Wotan/Voyageur errant, Alberich, Née à Londres, Rebecca de Pont Davies Hickox. Elle a enregistré un disque récital Günther, Fasolt et Donner (Der Ring des Né à Carmarthen au Pays de Galles, Andrew (le Page d’Hérodiade) a fait ses études à la avec le pianiste Malcolm Martineau (incluant Nibelungen), Telramund (Lohengrin), le rôle Rees (Narraboth) a étudié au Royal Northern Guildhall School of Music and Drama où elle a les Wesendonck Lieder de Wagner et les Cinq titre dans Der fliegende Holländer, Kurwenal College of Music de Manchester et a fait obtenu de nombreux prix. Elle a fait ses débuts Poèmes d’Anna Akhmatova de Prokofiev). (Tristan und Isolde), Klingsor (Parsifal), partie du Glyndebourne Festival Chorus lyriques avec le Glyndebourne Touring Opera

62 63 dans Death in Venice de Britten. Après avoir discographie inclut le rôle de Mistress Quickly National Opera Studio. Au Welsh National À Glyndebourne, il a incarné les rôles de débuté à l’English National Opera avec le rôle dans la série “Opera in English” de Chandos. Opera il a incarné Duca (Rigoletto), Rodolfo Remendado (Carmen), Coryphee (Le Comte d’Emilia (Otello), elle a été pendant un temps (La Bohème), Alfred (Die Fledermaus), Ory), Gaston (La traviata), et Andrew (The principale dans cette compagnie, incarnant Né en Angleterre dans le Devon, Anton Rich Alfredo (La traviata), le Chevalier de la Last Supper) qu’il a également interprété des rôles tels que Mrs Sedley (Peter Grimes), (Premier Juif) a étudié à la Royal Academy Force (Dialogues des Carmélites), Tamino au Staatsoper Berlin. Au Scottish Opera, Annina (Der Rosenkavalier), Geneviève (Pelléas of Music de Londres. Il est ensuite devenu (Die Zauberflöte); à l’Opera North Prunier il a chanté Borsa (Rigoletto), Alfred (Die et Mélisande), Ottavia (L’incoronazione di membre du Glyndebourne Chorus et de (La Rondine), Fenton (Falstaff ); à l’English Fledermaus), L’incredibile (Andrea Chenier), Poppea), Mistress Quickly (Falstaff ) et Ulrica l’English National Opera où il a chanté National Opera des rôles tels que Alfredo et Remendado et Jaquino (Fidelio). Colin (Un ballo in maschera). En 2001, elle a créé le des rôles dans Salomé, La traviata, Der Cavaradossi (Tosca). Il a chanté au Scottish Judson a été membre de l’Opéra de Cologne rôle de Suzanne dans la première mondiale de Rosenkavalier, Boris Goudonov, Lady Macbeth Opera, avec le Chelsea Opera Group, au où il s’est produit dans de nombreux rôles, A Better Place de Martin Butler. de Mtsensk de Chostakovitch, Le Petit Renard Castleward Opera, avec la Classical Opera notamment Goro (Madama Butterfly), Pedrillo D’autres rôles incluent Mrs Sedley à rusé et La Maison des Morts de Janácˇek, Der Company, à l’Almeida Opera et à l’Opéra (Die Entführung aus dem Serail ) et Truffaldino Barcelone et en version de concert à Valence, Prinz von Homburg de Henze, Die Soldaten de d’Irlande du Nord. (L’Amour des trois oranges). Il a fait ses débuts Beroe (The Bassarids de Henze) au Théâtre Zimmermann, et dans les créations mondiales Très demandé comme soliste en concert, au Royal Opera de Covent Garden dans le rôle du Châtelet à Paris, Maddalena (Rigoletto) de Doctor Ox’s Experiment de Gavin Bryars Wynne Evans travaille régulièrement avec de Pang (Turandot) et a également chanté des à l’Opera North, la Mère dans la création et de The Silver Tassie de Mark Anthony le Royal Philharmonic Orchestra, le BBC rôles dans Die Zauberflöte et Salome à l’English mondiale de Wagner Dream de Jonathan Turnage. Symphony Orchestra, le City of Birmingham National Opera, Snout (A Midsummer Night’s Harvey à Amsterdam, au Luxembourg et à Au Kentish Opera il a incarné Hermann Symphony Orchestra, le Halle Orchestra, Dream) au Teatro Real de Madrid et au Royal Paris, l’Actrice (A Night at the Chinese Opera (La Dame de Pique), Riccardo (Un ballo le London Symphony Orchestra, le City of Opera de Covent Garden, Flute (A Midsummer de Judith Weir) et Moksada (Snatched from in maschera), Radames (Aida), Pinkerton London Sinfonia. Il s’est produit en récital et Night’s Dream) à l’Opera North, Squeak au the Gods de Param Vir) au Scottish Opera. (Madama Butterfly), Ismaele (Nabucco), en concert à Londres et à Cardiff. Festival de Glyndebourne et Mime (Der Ring En concert, Rebecca de Pont Davies a Alvaro (La forza del destino) et Canio des Nibelungen) à l’Opéra national du Rhin et chanté avec de nombreux orchestres dans (Pagliacci). Anton Rich possède un vaste Colin Judson (Troisième Juif) a étudié à au Sao Carlos de Lisbonne. un répertoire allant des grandes œuvres de répertoire d’oratorios, et s’est produit dans Guildhall School of Music de Londres. Bach et Haendel à la Petite Messe solennelle de toutes les grandes salles de Londres. Il a chanté au Scottish Opera, au Festival Salué comme l’un des meilleurs ténors Rossini, Elijah de Mendelssohn, le Requiem de Glyndebourne, avec l’English Touring dramatiques d’Europe, Alasdair Elliott de Verdi, la Deuxième Symphonie de Mahler, Né au Pays de Galles, Wynne Evans Opera et le Glyndebourne Touring Opera, à (Quatrième Juif) a récemment chanté des rôles les Sea Pictures et The Dream of Gerontius (Deuxième Juif) a étudié à Londres à la l’English National Opera et au Royal Opera tels que Mime dans la nouvelle production d’Elgar, et A Child of our Time de Tippett. Sa Guildhall School of Music and Drama et au de Covent Garden. réalisée par le Scottish Opera du cycle Der

64 65 Ring des Nibelungen; Pong (Turandot) au Teatro des liens étroits avec des chefs d’orchestre tels The Pilgrim’s Progress de Vaughan Williams Né à Halifax, Graeme Broadbent (Premier Real de Madrid, au Royal Opera de Covent que Trevor Pinnock, Andrew Parrott, Adam et Paul Bunyan de Britten. Jeremy White se Soldat) a étudié avec Lyndon Vanderpump Garden à Londres et au Reisopera aux Pays-Bas; Fischer et Harry Christophers dans des œuvres produit avec l’aimable autorisation du Royal au Royal College of Music de Londres et David (Die Meistersinger von Nürnberg) au de Bach, Haendel et Mozart; ses engagements Opera de Covent Garden. avec Yevgeny Nesterenko au Conservatoire Staatstheater de Stuttgart, Monostatos (Die dans le répertoire du vingtième siècle incluent Tchaïkovski de Moscou. Zauberflöte) à Lisbonne et à l’English National des pièces de Webern sous la direction de Michael Druiett (Premier Nazaréen)a étudié Il s’est produit en récital et dans des Opera. Il a également incarné Brighella Boulez et de Britten sous celle de Graf, des à la Britten–Pears School, au Royal College oratorios à travers toute la Grande-Bretagne (Ariadne auf Naxos) au Royal Opera de Covent prestations sous la direction de Luciano Berio, of Music et au National Opera Studio. Il est et à l’étranger, dans toutes les grandes salles Garden et à l’English National Opera; Snout Arvo Pärt et John Adams dans leurs propres ensuite devenu basse principale à l’English de Londres et aux BBC Proms, interprétant (A Midsummer Night’s Dream) au Festival de œuvres. National Opera où il a incarné des rôles un répertoire qui s’étend de Monteverdi à Glyndebourne; Bardolpho et Caius (Falstaff ) Jeremy White a incarné Parsons (1984) à La dans Wozzeck, Salomé, Le Petit Renard rusé, Schoenberg. Il a incarné sur scène des rôles au Scottish Opera. Scala de Milan et à Valence; Kecal (La Fiancée La Bohème, Orfeo, Ariodante, Rigoletto, tels que Basilio (Il barbiere di Siviglia) à Bien connu pour l’intérêt qu’il porte à la vendue), Snug (A Midsummer Night’s Dream), Don Carlos et Lohengrin. Il se produit l’English National Opera et au Scottish musique contemporaine, Alasdair Elliott a Sourine (La Dame de Pique) et Ligniere régulièrement en Grande-Bretagne au Welsh Opera; Gremine (Eugène Onéguine) avec interprété les rôles de Vova (La Vie avec un idiot (Cyrano de Bergerac) au Royal Opera House National Opera, au Scottish Opera et au l’Opera Holland Park; Sarastro (Die de Schnittke) et le Serviteur dans la création de Covent Garden; Pluto (Orfeo), Varlaam Royal Opera de Covent Garden. Il a chanté Zauberflöte) au New Zealand Opera; il a fait mondiale de The Bacchae de John Buller. Il (Boris Goudonov), et le rôle titre dans Il turco in au Festival de Glyndebourne dans Peter ses débuts au Festival de Glyndebourne dans travaille à l’opéra et en concert avec des chefs Italia à l’English National Opera; Fabrizio (La Grimes, Don Giovanni, Albert Herring, Otello, le rôle du Commendatore (Don Giovanni) d’orchestre de réputation internationale, et gazza ladra) avec le Philharmonia Orchestra; Eugène Onéguine, Die Zauberflöte et Pelléas et a chanté dans Powder her Face de Thomas se produit régulièrement avec le London Where the Wild Things are avec la Philharmonie et Mélisande. À l’étranger, il s’est produit au Ades au Festival d’Almeida et au Festival Symphony Orchestra, le Monteverdi Choir, de Berlin; Achilla (Giulio Cesare) au Grand- Théâtre du Châtelet et à l’Opéra Bastille à d’Aldeburgh. l’English Concert et les . Théâtre de Bordeaux; Kecal, le Superintendant Paris, à l’Opéra de Lyon, à l’Opéra de Toulouse, En sa qualité de membre du Royal Opera Budd (Albert Herring), Dikoy (Katya à l’Opéra National de Montpellier, au Nouvel de Covent Garden, il s’est produit dans de Né à Liverpool, Jeremy White (Cinquième Kabanova), Talbot (Giovanna D’Arco) et Tirésias Opéra d’Israël et au Théâtre de La Monnaie à nombreux rôles, notamment Colline Juif) a étudié à Oxford. Il mène une carrière (Oedipus Rex) à l’Opera North. Bruxelles. Michael Druiett a travaillé avec des (La Bohème), Angelotti (Tosca), Timur internationale à l’opéra, en concert et au Parmi ses enregistrements, on citera Israel in chefs d’orchestre tels que , (Turandot), Dr Grenvil (La traviata), le disque, dans un répertoire allant de la Egypt sous la direction d’Andrew Parrott, les Christoph von Dohnányi, , Veilleur de nuit (Die Meistersinger von musique ancienne aux plus récentes partitions Vêpres de Monteverdi sous la direction de Richard Hickox, Kent Nagano, Gennady Nürnberg), Leone (Attila), et le Roi Marke contemporaines. Il entretient depuis longtemps Harry Christophers, et pour Chandos Rozhdestvensky et Georg Solti. (Tristan und Isolde).

66 67 Le chanteur irlandais Alan Ewing (Second Onéguine), Ser Amantio di Nicolao (Gianni Giulini. L’Orchestre continue à collaborer avec Peter Moores Foundation Hansel and Gretel, Soldat) s’est produit ces dernières années au Schicchi), Benoît (La Bohème), et Antonio des chefs et des solistes de stature mondiale The Marriage of Figaro, The Thieving Magpie, Staatsoper de Berlin, à l’Opernhaus de Zurich, (Le nozze di Figaro). Il a également chanté et recrute les jeunes instrumentistes les plus Wozzeck, Don Giovanni, The Elixir of Love, au Maggio Musicale de Florence, au Festival plusieurs rôles avec l’Opera Brava, notamment talentueux d’Europe. Lucia of Lammermoor, Faust, Carmen, Aïda, d’Aix-en-Provence, au De Nederlandse Opera, le rôle titre dans , Bartolo (Il Orchestre résident au Royal Festival Hall, La Bohème, Madam Butterfly, Turandot, une au Royal Opera de Covent Garden, et en barbiere di Siviglia), Don Magnifico La( il joue également un rôle central dans la version primée de Tosca ainsi que plusieurs concert au Salzburger Pfingsten Festspiel, Cenerentola), Benoît/Alcindoro (La Bohème). vie musicale britannique en choisissant des récitals solistes d’airs lyriques avec Christone au Festival de Lucerne, au Konzerthaus de Roger Begley a tenu la partie de basse solo résidences régionales qui sont l’occasion Brewer, Bruce Ford, Diana Montague, Dennis Berlin, au de Londres et dans la plupart des oratorios du répertoire, très idéale de développer un programme éducatif O’Neill, Alastair Miles, Yvonne Kenny et au Concertgebouw d’Amsterdam sous la récemment dans le Requiem de Mozart, Die dynamique centre sur la communauté. John Tomlinson. Le Philharmonia Orchestra direction de chefs tels que Sir Colin Davis, Schöpfung de Haydn et la Messe en si mineur Lauréat de nombreux prix, l’ensemble a été consolide constamment sa réputation Philippe Jordan, Richard Hickox et Daniel de Bach. salué unanimement par les critiques pour internationale grâce à des tournées régulières Oren. Particulièrement renommé pour ses ses programmes innovateurs dont l’un des et récemment de prestigieuses résidences au interprétations de rôles virtuoses de Haendel, À partir de la saison 2008/2009, Esa-Pekka objectifs principaux est l’interprétation et la Châtelet Théâtre Musical à Paris, au Megaron que l’on peut écouter dans les enregistrements Salonen occupera le poste de chef principal et commande d’œuvres nouvelles des plus grands à Athènes et au Lincoln Center for the primés d’Acis and Galatea et de Giulio Cesare, celui de conseiller artistique du Philharmonia compositeurs d’aujourd’hui. Performing Arts à New York. son travail s’étend maintenant au grand Orchestra; Christoph von Dohnányi deviendra Un nombre croissant de concerts de répertoire de basse incluant Osmin avec chef honoraire à vie. Les autres chefs associés l’Orchestre sont retransmis par BBC Radio 3, Sir Charles Mackerras étudia au William Christie (à Strasbourg) et Marc avec l’Orchestre incluent Lorin Maazel (au entre autres sa participation annuelle aux Conservatoire de Musique de Sydney et vint Minkowski (à Aix en 2007), Seneca, Sarastro, poste de chef principal assistant), Riccardo Promenade Concerts de la BBC. L’orchestre en Angleterre en 1947. Il obtint une bourse Leporello, Heinrich der Vogler, le Baron Ochs, Muti (chef principal et directeur musical), symphonique le plus enregistré au monde, avec du British Council pour continuer ses études Barbe-Bleue et Sweeney Todd de Sondheim. Giuseppe Sinopoli (directeur musical), Kurt plus de mille disques à son actif, parmi lesquels à l’Académie de Musique de Prague. Son Sanderling (chef émérite), Vladimir Ashkenazy plusieurs bandes originales pour le cinéma et vif intérêt et sa passion pour la musique Roger Begley (un Cappadocien) a étudié (chef lauréat) et Sir Charles Mackerras (chef la télévision, le Philharmonia Orchestra est de Janácˇek commença en 1947 après avoir au Royal College of Music de Londres et principal invite). L’ensemble a également été repute dans le monde entier. entendu l’opéra Kat’á Kabanová dirigé par le est devenu membre du Chœur de l’English associé à des personnalités aussi éminentes Sa discographie comprend, pour Opera grand Václav Talich. National Opera en 1971. Il a interprété de que Otto Klemperer, Wilhelm Furtwängler, Rara, plusieurs disques de récitals ainsi que C’est en qualité de chef assistant au Sadler’s nombreux rôles parmi lesquels Varsonofiev Richard Strauss, Arturo Toscanini, Guido treize intégrales d’opéras et, pour Opera in Wells qu’il donna la première de Kat’ á (Khovantchina), le Capitaine Petrovich (Eugène Cantelli, Herbert von Karajan et Carlo Maria English chez Chandos, série financée par la Kabanová dans un pays de langue anglaise

68 69 en 1951. Plus tard, il présenta L’Af faire La traviata, Werther, Julius Caesar, Mary Stuart, On session: Sir Charles Mackerras Makropoulos et La Maison des morts au Sadler’s Eugene Onegin, Jenu˚fa, The Magic Flute, Wells. Il continua à diriger des productions The Bartered Bride, The Makropulos Case, très acclamées d’opéras de Janácˇek ainsi que Hansel and Gretel et Così fan tutte. des ouvrages du répertoire habituel quand il Charles Mackerras a également fait devint directeur musical de l’English National d’importantes recherches dans le domaine Opera (1970 –1977), et au Welsh National de la musique du dix-huitième siècle, en Opera dont il fut directeur musical de 1987 à particulier Haendel et Mozart. Il a enregistré 1992. Il a été un défenseur de la musique de une série consacrée aux opéras de Mozart et Janácˇek dans les capitales européennes, aux à ceux de Gilbert et Sullivan, ainsi que les USA et en Australie. Jenu˚fa est l’une de ses cycles complets des symphonies de Mozart, œuvres préférées. Beethoven et Brahms, plusieurs oratorios de Il a entretenu une longue collaboration avec Haendel et des symphonies de Mahler et Elgar. la Philharmonie tchèque et a enregistré à la tête Il est actuellement chef principal invité du de cette formation la plupart des œuvres pour Philharmonia Orchestra, chef lauréat du Scottish orchestre de Janácˇek, ainsi que Kat’á Kabanová Chamber Orchestra et chef émérite du Welsh et Rusalka de Dvorˇák. Sa vaste discographie National Opera et du San Francisco Opera. inclut le cycle primé des opéras de Janácˇek Charles Mackerras fut nommé commandeur réalisé avec le Wiener Philharmoniker au début de l’empire britannique (CBE) en 1974 des années 1980. Pour Chandos, il a enregistré et anobli en 1979. Il a reçu la Médaille du la version originale de la Messe Glagolitique de Mérite de la République tchèque en 1996 et Janácˇek, le Psalmus Hungaricus de Kodály et le fait Companion of the Order of Australia en Concerto pour violoncelle de Dvorˇák. Dans la 1997. En 2003, la reine Elizabeth II l’a nommé série Opera in English, il a enregistré Osud, Companion of Honour.

70 71 On session: John Wegner, Susan Bullock and Graeme Broadbent On session: Sally Burgess and Alan Ewing

72 73 “Wie schön ist die Prinzessin Salome heute lievi differenze e la seconda sembra un’opera Il vulcano attivo di Strauss Nacht!” (“Com’è bella la principessa Salomé francese. La “danza dei sette veli” fu composta questa sera!”) gli suggerì immediatamente per questa versione, dissipando il timore di Nel Nuovo Testamento non esiste nemmeno Vedova allegra. Basti pensare a Erdgeist di un’idea musicale e una tonalità, il do diesis Mahler che potesse essere rimandata finché un accenno al nome di Salomé. Nel Vangelo Wedekind, alla Nana di Zola e ai quadri di minore, che annotò al margine della sua copia. Strauss non era più dell’umore giusto. secondo San Matteo e San Marco si parla Klimt e Schiele. Oltre alla Salomé di Wilde, Lo stesso si verificò per altri versi determinanti. La presente registrazione è eseguita nella solo della “figlia di Erodiade”, nata dalle illustrata da Aubrey Beardsley, ci furono Così, quando assisté al dramma nel novembre traduzione inglese di Tom Hammond. In realtà sue prime nozze con Erode Filippo, poi quadri di Gustave Moreau e Lovis Corinth, 1902 e un amico commentò “Sicuramente il libretto della versione tedesca è praticamente abbandonato per il fratellastro Erode Antipa. una novella di Flaubert (Hérodias, 1877) e il tu potresti farne un’opera, non credi?”, il di pugno di Strauss. Fu lui a tagliare di quasi Questa seconda unione fu denunciata e Hérodiade di Massenet (1881). compositore poté rispondere sinceramente “la la metà il dramma di Wilde, eliminando definita “incestuosa” dal predicatore Giovanni Ma fu Wilde ad aggiungere l’ossessione di sto già componendo”. Ma fu solo nel luglio alcuni personaggi secondari e molte delle Battista, che dichiarava di preparare la via del Salomé per Giovanni e quella di Erode per 1903, durante una vacanza a Marquartstein, espressioni fiorite di Wilde, ad accorciare i Signore. Questo bastò perché Erode Antipa lo Salomé e la morte di quest’ultima su ordine di che iniziò a lavorarci seriamente, componendo dibattiti religiosi e, prevenendo il problema imprigionasse in un sotterraneo (o cisterna) Erode. Il suo interesse per l’argomento era stato su un pianoforte verticale e scrivendo su un della censura, a cancellare una delle ultime del castello di Macheronte, a est del Mar suscitato dai quadri di Moreau. Il dramma asse da stiro. Il lavoro proseguì durante una frasi di Salomé che dice “Ero vergine e mi hai Morto. Dopo un banchetto in occasione del fu un fiasco a Parigi e fu messo al bando in tournée in America nel 1904 quando Strauss deflorata. Ero casta e mi hai riempito di fuoco compleanno di Erode, la figlia di Erodiade Inghilterra, ma ebbe successo nel 1901 a diresse la prima esecuzione della sua Symphonia le vene”. Nella prima scena, quando Salomé danzò per i convitati e piacque talmente a Breslau in traduzione tedesca. L’anno dopo domestica e la partitura fu completata a Berlino abbandona il banchetto perché le discussioni tutti che Erode le promise qualunque cosa a Berlino un allestimento di Max Reinhardt il 20 giugno 1905, tre mesi dopo la morte di religiose l’annoiano e non le piace il modo in desiderasse. Per consiglio della madre la ebbe 200 repliche in una diversa traduzione di suo padre, che aveva ascoltato alcuni brani cui la guarda il suo patrigno Erode, Strauss giovane chiese la testa del Battista. Secondo la Hedwig Lachmann. dell’opera e aveva reagito dicendo: “Mio Dio, omise il primo verso di Wilde (“Non so cosa testimonianza di entrambi i Vangeli, Erode ne Richard Strauss abitava dal 1898 a Berlino, che musica irritante. Mi dà l’impressione di significa. In verità lo so, sì”) perché considerava fu “contristato”, però mantenne la promessa. dove era direttore di corte per l’Imperatore avere i pantaloni pieni di formiche”. Non la propria eroina una vergine innocente. Il La figlia di Erodiade divenne Salomé in un Guglielmo II. Un giovane scrittore viennese, appena terminata questa stesura, Strauss libretto è incisivo, ma Strauss scrisse all’amico determinato periodo dell’Ottocento in cui la Anton Lindner, di cui Strauss aveva musicato adattò il testo francese di Wilde per una Romain Rolland: “Avete ragione. Il testo di storia era entrata in voga perché corrispondeva nel 1898 una poesia, si offrì di scrivere un seconda versione dell’opera che completò nel Salome non è buono. Io l’ho preso perché non all’ossessione per la femme fatale, la donna libretto su Salomé e gli inviò alcune scene, che settembre 1905. Modificò il ritmo e la melodia ne avevo altri e perché avevo qualcosa da dire. consapevole della propria sessualità, fosse non piacquero al compositore, il quale preferì della partitura “per adattarli al carattere della Cosa dovevo fare? Non so scrivere libretti come essa Salomé, o Hanna Glawari della la traduzione di Lachmann. Il primo verso lingua francese”. Le due versioni presentano Wagner”.

74 75 In seguito al successo dell’atto unico i critici tedeschi coprirono l’opera di insulti. riusciremo lo stesso!” L’opera non fu allestita Si rifiutò, sottolineando che Strauss era “il Feuersnot , sua seconda opera, a Dresda, Dopo tutto, la serie dei poemi sinfonici di in quel particolare teatro fino al 1918, ma più grande genio dell’epoca”. Gran parte dei Strauss offrì Salome, anch’essa un atto unico, Strauss composta nel decennio del 1890 era la prima austriaca si svolse a Graz nel 1906 problemi di censura furono causati dalla danza a Dresda e avvertì il direttore d’orchestra ancora considerata dalla critica, se non dal (pare che fosse presente Adolf Hitler), e la dei sette veli. Strauss aveva le idee molto chiare Ernst von Schuch che i cantanti dei tre ruoli pubblico, l’essenza della cacofonia e della compagnia di Breslau la allestì in un altro su come doveva svolgersi e respinse tutti gli principali – Salome, Giovanni (Jokanaan) ed decadenza. Dopo essere stato presente a due teatro di Vienna nel 1907. Londra la mise al espedienti teatrali – “niente moine con Erode, Erode – dovevano concedersi tre mesi di tempo rappresentazioni della Salome in una settimana bando nel 1907 ma venne a più miti consigli vietato rivolgersi verso la prigione di Jokanaan, per imparare le parti. Il soprano wagneriano a Berlino nel gennaio del 1907 con Emmy quattro anni dopo, a patto che sir Thomas solo un attimo di pausa accanto alla cisterna Marie Wittich, che aveva previsto solo un Destinn nel ruolo di protagonista, Gustav Beecham apportasse alcune ridicole modifiche al momento dell’ultimo trillo. La danza deve mese, quando studiò la parte di Salomé quasi Mahler scrisse: “Sono fermamente convinto al testo tedesco, ignorate dai cantanti senza essere puramente orientale, seria e misurata non credeva ai propri occhi e sfogò le sue che si tratti di uno dei più grandi capolavori che nessuno se ne accorgesse. Berlino attese il più possibile, e completamente decorosa, preoccupazioni con Cosima Wagner. Alla del nostro tempo… è un’opera geniale e molto un anno per eseguirla a causa di obiezioni da come se venisse eseguita su un tappetino di prima prova con il pianoforte, la Wittich e tutti potente. Un vulcano attivo all’opera che cova parte dell’Imperatrice e della sua famiglia. preghiera”. Sa il cielo cosa penserebbe di quello gli altri cantanti, fatta eccezione per il tenore sotto le scorie, un fuoco sotterraneo, non un La soluzione fu lo sfoggio anacronistico della che spesso si vede oggi sulla scena. ceco Karel Burian (Erode) che conosceva già mero fuoco d’artificio!” stella di Betlemme sullo sfondo. Il Kaiser non Nel Ventunesimo secolo, Salome non a memoria la sua parte, sfilarono per restituire Dopo Dresda la Salome fu allestita a Breslau fu presente a nessuna delle rappresentazioni, provoca più scandalo. È più probabile che le loro partiture a Schuch. Più tardi la Wittich ed, entro due anni, in altre cinquanta città ma sottolineò che Salome avrebbe creato un venga respinta come esempio di kitsch. Gli protestò per la simulata “perversità” che il grandi e piccole. Il pubblico era ansioso di grande danno a Strauss; il compositore ribatté spettatori, però, probabilmente rimarranno produttore le aveva imposto e disse a Strauss: assistere a questo “dramma scandalistico che il danno gli aveva permesso di costruirsi entusiasti e stupiti soprattutto dalla pura “Non lo farò. Sono una donna che ha una sua e blasfemo”, ma l’opera ebbe problemi di una villa a Garmisch. Dopo la prima di due audacia e dal colore di questa partitura dignità”. Strauss rimase talmente irritato dal censura. Mahler non riuscì a farle superare la rappresentazioni previste per la Metropolitan rivoluzionaria, che aprì la via non solo suo atteggiamento che minacciò di spostare censura di corte per l’Opera di Vienna dove Opera di New York nel 1907, la figlia del all’Elektra dello stesso Strauss, ma alla Marie la prima da Dresda e offrirla ai teatri di Lipsia era direttore e minacciò le dimissioni, ma finanziere J. Pierpont Morgan fece eliminare e alla Lulu di Berg, alla Marietta di Korngold o Vienna. Ma a dispetto della “zia Wittich”, Strauss lo dissuase dicendo “Per l’amor del l’opera dal repertorio del teatro fino al 1934. e alla Katerina Ismailova di Shostakovic. Fu come la chiamava, tutto andò bene. Dopo la cielo, non lasciare che la Salome faccia nascere Al suo arrivo a New York in quell’anno per Strauss a portare l’ossessione patologica nel prova generale ci fu un silenzio attonito e si una questione di sicurezza! Abbiamo troppo dirigere i suoi oratori fu sir Edward Elgar, melodramma, descrivendo la depravazione sentì Strauss dire: “Beh, mi è proprio piaciuto!” bisogno di un artista della tua determinazione, che rimase sorpreso quando gli fu chiesto di dei personaggi principali con una musica Alla prima, il 9 dicembre 1905 ci furono del tuo genio e della tua visione perché guidare una riunione pubblica di preghiera che rimane prevalentemente lirica. Sebbene trentotto chiamate alla ribalta, ma quasi tutti tu metta tutto in pericolo per Salome. Ci per liberare la città dalla calamità di Salome. la partitura prevedesse 105 strumentisti, per

76 77 l’esecuzione migliore è necessario un tocco bella musica per lui, quali che fossero i suoi dei banchetti. 2 Da una cisterna arriva la voce compact disc two leggero: “È uno scherzo con una conclusione sentimenti, e fermò le ossessioni del profeta di Jokanaan (Giovanni Battista), imprigionato fatale”, disse il compositore. Già le prime note con la stessa acutezza con cui catturò quelle di per aver diffamato il tetrarca e la moglie e 1 Danza dei sette veli. 2 - 5 Alla fine della del clarinetto ci trasportano in quella strana Erode e di Erodiade e quelle dei membri dei sorvegliato da alcuni soldati e tenuto d’occhio danza Erode la chiama per sapere cosa desidera. notte mediterranea di duemila anni fa, con gruppi religiosi come gli Ebrei, costantemente da un gruppetto di Nazareni. 3 - 5 Erode ha Lei chiede la testa di Jokanaan. Inorridito, il la luna piena, l’atmosfera opprimente e un impegnati in dispute interne. ordinato che nessuno gli rivolga la parola, ma tetrarca cerca di convincerla a cambiare idea e presagio di imminente violenza che Erode Ma è Salomé a dominare giustamente la quando entra Salomé e lo sente parlare, chiede le offre gioielli, i suoi pavoni bianchi e persino coglie al suo ingresso. È come se Strauss ci sua opera. Il genio musicale raggiunge l’apice a Narraboth di poterlo vedere. Il giovane il Velo del tempio, ma lei rifiuta tutto e lo prendesse per il bavero all’inizio e non ci nell’ultimo, folle Liebestod della donna che inizialmente rifiuta, ma infine cede. 6 Liberato costringe ad acconsentire. lasciasse andare per un’ora e mezza. sbava sulla testa mozzata – una scena orribile, dalla cisterna, Jokanaan continua a inveire 6 - 7 Viene portata la testa di Jokanaan su Strauss ammirò molte delle interpreti di ma dalla musica mostruosamente bella. Strauss contro Erode ed Erodiade. Salomé rimane un vassoio d’argento; Salomé finalmente può Salomé, ma era sempre in cerca della cantante si conquista la nostra riluttante solidarietà per affascinata. 7 Quando Jokanaan intuisce la baciare le sue labbra. 8 Preso dal disgusto, ideale. Forse la trovò alla fine della sua vita in Salomé mentre tesse i temi principali della sua identità, si rivolge anche a lei e la sollecita Erode ordina ai suoi soldati di ucciderla. Maria Cebotari e Ljuba Welitsch. A un certo partitura in un parossismo vocale e strumentale 8 - 10 a pentirsi. Salomé dichiara di desiderare Traduzione: Emanuela Guastella punto aveva pensato a , di desiderio erotico. Nonostante le glorie il corpo, i capelli e la bocca del prigioniero. una delle Zerline più spontanee, e si era offerto monumentali di Elektra, Strauss raggiunge Inorridito davanti a questo spettacolo, di “smorzare” l’orchestra per lei, per avere una la vetta dell’innovazione, dell’audacia e della Narraboth si uccide. Maledicendo Salomé, John Graham-Hall (Erode) ha studiato Salomé leggera e capricciosa al posto della varietà in Salome. Si può dire con certezza: Jokanaan ritorna nella cisterna. presso il King’s College di Cambridge e il “principessa sedicenne con la voce di Isolde” quest’opera cambiò il volto del melodramma. 11 - 15 Arrivano Erode ed Erodiade, usciti Royal College of Music. Ha collaborato con indicata inizialmente. La cantante non si prestò le principali compagnie liriche britanniche, © 2008 Michael Kennedy dal banchetto. Erode è sempre più ossessionato mai all’esperimento, e forse fu una cosa saggia. dalla figliastra Salomé e le sue profferte cantando, tra l’altro, Albert Herring alla Royal Ma Herbert von Karajan ricordava che Strauss vengono interrotte dalla voce di Jokanaan. Opera House‚ Covent Garden; Albert Herring‚ gli aveva detto: “Oggi Salomé è interpretata Trama Erodiade sollecita Erode a consegnare il Vanya Kudrjas (Káta Kabanová)‚ Flute da voci potenti. È tutto fuori controllo. Non prigioniero agli Ebrei, ma il tetrarca rifiuta. (A Midsummer Night’s Dream) e Bob Boles mi piace”. Il genio nella caratterizzazione compact disc one 16 Per distrarsi, chiede a Salomé di danzare (Peter Grimes) per la Glyndebourne Festival dimostrato nei poemi sinfonici si era trasferito per lui, ma di fronte al netto rifiuto iniziale, le Opera; Valzacchi (Der Rosenkavalier)‚ nella Salome. Strauss detestava al massimo la 1 Narraboth, giovane Capitano della Guardia, promette di concederle tutto ciò che desidera. Don Basilio‚ Monostatos‚ Lysander (A religione e disprezzava Giovanni Battista che si trova sulla terrazza del palazzo di Erode ed La fanciulla accetta solo dopo che il patrigno Midsummer Night’s Dream) e Herod per la considerava un “imbecille”. Eppure scrisse della è affascinato da Salomé che si trova nella sala ha giurato. English National Opera; Cassio (Otello)

78 79 per la Welsh National Opera; Eisenstein e La discografia per Chandos comprende Hob San Diego con Jahja Ling e in tutta Europa Harding, Female Chorus (The Rape of il maestro di scuola (La volpe astuta) per la (The Poisoned Kiss di Vaughan Williams) e, per con altri prestigiosi direttori d’orchestra in Lucretia) per la Bayerische Staatsoper, Lady Scottish Opera; Aschenbach (Death in Venice)‚ la serie Opera in English, Alwa (Lulu), l’Idiota esecuzioni registrate per le reti radiotelevisive Macbeth (Macbeth di Bloch) a Vienna, Lysander‚ Albert Herring e Ferrando (Wozzeck), Vítek (The Makropulos Case), nazionali. La sua interpretazione di Showboat Der Schatzgräber di Schreker con l’Opera di (Così fan tutte) per la Glyndebourne Touring Monostatos (The Magic Flute) e Isacco (The nella coproduzione tra Royal Shakespeare Francoforte ed Ellen Orford (Peter Grimes) per Opera. Thieving Magpie). Company/Opera North nel West End di la English National Opera e la Royal Danish L’artista è uno dei principali interpreti Londra le è valsa una nomination per un Opera. internazionali britannici e i suoi impegni Sally Burgess (Erodiade) è particolarmente Olivier Award come migliore attrice di musical. Il repertorio concertistico di Susan Bullock operistici all’estero hanno compreso il apprezzata per l’interpretazione della Carmen La ricca discografia di Sally Burgess include, è ricco e articolato e include Hänsel und maestro di danza (Ariadne auf Naxos)‚ Cassio di Bizet, ruolo da lei eseguito alla Metropolitan per Chandos, Judith (Bluebeard’s Castle nella Gretel con cui ha esordito di recente con i e Basilio alla Monnaie di Bruxelles e due Opera di New York, all’Opéra de Paris-Bastille serie Opera in English) e Florence Pike (Albert Berliner Philharmoniker diretti da Mark ruoli in Moses und Aaron per la Nederlandse e nei teatri di Monaco, Londra, Zurigo, Herring), oltre a West Side Story, The King Elder; Erwartung di Schoenberg con la Opera e al Festival di Salisburgo. Ha cantato Berlino, Bregenz, Nuova Zelanda e Portland. and I, Sally Burgess Sings Jazz, The Other Me BBC Symphony Orchestra diretta da David Shapkin (Da una casa di morti) per l’Opera Ha collaborato con English National Opera, e Happy Talk, che hanno cementato la sua Robertson; Preludio e Liebestod dal Tristan di Nizza; Lysander a Parigi, Lione‚ Caen‚ Welsh National Opera, Opera North, Scottish reputazione di artista di enorme talento. and Isolde con la Philharmonia Orchestra Montpellier‚ Roma‚ e al Festival di Ravenna; Opera, Bayerische Staatsoper e De Nederlandse diretta da Esa-Pekka Salonen e con l’Orchestra Lenskij (Eugenio Onieghin) a Lione e Toronto; Opera. Altri ruoli eseguiti in tutto il mondo Susan Bullock (Salome) è uno dei soprani della Bayerishces Staatsoper diretta da Zubin Ferrando a Vancouver; Cassio e Telemaco comprendono Azucena (Il trovatore), Mistress drammatici più richiesti oggi. Nelle ultime Mehta. Susan Bullock ha interpretato il suo (Il ritorno d’Ulisse in patria) a Lisbona; Achilles Quickly (Falstaff ), Baba the Turk (The Rake’s stagioni è comparsa nelle vesti di Brünnhilde primo recital alla Wigmore Hall nel 2005. (King Priam) e il pittore (Lulu) ad Anversa; Progress), Hanna Glawari (La vedova allegra), al New National Theatre di Tokyo, con La discografia comprende Genièvre (Le Roi Basilio e Spoletta (Tosca) per la Nederlandse Dalila (Samson et Dalila), Fricka (Ring), Judith la Canadian Opera Company, al Teatro Arthus di Chausson) e, per Chandos, Lady Opera. È stato membro della English National (Il castello di Barbablù), Kabanicha (Káta Nacional de Saõ Carlos di Lisbona e alla Billows (Albert Herring), Sancta Susanna di Opera dove ha interpretato, tra l’altro, Kabanová), e Herodias (Salome) per citarne Fenice. Ha interpretato il ruolo di Isolde a Hindemith e Magda (The Consul di Menotti) Eisenstein (The Merry Widow), Mime solo alcuni. Londra, Francoforte, Verona, Leeds e Rouen con l’Orchestra del Festival di Spoleto diretta (The Ring Cycle)‚ Herod‚ Valzacchi‚ Sylvester Sally Burgess si è esibita in concerto e in e ha riscosso consensi a livello internazionale da Richard Hickox. Il soprano ha realizzato (The Silver Tassie)‚ Goro (Madam Butterfly) recital a New York con Jane Glover, a Londra soprattutto per la sua interpretazione un disco di recital con il pianista Malcolm ‚ Triquet (Eugene Onegin)‚ Monostatos (The con Richard Hickox, a Washington DC con dell’Elektra di Richard Strauss. Martineau (che comprende il Wesendonck Magic Flute)‚ Shabby Peasant (Lady Macbeth Leonard Slatkin, a Seattle con Gerard Schwarz, Gli altri ruoli recenti comprendono Marie Lieder di Wagner, e Five Poems of Anna of Mtsensk) e Alwa (Lulu). a Houston e Bordeaux con Hans Graf, a in Wozzeck al Covent Garden con Daniel Akhmatova di Prokof’ev).

80 81 Nato in Germania, John Wegner (Jokanaan) (Tannhäuser), Pizarro, Jokanaan (Salome), completare gli presso la Guildhall School of (Otello). Per qualche tempo è stata solista della si è trasferito in Australia da piccolo e ha fatto Orestes (Elektra), Scarpia (Tosca), Iago (Otello), Music and Drama. Ha partecipato all’iniziativa ENO, dove ha cantato, tra l’altro, Mrs Sedley parte del Coro della Cattedrale di St Patrick Alfio Cavalleria( rusticana), Jack Rance (La Jerwood Young Artist Programme presso la (Peter Grimes), Annina (Der Rosenkavalier), a Melbourne. Ha conseguito un diploma in fanciulla del West), St Bris (Les Huguenots), English National Opera e in seguito è diventato Geneviève (Pelléas and Melisande), Ottavia Opera e Teatro musicale presso il Victorian il ruolo di protagonista in Boris Godunov, solista della compagnia, dove ha interpretato (The Coronation of Poppea), Mistress Quickly College of the Arts. Falstaff, Cardillac e Il principe Igor, Escamillo numerosi ruoli. Le apparizioni in concerto (Falstaff ) e Ulrica (A Masked Ball). Nel 2001 John Wegner è stato membro di Opera (Carmen), Lindorf, Coppelius, Dr. Miracle comprendono The Dream of Gerontius a ha creato il ruolo di Suzanne nella prima Australia dal 1981 al 1992 e ha continuato e Dapertutto (Les Contes d’Hoffmann), Helsinki e Dublino, Cavaradossi (Tosca) con mondiale di A Better Place di Martin Butler. a collaborare con la compagnia come ospite. Méphistophèles (Faust), Prus (L’affare la City of Birmingham Symphony Orchestra, Altri ruoli comprendono Mrs Sedley (Peter Attualmente è membro della Deutsche Makropulos) e Kissinger nella prima australiana Blonde Eckbert di Judith Weir con la NDR di Grimes) a Barcellona e in concerto a Valencia, Oper am Rhein Düsseldorf/Duisburg. Ha dell’opera di John Adams Nixon in China. Amburgo, Faust Kantate di Schnittke a Basilea Beroe (The Bassarids di Henze) al Théâtre du collaborato con La Scala di Milano, la Royal Gli ultimi impegni comprendono Sebastiano e Zurigo, la Missa Solemnis di Liszt e la Missa Châtelet di Parigi, Maddalena (Rigoletto) per Danish Opera di Copenaghen, la Norwegian (Tiefland ) e Richard III di Battistelli per la Solemnis di Beethoven a Basilea. Opera North, Mother alla prima mondiale National Opera, il Théâtre Royale de la Deutsche Oper am Rhein, Jack Rance a Praga, Altri ruoli comprendono Boris (Kat’a di Wagner Dream di Jonathan Harvey ad Mannaie di Bruxelles, il Théâtre du Capitole Die Gezeichneten per De Nederlandse Opera Kabanová), Sergei (Lady Macbeth of Mtzensk), Amsteram, Lussemburgo e Parigi, Actress di Toulouse, la Komische Oper e la Staatsoper di Amsterdam, e Le Contes d’Hoffmann e Pinkerton (Madama Butterfly), The Lawyer (A Night at the Chinese Opera di Judith Weir) e di Berlino, Stoccarda, Monaco, Bonn, l’Opera Claggart (Billy Budd ) per Opera Australia. Alti (Punch and Judy), Ishmael (Nabucco), Macduff Moksada (Snatched from the Gods di Param Vir) Australia di Sydney, Melbourne, la Lyric impegni nel 2008 hanno compreso il ruolo di (Macbeth), Alfredo (La traviata) e diverse parti per la Scottish Opera. Opera of Queensland, la State Opera of protagonista in Der fliegende Holländer per la in The Silent Twins di Wallen. Ha creato il Rebecca de Pont Davies svolge una ricca South Australia, De Nederlandse Opera di Deutsche Oper am Rhein, Jokanaan a Tokyo, ruolo di Ryan in When She Died: Death of a attività concertistica e ha collaborato con Amsterdam, English National Opera, Opera Scarpia a Duisburg, Klingsor per la Bayerische Princess di Jonathan Dove per Channel 4. numerose orchestre interpretando un repertorio North, Opera Ireland, Praga, Berna e Festival Staatsoper di Monaco, Telramund per l’Opera che parte dalle opere principali di Bach e di Bayreuth e Adelaide. di Vienna e Pizarro (Fidelio) per l’Opéra Rebecca de Pont Davies (paggio di Erodiade) è Handel passando per la Petite Messe solennelle di Il vasto repertorio di John Wegner National du Rhin. nata a Londra e ha studiato presso la Guildhall Rossini, Elijah di Mendelssohn e il Requiem di comprende i ruoli di Wotan/Wanderer, School of Music and Drama, dove ha vinto Verdi per arrivare alla Sinfonia n. 2 di Mahler, Alberich, Günther, Fasolt e Donner (Ring), Andrew Rees (Narraboth) è nato a numerosi premi. Ha esordito in teatro con la Sea Pictures, The Dream of Gerontius di Elgar e Telramund (Lohengrin), il protagonista Carmarthen, nel Galles, e ha studiato presso Glyndebourne Touring Opera con Death in A Child of our Time di Tippett. La discografia dell’Olandese Volante, Kurwenal (Tristan il Royal Northern College of Music. È entrato Venice di Britten. Il suo primo ruolo per la comprende Mistress Quickly per la serie Opera und Isolde), Klingsor (Parsifal ), Biterolf al Glyndebourne Festival Chorus prima di English National Opera è stato quello di Emilia in English di Chandos.

82 83 Anton Rich (Primo Giudeo) è nato nel Chevalier (Dialogues of the Carmelites), Tamino Per Scottish Opera è stato Borsa (Rigoletto), Lisbona e per la English National Opera. Altri Devon e ha studiato presso la Royal Academy (Il flauto magico); per Opera North è stato Alfred (Die Fledermaus), L’incredibile (Andrea ruoli teatrali comprendono Brighelle (Ariadne of Music. Successivamente è entrato al Prunier (La Rondine), Fenton (Falstaff), mentre Chénier), Remendado e Jaquino (Fidelio). auf Naxos) per la Royal Opera e English Glyndebourne Chorus e poi alla English per English National Opera ha interpretato Colin Judson ha collaborato con l’Opera di National Opera; Snout (A Midsummer Night’s National Opera, dove è comparso in Salome, Alfredo e Cavaradossi (Tosca). Ha collaborato Colonia dove è comparsi in numerosi ruoli, Dream) per la Glyndebourne Festival Opera; La traviata, Der Rosenkavalier, Boris Godunov, con la Scottish Opera, il Chelsea Opera tra cui Goro (Madama Butterfly), Pedrillo Bardolpho e Caius (Falstaff ) per la Scottish Lady Macbeth of Mtsensk di Shostakovich, Group, la Castleward Opera, la Classical Opera (Die Entführung aus dem Serail) e Truffaldino Opera. The Cunning Little Vixen e From the House of Company, l’Almeida Opera e Opera Northern (L’amore delle tre melarance). Alla Royal Opera Alasdair Eliott si dedica anche alla musica the Dead di Janácˇek, The Prince of Homburg di Ireland. House, Covent Garden, ha debuttato nel ruolo contemporanea e interpretato i ruoli di Vova Henze, Die Soldaten di Zimmermann e nelle Wynne Evans ha un fitto calendario di di Pang (Turandot). Gli impegni internazionali (Life with an Idiot di Schnittke) e The Servant prime mondiali di Doctor Ox’s Experiment impegni concertistici come solista e collabora comprendono ruoli in The Magic Flute e nella prima mondiale di The Bacchae di John di Gavin Bryars e The Silver Tassie di Mark regolarmente con la Royal Philharmonic Salome per English National Opera, Snout Buller. In teatro e in concerto ha collaborato Anthony Turnage. Orchestra, la BBC Symphony Orchestra, la (A Midsummer Night’s Dream) per il Teatro con i principali direttori d’orchestra del Per la Kentish Opera ha interpretato City of Birmingham Symphony Orchestra, Real di Madrid e la Royal Opera House mondo; compare regolarmente in concerto con Hermann (La dama di picche), Gustavus la Hallé, la London Symphony Orchestra e Covent Garden, Flute (A Midsummer Night’s la London Symphony Orchestra, il Monteverdi (Un ballo in maschera), Radames (Aida), la City of London Sinfonia, e si è esibito in Dream) per Opera North, Squeak per la Choir, English Concert e i London Mozart Pinkerton (Madama Butterfly), Ismaele recital e concerti a Londra e Cardiff. Glyndebourne Festival Opera e Mime (Ciclo Players. (Nabucco), Alvaro (La forza del destino) e Canio del Ring) per l’Opéra National du Rhin e il (Pagliacci). Nel repertorio dell’oratorio, che Colin Judson (Terzo Giudeo) ha studiato Saõ Carlos di Lisbona. Jeremy White (Quinto Giudeo), è nato a conosce a fondo, Anton Rich è comparso in presso la Guildhall School of Music, Liverpool e ha studiato a Oxford. Nella sua tutte le principali sale da concerto di Londra. collaborando in seguito con Scottish Opera, Tra i principali tenori caratteristi d’Europa, carriera teatrale, concertistica e discografica Glyndebourne Festival Opera, English Touring Alasdair Elliott (Quarto Giudeo) ha internazionale ha interpretato un repertorio che Nato in Galles, Wynne Evans (Secondo Opera, Glyndebourne Touring Opera, English interpretato tra l’altro il ruolo di Mime per va dalla musica antica alle ultime composizioni Giudeo) ha studiato presso la Guildhall School National Opera e Royal Opera House, Covent il nuovo allestimento del Ring della Scottish contemporanee. Collabora da lungo tempo of Music and Drama e il National Opera Garden. Opera; Pong (Turandot) per il Teatro Real con direttori come Trevor Pinnock, Andrew Studio. Per Glyndebourne ha cantato Remendado di Madrid, la Royal Opera, Covent Garden Parrott, Adam Fischer e Harry Christophers Per la Welsh National Opera ha cantato il (Carmen), il Corifeo (Le Comte Ory), Gaston e la Reisopera dei Paesi Bassi; David (Die interpretando Bach, Handel e Mozart, mentre Duca (Rigoletto), Rodolfo (La Bohème), Alfred (La traviata) e Andrew (The Last Supper) che Meistersinger von Nürnberg) per lo Staatstheater i suoi impegni nel repertorio del Ventesimo (Die Fledermaus), Alfredo (La traviata), Le ha interpretato alla Staatsoper di Berlino. di Stoccarda e Monostato (Il flauto magico) a secolo hanno compreso Webern con Boulez

84 85 e Britten con Graf, oltre ad apparizioni con qui è comparso, tra l’altro, in Wozzeck, Salome, Monteverdi a Schönberg. I ruoli comprendono virtuosistici di Handel, da lui interpretati in Luciano Berio, Arvo Pärt e John Adams nelle The Cunning Little Vixen, La Bohème, Orfeo, Basilio (The Barber of Seville) per English premiate registrazioni di Acis and Galatea e loro composizioni. Ariodante, Rigoletto, Don Carlos e Lohengrin. National Opera; Scottish Opera; Gremin Giulio Cesare, oggi ha incluso nel suo lavoro I ruoli comprendono Parsons (1984) alla Nel Regno Unito collabora regolarmente (Eugenio Onieghin) per Opera Holland Park; il repertorio generale dei bassi, che include Scala e a Valencia; Kezal (La sposa venduta), con la Welsh National Opera, la Scottish Sarastro (Il flauto magico) per la New Zealand Osmin per William Christie (Strasburgo) e Snug (A Midsummer Night’s Dream), Sourin (La Opera e la Royal Opera House Covent Opera; ha esordito al Glyndebourne Festival Marc Minkowski (Aix 2007), Seneca, Sarastro, dama di picche) e Ligniere (Cyrano de Bergerac) Garden. Per la Glyndebourne Festival Opera nelle vesti del Commendatore (Don Giovanni) Leporello, Heinrich der Vogler, il Barone alla Royal Opera House; Pluto (Orfeo), Varlaam è comparso in Peter Grimes, Don Giovanni, ed è stato tra gli interpreti di Powder her Ochs, il Duca Barbablù e Sweeney Todd di (Boris Godunov) e il ruolo di protagonista in Albert Herring, Otello, Eugenio Onieghin, Die Face di Thomas Ades ai festival di Almeida e Sondheim. The Turk in Italy per English National Opera; Zauberflöte e Pelléas et Mélisande. All’estero Aldeburgh. Fabrizio (La gazza ladra) con la Philharmonia; ha partecipato ad allestimenti con il Théatre Come artista della Royal Opera, ha Roger Begley (L’uomo di Cappadocia) ha Where the Wild Things Are con i Berliner du Châtelet e l’Opéra Bastille di Parigi, interpretato, tra l’altro, Colline (La Bohème), studiato presso il Royal College of Music e nel Philharmoniker; Achilla (Giulio Cesare) l’Opéra de Lyon, l’Opéra de Toulouse, Opéra Angelotti (Tosca), Timur (Turandot), Dr 1971 entrava a far parte del Coro della English per il Grand-Théâtre de Bordeaux; e Kecal, National de Montpellier, la New Israeli Opera Grenvil (La traviata), la guardia notturna National Opera. Ha interpretato numerosi Superintendent Budd (Albert Herring), Dikoy e La Monnaie di Bruxelles. Ha collaborato (Die Meistersinger von Nürnberg), Leone ruoli tra cui Varsonofiev Khovanshchina( ), (Kat’a Kabanová), Talbot (Giovanna D’Arco) e con direttori come Daniel Barenboim, (Attila) e re Marke (Tristan und Isolde). il capitano Petrovich (Eugenio Onieghin), Tiresias (Oedipus Rex) per Opera North. Christoph von Dohnányi, Bernard Haitink, Amantio di Nicolao (Gianni Schicchi), Benoit La discografia comprende Israel in Egypt Richard Hickox, Kent Nagano, Gennady Negli ultimi anni il basso irlandese Alan (La Bohème) e Antonio (Le nozze di Figaro). Ha con Andrew Parrott, i Vespri di Monteverdi Rozhdestvensky e Georg Solti. Ewing (Secondo soldato) è comparso alla inoltre cantato diversi ruoli per Opera Brava tra con Harry Christophers e, per Chandos The Berliner Staatsoper, alla Opernhaus di Zurigo, cui il protagonista del Don Pasquale, Dr Bartolo Pilgrim’s Progress di Vaughan Williams e Paul Graeme Broadbent (Primo soldato) è nato ad al Maggio Musicale fiorentino, al Festival di (Il barbiere di Siviglia), Don Magnifico La( Bunyan di Britten. Jeremy White compare per Halifax e ha studiato presso il Royal College Aix-en-Provence, alla Nederlandse Opera, Cenerentola), Benoit/ Alcindoro (La Bohème). gentile concessione della Royal Opera House. of Music con Lyndon Vanderpump e poi e alla Royal Opera House Covent Garden, Roger Begley ha cantato parti solistiche per presso il Conservatorio Čaikovskij con Yevgeny svolgendo concerti in occasione del Salzburger basso in gran parte del repertorio degli oratori, Michael Druiett (Primo Nazareno) ha studiato Nesterenko. Pfingsten Festspiel e del Festival di Lucerna, tra cui il Requiem di Mozart, la Creazione di presso la Britten – Pears School, il Royal Come interprete di recital e oratori, presso il Konzerthaus di Berlino, il Barbican Haydn e la Messa in si minore di Bach. College of Music e il National Opera Studio. si è esibito nel Regno Unito e all’estero, e il Concertgebouw con direttori come sir Successivamente è entrato a far parte della comparendo nelle principali sale da concerto Colin Davis, Philippe Jordan, Richard Hickox All’inizio della 2008/09, Esa-Pekka English National Opera come basso solista; di Londra e ai Prom, in un repertorio che va da e Daniel Oren. Noto soprattutto per i ruoli Salonen entrerà in carica come Direttore

86 87 Stabile e Consulente Artistico della fortemente incentrata sull’impegno ad eseguire presso il Châtelet Théâtre Musical di Parigi, il lunga collaborazione con la Filarmonica ceca, Philharmonia Orchestra; Christoph von e commissionare musiche nuove firmate dai Megaron di Atene e il Lincoln Center for the con cui ha registrato la maggior parte delle Dohnányi sarà Direttore Onorario a vita. maggiori compositori contemporanei. Performing Arts di New York. opere orchestrali di Janácˇek oltre a Altri direttori che hanno collaborato con I concerti dell’Orchestra sono trasmessi Kat’a Kabanová e Rusalka di Dvorˇák. La sua l’Orchestra comprendono Lorin Maazel sempre più frequentemente da BBC Radio Sir Charles Mackerras ha studiato presso il vasta discografia comprende un premiato (Direttore Principale Associato), Riccardo 3, incluso l’apparizione annuale in occasione Conservatorio di Sydney e si è trasferito in ciclo di opere di Janácˇek con i Wiener Muti (Direttore Principale e Direttore dei BBC Proms. La Philharmonia Orchestra Inghilterra nel 1947. Ha ottenuto una borsa di Philharmoniker all’inizio degli anni Ottanta. Musicale), Giuseppe Sinopoli (Direttore gode di una reputazione a livello mondiale studio del British Council per proseguire gli Le registrazioni per Chandos comprendono Musicale) e, attualmente, Kurt Sanderling ed è l’orchestra sinfonica che ha inciso di più studi presso l’Accademia Musicale di Praga. la versione originale della Messa glagolitica di (Direttore Emerito), Vladimir Ashkenazy in tutto il mondo, con un catalogo di oltre Nel 1947 nasceva il suo appassionato interesse Janácˇek, Psalmus Hungaricus di Kodály e il (Direttore Laureato) e Sir Charles Mackerras 1000 incisioni, tra cui una serie di colonne per Janácˇek, dopo aver ascoltato la Kat’a Concerto per violoncello di Dvorˇák. Per la (Direttore Principale Ospite), oltre che artisti sonore per film e televisione. La sua discografia Kabanová diretta dal grande Václav Talich. serie Opera in English ha registrato Osud, importanti come Otto Klemperer, Wilhelm include, per Opera Rara, numerosi dischi In qualità di vicedirettore d’orchestra a La traviata, Werther, Julius Caesar, Mary Furtwängler, Richard Strauss, Arturo di recital, oltre a tredici opere complete, e Sadler’s Wells nel 1951 Mackerras proponeva Stuart, Eugene Onegin, Jenu˚fa, The Magic Flute, Toscanini, Guido Cantelli, Herbert von nella serie Opera in English per Chandos, la prima esecuzione di Kat’a Kabanová The Bartered Bride ,The Makropulos Case , Karajan e Carlo Maria Giulini. L’Orchestra sponsorizzata dalla Peter Moores Foundation, nel mondo anglofono. Il seguito avrebbe Hansel and Gretel e Così fan tutte . continua a collaborare con direttori e solisti Hansel and Gretel, The Marriage of Figaro, presentato L’affare Makropoulos e Da una Sir Charles Mackerras ha svolto inoltre di fama mondiale, oltre ad attrarre nelle sue The Thieving Magpie, Wozzeck, Don Giovanni, casa di morti a Sadler’s Wells; avrebbe poi ricerche approfondite sulla musica del XVIII fila i giovani musicisti europei di maggiore The Elixir of Love, Lucia of Lammermoor, continuato a dirigere le opere di Janácˇek in secolo, soprattutto quella di Handel and talento. Faust, Carmen, Aida, La Bohème, Madam allestimenti di grande successo, oltre a un Mozart. Ha registrato opere di Mozart e Orchestra Residente presso la Royal Festival Butterfly, Turandot, la Tosca, vincitrice di repertorio più tradizionale alla sua nomina Gilbert e Sullivan oltre a una serie completa Hall di Londra, occupa una posizione centrale un premio, e vari album di recital, con a Direttore musicale della English National delle sinfonie di Mozart, Beethoven e Brahms, nella vita musicale britannica anche attraverso assoli di arie d’opera eseguite da Christone Opera (1970 – 77) e in seguito della Welsh numerosi oratori di Handel e sinfonie di residenze regionali che offrono un’opportunità Brewer, Bruce Ford, Diana Montague, National Opera (1987 – 1992). È stato un Mahler ed Elgar. Attualmente è Principal ideale per espandere il suo dinamico Dennis O’Neill, Alastair Miles, Yvonne pioniere della diffusione della musica di Guest Conductor della Philharmonia programma educativo, basato sulle comunità. Kenny e John Tomlinson. La Philharmonia Janácˇek nelle capitali europee, negli USA e Orchestra, Conductor Laureate della Scottish Vincitrice di numerosi premi, è stata lodata Orchestra continua a consolidare la sua in Australia. Una delle sue opere predilette Chamber Orchestra e Conductor Emeritus all’unanimità dai critici per la sua politica di fama internazionale con frequenti tournèe è Jenu˚fa. della Welsh National Opera e della San programmazione particolarmente innovativa e e attraverso le recenti, prestigiose residenze Sir Charles Mackerras ha al suo attivo una Francisco Opera.

88 89 Sir Charles Mackerras ha ricevuto diverse 1996 e il titolo di Companion of the Order of onorificenze, tra cui il CBE nel 1974, seguito Australia nel 1997. Nel 2003 all’elenco delle dalla nomina a baronetto nel 1979, la onorificenze reali britanniche si è aggiunto il Medaglia di Merito della Repubblica Ceca nel Companion of Honour.

On session: Sir Charles Mackerras On session: Susan Bullock and Rebecca de Pont Davies

90 91 On session: Colin Judson, Wynne Evans and Alasdair Elliott

92 Salome Oh, they never change: they quarrel about Narraboth A Cappadocian religion all the time. How pale is her lovely face. I’ve never seen her Who is he? compact disc one look so pale before. She’s like the reflection of a First Soldier milk-white rosebud, caught in a mirror of silver. First Soldier A great terrace in the Palace of Herod I find it ridiculous, getting heated over such He’s a prophet. matters. Page (very anxiously) Scene One You must not keep looking. You stare at her far Cappadocian Narraboth Narraboth (warmly) too much. Terrible things may happen. What do they call him? 1 How fair the royal Princess Salome looks tonight. How fair the royal Princess Salome looks this evening! The Voice of Jokanaan (from the cistern) First Soldier Page 2 After me shall come another, one far mightier Jokanaan. See, the moon’s risen, it looks strangely eerie, just Page (anxiously) than I. I am not worthy to unfasten the buckle like a woman who rises from the grave. You stare too much at her. Your eyes never leave upon his . When he comes then shall all Cappadocian her! It’s always dang’rous looking at people here, the desolate places be joyful. When he comes Where does he come from? Narraboth just like that. Terrible things may happen. then shall the eyes of the blind man see daylight. It’s strangely lovely, and like a delicate princess When he comes the ears of the deaf shall be First Soldier whose feet are little snow white doves. It might Narraboth opened. From the desert. Crowds of his disciples always be dancing up there. She is so fair here this evening. flocked to his side. Second Soldier Page First Soldier Make him silent! Cappadocian It’s like a lifeless woman, still gliding slowly aloft. See how grim the Tetrarch looks. What does he talk about? First Soldier (noise in the banqueting hall) Second Soldier But he’s a holy man. First Soldier Yes, how grim he looks. There’s no one here understands what he says. First Soldier Second Soldier What a commotion! Who’s that howling now, First Soldier He’s forever shouting all that nonsense. Cappadocian like jackals in the desert? But who’s he staring at? Then may I see him? First Soldier Second Soldier Second Soldier But he’s so kind… Every day when I bring him First Soldier Those Jews, there. I don’t know. food he thanks me, thanks me. No, that’s forbidden by the Tetrarch. (dryly)

94 95 Narraboth (highly excited) barbaric voices. Oh, how I do detest those your carriage, your Highness? The gardens look Voice of Jokanaan See, the Princess is rising. She has left the table. Romans! enchanting. Palestine, think not of rejoicing that the rod which She looks most upset. She’s coming here. smote you by His word is now destroyed. For, from Page Salome the seed of the serpent, shall a basilisk flourish; its Page Terrible things will happen. Why d’you stare at He makes foul accusations that concern my brood shall then devour the birds of the forest. Don’t stare at her. her like that? mother, does he not? Salome Narraboth Salome Second Soldier How strangely he’s talking. I’d rather like to Yes, she’ll pass by us here. How lovely just to the moon. It hovers We can make no sense of his words, your speak with him. like a silvery blossom, cool and chaste. It has the Highness. Page beauty of a virgin forever undefiled. Second Soldier Don’t stare at her! Heed what I say! Salome Your Highness, but the Tetrarch decreed that Voice of Jokanaan Yes, he makes foul accusations concerning her. none shall speak with this man. He has said that Narraboth See that the Lord is approaching, the Son of Man even the High Priest in person is not to speak She’s like a fugißtive dove at nightfall. is near us. A Slave (entering) with him. The Tetrarch bids me ask the Princess if she Salome would join the feast again. Salome Scene Two 4 Who spoke then, who was that calling out? I tell you I wish to speak with him. Salome enters, excited. Salome (passionately) Second Soldier I’ll not go inside, there. Second Soldier Salome Princess, that was the Prophet. (Exit slave.) But Princess, that is impossible. 3 I will not stay there. I cannot stay there. But This prophet who spoke is old and grey? why, why is Herod always leering at me, with his Salome Salome (still more passionate) repulsive mole’s eyes, under those flickering Ah, so he’s there! He, of whom Herod’s so Narraboth (more persistent) I want to speak with him. Go, bring me this eyelids? It’s so curious that my own mother’s frightened. But Princess, it would be better to go inside. prophet, out here! husband looks at me so. Out here the air is so Allow me to lead you back there. sweet. Here I breathe freely… In there are Second Soldier Second Soldier gathered Jews from old Jerusalem, who decry The likes of us don’t know, Princess, but that was Salome (emphatically) We can’t do that, Princess. their neighbours’ foolish rites and tear each other the prophet Jokanaan who cried out. This prophet who spoke is old and grey? to shreds and tatters. Secretive, crafty Egyptians, Salome (approaching the cistern and looking down) and ill-mannered acrimonious Romans with their Narraboth (to Salome) First Soldier How black it all looks down in there. Oh, how Is it your wish I should have them go and bring No, this prophet is still quite young.

96 97 terrible to live there in such a black, gloomy Salome Scene Three Salome (faintly) cavern. It is just like a grave… You will do this for me, Narraboth. The Prophet comes out of the cistern. Salome, Yes, he speaks about rny rnother. (wildly) (very hastily) absorbed in his appearance, steps slowly back. You heard what I said? Bring me the prophet at Tomorrow they’ll take me in my carriage through Jokanaan once! I want him out here! the gateway where the idol makers stand; if you’ll Jokanaan (with power) Where is she whom the captains of Assyria wait there, 6 Where is he, he, whose sins are now without seduced? Where is she, she who did give herself First Soldier (always in a low voice) number? Where is he, who, when the day comes, to the young men of Egypt, clad in finest linen, No Princess, we cannot obey the order you have I will throw down a tiny flower for you as I’m before the eyes of the people, will meet his death flaunting their gold and precious jewels, with given. passing, a tiny green flower. clad in a silver . Bid him come straightway, their shields made of silver and their bodies like that he on this day may heed the voice of one giants? Go bid her rise up from her bed of incest, Salome (noticing Narraboth) Narraboth who in the desert and in the houses of mighty from her bed of corruption, that she may attend Ah! But Princess, I cannot, I cannot! proclaimed the Lord. the voice of the prophet, who prepares the way of the Saviour, that she may now repent of her Page Salome (more positive) Salome errors. And if she does not repent, bid her come What will happen now? I know something You will do this for me, Narraboth. You know Of whom does he speak? hear me, for the scourge of the Lord trembles in terrible is near. you will do what I ask you. And then, at dawn, His hand. under my veil of scented muslin, you’ll see my Narraboth Salome (going up to Narraboth and speaking softly eyes upon you, Narraboth, you’ll see that I’m No one knows the answer, your Highness. Salome and excitedly) looking, perhaps you might see me smiling at 7 He is terrible. He is really terrible. 5 You will do this for me, Narraboth, I’m sure I’ve you. Look at me Narraboth, look at me. For you Jokanaan always treated you kindly. You’ll do this thing for know full well you’ll obey me, and do what I ask Where is she who succumbed to the lust of her Narraboth me. I only want to look at this strange, you. You know it well! body, who, when she beheld those painted scenes Do not stay here, Princess, I beg of you! outlandish prophet, the people have been saying (forcibly) of naked warriors, sent her messengers far into so much about him. I think that Herod is afraid I know you’ll not refuse! Babylonia? Salome of him. But his eyes are the most terrible thing of all. Narraboth (making a sign to the soldiers) Salome (whispering) They’re black as the fearsome caverns where a Narraboth Guards, let the prophet be brought to us… for He speaks about my mother. dragon lingers! They shine like sombre lakes But the Tetrarch has firmly given orders that the Princess Salome will see this man. where some unearthly moonlight flickers. D’you none of us may open the grille above that cistern. Narraboth (impetuously) think that he will start to speak again? Salome No, no, your Highness. Ah! Narraboth (still more excited) Do not stay here, Princess, I beg of you, do not stay! 98 99 Salome Salome Salome where the lions and robbers cast their shadows. How deathly pale he looks! As though he were Speak on, speak on, Jokanaan, wondrous music 8 Jokanaan! I am in love with your pale flesh, The long black nights of winter, when the moon carved out of ivory. I’m sure he is chaste like the rings in my ears when you are speaking. Jokanaan! Your flesh is white as the lilies upon hides its face and the stars are frightened, are not moon. His flesh must be cool, cool as ivory. I’d a meadow where the scythe has never passed. so black as your hair. The silent forest… Naught like to look closer at him. Narraboth Your flesh is white as the snow on the hills of in the world is so black as your hair. Oh, let me Your Highness, your Highness, your Highness! Judea. The rose in the gardens of Arabia’s fabled caress your hair. Narraboth Queen is not so white as your flesh, not the rose No, no, your Highness. Salome in the gardens of Arabia’s Queen, nor the Jokanaan Speak on, speak on, Jokanaan, and tell me: what footsteps of dawn that waken the forest, nor the Away, daughter of Sodom! Do not touch me, I Salome should I do? breast of the moon upon the ocean. Naught in say! nor dare profane the house of the Lord, my I must look closer at him. this world is so white as your flesh. Creator! Jokanaan (tenderly) Narraboth Daughter of Sodom, venture no nearer! But go Let me gently touch your flesh. Salome Your Highness, your Highness! veil your face in token of repentance, scatter Your hair is hideous, a mat of dust and rubble. It ashes upon your head, then go out in the desert Jokanaan (with great excitement) is a of thorns and briars they’ve set upon Jokanaan and seek out the Son of Man! Away, daughter of Babylon! It is woman who your head. It is like a tangle of serpents entwined Who is this girl who’s staring? I’ll not have her brought Evil to the world. Don’t speak to me, for in knots round your neck. Your hair does not glances fixed thus upon me. Just why does she Salome I shall not hear you! The voice I hear is the voice charm me. stare at me with those two eyes golden under Who is that, the Son of Man? Is he as fair as you of the Lord my Creator. (with the utmost passion) their shimmering eyelids? I know not who she is. Jokanaan? It’s your mouth that I desire, Jokanaan. I do not wish to know who she is. Bid her go! For Salome 10 It’s your mouth that I desire, Jokanaan! Your I will not speak to her. Jokanaan Your flesh is horrible. It looks like the flesh of a mouth is like a scarlet band upon a tower of Leave me, I say! For there in that palace I hear leperous thing. It is like mould on a foul stained ivory, it’s like a fruit of pomegranate a silver Salome the rustling wings of death’s dark angel… wall, when vipers spit their slime, just like a wet knife has severed in two. But the pomegranate I am Salome, the daughter of Herodias, and slimy wall where the scorpions have built their petals in the gardens at Tyrus, ruddier than roses, Princess of Judea. Salome nests. It is like a musty rotten grave that’s full of are not so red. The blood-thirsty fanfares of the Jokanaan! many horrors. It is hideous, your flesh is hideous. that proclaim some royal triumph, Jokanaan 9 I’m enamoured of your hair, Jokanaan. Your hair while the enemy cowers in terror, are not so red Away, daughter of Babylon! Do not approach Narraboth is like the vine harvest, like clusters, swarthy as your scarlet mouth. Your mouth is redder than him the Lord has chosen. Your own mother has Oh Princess, I beg you, go inside! clusters in the vineyards of Edom. Your hair is the bare feet of men who tread the grapes corrupted the earth with the wine of her orgies like the cedars, the towering cedars of Lebanon, gathered in the wine press. It is redder than the and the burden of her wickedness cries to God.

100 101 feet of the doves that nest in the temple towers. Salome Scene Four First Soldier Your mouth is red as a coral branch in the Let me taste your mouth’s kisses, Jokanaan! Herod enters hastily, followed by Herodias. That man is our captain, sir. twilight at sea, red as purple from the valleys of Moab, the purple of … Jokanaan Herod Herod (beside herself) Daughter of a harlot, there lives but one man 11 Where is Salome? Yes, where is the Princess? I myself did not command anyone here to kill Naught in the world is so red as your mouth. who can save you now. Go, seek Him. Seek Him! And then, why did she not rejoin the feast when him. Oh let me kiss it, kiss your mouth. (fervently) I’d ordered her to do so? Ah, there she is! He’s seated in a vessel on the sea of Galilæa and First Soldier Jokanaan (low, in voiceless horror) preaches to His disciples. Herodias He killed himself, just now, here, sir. Never! Daughter of Babylon! Daughter of (most solemnly) Your eyes never leave her. You should not stare Sodom… Never! Kneel down, there, by the shore of the sea, call at her so! Herod His name, His holy name of Saviour. When He That is most curious. This handsome Syrian still Salome approaches (and He comes to all who call upon Herod looked so young. I remember now. I saw those I long for your mouth’s kisses, Jokanaan. I long Him), prostrate yourself before His presence, How peculiar the moon’s looking! Is it not a languishing glances, he bestowed upon Salome. for your mouth’s kisses. pray that He then may grant you forgiveness. curious sight? It has the face of a wild, half‑witted Take him off. wench who looks for lovers everywhere… or one (They take away the body.) Narraboth (in the greatest anguish and despair) Salome (as though in despair) reeling thro’ the clouds like a drunken creature… It’s so cold here, and there’s a wind… is there not Your Highness, your Highness, you lovely garden Let me taste your mouth’s kisses, Jokanaan. a wind? of scented myrrh, you, the dove of all the turtle Herodias doves, you must not look at him. Do not say Jokanaan No, the moon looks like the moon, just as usual. Herodias (dryly) such things to this man. I cannot bear to hear Be accursed, daughter of a shameless incestuous Let’s go back inside now. No, there is no wind. them… mother, be accursed. Herod Herod Salome Salome I’ll stay here, I tell you. Mannasseh, lay carpets I swear to you there is a wind and I can hear I long for your mouth’s kisses, Jokanaan. Let me taste your mouth’s kisses, Jokanaan. on the ground! Bring some torches out! My something stirring, like the wings of a mighty I long for your mouth’s kisses… guests and I will drink more wine outside here. vulture. You hear that sound? (Narraboth kills himself with a knife and falls Jokanaan Ah, something made me stumble. I slipped upon between Salome and Jokanaan.) I don’t want to see you. You are accursed, Salome. this blood here, and that’s an evil omen. Why Herodias Let me taste your mouth’s kisses, Jokanaan. You are accursed. You are accursed. You are should there be blood? And this dead body? Yes, I hear no sound. accursed. who can this dead man be? Then who is this Jokanaan dead man? I don’t wish to see. Herod Are you not frightened, daughter of Herodias? (He goes back down into the cistern.) Ah! now I cannot hear it. Oh, but I really heard

102 103 a noise, as if the wind were howling. Now all is Herod The Voice of Jokanaan First Jew quiet. Hark! Do you not hear? The wings of a Bring me some fruit here. Salome, come, eat 13 See, the time is upon us, the day of which I spoke That can’t be true. For since the prophet Elijah, mighty vulture… with me some of this fruit here. The bite of your is near. no man has seen our God. He was the last man delightful pearly teeth tearing the fruit fills me to whom God himself appeared. Today our God Herodias with joy. Bite just a little piece, just a morsel from Herodias appears to no one. God is hiding. That’s why You are sick. Let’s go back inside now. off this fruit, then I will eat what is left myself. Make him silent! That man there insults me! these fearful evils ravage the land we live in – fearful evils. Herod Salome Herod I am not sick, but it is your daughter who is sick I am not hungry, Tetrarch. It was not against you he spoke. Furthermore he Second Jew and ailing. Never has she looked so pale before. is a prophet of renown. But no one is certain that Elijah did in fact really Herod see the Lord. It’s far more likely that it was a Herodias You see how your precious little daughter has Herodias passing shadow that he saw. I’ve told you many times you should not stare been brought up! I have no faith in these prophets. As for you, at her. you’re afraid of him! Third Jew Herodias God is at no time ever hidden. He showeth Herod Both my daughter and I come of an ancient royal Herod Himself at all times and in all creation. God is in Pour some wine for me! line. Your father was a camel driver. Your father I’m afraid of no one alive. evil, even as in perfection. 12 Salome, come drink wine with me, this is was a thief and a bandit, furthermore. marvellous wine. Caesar gave it to me himself. Herodias Fourth Jew Come and dip your little lips in this wine. Your Herod I still repeat, you’re afraid of him. Why not hand You should not talk such nonsense, for that is a own little rosy lips, then I’ll drain the goblet Salome, come, come here to me. Your own him over to the Jews out there? They’ve been highly dangerous dogma from Alexandria. And empty. mother’s shall be yours this evening. screaming for months to get him. the Greeks there are Gentiles.

Salome Salome First Jew Fifth Jew I am not thirsty, Tetrarch. I am not weary, Tetrarch. That’s very true, it would be better if you’d give No one can tell us how God works. All his ways him into our keeping! are so mysterious. We can but bow down our Herod Herodias heads and obey His wise commandments, for Listen how she replies to me, she, who is your You see how she respects you. Herod God has much power. daughter! Enough of this! I’ll never surrender him into your Herod keeping. For he’s a holy man. And he’s a man First Jew Herodias Bring me – what is it I need? I seem to have whom God has looked on. You speak the truth there. Indeed, God is She’s quite right. Must you leer at her all the time? forgotten. Ah! Ah! I remember now –

104 105 righteous, but it is certain that this man here Herodias (to Herod, bursting out) Herodias upon a mountain, speaking low with angels from has not seen God himself. For since the prophet Make them silent! Make them silent! Heaven! Elijah, no man has seen our God. Second Jew The Voice of Jokanaan Herodias Second Jew It’s far more likely that it was His passing 14 Brothers, the day is near us, the day of the Lord. Ho ho! I have no faith in wonders, I’ve seen too But none is certain that Elijah did in fact really shadow… Far upon the distant mountains, I hear the many of those in my time! see our God. footsteps of Him who’ll be the Saviour of man. Herodias First Nazarene First Jew They bore me to death! Herod The daughter of Jairus by His power was brought He was the last man, etc. What does that mean then, ‘Be the Saviour of back to life. Herod Man’? Second Jew I’ve heard it said by people here, that Jokanaan is Herod (frightened) But no one is certain that Elijah did in fact, etc. quite clearly your own prophet Elijah. First Nazarene (emphatically) What, He brings the dead to life? God is righteous, He breaks the strongest to The Messiah is among us. pieces. The strongest and the weakest to Him First Jew Second and First Nazarenes are all alike. It’s far more likely that it was His That cannot be. Since the time of our great First Jew (screaming) Ah, yes, brings the dead to life. passing shadow. prophet Elijah, far more than three hundred The Messiah is not among us. years have been counted. Herod Third Jew First Nazarene I forbid this man such a thing. It would be God is at no time ever hidden. etc. First Nazarene He is among us and where he passes works great frightful if the dead came back to plague us! I’m quite certain that that is the prophet Elijah wonders. Where is this man today? Fourth Jew (to the Third) there. (very quietly) You should not really say that. They’ve not been For at a wedding in Galilæa He turned water First Nazarene circumcised either. No one can tell us how God First Jew into wine, one morning. Two lepers were cured Sir, He is everywhere, but it is not easy to find works, for God has much power. etc. That cannot be. Since the time of our great instantly at Capernaum. Him. prophet Elijah, far more than three hundred Fifth Jew years have been counted… Second Nazarene Herod No one can tell us how God works. etc. It may His hands barely touched them. This man must be apprehended. be that the doctrines all the world praises are evil Second, Third, Fourth and Fifth Jews and the doctrines others call evil are righteous. That’s not true, no, he can’t be the prophet First Nazarene Second Nazarene Our knowledge is pitiful. Our knowledge is Elijah. Some blind men also were healed. He was seen They say He’s in Samaria now, at this time. pitiful, yes, pitiful…

106 107 First Nazarene Herodias Herodias (vehemently) Herodias He left Samaria at dawn the other morning; You must tell him to be silent! I will not have my daughter dance. Do not dance, my daughter! I think you will find Him somewhere on the outskirts of Jerusalem. The Voice of Jokanaan Salome (quietly) Herod This must be, so that all of this evil shall be I am not in the mood for dancing Tetrarch. Nothing, nothing you ask will be denied to you; Herod uprooted, so that I shall teach the race of women though it be half of all my royal realm. Enough, I forbid this man to bring the dead to never to venture on her path of corruption! Herod life! Salome, daughter of Herodias, dance for me! Salome Herodias You swear it, Tetrarch? The Voice of Jokanaan You hear what he says against me? You’d let this Salome Of this lascivious woman here, this daughter of man thus defame her who is your wife? I will not dance now, Tetrarch. Herod Babylon, thus says the Lord our God. I swear it, Salome. Herod Herodias Herod He did not refer to you by name. You see, how the girl obeys. Salome It would be terrible if the dead came back to And how do you wish to swear it, Tetrarch? plague us! The Voice of Jokanaan (very solemnly) The Voice of Jokanaan The day is near, the sun shall then be veiled in A king shall sit enthroned in glory. He shall be Herod Herodias (furiously) darkness like a sombre shroud. And the moon clothed in of scarlet and purple. And the By my own life and by my own kingdom, by Command him to be silent! shall seem as of blood, and the stars of the angel of God shall come to overthrow him. The gods I honour. Heavens shall fall upon the earth, like shrivelling worms of the darkness shall feed upon him. The Voice of Jokanaan figs from the fig‑tree branch. The day is near Herodias 15 Men shall soon rebel against this dissolute when the kings of the earth all shall tremble. Herod Do not dance, my daughter. woman, they shall take up stones and stone her Salome, Salome, dance for me, I beg of you. in their multitudes! Herodias I am rather sad tonight, so dance for me. Salome, Herod Ah! Ah! That prophet there babbles like a dance for me! If you will but dance for me, then O Salome, Salome, dance for me! Herodias drunkard… What a disgraceful noise he is you may have whatever you decide. You heard him, he’s outrageous! making, I can’t stand it! I hate his voice, I hate it! (pressingly) Salome Command him to be silent. Your wishes shall be granted. You have sworn an oath before us, Tetrarch. The Voice of Jokanaan The warrior chiefs shall gather round, and with Herod Salome (rising) Herod their they shall pierce her, and with their 16 Dance for me, Salome. Do you mean you will really give me anything I have sworn an oath before you. many pointed shields they shall crush her! I may ask for, Tetrarch?

108 109 Herodias (Female slaves bring ointments and the seven veils compact disc two they bring on a silver platter for your pleasure, No, my daughter, do not dance. and take off Salome’s .) enchanting, radiant, Salome, you the fairest jewel 1 Salome’s Dance of all the maids of Judea! Come, what shall they Herod The Voice of Jokanaan The musicians begin a wild dance. Salome stands bring upon a silver platter to you? Tell me now! Though it be half of all my royal realm. As a Who is this who from Edom comes, who is motionless. Salome rises to her full height and What you may ask me, to you shall be given. For Queen you’ll be fair to see, yes, surpassing fair. this who from Bosrah comes, he whose robe makes a sign to the musicians. They subdue the wild a King’s treasures belong to you. What is it you (shivering) is coloured with purple, who by his beauty rhythm instantly and lead on to a soft and swaying would have me give you, Salome? Ah! It’s so cold here. There is an icy wind, and radiates power and glory, who comes here in all tune. Salome dances the Dance of the Seven Veils. I’m hearing… Come, say, why do I hear that his shining splendour. Why are your garments At the climax of the dance Salome seems to faint for (Salome rises.) sound like the wings of a vulture? Ah! It seems bespattered with blood? a moment, then she pulls herself together as if with as though there’s some gigantic bird of dusky new strength. Salome remains for an instant in a Salome (smiling) plumage, hovering above the terrace. Oh, why Herodias visionary attitude near the cistern where Jokanaan The head of Jokanaan. can’t I see that bird up above me? Ah, these noises Let’s go back inside now. This man’s incessant is kept prisoner, then she throws herself at Herod’s are frightful! An icy wind fans my face. No, I’m voice makes me hysterical. feet. Herod (rising abruptly) wrong, it is not cold, it is hot. Pour some water (more and more fiercely) No, no! over my fingers, give me snow to swallow. Undo I’ll not allow my daughter to dance for you Herod my for me. Quick, quick, undo my cloak while that man carries on all the time. No, I 2 Ah, heavenly! Wonderful, wonderful! Herodias for me! But no, leave it! How my crown pinches. will never let her dance while you leer at her in (to Herodias) Ah! You are inspired, my dear daughter, you are All these roses are like fire. such a manner. In just a word, I will not let my Well then, you see that she has danced, your fair inspired. (He tears the wreath from his head and throws it on daughter dance. daughter. Come here Salome, come here, you’ve the table.) earned your reward from me, you shall be royally Herod Ah, I breathe more freely. Now I feel happier. Herod rewarded. I’ll give you any treasure that your No, no, Salome, that cannot be what you desire! (faintly) Do not rise, my wife, and my royal Queen, for heart desires. What must I give you, speak! Don’t take any notice of your mother. She always Dance for me, I beg you, Salome. that will not help you. I’ll not go back inside gave you bad advice. Pay no heed to her. until she has danced here. Dance then, Salome, Salome (sweetly) Herodias dance for me! I want them to bring me now upon a silver Salome There’ll be no dancing. I forbid it! platter… I pay no heed to the voice of my mother. For Herodias by my own desire I want the head of Jokanaan Salome Do not dance, my daughter! Herod upon a shining silver platter. Remember the oath I’ll dance for you, Tetrarch. Upon a silver platter… why surely, upon a silver you’ve taken, yes, Herod. Remember the oath Salome platter… She is charming, no? And what shall you’ve taken, do not forget. I’m ready now, Tetrarch.

110 111 Herod (hastily) Herod all, I’ll give you. There’s no king alive, who has (low and serious) I know, I know the solemn oath I’ve taken, I No! I’ll hear no more! Salome, I must beg of you. peacocks that can compare with these. I’ve barely Listen: I’ve secretly hidden away some jewels of know it well. And I have sworn by all my gods Don’t be stubborn! See, I’ve always felt so much a hundred. But I’ll give you all these, with mine. These jewels even your own mother’s eyes above me. But now I must beg of you Salome, love for you. Maybe my love for you was just pleasure. have never seen. I’ll show you a with come, ask for something different of me. Come, too much. But do not ask me for this one thing. four strings of rubies, a topaz, yellow as the eye ask for the half of all my royal realm, and that I The head of a human, hacked from off his body, Salome of a tiger. A lighted topaz, like the eye of a wood will give you. But do not ask, I beg of you, what would be foul to look on. Mark what I tell you. Give me the head of Jokanaan! pigeon, a green coloured topaz, like mountain you have just now demanded. I have an emerald stone. The finest emerald in all cat’s eyes. I’ve sumptuous opals for ever burning this world of ours. You’d like to own it perhaps? Herodias with hidden fires, cold as ice. And all of these I Salome (powerfully) Then ask it of me, I’ll give you this jewel, the Wisely said, my dear daughter! will give you, yes, all. I demand here from you the head of Jokanaan. finest of all. (with still more agitation) Herod I’ve chrysolites in plenty, chrysoberyls, Herod Salome Silence! You’re screeching like a bird of prey. chrysoprases, pearls unnumbered. And I have No, no, I do not wish to give it. I will have the head of Jokanaan. onyx stones and hyacinth clusters and dusky red Herodias (to Herod ) cornelians. I’ll give to you all these jewels, all of Salome Herod And you, you’re ridiculous, you and your these and many others. My crystal ball could Remember the oath you’ve taken, Herod. But you’re not listening. But you’re not listening. peacocks! be yours, the law forbids any woman to look in Pay heed to what I’m saying, Salome! it. Inside a precious pearly casket I’ve secreted Herodias Herod three most wonderful sapphires. Whoever wears Yes, you have sworn an oath before us. You have Salome How I hate that voice of yours. Silence, I say! them on his brow has power to see many hidden sworn before us all. The head of Jokanaan. 3 Salome, just think what you’re doing. People say things. These are priceless, fabulous treasures. Say of this man that God has sent him. And he’s a what else d’you wish for, Salome? All your secret Herod Herod holy man. The Almighty’s finger has touched his desires I’ll gladly grant you, yes, all save one. You Quiet, woman, for I did not speak to you. You still say that just to torment me, all because face. You cannot wish that I should come to may not ask me for the life of this prophet. I’ll I stared at your body. But your beauty made harm, Salome? Listen to me! give you the the High Priest holds most Herodias me confused. Oh! Oh! Bring wine. I’m thirsty. sacred. I’ll give you the curtains that veil the My daughter does right when she demands the Salome, Salome, let us be friends with one Salome Holy of Holies… head of Jokanaan to reward her. He’s brought another, now. Consider… Ah! What was I I want the head of Jokanaan. disgrace and shame on my head. It’s quite clear saying? Yes, what? Ah! Now I remember! Salome, Jews she still loves her mother so. Do not yield, my you know of my snow‑white peacocks, all my Herod (flaring up) Oh! Oh! Ohl daughter, do not yield! He has sworn an oath lovely, snow-white peacocks, as they strut around Ah! You will not even listen. Be calm, Salome. before us. in the myrtle gardens. Now all of these, all, yes, I’m, you see, quite calm now.

112 113 Salome (ferociously) could not stand it! Now strike, now strike, would. Ah! Ah! Yes, I will now kiss your Ah! And why did you never look at me, 4 Give me the head of Jokanaan! Naaman, now strike, I command… No, there’s mouth… Well now, but why do you not look at Jokanaan? You bound your eyes in holy not a sound. There is such a terrible silence? Ah! me, Jokanaan? And your eyes that were so blindness, like one who hungered to see his God (Herod, in despair, sinks back in his seat.) There’s something fallen down on the paving. terrifying, so full of scorn and resentment, are shining in glory. Well! You looked on the face I’m sure that something’s fallen. That was the now unseeing. Why are they so unseeing? Lift of God, Jokanaan, but me, me, me, you have Herod (faintly) of the headsman. He’s afraid, that slave those heavy eyelids and let your eyes be opened, never seen. If you had looked at me, you’d have Let her be given what she desires! She is, quite Naaman. It was his sword that has fallen! He’s Jokanaan! But why won’t you look at me? Do I fallen in love! I’m thirsting to drink your beauty. clearly, her own mother’s child. terrified to behead him. He’s naught but a frighten you, Jokanaan, that you will not look I hunger to taste your flesh. No wine nor fruit (Herodias draws from of the Tetrarch the coward, that slave Naaman. Send the soldiers at me? Your tongue is silent, it speaks no word, could banish all my fevered longing… What shall ring of death and gives it to the First Soldier who down! Jokanaan. Yes, that scarlet viper that spat its I do now, Jokanaan? All the rivers, all the surging straightway bears it to the Executioner.) (to the Page) venom here at my feet! It is curious, no? How is waters cannot quench the fire of my desire and Who has taken my ring away? Come to me, you were the friend of the man it, that this poor, scarlet viper now stirs no longing… Oh! But why did you not look at (The Executioner goes down into the cistern.) who died there? Well then, you mark my words: more. You spoke many evil things of me, yes, of me? If you’d but once looked at me you would I know there was a ring upon my right hand, there are not yet enough dead men. Go and tell me, Salome, the daughter of Herodias, and have fallen in love. I know for sure you would here. Who has drunk the wine they gave me? the soldiers to obey, they must go down below Princess of Judea. Well then! I’m still alive, yes, have fallen in love. The glorious secret of love is There was wine here in my goblet. Yes, it was full there, and bring me quickly what I demanded, but you are dead, and your head, your head greater than is the secret of death. of wine and one of you has dared to drink it. Ah! that which the Tetrarch plainly promised, what is belongs to me! It’s mine to do with as I wish. I’m sure misfortune lies in store for someone. mine now! You hear me, you soldiers, get down I could have it thrown to dogs down there, or Herod (with lowered voice, to Herodias) into the cistern, this moment, and bring me the the birds of the air. What the dogs may leave 8 You have an evil monster for a daughter. You Herodias head of the prophet! behind them, will be devoured by the starving mark my words, she is an evil monster. My daughter has done what’s right! (shouting) vultures. Ah! Ah! Jokanaan, Jokanaan, you were Tetrarch, Tetrarch, give orders to your soldiers, fair. Herodias (forcefully) Herod bid them bring the head of Jokanaan to me! 7 Your body was an ivory column with feet made My daughter has done what’s right. I wish to stay Yes, I’m certain fearful misfortune is near. (A huge black arm of the executioner comes forth of silver. It was a garden full of songbirds in a here with her. from the cistern, bearing on a silver shield the head slivery white glow. Naught in the world was so (Salome leans over the cistern and listens.) of Jokanaan. Salome seizes it.) white as your flesh. Naught in the world was so Herod 6 Ah! You would not let me kiss your mouth, black as your hair. In the world of ours was Ah! There speaks my own brother’s wife. Salome Jokanaan! Well, I now will taste your kisses. I naught so red as your mouth. And your voice (weaker) 5 I hear no noise from below there. There’s not a have a need to bite you, to bite you as one desires exhaled the perfume of prayer, and when I looked Come, I’ll not stay out here a moment longer. sound! Why does the man not call for help? Ah! to bite into ripened fruit. Yes, for I will now on you I could hear a secret music so sweet. (vehemently) If anyone came down to kill me, I know I’d kiss, kiss your mouth Jokanaan. I said that I (She is lost in thought as she gazes upon Jokanaan’s Come, come, I say! Surely some disaster is at struggle, I know I’d start screaming, I know I would. Is that not the truth? Yes, I said that I head.) hand. We’ll hide away there inside the Palace.

114 115 Herodias, my hands are starting to tremble. On session: Sir Charles Mackerras and Sir Perter Moores (The moon disappears. Herod jumps up.) Mannasseh, Isachar, Ozias put the torches out. Come, veil the stars, come, veil the moonlight! (It becomes very dark.) For some disaster is at hand.

Salome (faintly) Ah! Now I have kissed your mouth at last, Jokanaan. Ah! Ah now, I have at last kissed your mouth. There was a bitter lingering taste upon your lips. Could it be blood I taste? No! For for perhaps it’s the taste of love… They tell me that the taste of love is bitter… But what of that? What of that? For I have kissed your mouth at last Jokanaan. Yes, now I have kissed, kissed your mouth.

(The moon breaks through again and illuminates Salome.)

Herod (turning round) Go, kill that woman there!

(The soldiers rush forward and crush Salome under their shields.) English translation by Tom Hammond, reprinted by kind permission of English National Opera Benevolent Fund

9 Salome’s dance of the Seven Veils (concert version)

116 117 The Opera In English Series Great Operatic Arias

CHAN 3011(2) Donizetti: Don Pasquale CHAN 3136(2) Verdi: Nabucco CHAN 3057(3) Mozart: Don Giovanni CHAN 3127 Christine Brewer CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3068(2) Verdi: Otello CHAN 3103(2) Mozart: CHAN 3096 CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3030(2) Verdi: Rigoletto CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3035 Yvonne Kenny CHAN 3017(2) Donizetti: Mary Stuart CHAN 3023(2) Verdi: La traviata CHAN 3121(2) Mozart: The Magic Flute CHAN 3099 Yvonne Kenny 2 CHAN 3073 sings scenes from Mary CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3022 Strauss: Der Rosenkavalier CHAN 3049 Stuart CHAN 3067 A Verdi Celebration (The Knight of the Rose, highlights) CHAN 3142 Jennifer Larmore CHAN 3003 Leoncavallo: Pagliacci CHAN 3091(2) Bizet: Carmen CHAN 3119(2) Wagner: The Flying Dutchman CHAN 3010 Diana Montague (The Touring Company) CHAN 3156 Bizet: The Pearl Fishers (highlights) CHAN 3148(4) Wagner: The Mastersingers CHAN 3093 Diana Montague 2 CHAN 3004 Mascagni: Cavalleria rusricana CHAN 3014(3) Gounod: Faust CHAN 3054(3) Wagner: The Rhinegold CHAN 3112 (Rustic Chivalry) CHAN 3089(2) Gounod: Faust (abridged) CHAN 3038(4) Wagner: The Valkyrie CHAN 3006 Bruce Ford CHAN 3005(2) Pagliacci & CHAN 3033(2) Massenet: Werther CHAN 3045(4) Wagner: CHAN 3100 Bruce Ford 2 CHAN 3008(2) Puccini: La bohème CHAN 3134(2) Poulenc: The Carmelites CHAN 3060(5) Wagner: Twilight of the Gods CHAN 3088 Bruce Ford sings Viennese CHAN 3070(2) Puccini: Madam Butterfly CHAN 3130(3) Berg: Lulu CHAN 3065(16) Wagner: Complete Ring Cycle CHAN 3013 Dennis O’Neill CHAN 3000(2) Puccini: Tosca CHAN 3094(2) Berg: Wozzeck CHAN 3133 Bartók: Bluebeard’s Castle CHAN 3105 Dennis O’Neill 2 CHAN 3066 sings Tosca CHAN 3019(3) Handel: Julius Caesar CHAN 3101(2) Janácˇek: The Cunning Little Vixen CHAN 3085 CHAN 3086(2) Puccini: Turandot CHAN 3147 Handel: Acis and Galatea CHAN 3029 Janácˇek: Osud (Fate) CHAN 3077 CHAN 3025(2) Rossini: The Barber of Seville CHAN 3072 Janet Baker sings scenes from Julius CHAN 3106(2) Janácˇek: Jenu˚fa CHAN 3032 Alastair Miles CHAN 3097(2) Rossini: The Thieving Magpie Caesar CHAN 3138(2) Janácˇek: The Makropulos Case CHAN 3044 John Tomlinson CHAN 3074(2) Verdi: Aida CHAN 3143(2) Humperdinck: Hansel and Gretel CHAN 3145(2) Janácˇek: Katya Kabanova CHAN 3076 John Tomlinson 2 CHAN 3052(2) Verdi: CHAN 3081(2) Mozart: The Abduction from the CHAN 3007 Mussorgsky: Boris Godunov CHAN 3118 Sir CHAN 3079(2) Verdi: Falstaff Seraglio (highlights) CHAN 3155 Sir Thomas Allen 2 CHAN 3116(2) Verdi: A Masked Ball CHAN 3152(3) Mozart: Così fan tutte CHAN 3128(2) Smetana: The Bartered Bride CHAN 3078 Baroque Celebration CHAN 3042(2) Tchaikovsky: Eugene Onegin

118 119 Also Available Also Available CHAN 3121(2) CHAN 3143(2)

120 121 Also Available

Vocal and language consultant: Ludmilla Andrew Staging director: Charles Kilpatrick Music librarian: David Mundon, Philharmonia Orchestra Picture research: Helen Anderson Translation research: Henrietta Bredin

Session photos by

Executive producer Brian Couzens Producer Brian Pidgeon Sound engineer Ralph Couzens Assistant engineer and editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Colosseum; 16 –18 and 20 – 22 December 2007 Front Salome with the head of John the Baptist by Bernardino Luini, c.1480/90 – 1532. ©akg-images/Erich Lessing Back cover Photo of Sir Charles Mackerras by Clive Barda Design Cassidy Rayne Creative Booklet editor Kara Reed Copyright Boosey & Hawkes

CHAN 3152(3) p 2008 Chandos Records Ltd © 2008 Chandos Records Ltd

122 123 STRAUSS STRAUSS CHANDOS DIGITAL CHAN 3157(2)

Printed in the EU MCPS

: LC 7038 DDD TT 114:19 : SALOME - s SALOME - s Recorded in 24-bit/96kHz Richard Strauss (1864 –1949) CD1 TT 61:39 | CD2 TT 52:40 oloists Salome oloists Opera in one act / / Philharmonia Orchestra Libretto by the composer after Hedwig Lachmann’s Philharmonia Orchestra German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond

Herod Antipas, Tetrarch of Judea John Graham-Hall tenor Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Jokanaan (John the Baptist) John Wegner baritone / /

Mackerras Narraboth, Captain of the Guard Andrew Rees tenor Mackerras Herodias’s page Rebecca de Pont Davies mezzo-soprano Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) CHAN 3157(2)

p 2008 Chandos Records Ltd c 2008 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England