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CHAN 3029 CHANDOS O PERA I N ENGLISH

Sir Charles Mackerras PETE
MOO
ES FOUNDATION CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 2

Leosˇ Janácˇek (1854–1928) Osud (Fate) Opera in three acts Libretto by Leosˇ Janácˇek and Fedora Bartosˇová English translation by Rodney Blumer AKG Míla Valková ...... Helen Field Zˇ ivn´y, a composer ...... Philip Langridge Míla’s mother ...... Kathryn Harries

Act I A poet, A student ...... Peter Bronder Dr Suda ...... Stuart Kale First lady ...... Christine Teare Second lady ...... Elizabeth Gaskell Old Slovak woman ...... Dorothy Hood Major’s wife ...... Mary Davies Councillor’s wife...... Gaynor Keeble Lhotsky ´ ...... Barry Mora Konecˇn´y ...... Mark Holland Miss Stuhlá, a schoolmistress...... Catriona Bell Miss Pacovská, a student ...... Rebecca Moseley-Morgan Leosˇ Janácˇek First guest, First young gentleman ...... Gareth Rhys-Davies Second guest, Second young gentleman...... Philip Lloyd-Evans Waiter ...... Ralph Mason An engineer ...... Timothy German A young widow...... Frances Manning Fancˇa...... Cheryl Edwards

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Act II [p. 00 Act I Time Page Doubek, Míla and Zˇ ivn´y’s son, as a child ...... Samuel Linay 1 Orchestra 1:42 44 2 Orchestra (Music from the bandstand) 3:30 44 Act III ‘Free as a bird I bask in the sunshine’ Hrazda, a student ...... Peter Bronder Verva, a student ...... Barry Mora A poet Soucˇková, a student ...... Yolande Jones 3 ‘Heavens, it’s him!’ 4:53 45 Kosinská, a student...... Christine Teare Míla Doubek, as a student ...... Michael Preston-Roberts 4 ‘Is it your child you’ve come for?’ 5:57 46 Dr Suda ...... Stuart Kale Míla Schoolmistresses, Students and Schoolgirls, Guests at the Spa, Students at the Conservatory 5 ‘“Sun in the heavens up on high”’ 1:56 49 Dr Suda Orchestra and Chorus of Welsh National Opera 6 ‘We’re back too late’ 4:39 50 Zˇivn´y Andrew Greenwood chorus master 7 ‘The sun’s vanished’ 5:47 51 Sir Charles Mackerras Míla 8 ‘Never will I forget this fleeting moment!’ 4:46 52 Guide to Czech pronunciation: c=ts, c=ch,ˇ ˇs=sh, z=zh;ˇ the stress falls always on the first syllable of a name or word, all Engineer vowels with accents are lengthened. Act II

9 Orchestra 5:18 54 ‘Slumber on undisturbed in the shadow’ Zˇivn´y 10 Piano 3:08 54 ‘I do, I do!’ Míla 11 ‘We’re married now’ 2:50 55 Zˇivn´y

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[p. 00 Act I Time Page 12 ‘Mummy, Mummy!’ 2:24 56 Janácˇek: Osud Doubek 13 ‘Unspoken thoughts go far beyond words’ 3:37 56 Míla’s mother Janácˇek’s ‘Fate’: the making of the libretto provided one. Hearing that Janácˇek was a You know that I am looking for a libretto. composer she told him about her previous Act III A modern one. […] encounter with a composer, Ludvík Cˇelansk´y, 35:26 [p. 54] I want to have Act I completely realistic, who in revenge at the termination of their love 14 Orchestra 3:43 57 drawn from life at a spa. There is a wealth of affair by her rich parents had pilloried her in a ‘Listen to the thunder over the horizon’ motifs there! one-act opera, suggestively called Kamila and Students Act II is to be actually a hallucination. No produced in Prague in 1897. Janácˇek was 15 ‘“Endless the pain I must suffer”’ 1:58 57 more reality, instead the mind, provoked almost encouraged to write another opera where she Hrazda to a nervous breakdown, propels the action might be seen in a more favourable light. 16 Orchestra 4:49 58 further to the point where it is hard to say Much of this famous and extraordinary ‘Enough of that!’ whether it is real or a hallucination, a delusion. story has to be speculation, given only the Verva While the setting of Act I is magnificent spa most cryptic comments by Janácˇek himself in 17 ‘“Mummy, Mummy! Do you know what love is?”’ 3:18 59 scenery, Act II ought to reveal the extravagant his autobiography and little other external Verva interior of ladies’ boudoirs, the scenery of evidence, though most of the facts fit and are 18 ‘People said it must have been his falling in love’ 4:23 60 southern landscapes. corroborated by the earliest libretto of Fate. Zˇivn´y Act III will be strange. […] There is no evidence, however, that Janácˇek 19 ‘Bitter memories!’ 5:46 60 This is the earliest scenario of Fate, contained ever contemplated a ‘revenge’ opera (there is Zˇivn´y in a letter from Janácˇek written some time in no sign of any ‘Kamila’ in this first scenario); 20 ‘It seems to be so clear’ 4:11 61 October 1903 to Mrs Kamila Urválková. instead he was inspired by the fact that a real- ˇ Zˇivn´y Janácˇek had met Mrs Urválková that summer life incident had given rise to Celansk´y’s at the Moravian spa of Luhacˇovice, where he Kamila. He set to work imagining an opera TT 78:33 00 had gone to recover after the death of his which would be largely about himself, daughter Olga earlier that year. Jenu˚fa was ‘completely realistic, drawn from life at a spa’. recently finished and awaiting its Brno Here a composer, Zˇivn´y, meets Mrs Míla premiere, and Janácˇek’s mind was open and Valková. Like Janácˇek, Zˇivn´y had a daughter receptive to new impulses. Mrs Urválková who had recently died. Like Kamila Urválková, 6 7 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 8

Míla Valková tells of her love for a composer, Even while he wrote to Mrs Urválková, they are living together with their five-year-old prevarication by the Theatre and even a lawsuit whom she has had to part with because of Janácˇek had already found a librettist, a young son – not just writing letters to one another. (initiated by Janácˇek, though later withdrawn), opposition from her parents. Míla is now schoolteacher called Fedora Bartosˇová. Her Míla’s husband was omitted. Soon after this it remained there unperformed until 1914, unhappily married with a young son. only qualification for the job was that she had stage in the libretto’s development Bartosˇová when Janácˇek bitterly asked for it back. Later, Act II, in Janácˇek’s first scenario, was to written a little poetry, and Janácˇek probably was quietly dropped, having contributed a new when his fortunes changed with the success of bring about a crisis, and in the earliest libretto chose her because she had been a friend of his Act II (which Janácˇek ignored) and a Jenu˚fa in Prague, Janácˇek thought of revising this was provided by the conflict between beloved and much-mourned daughter Olga. monologue for Zˇivn´y intended to open Act III the text and submitted it to literary experts Míla’s husband and the composer Zˇivn´y, who Bartosˇová taught in a neighbouring town so but which Janácˇek adapted to form the such as Jaroslav Kvapil, the librettist of has been writing her love letters. Again the that their collaboration, much of which was backbone of his new Act II. Dvorˇák’s Rusalka, and the writer and translator parallel to Janácˇek’s own life is striking. An carried on by letter, is well documented. Janácˇek completed his score in the early part Max Brod. All shook their heads over it, and intense correspondence between Janácˇek and Janácˇek sent her his prose scenario in stages, of 1905 but revised it extensively over the next Janácˇek quietly put the work away and got on Mrs Urválková had flourished before its abrupt the final act on 8 December. Bartosˇová then year and submitted it for performance to the with writing new operas. termination by her husband. In the earliest put this into verse and was finished by Brno Theatre only in the autumn of 1906. By Under the circumstances, it is not surprising libretto the end is more dramatic: Míla’s Christmas 1903, though additions and then he had added a new character – Míla’s that the libretto sometimes verges on the husband shoots at Zˇivn´y, but mortally wounds corrections continued for a few months. One mother – whose derangement at the thought of incomprehensible. The lack of focus in the Míla. thing that emerges from the correspondence is her daughter’s marrying the penniless original conception and the curious changes of The ‘strange’ Act III is the most developed how fluid and changeable Janácˇek’s scenario composer Zˇivn´y now provided the conflict and direction and motivation in the many revisions act in Janácˇek’s first scenario and contains was: he was making up much of the story as he crisis in Act II. Apart from her dramatic are compounded by Bartosˇová’s inexperience many features that were to remain into the went along. entrance at the end of the act, much of her Act and flowery Art Nouveau diction and Janácˇek’s final version. It is set in the great hall of a In the final version the settings of Act I (the II part was sung off-stage; Janácˇek simply later tinkerings. The Czechs waited until 1958 music conservatory, with students assembling, Spa) and Act III (the Conservatory) remained, inserted her lines, together with those for Míla, to give the Opera its first stage production. (‘the usual student high spirits’); on a wall but in Act II the ‘scenery of southern against Bartosˇová’s monologue for Zˇivn´y. Even then it was performed in an arrangement there is a poster for an opera to be performed landscapes’ (later localised to the Dalmatian Brno was keen to perform Janácˇek’s new in which Acts I and II were inserted into Act that evening. The students argue about the Riviera) gave way to the composer’s study, and Opera and got as far as instructing a producer III as a long flashback, a version used again in opera and beg their professor, the composer with it changed the nature of the all-important and a designer and beginning solo rehearsals. the 1988 production in Brno. There is no Zˇivn´y, to tell them something about it. He does crisis. Quite suddenly, on 10 April 1904, But Janácˇek, seeing a chance to make his denying, however, that the music is in many so gladly – it is in fact the story of his life. He is Janácˇek suggested a completely different turn mark in the capital, withdrew the work from places as strong as anything Janácˇek ever wrote, haunted by the death of his wife, and the opera to Zˇivn´y and Míla’s chance meeting in Act I. Brno and submitted it instead to the with a passionate lyricism that became more he has written is not complete: he abandoned it What, he said, if Míla’s child was also Zˇivn´y’s, newly-established Vinohrady Theatre in muted in the later works. Though an in great agitation at the end of Act II. a product of an earlier liaison? Thus in Act II Prague. Despite yet another revision, much intelligent and committed staging, such as 8 9 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 10

David Pountney’s 1984 production for English Dr Suda sings a satirical ballad about the Act III The soprano Helen Field was educated at the National Opera, is proof that the opera can be all-knowing sun before leading them off on an The Great Hall in the Conservatory, eleven years Royal Northern College of Music and the made to work on the stage, a recorded impromptu excursion. Left alone, Zˇivn´y and later Royal College of Music, London. Her many performance is the ideal way of enjoying some Míla discuss their past in a lyrical exchange. Students are trying out a passage (a storm roles with British opera companies have of Janácˇek’s most incandescent music. When they hear the excursionists return, they scene) from the new opera written by their included Mimì, Musetta, Gilda, Marenka, decide to go off together, to the horror of Míla’s professor Zˇivn´y, which is about to receive its Tatyana, the Vixen, Jenu˚fa, Desdemona and Synopsis mother who arrives too late to stop them. premiere. After the students have made a Cio-Cio San for Welsh National Opera, Before the Opera opens, Míla and Zˇivn´y, a ‘storm’ of their own, the student Verva enters Susanna, Daphne, Manon and Magda (La composer, have had an affair; a child, Doubek, Act II and tells them more about the work. He rondine) for Opera North, Violetta, Donna has been born. Míla’s mother has done her best Zˇivn´y’s study on a winter day, four years later believes it is autobiographical: the composer Anna, Pamina and Marguerite (Faust) for to break up the affair and has tried to marry Míla and Zˇivn´y are married, living with their ‘Lensk´y’ is in fact Zˇivn´y and the opera, though English National Opera, and roles in Tippett’s Míla off to another man – but Míla was son and with Míla’s mother, now deranged at seemingly complete, is ‘without the last act’. New Year and Birtwistle’s The Second Mrs Kong pregnant with Zˇivn´y’s son, and the plan came the catastrophe of her daughter’s marrying a Verva sings through one of the solo scenes at the Glyndebourne Festival. Among recent to nothing. Zˇivn´y has written an opera in penniless composer. Her voice is occasionally between Míla and Doubek (a replay of the performances are The Governess (The Turn of which he has sublimated his bitter feelings at heard from off-stage over the conversation of incident in Act II where Doubek asked what the Screw), Salome, Aithra (Die ägyptische being jilted, as he sees it, by Míla. Zˇivn´y and Míla. Zˇivn´y is still haunted by his love is), to the embarrassment of Doubek, now Helena) and the title role in James MacMillan’s unfinished opera with its bitter account of a student at the Conservatory. When Zˇivn´y Ines de Castro. Act I Míla’s character. On the piano he plays from suddenly appears the students ask him to tell A busy international career has taken Helen A spa promenade about 1890, early morning the score and in a fit of remorse begins tearing them something about the opera. He does so Field to Théâtre royal de la Monnaie, Deutsche It is a fine day at a spa town and the crowds are it up. They are interrupted by their tiny son with passion, describing the chief character Oper, The Metropolitan Opera and De out enjoying the sunshine. Against this social Doubek, who has observed the goings-on of Lensk´y and how he fell in love. The emotional Nederlandse Opera, as well as to Cologne, background Zivn´ˇ y and Míla meet by chance: the servants and asks innocently ‘what love is’. charge of what are in fact personal recollections Dresden, Montpellier, Ludwigshafen and Bonn. their companions note that they seem to know Míla’s mother, having eluded the servants who becomes too much for him and against the For the BBC she has appeared in Fidelio (as one another and leave them to talk. Míla asks watch over her, breaks into the room and background of a storm outside he collapses after Marzelline) as well as Otello, The Cunning him if he has come for his son. Their mockingly sings a love-song from Zˇivn´y’s seeing a vision of his dead wife. A doctor is Little Vixen and New Year. Her recordings conversation, however, is soon interrupted by opera. She runs off, with Míla trying to called (it is in fact the solicitor Dr Suda who include The Greek Passion (Martinu˚), A Village the schoolteacher Miss Stuhlá, who attempts to restrain her. Off-stage, both topple to their arrives). In his final words Zˇivn´y maintains that Romeo and Juliet (Delius) with Sir Charles rehearse a group of women schoolteachers in a deaths over a balcony. Zˇivn´y sees this as a bolt the last act of the opera is still in ‘God’s hands’. Mackerras and Rigoletto (as Gilda) with Mark partsong, to the mirth of the other spa guests. from the blue: another crushing intervention Elder and the Orchestra and Chorus of English With help from the chorus and a bagpiper of ‘fate’. © 1999 John Tyrrell National Opera. 10 11 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 12

Educated at the Royal Academy of Music, the Philip Langridge was awarded the CBE in Begbick (Mahagonny), and the title roles of The company has launched the careers of tenor Philip Langridge is one of the world’s 1994. Ariane et Barbe-bleue and Lady Macbeth of the some of today’s finest British singers, among most distinguished singers. He has made Mtsensk District. them Thomas Allen, Arthur Davies, Helen numerous recordings and won two Grammy Kathryn Harries, soprano, studied singing and Field, Dennis O’Neill, Bryn Terfel and Janice Awards (Moses und Aron and Peter Grimes), a piano at the Royal Academy of Music and The company now known as Welsh National Watson. Gramophone Award (Britten’s War Requiem) made her Royal Festival Hall debut in 1977. Opera gave its first public performances in the and a Classic CD Award (The Turn of the Her first operatic performance was as Leonore Prince of Wales Theatre, Cardiff, in April 1946. Sir Charles Mackerras was born in 1925 of Screw). (Fidelio) for Welsh National Opera in 1983. The success of these performances led to the Australian parents in the United States and He appears regularly at the international Her many roles with British opera companies rapid expansion of the Chorus which, though studied in Sydney and Prague. He made his festivals of Salzburg, Edinburgh and have included Adalgisa (Norma), Donna Anna largely made up of amateurs, quickly became debut as an opera conductor at Sadler’s Wells, Glyndebourne, and at The Metropolitan (Dargomïzhsky’s The Stone Guest), Irene known for its distinctive sound of very high where he was instrumental in producing the Opera, Teatro alla Scala, Bayerische Staatsoper, (Rienzi), Sieglinde, Kundry, Kát’a Kabanová, quality; it became fully professional only in sensational first British performance of Royal Opera Covent Garden and English Emilia Marty (The Makropulos Affair), The 1973. During its first decades of operation the Janácˇek’s Kát’a Kabanová, which led to National Opera. He has received particular Composer (Ariadne auf Naxos), Clairon Chorus was accompanied by various professional Janácˇek’s becoming standard repertory in the praise for his performances in Death in Venice, (Capriccio), Judith (Duke Bluebeard’s Castle) orchestras. In 1970, however, a permanent UK. He was First Conductor of the Hamburg Boris Godunov, The Midsummer Marriage, The and Countess Geschwitz (Lulu). orchestra was founded, which in 1979 was Opera (1966–9) and Musical Director of both Rake’s Progress, Idomeneo, L’incoronazione di After her notable American debut as Kundry named the Orchestra of Welsh National Opera. Sadler’s Wells (later English National) Opera Poppea, Semele and Sir Harrison Birtwistle’s at The Metropolitan Opera in 1986 she has During the 1970s, under the musical (1970–7), and of Welsh National Opera The Mask of Orpheus and The Second Mrs returned as Gutrune and also appeared at Lyric directorship of Richard Armstrong, the (1987–91), where his notable Janácˇek Kong. Many performances have been recorded Opera of Chicago as Marie (Wozzeck) and company emerged as a major force in the productions, amongst many others, won great on video, such as those in Weber’s Oberon and Protagonista (Berio’s Un re in ascolto). She has operatic world, touring Great Britain and acclaim. The production and recording of Stravinsky’s Oedipus Rex. He received an performed with opera companies in Lyon, making guest appearances in Lisbon, Osud were sponsored by the Peter Moores Olivier Award for his performance in Osud. Nice, Geneva, Linz and Bamberg as well as Wiesbaden, Dresden and Leipzig among other Foundation, who also sponsored the recording Current engagements include Das Rheingold with Opéra national de Paris-Bastille, Châtelet European cities. Musical Directors Sir Charles of The Cunning Little Vixen. He is Conductor and a revival of Moses und Aron at The théâtre musical, De Nederlandse Opera, Mackerras (1987–1991; he remains Conductor Laureate of the Scottish Chamber Orchestra, Metropolitan Opera, new productions of La Staatstheater Stuttgart and New Israeli Opera Emeritus) and Carlo Rizzi (since 1992) have Conductor Emeritus of Welsh National Opera, clemenza di Tito in Munich and Peter Grimes in in Tel Aviv. Her roles have included Donna brought the company world-wide renown, Principal Guest Conductor of the San Milan and Los Angeles, and revivals of Billy Elvira, Dido (Les Troyens), Gertrude (Hamlet), taking critically and popularly acclaimed Francisco Opera, and from the 1998/99 season Budd in Barcelona and Paris and Palestrina at Senta, Carmen, Giulietta (Les Contes productions on tour to New York, Milan, Paris he is Music Director of the Orchestra of Royal Opera Covent Garden. d’Hoffmann), Kostelnicka (Jenu˚fa), Santuzza, and Tokyo. St Luke’s New York. 12 13 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 14

Sir Charles Mackerras has undertaken much English National Opera Handel’s Julius Caesar research into performance practice of the and Donizetti’s Mary Stuart (for ˇ eighteenth and nineteenth centuries, which has Chandos/Peter Moores Foundation). Philip Langridge as Zivn´y in the English National profoundly affected today’s interpretations. His Sir Charles Mackerras received a CBE in Opera’s production of Osud, vast discography includes an award-winning 1974 and was knighted for his services to revived in December 1986 cycle of Janácˇek operas with the Vienna music in 1979. He has also received The Medal Philharmonic Orchestra, Britten’s Gloriana of Merit from the Czech Republic and has (which won a Gramophone Award), Beethoven, been made a Companion of the Order of Brahms and Mahler Symphonies, and with Australia.

Philip Langridge as Zˇivn´y in the English National

Opera’s production Catherine Ashmore of Osud, revived in December 1986 Catherine Ashmore 14 15 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 16

Whilst still in his early twenties, Peter Moores had started giving financial support to various PETER MOORES, CBE, DL young artists, several of whom – Joan Sutherland, Colin Davis and the late Geraint Evans Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Littlewoods mail order, chain store and football pools group. He was educated at Eton and inheritance to establish the Peter Moores Foundation, a charity designed to support those causes Christ Church, Oxford, where he read modern languages – he was already fluent in German dear to his heart: to make music and the arts more accessible to more people; to give and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne encouragement to the young and to improve race relations. Festival Opera before going up to university, and after Oxford he became a production student at the Vienna State Opera, combining this with a three-year course at the Vienna PETER MOORES FOUNDATION Academy of Music and Dramatic Art. In the field of music, the main areas supported by the Peter Moores Foundation are: By the end of his third year at the Academy Moores had produced the Vienna premiere of the recording of operas from the core repertory sung in English translation; the recording or Britten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo Opera House, staging of rare Italian opera from the bel canto era of the early nineteenth century (repertoire Naples, the Geneva Festival and Rome Opera, and seemed set for a successful operatic career. which would otherwise only be accessible to scholars); the nurturing of promising young At this point he received a letter from his father asking him to come home as he was needed in opera singers; new operatic work. the firm. Family loyalty being paramount, he returned to Liverpool. The Foundation awards scholarships annually to students and post-graduates for furthering By 1977, he was Chairman of Littlewoods. Three years later their vocal studies at the Royal Northern College of Music. In addition, project awards may be he stepped down from the post, although still remaining on given to facilitate language tuition in the appropriate country, attendance at masterclasses or the Board. He was a director of a merchant bank from 1978 to summer courses, specialised repertoire study with an acknowledged expert in the field, or 1992. From 1981 to 1983 he was a Governor of the BBC, and post-graduate performance training. a Trustee of the Tate Gallery from 1978 until 1985; from 1988 The Foundation encourages new operatic work by contributing to recordings, the publication to 1992 he was a director of Scottish Opera. He received the Christina Burton/PMF of scores and stage productions. Gold Medal of the Italian Republic in 1974, an Honorary MA Since 1964 the Foundation has supported the recording of more than forty operas, many of from Christ Church, Oxford, in 1975, and was made an these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera Honorary Member of the Royal Northern College of Music in to the full, there must be no language barrier, particularly for newcomers and particularly in the 1985. In May 1992 he became Deputy Lieutenant of popular repertoire – hence the Opera in English series launched with Chandos in 1995. This Lancashire, and in the New Year’s Honours List for 1991, he includes many of the English language recordings funded by the Foundation in the 1970s and was made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL 1980s and is now the largest recorded collection of operas sung in English.

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werden. Nichts deutet darauf hin, daß Janácˇek Ende dramatischer: Mílas Ehemann schießt auf Janácˇek: Osud je eine “Vergeltungsoper” geplant hat (im Zˇivn´y, verletzt jedoch Míla tödlich. ersten Szenar ist von einer “Kamila” nicht die Der “seltsame” III. Akt ist in Janácˇeks Rede); statt dessen ließ er sich davon anregen, erstem Szenar der am weitesten ausgearbeitete Janáceks “Schicksal”: Die Entstehung des wo er hingefahren war, um über den Tod seiner daß eine wahre Begebenheit Cˇ elansk´ys Kamila und enthält die meisten Merkmale, die bis in Librettos Tochter Olga hinwegzukommen, die zu ausgelöst hatte. Er machte sich daran, eine die endgültige Fassung hinein bestehen Du weißt, ich suche nach einem Libretto. Beginn des Jahres gestorben war. Jenu˚fa war Oper zu schaffen, die im wesentlichen um ihn blieben. Er spielt im großen Saal eines Einem modernen… kurz zuvor fertig geworden und harrte der selbst gehen sollte, “vollkommen realistisch” Konservatoriums, wo sich die Studenten Ich möchte den I. Akt vollkommen realistisch Uraufführung in Brünn. Janácˇek hatte den und “dem Leben in einem Kurort versammeln (“die übliche studentische gestalten, dem Leben in einem Kurort Kopf frei und war empfänglich für neue nachempfunden”. In diesem Kurort lernt Ausgelassenheit”); an einer Wand wirbt ein nachempfunden. Es gibt dort eine Fülle von Impulse. Frau Urválková lieferte ihm einen. Als Zˇivn´y, ein Komponist, eine gewisse Frau Míla Plakat für eine Opernaufführung am selben Motiven! sie hörte, daß Janácˇek Komponist war, erzählte Valková kennen. Wie Janácˇek hat Zˇivn´y eine Abend. Die Studenten diskutieren über die Der II. Akt soll eine regelrechte Halluzination sie ihm von ihrer Begegnung mit einem Tochter, die kürzlich verstorben ist. Wie Oper und bitten ihren Professor, den sein. Nicht mehr die Realität, sondern der Geist, Komponisten namens Ludvík Cˇ elansk´y. Der Kamila Urválková erzählt ihm Míla Valková Komponisten Zˇivn´y, ihnen etwas darüber zu provoziert bis an den Rand eines nämlich hatte sie aus Rache, weil ihre von ihrer Liebe zu einem Komponisten, von erzählen. Er tut dies gern – geht es doch um Nervenzusammenbruchs, treibt die Handlung bis wohlhabenden Eltern ihrer Liebesaffäre mit dem sie sich hat trennen müssen, weil ihre die Geschichte seines Lebens. Er kann den Tod zu dem Punkt voran, an dem schwer feststellbar ihm ein Ende bereitet hatten, in einem Eltern gegen ihn sind. Míla ist inzwischen seiner Frau nicht verwinden, und die Oper, die ist, ob sie real oder eine Halluzination, eine Einakter mit dem suggestiven Titel Kamila unglücklich verheiratet und hat einen kleinen er geschrieben hat, ist unvollendet: Er hat sie Wahnvorstellung ist. angeprangert, der 1897 in Prag aufgeführt Sohn. in äußerster Erregung am Ende des II. Akts Während der Schauplatz des I. Akts die worden war. Daraufhin nahm Janácˇek sich vor, Im II. Akt sollte es Janácˇeks erstem Szenar aufgegeben. prachtvolle Kulisse des Badeorts ist, soll der II. eine Oper zu verfassen, die sie in günstigerem zufolge zur Krise kommen, und im ältesten Schon während er mit Frau Urválková Akt verschwenderisch eingerichtete Boudoirs und Licht darstellte. Libretto geschah dies mit Hilfe des Konflikts korrespondierte, hatte Janácˇek eine Librettistin Szenen aus dem Süden zeigen. Große Teile dieser famosen und zwischen Mílas Ehemann und dem gefunden, eine junge Lehrerin namens Fedora Der III. Akt wird seltsam sein… außergewöhnlichen Geschichte müssen auf Komponisten Zˇivn´y, der nicht aufgehört hat, Bartoˇsova, deren einzige Qualifikation für die So lautet das früheste Szenar der Oper Spekulation beruht haben, denn Janácˇek selbst ihr Liebesbriefe zu schreiben. Auch hier ist die Aufgabe darin bestand, daß sie einige Gedichte Schicksal, enthalten in einem Brief, den äußert sich in seiner Autobiographie nur Parallele zu Janácˇeks eigenem Leben auffallend. geschrieben hatte. Janácˇeks Wahl fiel Janácˇek irgendwann im Oktober 1903 an höchst vage dazu und es liegen kaum andere Es hatte sich eine lebhafte Korrespondenz vermutlich deshalb auf sie, weil sie eine Kamila Urválková geschrieben hat. Er hatte verifizierbare Hinweise vor, auch wenn die zwischen Janácˇek und Frau Urválková Freundin seiner geliebten und schmerzlich Frau Urválková im Sommer 1903 im meisten Fakten zu stimmen scheinen und entsponnen, die dann durch ihren Ehemann betrauerten Tochter Olga gewesen war. Die mährischen Kurort Luhacˇovice kennengelernt, durch das erste Libretto von Schicksal bestätigt jäh beendet wurde. Im ältesten Libretto ist das Bartoˇsova unterrichtete in einer benachbarten 18 19 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 20

Stadt, so daß ihre Zusammenarbeit im dieses Stadium in der Entwicklung des zog das Werk aus Brünn zurück und reichte es Bühnenproduktion. Und selbst da wurde die wesentlichen brieflich erfolgte und Librettos erreicht war, wurde Fedora Bartoˇsova statt dessen am neueröffneten Vinohrady- Oper in einer Bearbeitung aufgeführt, die den entsprechend gut dokumentiert ist. Janácˇek stillschweigend fallengelassen, nachdem sie Theater in Prag ein. Trotz einer weiteren I. und II. Akt als lange Rückblende in den schickte ihr nach und nach sein Prosa-Szenar, einen neuen II. Akt geliefert hatte (den Überarbeitung, zahlreichen Ausflüchten auf III. Akt einfügt – eine Version, die erneut für den letzten Akt am 8. Dezember. Die Barto Janácˇek unbeachtet liegen ließ) und einen Seiten des Theaters, ja sogar einer Klage vor die 1988 in Brünn herausgekommene ˇsova faßte es in Verse und war Weihnachten Monolog für Zˇivn´y zur Eröffnung des Gericht (eingereicht von Janácˇek, später jedoch Produktion Verwendung fand. Nicht zu 1903 damit fertig, obwohl mit Ergänzungen III. Akts, den Janácˇek bearbei-tete, so daß er zurückgezogen) blieb die Oper dort bis 1914 bestreiten ist, daß die Musik an vielen Stellen und Verbesserungen noch einige Monate das Rückgrat seines neuen II. Akts bildete. unaufgeführt liegen, woraufhin Janácˇek so wirkungsvoll ist wie sonst irgendetwas, was vergingen. Eine Sache, die sich aus der Janácˇek stellte seine Partitur Anfang 1905 erbittert ihre Rückgabe verlangte. Als sich für Janácˇek geschrieben hat, mit einem Korrespondenz ergibt, ist die Wandelbarkeit fertig, überarbeitete sie jedoch im Lauf des ihn später mit dem Erfolg von Jenu˚fa in Prag leidenschaftlichen Lyrismus, der in späteren von Janácˇeks Szenar: Er dachte sich die folgenden Jahres gründlich und reichte sie erst das Blatt gewendet hatte, trug sich Janácˇek mit Werken in gedämpfterer Form auftritt. Geschichte zum großen Teil aus, während er im Herbst 1906 zur Aufführung am Theater in dem Gedanken, den Text zu revidieren und Obwohl eine intelligente und engagierte sie niederschrieb. Brünn ein. Bis es soweit war, hatte er eine neue legte ihn literarischen Fachleuten wie Jaroslav Inszenierung wie die von David Pountney In der endgültigen Fassung blieben die Figur eingeführt – Mílas Mutter –, deren Kvapil vor, dem Librettisten von Dvorˇáks 1984 für die English National Opera beweist, Schauplätze des I. Akts (der Kurort) und geistige Umnachtung bei dem Gedanken, daß Rusalka, und dem Schriftsteller und Übersetzer daß die Oper so aufbereitet werden kann, daß III. Akts (das Konservatorium) bestehen; im ihre Tochter den mittellosen Komponisten Max Brod. Doch Janácˇek erntete von allen nur sie auf der Bühne funktioniert, ist eine II. Akt trat an die Stelle der “Szenen aus dem Zˇivn´y heiraten könnte, nun für den Konflikt ein Kopfschütteln, woraufhin er das Werk Aufzeichnung auf Tonträger die ideale Süden” (später konkretisiert als die dalmatische und die Krise im II. Akt verantwortlich war. stillschweigend beiseite legte und sich daran Methode, eine Musik zu hören, die zu Janácˇeks Riviera) das Studierzimmer des Komponisten, Abgesehen von ihrem dramatischen Auftritt machte, neue Opern zu schreiben. leidenschaftlichsten Schöpfungen zählt. und damit änderte sich auch der Charakter der am Ende des Akts wurde ihre Partie im II. Akt Unter den gegebenen Umständen ist es alles entscheidenden Krise. Recht unvermittelt überwiegend hinter der Bühne gesungen; nicht überraschend, daß das Libretto Inhaltsangabe schlug Janácˇek am 10. April 1904 für die Janácˇek fügte ihre Zeilen und die von Míla stellenweise ans Unverständliche grenzt. Die Vor dem Zeitpunkt, an dem die Oper einsetzt, zufällige Begegnung von Zˇivn´y und Míla im einfach in Fedora Bartoˇsova Monolog für Verschwommenheit des ursprünglichen haben Míla und Zˇivn´y, ein Komponist, eine I. Akt eine neue Wendung vor. Wie wäre es, Zˇivn´y ein. Konzepts und die merkwürdigen Änderungen Affäre gehabt; ein Kind namens Doubek meinte er, wenn Mílas Kind auch das von In Brünn war man darauf erpicht, Janácˇek der Stoßrichtung und Motivation in den wurde geboren. Mílas Mutter hat sich alle Zˇivn´y wäre, das Produkt einer einstigen neue Oper aufzuführen, und brachte es soweit, unzähligen Revisionen werden durch die Mühe gegeben, die Beziehung zu zerstören, Liaison? Nun lebten sie auf einmal im II. Akt einen Regisseur und Bühnenbildner zu Unerfahrenheit und blumige Jugendstildiktion und hat versucht, Míla mit einem anderen mit ihrem fünfjährigen Sohn zusammen – engagieren und mit den Soloproben zu Fedora Bartoˇsova und Janácˇeks spätere Mann zu verheiraten – Míla jedoch war von anstatt sich nur brieflich zu verständigen. Mílas beginnen. Doch Janácˇek sah eine Chance, sich Eingriffe verschlimmert. Die Tschechen Zˇivn´y schwanger, und es wurde nichts aus dem Ehemann wurde gestrichen. Bald nachdem in der Hauptstadt einen Namen zu machen. Er warteten bis 1958 mit der ersten Vorhaben. Zˇivn´y hat eine Oper komponiert 20 21 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 22

und darin seine Erbitterung darüber II. Akt III. Akt gerufen (tatsächlich erscheint der Anwalt sublimiert, daß er, so scheint es ihm, von Míla In Zˇivn´ys Studierzimmer, an einem Wintertag Im großen Saal des Konservatoriums, elf Jahre Dr. Suda). Noch auf dem Sterbebett bleibt sitzengelassen wurde. vier Jahre später später Zˇivn´y dabei, daß der letzte Akt der Oper nach Míla und Zˇivn´y sind verheiratet und leben mit Studenten probieren eine Passage (eine wie vor “in Gottes Hand” sei. I. Akt ihrem Sohn und Mílas Mutter zusammen. Sturmszene) der neuen Oper aus, die ihr Auf der Promenade eines Kurorts um 1890, am Diese hat angesichts der Katastrophe, daß ihre Professor Zˇivn´y geschrieben hat und die kurz © 1999 John Tyrrell frühen Morgen Tochter einen mittellosen Komponisten vor der Uraufführung steht. Nachdem die Übersetzung: Anne Steeb/Bernd Müller Es ist ein schöner Tag im Kurort, und die geheiratet hat, den Verstand verloren. Ihre Studenten einen eigenen “Sturm” entfacht Besucher genießen den Sonnenschein. Vor Stimme ist gelegentlich hinter der Bühne zu haben, kommt der Student Verva herein und Die Sopranistin Helen Field wurde am Royal diesem gesellschaftlichen Hintergrund hören und übertönt das Gespräch zwischen verrät ihnen mehr über das Werk. Er glaubt, Northern College of Music und am Londoner begegnen sich Zˇivn´y und Míla zufällig: Ihre Zˇivn´y und Míla. Zˇivn´y geht immer noch die daß es sich um ein autobiographisches Werk Royal College of Music ausgebildet. Zu ihren Begleiter merken, daß sie offenbar miteinander unvollendete Oper mit der negativen handelt, daß der Komponist “Lensk´y” in zahlreichen Rollen an britischen Opernhäusern bekannt sind, und verlassen sie, damit sie sich Darstellung von Mílas Charakter durch den Wahrheit Zˇivn´y ist und daß die Oper nur zählen Mimì, Musetta, Gilda, Marenka, unterhalten können. Míla fragt, ob er wegen Kopf. Er spielt am Klavier Auszüge aus der scheinbar fertig ist, “ohne den letzten Akt”. Tatjana, die Füchsin, Jenu˚fa, Desdemona seines Sohnes gekommen sei. Das Gespräch Partitur und fängt dann in einem Anfall von Verva geht singend eine der Soloszenen und Cio-Cio San an der Welsh National wird jedoch bald von der Lehrerin Fräulein Reue an, sie zu zerreißen. Er und Míla werden zwischen Míla und Doubek durch (eine Opera, Susanna, Daphne, Manon und Stuhlá unterbrochen, die sich bemüht, mit von ihrem kleinen Sohn Doubek Wiederholung des Vorfalls im II. Akt, als Magda (La rondine) an der Opera North, einer Gruppe anderer Lehrerinnen ein unterbrochen, der das Tun und Treiben der Doubek wissen will, was Liebe ist). Doubek, Violetta, Donna Anna, Pamina und mehrstimmiges Lied einzustudieren und damit Dienerschaft beobachtet hat und nun inzwischen Student am Konservatorium, ist Marguerite (Faust) an der English National die Heiterkeit der Kurgäste erregt. Mit Hilfe unschuldig fragt: “Was ist Liebe?” Mílas peinlich berührt. Als Zˇivn´y unvermutet Opera sowie Partien in Tippetts New Year und des Chors und eines Sackpfeifers singt Dr. Mutter ist den Bediensteten entwischt, die erscheint, bitten die Studenten ihn, etwas über in Birtwistles The Second Mrs Kong beim Suda eine Spottballade über die allwissende auf sie aufpassen sollen. Sie stürmt ins die Oper zu erzählen. Er beschreibt voller Glyndebourne Festival. Zu ihren jüngsten Sonne und bricht dann allen voran zu einem Zimmer und singt mit höhnischer Stimme Leidenschaft die Hauptfigur Lensk´y und die Rollen gehören die Gouvernante (The Turn of spontanen Ausflug auf. Alleingelassen sprechen ein Liebeslied aus Zˇivn´ys Oper. Sie rennt Umstände, unter denen er sich verliebt. Was in the Screw), Salome, Aithra (Die ägyptische Zˇivn´y und Míla im lyrischen Dialog über ihre davon, verfolgt von Míla, die sie Wirklichkeit persönliche Erinnerungen sind, Helena) und die Titelrolle in James MacMillans Vergangenheit. Als sie die Ausflügler zurückzuhalten versucht. Hinter der Bühne wird emotional derart aufgeladen, daß es ihm Ines de Castro. zurückkommen hören, beschließen sie, stürzen beide von einem Balkon in den Tod. zuviel wird. Vor dem Hintergrund eines echten Eine arbeitsreiche internationale Karriere hat gemeinsam fortzugehen. Mílas Mutter, die zu Zˇivn´y sieht darin einen Blitz aus heiterem Sturms, der draußen wütet, bricht er Helen Field ans Théâtre de la Monnaie, an die spät kommt, um sie zurückzuhalten, ist Himmel: Das “Schicksal” hat wieder einmal zusammen, nachdem er ein Trugbild seiner Deutsche Oper, die Metropolitan Opera und entsetzt. zugeschlagen. verstorbenen Frau gesehen hat. Ein Arzt wird die Nederlandse Opera geführt, außerdem 22 23 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 24

nach Köln, Dresden, Montpellier, Idomeneo, L’incoronazione di Poppea und Semele Kundry, Katja Kabanowa, Emilia Marty (Die zum größten Teil aus Amateuren bestand, in Ludwigshafen und Bonn. zuteil, sowie für Sir Harrison Birtwistles The Sache Makropulos), der Komponist (Ariadne kurzer Zeit aufgrund seines unverwechselbaren Für die BBC ist sie (als Marzelline) in Mask of Orpheus und The Second Mrs Kong. auf Naxos), Clairon (Capriccio), Judit (Herzog und hochqualitativen Klanges von sich reden Fidelio aufgetreten, daneben in Otello, Das Viele seiner Auftritte sind auf Video Blaubarts Burg) und die Gräfin Geschwitz machte. Der Chor wurde erst 1973 vollständig schlaue Füchslein und New Year. Zu ihren festgehalten, darunter jene in Webers Oberon (Lulu). professionell. Während der ersten Jahrzehnte Tonaufnahmen gehören Martinu˚s Griechische und Strawinskis Oedipus Rex. Für seine Nach ihrem vielbeachteten Amerika-Debüt wurde der Opernchor von verschiedenen Passion, A Village Romeo and Juliet von Delius Darbietung in Osud wurde ihm ein Olivier als Kundry 1986 an der Metropolitan Opera professionellen Orchestern begleitet. Im Jahre mit Sir Charles Mackerras und Rigoletto (als Award zuerkannt. kehrte sie dorthin als Gutrune zurück und sang 1970 erfolgte jedoch die Gründung eines Gilda) mit dem Orchester und Chor der Zu seinen kommenden Verpflichtungen außerdem an der Lyric Opera of Chicago die permanenten Orchesters, das 1979 den Namen English National Opera unter der Leitung von zählen Das Rheingold und eine Marie (Wozzeck) und die Protagonistin (Berio’s “Orchestra of Welsh National Opera” erhielt. Mark Elder. Wiederaufnahme von Moses und Aron an der Un re in ascolto). Sie ist mit Opernensembles in Unter der musikalischen Leitung von Metropolitan Opera, Neuinszenierungen von Lyon, Nizza, Genf, Linz und Bamberg Richard Armstrong entwickelte sich das Der Tenor Philip Langridge, einer der La clemenza di Tito in München und von Peter aufgetreten, außerdem an der Opéra National Unternehmen in den 70er Jahren zu einer renommiertesten Sänger der Welt, wurde an Grimes in Mailand und Los Angeles; hinzu de Paris-Bastille, am Châtelet théâtre musical, Größe in der Welt der Oper. Es folgten der Royal Academy of Music ausgebildet. Er kommenWiederaufnahmen von Billy Budd in an der Nederlandse Opera, am Staatstheater Tourneen in Großbritannien und Gastauftritte hat zahlreiche Aufnahmen auf Tonträger Barcelona und Paris sowie von Palestrina an der Stuttgart und an der New Israeli Opera in Tel in Lissabon, Wiesbaden, Dresden, Leipzig vorzuweisen und hat zwei Grammy Awards (für Royal Opera Covent Garden. Aviv. Zu ihren Rollen zählen Donna Elvira, sowie in anderen europäischen Städten. Die Moses und Aron und Peter Grimes), einen Im Jahre 1994 wurde Philip Langridge der Dido (Les Troyens), Gertrud (Hamlet), Senta, musikalischen Leiter Sir Charles Mackerras Gramophone Award (für Brittens War Requiem) Orden des Commander of the Order of the Carmen, Giulietta (Les Contes d’Hoffmann), (1987–1991, weiterhin Dirigent Emeritus) und einen Classic CD Award (für The Turn of British Empire verliehen. die Küsterin (Jenu˚fa), Santuzza, Leokadja und Carlo Rizzi (seit 1992), die mit von the Screw) gewonnen. Begbick (Mahagonny) sowie die Titelrollen von Kritikern und der Öffentlichkeit Er tritt regelmäßig bei den internationalen Kathryn Harries, Sopran, hat an der Royal Ariane et Barbe-bleue und Lady Macbeth von gleichermaßen gelobten Produktionen in New Festspielen von Salzburg, Edinburgh und Academy of Music Gesang und Klavier studiert Mzensk. York, Milan, Paris und Tokio auf Tournee Glyndebourne auf, an der Metropolitan und 1977 in der Royal Festival Hall ihr Debüt gingen, haben dem Unternehmen zu Opera, am Teatro alla Scala, an der Bayerischen gegeben. Ihre erste Opernrolle war die Leonore Das heute unter dem Namen Welsh National weltweitem Ruhm verholfen. Staatsoper, der Royal Opera Covent Garden (in Fidelio), die sie 1983 an der Welsh National Opera bekannte Unternehmen gab seine ersten Das Unternehmen war Karrieresprungbrett und der English National Opera. Besonderes Opera sang. Zu ihren zahlreichen Partien an öffentlichen Vorstellungen im April 1946 im für einige der besten britischen Sänger von Lob wurde ihm für seine Darbietungen in britischen Opernhäusern gehören Adalgisa Prince of Wales Theatre in Cardiff. Der Erfolg heute, unter anderem Thomas Allen, Arthur Death in Venice, Boris Godunow, The (Norma), Donna Anna (Dargomïzhskis Der dieser Aufführungen führte zu einer rapiden Davies, Helen Field, Dennis O’Neill, Bryn Midsummer Marriage, The Rake’s Progress, steinerne Gast), Irene (Rienzi), Sieglinde, Erweiterung des Opernchors, der, obwohl er Terfel und Janice Watson. 24 25 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 26

Sir Charles Mackerras wurde 1925 als Kind Gastdirigent der San Francisco Opera und seit australischer Eltern in den USA geboren und der Spielzeit 1998/99 Musikdirektor des Janácˇek: Osud studierte in Sydney und Prag. Sein Debüt Orchestra of St Luke’s in New York. als Operndirigent feierte er in Sadler’s Wells, wo Sir Charles Mackerras hat sich intensiv mit er wesentlichen Anteil an der Produktion der der Aufführungspraxis des 18. und 19. “Le Destin” de Janácˇek: la genèse du livret création à Brno, l’esprit de Janácˇek était ouvert sensationellen britischen Erstaufführung von Jahrhunderts befaßt, was seine musikalischen Vous savez que je suis à la recherche d’un livret. et receptif à de nouvelles impulsions. Kamila Janácˇeks Kát’a Kabanová hatte, die dazu führte, Interpretationen wesentlich beeinflußte. Seine Un livret moderne. […] Urválková en offrit une. Apprenant que daß Janácˇeks Werke ihren Weg ins britische beeindruckende Diskographie umfaßt den Je veux un Acte I totalement réaliste, Janácˇek était compositeur, elle lui raconta Standardrepertoire fanden. Er war Chefdirigent preisgekrönten Zyklus der Opern Janácˇeks mit s’inspirant de la vie d’une station thermale. Il y a l’histoire de sa liaison avec un compositeur, an der Hamburger Oper (1966–9) und den Wiener Philharmonikern, Brittens là une mine de motifs! Ludvík Cˇelansk´y, qui pour se venger de leur Musikdirektor an der Oper von Sadler’s Wells, Gloriana (ausgezeichnet mit dem Gramophone L’Acte II doit être une véritable hallucination. rupture provoquée par les parents riches de la der nachmaligen English National Opera Award), die Sinfonien von Beethoven, Brahms Plus aucune réalité, à la place l’esprit, poussé au jeune femme, la ridiculisa dans un opéra en un (1970–7) sowie der Welsh National Opera und Mahler sowie Handels Julius Caesar und bord de la dépression nerveuse, propulse l’action seul acte, intitulé de façon suggestive Kamila, (1987–91), wo unter anderem seine Donizetti’s Maria Stuarda mit der English jusqu’au point où il est difficile de dire si c’est et produit à Prague en 1897. Elle encouragea bemerkenswerten Janácˇek-Inszenierungen National Opera (für Chandos/Peter Moores réel où si c’est une hallucination, un délire. donc Janácˇek à écrire un nouvel opéra où elle große Beachtung fanden. Die Inszenierung und Foundation). Alors que le lieu de l’action à l’Acte I est un pourrait être représentée sous un jour plus Einspielung von Osud wurden von der Peter Sir Charles Mackerras wurde 1974 mit dem magnifique décor de station thermale, l’Acte II favorable. Moores Foundation gefördert, die auch die CBE ausgezeichnet und 1979 für seine doit révéler l’intérieur extravagant des boudoirs La plus grande partie de cette histoire Einspielung vom Schlaue Füchslein unterstützte. Verdienste um die Musik geadelt. Außerdem des dames du monde, le décor des paysages du célèbre et extraordinaire doit relever de la Sir Charles Mackerras ist Ehrendirigent des erhielt er die Verdienstmedaille der sud. spéculation, ne serait-ce qu’en raison des Scottish Chamber Orchestra, Emeritus- Tschechischen Republik und wurde zum L’Acte III sera étrange. […] commentaires particulièrement énigmatiques Dirigent der Welsh National Opera, erster Mitglied des “Order of Australia” ernannt. Ceci est le premier scénario du Destin de fournis par Janácˇek lui-même dans son Janácˇek tel qu’on le trouve raconté dans une autobiographie, et du peu de preuves lettre qu’il écrivit en octobre 1903 à Mme extérieures, bien que la plupart des faits Kamila Urválková. Il avait fait sa connaissance correspondent à la réalité et se voient au cours de l’été précédent à la station thermale confirmés par les premières esquisses du livret de Luhacˇovice en Moravie où il s’était rendu du Destin. Cependant, il n’existe aucune pour se remettre de la mort de sa fille Olga, preuve attestant que Janácˇek ait jamais songé à disparue au début d’année. Son opéra Jenu˚fa écrire un opéra “vengeur” (il n’y a aucune était depuis peu terminé, et en attendant sa “Kamila” dans le premier scénario); au lieu de 26 27 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 28

cela, il fut inspiré par le fait qu’un incident réel allaient demeurer dans la version finale. Son lecture de leur correspondance, on peut voir avait ajouté un nouveau personnage – la mère donna naissance au Kamila de Cˇelansk´y. Il se action se situe dans le grand hall d’un jusqu’à quel degré le scénario du compositeur de Míla – dont l’instabilité mentale provoquée mit à imaginer un opéra qui traiterait en conservatoire de musique où se rassemblent des était indécis et changeant: en fait, il inventait par le mariage de sa fille avec le compositeur grande partie de lui-même, “totalement étudiants, (“l’humeur très joyeuse habituelle l’histoire au fur et à mesure qu’il avançait. sans argent Zˇivn´y offrait maintenant le conflit réaliste, s’inspirant de la vie d’une station des étudiants”); sur un mur se trouve une Dans la version finale, les lieux de l’action de et la crise de l’Acte II. En dehors de son entrée thermale”. Ici, un compositeur, Zˇivn´y, affiche à propos d’un opéra qui doit être donné l’Acte I (la station thermale) et de l’Acte III (le dramatique à la fin de l’acte, la plus grande rencontre Mme Míla Valková. Comme ce soir-là. Les étudiants discutent de l’opéra, et Conservatoire) demeurent, mais dans l’Acte II, partie de son rôle pendant celui-ci était chanté Janácˇek, Zˇivn´y avait une fille qui était morte implorent leur professeur, le compositeur les “décors des paysages du sud” (plus tard hors de scène; Janácˇek ajouta simplement ses récemment. Comme Kamila Urválková, Míla Zˇivn´y, de leur en parler. Il le fait très volontiers identifiés comme étant la Riviera dalmate) paroles à celles de Míla en contrepoint du Valková raconte l’histoire de sa liaison avec un – en fait, il s’agit de l’histoire de sa vie. Il est laissent place au bureau du compositeur, et ceci monologue que Bartosˇová avait écrit pour compositeur dont elle a dû se séparer en raison hanté par la mort de sa femme, et l’opéra qu’il changea la nature de la crise fondamentale. Zˇivn´y. de l’opposition de ses parents. Míla a fait un a écrit n’est pas terminé: il l’a abandonné dans Subitement, le 10 avril 1910, Janácˇek suggéra Très intéressé par le nouvel opéra de mariage malheureux, et est la mère d’un petit un grand état d’agitation à la fin de l’Acte II. une suite entièrement différente à la rencontre Janácˇek, le Théâtre de Brno, engagea un garçon. Pendant la période où il correspondait avec fortuite de Zˇivn´y et de Míla à l’Acte I. Et si producteur et un décorateur, et commença Dans le premier scénario de Janácˇek, l’Acte Kamila Urválková, Janácˇek avait déjà trouvé un l’enfant de Míla était aussi celui de Zˇivn´y, le même des répétitions. Mais Janácˇek, voyant II devait conduire à une crise, et dans le librettiste, une jeune institutrice du nom de résultat d’une liaison antérieure, demanda-t-il? une chance de se faire remarquer dans la premier livret, cette crise était provoquée par le Fedora Bartosˇová. Son unique qualification Ainsi à l’Acte II, ils vivraient ensemble avec capitale, retira sa partition et vint la soumettre conflit entre le mari de Míla et le compositeur pour ce travail était qu’elle avait écrit quelques leur fils de cinq ans – au lieu de simplement au Théâtre Vinohrady de Prague qui venait de Zˇivn´y, qui a écrit des lettres d’amour à Míla. poèmes, et Janácˇek la choisit probablement s’écrire des lettres. Le mari de Míla fut omis. s’ouvrir récemment. Malgré une nouvelle De nouveau, le parallèle avec la vie de Janácˇek parce qu’elle avait été une amie de sa fille Peut de temps après ce nouveau révision, maintes tergiversations du Théâtre, et est frappant. En effet, il avait entretenu une bien-aimée Olga qu’il pleura tant. Comme développement du livret, Bartosˇová fut même un procès (initié par Janácˇek, mais retiré intense correspondance avec Kamila Urválková Bartosˇová enseignait dans une ville voisine, doucement abandonnée, ayant écrit un nouvel par la suite), l’œuvre resta dans les tiroirs jusqu’au moment où le mari de cette dernière y leur collaboration se fit essentiellement par Acte II (que Janácˇek ignora), et un monologue jusqu’en 1914, date à laquelle Janácˇek mit brusquement fin. Dans le premier livret, correspondance, et elle est bien documentée. pour Zˇivn´y devant servir à ouvrir l’Acte III, demanda avec amertume qu’on lui rende sa cette fin est plus dramatique: le mari de Míla Janácˇek lui envoya son scénario en prose par mais que le compositeur adapta pour en faire la partition. Plus tard, quand sa fortune changea tire sur Zˇivn´y, mais le rate et blesse fragments, et le dernier acte le 8 décembre charpente de son nouvel Acte II. avec le succès de Jenu˚fa à Prague, Janácˇek mortellement Míla. 1903. Bartosˇová mit tout ceci en vers, et Janácˇek termina la partition au début de songea alors à réviser le livret, et le soumit à des L’“étrange” Acte III est l’acte le plus acheva son travail pour Noël 1903. Cependant, 1905, mais la révisa considérablement au cours experts littéraires tels que Jaroslav Kvapil, le développé dans le premier scénario de Janácˇek, ils continuèrent à y apporter des corrections au de l’année suivante, et ne la proposa au Théâtre librettiste de Rusalka de Dvorˇák, et l’écrivain et et il contient de nombreux éléments qui cours des quelques mois qui suivirent. A la de Brno qu’à l’automne 1906. A cette date, il traducteur Max Brod. Tous deux hochèrent de 28 29 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 30

la tête devant le texte, aussi Janácˇek mit-il Argument Restés seuls, Zˇivn´y et Míla parlent de leur Hors de scène, elles se tuent en tombant d’un l’œuvre de côté, et il continua à composer de Avant que l’opéra s’ouvre, Míla et Zˇivn´y, un passé en un échange lyrique. Quand ils balcon. Zˇivn´y perçoit cet accident comme une nouveaux opéras. compositeur, ont eu une liaison dont est né un entendent les promeneurs revenir, ils décident nouvelle intervention dévastatrice du “destin”. Vu ces circonstances, il n’est pas surprenant enfant, Doubek. La mère de Míla a fait tout de partir ensemble, à la grande horreur de la que le livret soit par moments au bord de son possible pour briser cette liaison, et a tenté mère de Míla qui arrive trop tard pour les en Acte III l’incompréhensible. L’absence de point central de marier Míla à un autre homme – mais empêcher. Le grand hall du Conservatoire, onze ans plus dans la conception originale, et les curieux comme Míla était enceinte du fils de Zˇivn´y, ce tard changements de direction et de motivation projet resta sans suite. Zˇivn´y a écrit un opéra Acte II Des étudiants essayent un passage (la scène de effectués au cours des nombreuses révisions dans lequel il a sublimé son amertume vis-à-vis Le bureau de Zˇivn´y un jour d’hiver, quatre ans la tempête) extrait du nouvel opéra de leur sont encore aggravés par l’inexpérience et la de ce qu’il croit être un abandon de la part de plus tard professeur Zˇivn´y, qui va être créé. Après que les langue fleurie dans le style Art nouveau de Míla. Míla et Zˇivn´y se sont mariés. Ils vivent étudiants ont fait une “tempête” de leur cru, Bartosˇová, ainsi que par les retouches désormais ensemble avec leur fils et la mère de l’étudiant Verva entre et leur parle davantage ultérieures de Janácˇek. Les Tchèques Acte I Míla qui a perdu la tête depuis la catastrophe de l’opéra. Il croit qu’il s’agit d’une œuvre attendirent 1958 pour créer l’opéra à la scène. Et Une promenade dans une station thermale vers du mariage de sa fille avec un compositeur sans autobiographique, le compositeur “Lensky” alors même, il fut donné dans un arrangement 1890, tôt le matin le sou. De temps à autres, on entend sa voix étant en réalité Zˇivn´y, tandis que l’opéra, bien dans lequel les Actes I et II etaient insérés à C’est une belle journée dans une ville thermale, venant des coulisses et se superposer à la qu’apparemment achevé, est “sans le dernier l’Acte III, comme un long flashback. Cette et la foule se réjouit à la vue des rayons du conversation entre Zˇivn´y et Míla. Zˇivn´y est acte”. Verva chante l’une des scènes solo entre version fut réutilisée dans la production réalisée soleil. Dans ce contexte social, Zˇivn´y et Míla se toujours hanté par son opéra inachevé où il Míla et Doubek (une reprise de l’incident de à Brno en 1988. Néanmoins, il ne fait aucun rencontrent par hasard: leurs compagnons dépeint de manière amère le personnage de l’Acte II où Doubek demande ce que c’est que doute que la musique est en bien des endroits notent qu’ils semblent se connaître, et les Míla. Il joue piano un extrait de la partition, et l’amour), ce qui embarasse Doubek, l’une des plus fortes du compositeur, et fait laissent seuls. Míla demande à Zˇivn´y s’il est pris de remors, il commence à la déchirer. Ils maintenant un étudiant du Conservatoire. montre d’un lyrisme passionné qui devait venu pour son fils. Cependant, leur entretien sont interrompus par leur petit garçon Quand Zˇivn´y entre subitement, les étudiants devenir plus discret dans les œuvres postérieures. est rapidement interrompu par la maîtresse Doubek, qui a observé la conduite des lui demandent de leur dire quelque chose à Une mise en scène intelligente et fervente, telle d’école, Mlle Stuhlá, qui essaye de faire répéter domestiques, et demande innocemment, “c’est propos de l’opéra. Il le fait avec passion, que celle réalisée par David Pountney pour la une chanson à plusieurs voix à un groupe quoi l’amour”. S’étant dérobée à la surveillance décrivant le personnage principal de Lensky, et production 1984 de l’English National Opera, d’institutrices, ce qui provoque l’hilarité des des domestiques qui la gardent, la mère de comment il tomba amoureux. Le poids démontre que l’opéra peut très bien fonctionner autres curistes. Avec l’aide du chœur et d’un Míla entre précipitamment dans la pièce et émotionnel de ce qui est en fait un souvenir à la scène, et une représentation enregistrée est le joueur de cornemuse, le Dr Suda chante une chante en se moquant une chanson d’amour personnel devient trop fort pour lui, et sur moyen idéal d’apprécier quelques-unes des pages ballade satirique à propos du soleil avant de les extraite de l’opéra de Zˇivn´y. Elle sort en l’arrière-plan d’une tempête qui fait rage à les plus incandescentes de Janácˇek. emmener faire une promenade impromptue. courant suivie de Míla qui tente de la calmer. l’extérieur, Zˇivn´y s’effondre après avoir eu la 30 31 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 32

vision de sa femme défunte. On appelle un Metropolitan Opera de New York et au L’incoronazione di Poppea, Semele, et dans les Kundry, Katya Kabanová, Emilia Marty docteur (c’est en fait le Dr Suda qui arrive). Nederlandse Opera, ainsi qu’à Cologne, opéras de Sir Harrison Birtwistle The Mask of (L’Affaire Makropoulos), le Compositeur Dans ses dernières paroles, Zˇivn´y soutient que Dresde, Montpellier, Ludwigshafen et Bonn. Orpheus et The Second Mrs Kong. De (Ariadne auf Naxos), Clairon (Capriccio), le dernier acte de l’opéra demeure “dans les Pour la BBC, Helen Field s’est produite dans nombreuses représentations ont été enregistrées Judith (Le Château de Barbe-Bleue), et la mains de Dieu”. Fidelio (Marzelline), Otello, La Petite renarde sur vidéo, notamment celles de Oberon de Comtesse Geschwitz (Lulu). rusée et New Year. Parmi ses enregistrements Weber et d’Oedipus Rex de Stravinski. Il a reçut Après un début très remarqué aux USA dans © 1999 John Tyrrell figurent La Passion grecque (Martinu˚), A Village un Olivier Award pour son interprétation de le rôle de Kundry au Metropolitan Opera de Traduction: Francis Marchal Romeo and Juliet (Delius) sous la direction de Osud. New York en 1986, elle a été réinvité à y Sir Charles Mackerras et Rigoletto (dans le rôle Parmi ses futurs engagements, on notera Das chanter le rôle de Gutrune, et s’est également La soprano Helen Field a fait ses études au de Gilda) avec le chœur et l’orchestre de Rheingold et une reprise de Moses und Aron au produite au Lyric Opera de Chicago dans le Royal Northern College of Music de l’English National Opera sous la direction de Metropolitan Opera de New York, de nouvelles rôle de Marie (Wozzeck) et de Protagonista (Un Manchester et au Royal College of Music de Mark Elder. productions de La clemenza di Tito à Munich re in ascolto de Berio). Elle a chanté dans les Londres. Parmi les nombreux rôles qu’elle a et de Peter Grimes à Milan et Los Angeles, et opéras de Lyon, Nice, Genève, Linz et chantés avec des compagnies d’opéra Le ténor Philip Langridge a fait ses études à la des reprises de Billy Budd à Barcelone et à Bamberg, à l’Opéra national de Paris-Bastille, britanniques figurent Mimì, Musetta, Gilda, Royal Academy of Music de Londres, et est Paris, et de Palestrina au Royal Opera Covent au Châtelet théâtre musical, au Nederlandse Marenka, Tatyana, la Renarde, Jenu˚fa, aujourd’hui l’un des plus grands chanteurs du Garden. Opera, au Staatstheater de Stuttgart et au New Desdemona et Cio-Cio San au Welsh National monde. Il a enregistré de nombreux disques, et En 1994, Philip Langridge a été fait Israeli Opera de Tel Aviv. Elle a chanté les rôles Opera, Susanna, Daphne, Manon et Magda remporté deux Grammy Awards (Moses und “Commander of the British Empire” de Donna Elvira, Didon (Les Troyens), (La rondine) à l’Opera North, Violetta, Donna Aron et Peter Grimes), un Gramophone Award (CBE). Gertrude (Hamlet), Senta, Carmen, Giulietta Anna, Pamina et Marguerite (Faust) à l’English (pour le War Requiem de Britten) et un Classic (Les Contes d’Hoffmann), Kostelnicka (Jenu˚fa), National Opera, et des rôles dans New Year de CD Award (The Turn of the Screw). La soprano Kathryn Harries a étudié le chant Santuzza, Begbick (Mahagonny), et les rôles Tippett et dans The Second Mrs Kong de Il se produit régulièrement dans les festivals et le piano à la Royal Academy of Music de titres de Ariane et Barbe-Bleue et de Lady Birtwistle au Festival de Glyndebourne. Parmi internationaux de Salzbourg, Édimbourg et Londres, et a fait ses débuts au Royal Festival Macbeth de Mtsensk. ses récentes prestations, on citera La Glyndebourne, au Metropolitan Opera de Hall de Londres en 1977. Son premier rôle à Gouvernante (The Turn of the Screw), Salomé, New York, au Teatro alla Scala, au Bayerische l’opéra fut Leonore (Fidelio) au Welsh National La compagnie aujourd’hui connue sous le nom Aithra (Die ägyptische Helena) et le rôle titre de Staatsoper, au Royal Opera Covent Garden et à Opera en 1983. Parmi les nombreux rôles de Welsh National Opera (Opéra National du Ines de Castro de James McMillan. l’English National Opera de Londres. Il a été qu’elle a chantés avec des compagnies d’opéra Pays de Galles) a donné ses premières L’importante carrière internationale d’Helen tout particulièrement salué pour ses prestations britanniques on citera Adalgisa (Norma), représentations publiques dans le Prince of Field l’a conduite à chanter au Théâtre royal de dans Death in Venice, Boris Goudonov, The Donna Anna (L’Invité de pierre de Wales Theatre, à Cardiff, en avril 1946. Le la Monnaie, au Deustche Oper, au Midsummer Marriage, The Rake’s Progress, Dargomïzhski), Irene (Rienzi), Sieglinde, succès que remportèrent ces représentations 32 33 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 34

ont entraîné un rapide développement du Sir Charles Mackerras naquit en 1925 aux revue Gramophone), des Symphonies de the British Empire” (CBE) depuis 1974 et a été chœur qui, bien que majoritairement composé Etats-Unis de parents australiens et fit ses Beethoven, Brahms et Mahler, et avec l’English anobli en 1979 pour services rendus à la d’amateurs, a vite acquis une réputation de études à Sydney et Prague. Il fit ses débuts de National Opera Julius Caesar de Handel et musique. Il s’est vu également décerner la grande qualité pour l’originalité de sa sonorité; chef lyrique au Sadler’s Wells, où il contribua à Maria Stuarda de Donizetti (pour Médaille du mérite de la République tchèque il n’est devenu totalement professionnel qu’en la première britannique de Kát’a Kabanová de Chandos/Peter Moores Foundation). et le titre de “Companion of the Order of 1973. Au cours de ses premières décennies Janácˇek, une création sensationnelle qui assura Sir Charles Mackerras est “Commander of Australia”. d’existence, le chœur a été accompagné par à Janácˇek de figurer au répertoire des troupes divers orchestres professionnels. C’est en 1970 britanniques. Il fut Chef d’orchestre principal qu’un orchestre permanent fut fondé. Il fut par de l’Opéra de Hambourg (1966–1969) et la suite nommé l’Orchestra of Welsh National directeur musical du Sadler’s Wells Opera (qui Opera, en 1979. deviendrait l’English National Opera) entre Au cours des années 1970, sous la direction 1970 et 1977 et du Welsh National Opera musicale de Richard Armstrong, la compagnie entre 1987 et 1991, où ses productions est devenue une force essentielle du monde de remarquables de Janácˇek furent accueillies avec l’opéra, en effectuant des tournées en Grande enthousiasme. La production et Bretagne, et en apparaissant en tant qu’invité à l’enregistrement d’Osud ont été financés par la Lisbonne, Wiesbaden, Dresde et Leipzig, entre Peter Moores Foundation, qui finança aussi autres villes européennes. Les directeurs l’enregistrement de La Petite renarde rusée. musicaux Sir Charles Mackerras (1987–1991; il Il est chef d’orchestre honoraire du Scottish demeure Chef d’orchestre honoraire) et Carlo Chamber Orchestra et du Welsh National Rizzi (depuis 1992) ont permis à la compagnie Opera, l’un des chefs réguliers de San Francisco d’acquérir une renommée mondiale, en Opera et, depuis la saison 1998–1999, amenant en tournée des productions aussi bien directeur du Orchestra of St Luke’s à New York. saluées par la critique que par le public, à New Sir Charles Mackerras a fait des recherches York, Milan, Paris et Tokyo. poussées sur l’interprétation aux XVIIIe et La compagnie a lancé les carrières de XIXe siècles qui ont profondément influencé la certains des plus grands chanteurs britanniques façon dont il aborde le répertoire aujourd’hui. actuels, avec notamment Thomas Allen, Sa vaste discographie comprend un cycle primé Arthur Davies, Helen Field, Dennis O’Neill, des opéras de Janácˇek avec la Philharmonie de Bryn Terfel et Janice Watson. Vienne, Gloriana de Britten (primé par la 34 35 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 36

sarebbe stata massimamente basata su lui quella sera. Gli studenti discutono l’opera e Janácˇek: Osud stesso, “tratta dalla vita una stazione termale”. pregano il loro professore, il compositore Qui un compositore, Zˇivn´y, incontra Madame Zˇivn´y, di dir loro qualcosa sul suo contenuto. Míla Valková. Come Janácˇek, Zˇivn´y ha una Egli acconsente alacremente – è, infatti, la Janácˇek – “Destino”: la genesi del libretto sgombra e pronta a ricevere nuovi impulsi. figlia che è morta di recente. Come Kamila storia della sua vita. La morte della moglie lo Sapete che sono alla ricerca di un libretto. Madame Urválková ne fornì uno: avendo Urválková, Míla Valková parla del suo amore perseguita e l’opera che ha composto non è Uno moderno… saputo che Janácˇek era un compositore gli per un compositore, dal quale è stata costretta completa: è stata abbandonata in grande Voglio che l’Atto I sia completamente raccontò di aver incontrato, qualche tempo a separarsi a causa dell’opposizione dei suoi agitazione alla fine dell’Atto II. realistico, tratto dalla vita in una stazione prima, un compositore, Ludvík Cˇelansk´y, genitori. Míla è infelicemente sposata e ha un Già da quando aveva scritto a Madame termale. Là c’è un’abbondanza di motivi! il quale, per vendicarsi della fine di una figlio piccolo. Urválková Janácˇek aveva trovato un librettista, L’Atto II dovrà essere una vera e propria loro relazione amorosa, troncata dai ricchi L’Atto II nel primo canovaccio di Janácˇek una giovane maestra di scuola a nome allucinazione. Non più realtà, ma la mente, genitori di lei, l’aveva messa alla berlina in doveva portare ad una crisi che nel primissimo Fedora Bartosˇová. La sua unica qualifica per provocata quasi al punto di un esaurimento un’opera in un’atto, suggestivamente intitolata libretto era fornita del conflitto fra il marito di questo incarico era di aver scritto un po’ di nervoso, che sospinge l’azione ulteriormente fin Kamila e messa in scena a Praga nel l897. Míla e il compositore Zˇivn´y che le aveva scritto poesia, e probabilmente Janácˇek la scelse quando è difficile dire se sia realtà o Janácˇek venne incoraggiato a scrivere un’altra delle lettere d’amore. Di nuovo il parallelo con perché era stata amica della sua molto amata e allucinazione, vaneggiamento. opera in cui essa venisse messa in una luce più la vita dello stesso Janácˇek balza agli occhi. molto compianta figlia Olga. Bartosˇová Mentre l’Atto I dovrà essere ambientato nello favorevole. Un’intensa corrispondenza fra Janácˇek e insegnava in una città limitrofa, cosicché gran splendido scenario di una stazione termale, l’Atto Gran parte di questa famosa e straordinaria Madame Urválková si era sviluppata prima di parte della loro collaborazione fu per II rivelerà lo stravagante interno di boudoirs storia deve essere speculata, data l’esistenza essere portata rudemente a termine dal marito corrispondenza, che è ben documentata. femminili, sullo sfondo di paesaggi meridionali. soltanto di alcuni commenti oltremodo criptici di lei. Nel primissimo libretto la fine è più Janácˇek le mandò il suo canovaccio in prosa a L’Atto III sarà strano […] dello stesso Janácˇek nella sua autobiografia e drammatica: il marito di Míla spara a Zˇivn´y scaglioni, l’ultimo atto l’8 dicembre. Bartosˇová E’ questo il primissimo canovaccio di Destino, poca altra evidenza esterna, anche se gran parte ma ferisce mortalmente Míla. lo mise in versi e fu finito a Natale del l903, contenuto in una lettera che Janácˇek scrisse dei fatti calza ed è corroborata del primissimo Lo “strano” Atto III è l’atto più sviluppato sebbene aggiunte e correzioni siano andate nell’ottobre 1903 a Madame Kamila libretto di Destino. Non c’è comunque prova ne primo canovaccio di Janácˇek e contiene avanti per alcuni mesi. Una cosa che emerge Urválková, conosciuta nell’estate alle terme di che Janácˇek abbia mai contemplato un’opera molti elementi che sarebbero poi rimasti nella dalla corrispondenza è come fluido e mutevole Luhacˇovice in Moravia, dove era andato a “vendicatrice” (non c’è evidenza di alcuna versione finale. E’ ambientato nell’aula magna era il canovaccio di Janácˇek: metteva insieme riprendersi dalla morte della figlia Olga nei “Kamila” nel suo primo canovaccio); egli fu di un conservatorio di musica, con studenti gran parte della storia al tempo stesso in cui la primi mesi di quell’anno. Jenu˚fa era stata invece ispirato dal fatto che una circostanza che stanno radunandosi (“il solito brio scriveva. completata recentemente ed era in attesa della reale aveva dato vita alla Kamila di Cˇelansk´y. Si studentesco”); su una parete è apessa la Nella versione finale l’ambientazione sua premiere a Brno; Janácˇek aveva la mente mise al lavoro immaginando un’opera che locandina di un’opera che sarà rappresentata dfell’Atto I (la stazione termale) e quella 36 37 37 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 38

dell’Atto III (il conservatorio) rimasero, ma A parte il suo drammatico ingresso alla fine La mancanza di focalizzazione nella concezione altro – ma Míla era incinta del figlio di Zˇivn´y e nell’Atto II “lo sfondo di paesaggi meridionali” dell’atto, buona parte del suo contributo originale, unita ai curiosi mutamenti di il progetto è andato in fumo. Zˇivn´y ha scritto (in seguito localizzato nella Riviera Dalmata) all’Atto II viene cantato fuori scena; Janácˇek direzione e di motivazione nelle numerose un’opera in cui ha sublimato la sua amarezza al lasciò il passo allo studio del compositore, e semplicemente inseri la sua parte, insieme a revisioni, viene scozzolata dall’inesperienza comportamento di Míla che – a suo modo di con ciò mutò la natura della crisi cruciale. quella di Míla, contro il monologo di della Bartosˇová, dal fiorito stile Art Nouveau vedere – l’ha piantato. Improvvisamente, il 10 aprile l904, Janácˇek Bartosˇová per Zˇivn´y. della dizione e dai successivi rattoppi di propose una svolta completamente diversa Brno mostrò interesse ad eseguire la Janácˇek. I cecoslovacchi aspettarono fino al Atto I all’incontro fortuito di Zˇivn´y e Míla nell’Atto nuova opera di Janácˇek e si spinse sino ad 1958 a mettere in scena l’opera per la prima Una passeggiata in una stazione termale, di I. E come sarebbe – disse – se il figlio di Míla istruire un regista ed uno scenografo ed a volta. Persino allora fu eseguita in una variante primo mattino, intorno al 1890. fosse figlio di Zˇivn´y, frutto di una relazione cominciare le prove con i solisti. Ma Janácˇek, in cui gli Atti I e II vennero inseriti nell’Atto E’ una bella giornata in una stazione termale e antecedente? Perciò, nell’Atto II, abitano avendo intravisto la possibilità di farsi una III come un lungo flashback; versione di nuovo la folla è a passeggio, a godersi il sole. Contro insieme, con il loro bambino cinquenne – non posizione nelle capitale, ritirò il lavoro da usata a Brno nell’allestimento del 1988. questo sfondo sociale Zˇivn´y e Míla si scrivono semplicemente delle lettere. Il Brno e lo propose invece al Teatro Vinohrady E’ comunque innegabile che la musica è in s’incontrano per caso: la loro compagnia nota marito di Míla venne omesso. Subito dopo che era stato da poco inaugurato a Praga. molte parti così potente come qualsiasi altro che sembrano conoscersi e li lascia soli a aver raggiunto questo stadio nello sviluppo del Malgrado un’ulteriore revisione, molta lavoro di Janácˇek, con un lirismo appassionato conversare. Míla gli chiede se è venuto per il libretto Bartosˇová venne tranquillamente prevaricazione da parte del teatro e persino che più tardi si affievolì. Anche se un suo bambino. La loro conversazione è peraltro scartata, avendo contribuito un nuovo Atto II una cause civile (iniziata da Janácˇek ma allestimento intelligente ed impegnato come prontamente interrotta dalla maestra di (che Janácˇek ignorò) ed un monologo per inseguito ritratta), l’opera restò ineseguita in quello di David Pountney del 1984 per la scuola, Miss Stuhlá, che sta tentando di far Zˇivn´y ad apertura dell’Atto III che però venne teatro fino al 1914, allorché Janácˇek chiese con English National Opera dimostra che l’opera provare un canto a cappella ad un gruppo di adattato da Janácˇek a formare la spina del suo amarezza che gli venisse restituita. In seguito, può funzionare bene sulla scena, un’esecuzione altre maestre, con grande divertimento degli nuovo Atto II. quando il successo di Jenu˚fa a Praga mutò la in dischi è la maniera ideale di apprezzare gli astanti. Con l’aiuto del coro e di una Janácˇek completó la sua partitura all’inizio sua fortuana, Janácˇek pensò di revisionare il aspetti più incandescenti della musica di cornamusa il Dottor Suda canta una ballata del 1905, ma fino all’anno successivo vi testo presentandolo ad esperti letterari come Janácˇek. satirica sull’omniscienza del sole prima di apportó estese correzioni presentandola per Jaroslav Kvapil, il librettista di Rusalka di portarsi dietro la comitiva in un’escursione l’esecuzione al teatro di Brno soltanto Dvorˇák, e lo scrittore e traduttore Max Brod. La trama improvvisata. Rimasti soli Zˇivn´y e Míla nell’autunno 1906. Durante questo tempo vi Tutti scossero la testa e Janácˇek mise Prima che inizi l’opera Míla e Zˇivn´y, un rievocano il loro passato in un lirico duetto. aggiunse un altro personaggio – la madre di semplicemente da parte il lavoro e tirò avanti a compositore, hanno avuto una relazione. Quando sentono tornare gli escursionisti Míla – la cui follia al pensiero della figlia che comporre altre opere. E’ nato un bambino, Doubek. La madre di decidono di andarsene insieme, con grande aveva sposato lo squattrinato compositore Entro le circostanze non c’è da meravigliarsi Míla ha fatto del suo meglio per troncare la costernazione della madre di Míla che arriva Zˇivn´y ora forniva conflitto e crisi per l’Atto II. se il libretto talvolta tende all’incomprensibile. relazione ed ha cercato di sposare Míla ad un troppo tardi per fermarli. 38 39 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 40

Atto II (una scena di tempesta) da un’opera nuova Il soprano Helen Field ha studiato al Royal Educato alla Royal Academy of Music il tenore Lo studio di Zˇivn´y in una gornata d’inverno, composta dal loro professore Zˇivn´y, che verrà Northern College of Music e al Royal College Philip Langridge è uno dei più insigni cantanti quattro anni dopo. prossimamente rappresentata per la prima of Music di Londra. I suoi numerosi ruoli per del mondo. Ha inciso numerosi dischi e Míla e Zˇivn´y sono sposati e vivono insieme al volta. Dopo che gli studenti hanno inscenato compagnie liriche britanniche hanno incluso vinto due premi Grammy Awards (per Moses loro bambino ed alla madre di Míla che ora ha una “tempesta” personale lo studente Verva Mimì, Musetta, Gilda, Marenka, Tatyana, la und Aron e per Peter Grimes), un Gramophone perso la ragione a seguito della catastrofe della entra e da’ loro ulteriori spiegazioni del lavoro. Volpe, Jenu˚fa, Desdemona e Cio-Cio San per Award (War Requiem di Britten) ed un figlia sposata ad un compositore senza un Ritiene che abbia una base autobiografica e che la Welsh National Opera, Susanna, Daphne, premio Classic CD Award per The Turn of the soldo. Si sente di quando in quando la sua voce il compositore “Lensky” sia in effetti Zˇivn´y e Manon e Magda (La rondine) per Opera Screw. dietro la scena sopra la conversazione di Zˇivn´y che l’opera, sebbene appaia completa, “manchi North; Violetta, Donna Anna, Pamina e Philip Langridge appare regolarmente ai e Míla. Zˇivn´y è tuttora ossessionato dalla sua dell’ultimo atto”. Verva canta una delle scene Marguerite (Faust) per l’English National Festivals internazionali di Salisburgo, opera incompiuta, con la sua amara descrizione in duetto di Míla e Doubek (una ripetizione Opera; ruoli nell’opera di Tippett New Year e Edimburgo e Glyndebourne, e al Metropolitan del carattere di Míla. Suona frammenti della dell’incidente nell’Atto II in cui Doubek The Second Mrs Kong di Birtwistle al Festival Opera, Teatro alla Scala, Bayerische Staatsoper, partitura al pianoforte e, preso dal rimorso, chiede cos’è l’amore), con imbarazzo di di Glyndebourne. Fra le sue recenti Royal Opera Covent Garden e English comincia a strapparne le pagine. Vengono Doubek che ora è studente del conservatorio. interpretazioni vi sono La Governante (The National Opera. È stato particolarmente lodato interrotti dal piccolo Doubek che ha Quando improvvisamente appare Zˇivn´y gli Turn of the Screw), Salome, Aithra (Die per le sue interpretazioni di Death in Venice, osservato i maneggi dei servitori e che studenti chiedono a lui qualcosa sull’opera. ägyptische Helena) e la parte di protagonista in Boris Godunov, The Midsummer Marriage, The innocentemente chiede “cos’è l’amore”. Lo fa con passione, descrivendo il personaggio Ines de Castro di James MacMillan. Rake’s Progress, Idomeneo, L’incoronazione di La madre di Míla, sfuggita ai servitori che la principale Lensky e come si è innamorato. Un’intensa attività internazionale ha portato Poppea, Semele e The Mask of Orpheus e The sorvegliano, irrompe nella stanza e scimmiotta La carica emotiva di queste reminiscenze Helen Field a Théâtre royal de la Monnaie, Second Mrs Wong di Sir Harrison Birtwistle. una romanza d’amore dall’opera di Zˇivn´y. personali si fa troppo opprimente per lui Deutsche Oper, The Metropolitan Opera e De Molte sue interpretazioni sono state registrate Scappa quando Míla cerca di sopraffarla. Fuori e – sullo sfondo di una tempesta che fuori Nederlandse Opera, ed a Colonia, Dresda, in video, fra queste Oberon di Weber e Oedipus scena ambedue precipitano dal balcone e infuria – stramazza al suolo dopo avere visto Montpellier, Ludwigshafen e Bonn. Rex di Strawinsky. Ha vinto un Olivier Award muoiono. Zˇivn´y vede l’accaduto come un una visione della moglie defunta. Viene Per la BBC è apparsa in Fidelio (nella parte per la sua interpretazione di Osud. fulmine a ciel sereno: un altro schiacciante chiamato un dottore (in effetti, chi arriva è di Marzelline) e in Otello, L’astuta piccola volpe Prossimi ingaggi includono Das Rheingold intervento del “destino”. l’avvocato Dott Suda). Con le sue ultime e New Year. La sua discografia include La ed una ripresa di Moses und Aron al parole Zˇivn´y afferma che l’ultimo atto Passione greca (Martinu˚), A Village Romeo and Metropolitan Opera; nuovi allestimenti de La Atto III dell’opera è ancora “nelle mani di Dio”. Juliet (Delius) con Sir Charles Mackerras e clemenza di Tito a Monaco di Baviera, Peter La sala magna di un conservatorio di musica, Rigoletto (nella parte di Gilda) con Mark Elder Grimes a Milano e a Los Angeles, riprese di undici anni dopo. © 1999 John Tyrrell e l’orchestra e coro dell’English National Billy Budd a Barcellona e Parigi, e Palestrina Gli studenti stanno provando un passaggio Traduzione: Marcella Barzetti Opera. alla Royal Opera Covent Garden. 40 41 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 42

Philip Langridge è stato insignito dell’ordine Kostelnicka (Jenu˚fa), Santuzza, Begbick criticamente applauditi a New York, Milano, Mackerras è direttore ad honoris della Scottish di Commendatore (CBE) nel l994. (Mahagonny) e le parti di protagonista in Parigi e Tokyo. Chamber Orchestra, direttore emeritus della Ariane et Barbe-bleue e in Lady Macbeth dei La società ha lanciato le carriere di alcuni dei Welsh National Opera, direttore principali Il soprano Kathryn Harries ha studiato canto e macelli. migliori cantanti britannici, tra cui Thomas della San Francisco Opera e dalla stagione pianoforte alla Royal Academy of Music; ha Allen, Arthur Davies, Helen Field, Dennis 1998/99 direttore artistico dell’Orchestra of St. debuttato alla Royal Festival Hall nel l977. Il La società ora conosciuta come Welsh O’Neill, Bryn Terfel e Janice Watson. Luke’s di New York. suo primo ruolo operistico è stato quello di National Opera (Opera nazionale del Galles), Sir Charles Mackerras ha intrapreso estese Leonora (Fidelio) per la Welsh National Opera ha eseguito i suoi primi spettacoli pubblici al Sir Charles Mackerras è nato nel 1925 negli ricerche nella pratica esecutiva della musica nel l983. I suoi numerosi ruoli per compagnie teatro Prince of Wales a Cardiff nell’ aprile Stati Uniti da genitori australiani ed ha del Settecento e Ottocento esercitando liriche britanniche hanno incluso Adalgisa 1946. Il successo di questi spettacoli ha studiato a Sydney e a Praga. In opera ha profonda influenza nell’interpretazione dei (Norma), Donna Anna (Il convitato di pietra di condotto ad una rapida espansione del Coro, debuttato come direttore al Sadler’s Wells nostri giorni. La sua vasta discografia include Dargomïzhsky), Irene (Rienzi), Sieglinde, che sebbene costituito per lo più da dilettanti, Theatre dove diresse la sensazionale prima un assai premiato ciclo di opere di Janácˇek con Kundry, Katya Kabanova, Emilia Marty (Il caso rapidamente si distinse per le sue ottime esecuzione britannica della Kát’a Kabanová di l’Orchestra Filarmonica di Vienna, Gloriana di Makropulos), il Compositore (Ariadne auf qualità musicali, divenne completamente Janácˇek, rappresentazione che inserì Janácˇek Britten (che ha vinto un premio Gramophone) Naxos), Clairon (Capriccio), Judith (Il castello di professionale solo nel 1973. Durante le sue nel corrente repertorio britannico. È stato e con la English National Opera il Julius Caesar Barbablu) e la Contessa Geschwitz (Lulu). prime decadi di attività, il Coro era direttore stabile dell’opera di Amburgo dal di Handel e Maria Stuarda di Donizetti (per la Dopo il suo notevole debutto americano accompagnato da varie orchestre professionali. 1966 al 1969 e direttore artistico del Sadler’s Chandos/Peter Moores Foundation). nella parte di Kundry al Metropolitan Opera Tuttavia nel 1970 venne fondata un’orchestra Wells (poi English National Opera) dal 1970 al Sir Charles Mackerras ha ricevuto nel l986 vi è tornata nel ruolo di Gudrun ed ha permanente che nel 1979 venne chiamata 1977 e della Welsh National Opera dal 1987 al l’onorificenza di Commendatore (CBE) nel poi cantato a Chicago, per Lyric Opera, nella l’Orchestra of Welsh National Opera. 1991 per la quale diresse, fra l’altro, di nuovo 1974 e il titolo di Sir per la sua attività di parte di Marie (Wozzeck) e del Protagonista Negli anni Settanta, sotto la direzione Janácˇek con grande successo. L’allestimento e la musicista nel 1979. Gli è stata inoltre conferita (Un re in ascolto di Berio). Kathryn Harries ha musicale di Richard Armstrong, la società si registrazione di Osud vennero sponsorizzati la medaglia al merito della Repubblica Ceca ed inoltre cantato con compagnie liriche a Lione, impose nel mondo operistico con tournée in dalla Peter Moores Foundation così come il è stato nominato “Companion of the Order in Nizza, Ginevra, Linz e Bamberg, e con l’Opéra Gran Bretagna e con comparse ospite in altre disco de L’astuta piccola volpe. Sir Charles Australia”. national de Paris-Bastille, Châtelet théâtre città europee, tra cui, Lisbona, Wiesbaden, musical, De Nederlandse Opera, Staatstheater Dresda e Lipsia. I direttori musicali Sir Charles di Stuttgart e con la New Israeli Opera a Tel Mackerras (1987–1991, rimane Direttore Aviv. I suoi ruoli hanno incluso Donna Elvira Emerito) e Carlo Rizzi (dal 1992) hanno (Les Troyens), Gertrude (Hamlet), Senta, condotto la società a livello di fama mondiale Carmen, Giulietta (Les Contes d’Hoffmann), portando in tournée spettacoli comunemente e 42 43 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 44

OSUD (FATE) (Some students and schoolgirls are standing on the Major’s wife (baby talk) gazing round as she lifts her veil. Lhotsk´y holds her bridge, trying out an echo. Priests, civil servants, etc. Bye-bye! Wave bye-bye to Papa! bouquet. She stiffens when she sees Zˇivn´y, talking to Act I promenading on paths in the park.) a group in the distance.) (They leave.) 1 Fifteen years ago. The spa of Luhacˇovice, Moravia. Second lady Míla (to herself ) From upstage centre an avenue stretches into the Chorus It awakens us to love and laughter 3 Heavens, it’s him! distance. On the right, an imposing spa hotel, Shine on us, sunlight, warm on us to life and and brings us to life again. (aloud, pulling herself together) with a salon and a verandah with a light blue glass bring us laughter. Shine on us! Hey! Mister Zˇivn´y, isn’t it? roof. A row of tables. On the left the Amantka well Students and Schoolgirls (With a gracious step, Míla Valková enters. She is in and behind it an elaborate bandstand. Paths Sunlight, shine on us! an elegant, dark, English-style ensemble with a long Dr Suda (noticing Míla’s disturbed state of mind) wind through the dark, and rustic steps lead to the boa. On her golden hair is a little straw hat. Why should that upset you so much? forest. Echo Shine on us! Lhotsk´y, part of a fashionable group of young men (Míla takes the bouquet from Lhotsk´y and takes a 2 Music from the bandstand. Spa attendants at the with Dr Suda and Konecˇny, comes up to Míla and few steps towards Zˇivn´y. She stops and controls well. A poet and two ladies promenade. Old Slovak First lady offers her a bouquet of red roses.) herself.) woman, Major’s wife and her child, Marˇenka, With its radiance, with its golden glow, priests, academics, civil servants, schoolteachers and it fills up our hearts with love again. Lhotsk´y Lhotsk´y young girls. The sound of spa visitors’ conversation On this glorious summer morning, please accept Looks an arty type, a composer perhaps. rises and falls. Ladies open their sunshades. Students and Schoolgirls these flowers, dear lady, as a token of admiration. Dr Suda Greetings are exchanged. Lhotsk´y, Konecˇny and Sunlight! Shine on us! Míla (thoughtfully, taking the flowers) He’s recently composed a bitter post-mortem on Dr Suda in a group. Zˇivn´y is alone, deep in Echo What interrupted melodies lie hidden in these youthful passion, on love unrequited. His? thought. He is dressed in the height of fashion. Shine on us! flowers. It is as if one’s whole life were hidden in Someone else’s? I’ve no idea and don’t wish to them. My thanks, my thanks. Poet (walking with two ladies) Old Slovak woman (entering along path) know. Free as a bird I bask in the sunshine, bright The sunshine warms my poor old bones, (She admires the bouquet.) Konecˇny (with interest) sunshine! and even I feel young again, Dr Suda He’s from the town where I was born. His music First lady (affectedly) (She takes off her jacket.) Other flowers grow pale before their scarlet breathes the landscape there; he’s always been Heavenly, the sun filt’ring down through the brilliance. inspired by nature. Major’s wife (with her child) treetops; it’s just like a shower of golden Up we come! Upsy-daisy! Míla Míla (troubled, aside) butterflies! Really? What memories they bring back to me in When the autumn leaves are blown in circles, Child Poet their beauty. Bitter memories! then who knows where they’ll come to rest? Mummy! Mummy! (aloud) See my spirit soar up to heaven; it longs for (The group walks on a little. The musicians leave Do you mind if we walk a little further? sunlight like flowers that blossom in the Councillor’s wife the bandstand.) springtime, their petals shyly opening. Where’s your daddy then? Isn’t he with you? (Míla goes to the well and drinks a cup of water, (Zˇivn´y detaches himself from his group and

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approaches Míla, Konecˇny and their party from a Zˇivn´y (sarcastically) Zˇivn´y (uneasily) Schoolgirls distance. His manner both conceals and betrays his Isn’t a composer’s function ‘to write post- I am here to seek an echo of the cry that exposed Super! Super! confused state; he has seen Míla in the party that mortems on youthful passion’? my spirit’s emptiness. I come to seek that baby’s Miss Pocovská includes Konecˇny, whom he knows. Konecˇny cry, the cry that filled me with terror. Are you ready? We’re having an excursion. Zˇivn´y’s and Míla’s steps falter. Her eyes seem filled Youthful passion? (coming closer to Míla) It’s time, dear ladies, for rehearsal! with questions, but they are steadily fixed on Zˇivn´y. The cry that bore witness to my transgression but In Zˇivn´y’s face can be seen the question: ‘Why are Dr Suda also to my obligation, and I seek it, since its tears Schoolgirls (merrily) you here?’ Zˇivn´y stops. He has no alternative but to On youthful passion. and its laughter join to proclaim my undying Yes, we’re ready. greet the party. They introduce themselves.) Zˇivn´y (pointedly) right to my son and his mother. Miss Stuhlá Lhotsk´y (sarcastically) In anger, bitterness, in the face of an abject Míla We’re late already. Pardon us if we stand in your way. betrayal? That right is yours if you claim it. (Schoolmistresses gather by the salon.) Where have you been? Late again! Zˇivn´y (bowing) Míla (drawing closer to Zˇivn´y) Zˇivn´y I’ve no wish to intrude on you. Youthful passion? And I defend it both now and always. Schoolmistresses (gathering, severally) (to the men) You mean his youthful passion! Here I am! Here we are! (Schoolmistresses gather on the promenade and gaze May I present myself? ˇ Zivn´y (to Míla, pointedly) inquisitively at Zˇivn´y and Míla, who move slowly Miss Stuhlá Konecˇny (introducing Zˇivn´y to Míla) You ought to know. away.) There’s still some more. Well, my dear lady, pray allow me… We’re not all here yet. Go, tell the others hurry (Míla turns away from the group as if wishing to Zˇivn´y (almost in a whisper) ˇ up. Míla walk alone with Zivn´y.) See how our souls are reaching out to us, calling There’s no need to, we are acquainted… Lhotsk´y (softly to Dr Suda) to us from the darkness, from that insane abyss (The rest eventually arrive. Dr Suda and Lhotsk´y, Konecˇny (turning to the others) I fancy that these two know each other rather where the hopes that once we had are lying, accompanied by a bagpiper, enter in a merry mood. Zˇivn´y, the composer. well. Why pry on them? Leave them to it. drowning in bitterness. Dr Suda has an umbrella turned inside out.) Dr Suda (bowing) Konecˇny (to Míla) (Miss Stuhlá, an elderly schoolmistress, starts to Schoolgirls (severally) Dr Suda. I’ll take my leave, if you’ll permit me. summon her brood, searching amongst the Oh, doctor, dear doctor! Won’t you join our excursion? Lhotsk´y Dr Suda promenaders. Students and schoolgirls enter, dressed My name is Lhotsk´y. We’ll take our leave, if you’ll allow us. for tennis.) Dr Suda Maybe. Why not! Zˇivn´y (correcting Konecˇny) (They withdraw politely. Míla takes several steps Miss Stuhlá (through her nose) The composer perhaps. towards Zˇivn´y.) It’s time, dear ladies, for rehearsal. Schoolgirls and Students Won’t you lead the way? Oh, please do! Lhotsk´y Míla (urgently) Students (mocking her) Perhaps? Why perhaps? What do you mean by 4 Is it your child you’ve come for? ‘It’s time, dear ladies, for rehearsal!’ Dr Suda that? Tell me… for our baby? Dear ladies, your rehearsal! Maybe. 46 47 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 48

(brandishing the umbrella) piano in the salon. The students and schoolgirls are Miss Stuhlá (angrily, at the window) Dr Suda I’ve found a flag, our standard! at the window.) Your manners, really, are disgraceful! 5 ‘Sun in the heavens up on high, Though you have only got one eye, (He gives it to Miss Pacovská.) Schoolmistresses Behave yourselves; be your age! (turning to her choir) You can see in our hearts.’ Schoolgirls ‘Scarlet poppies in the grass…’ Now! One, two! Lhotsk´y and Students Decorate it with ribbons, ribbons. Make it Miss Stuhlá Oh, yes, you can see in our hearts. beautiful. With red ones, and white ones, and No! No! Stop! Once more please, and together. Schoolmistresses blue ones. One, two, one, two! ‘Scarlet poppies in the grass…’ Schoolgirls (They sit on the promenade and decorate the Schoolmistresses Students and Schoolgirls Wonderful, wonderful! umbrella. The bagpiper plays.) ‘Scarlet poppies in the grass…’ Ha, ha, ha, ha! Dr Suda Dr Suda Miss Stuhlá Miss Stuhlá and the Schoolmistresses (exploding) ‘Sun in the heavens up above, Hey, Lhotsk´y, find some musicians! First sopranos, you continue: What shocking manners! You can get all you want of love, ‘Call out when the reapers pass.’ Now! Though you have got no heart.’ Lhotsk´y Míla’s mother (searching for Míla, to Lhotsk´y) Lhotsk´y and Students But first we must eat! To keep our strength up. Schoolmistresses Where is my Míla? Have you seen my Míla? ‘Call out when the reapers pass…’ Oh, yes, though you have got no heart. (He joins the diners at the tables, where waiters are Lhotsk´y (shrugging his shoulders, turning away) Miss Stuhlá Dr Suda hovering.) How should I know? The altos next, you have the tune. ‘Sun up above descend to us, First guest Now both parts sing together. Councillor’s wife Down from on high and send to us, The set lunch, quickly! ˇ Love to inflame our hearts.’ Dr Suda Where’s Mr Zivn´y? Where did he go? Second guest This must be stopped. Dr Suda (closing the window) Lhotsk´y, Students And for me. Lhotsk´y Now we’ll sing our own song, to see us on our Oh, yes, send love to inflame our hearts. Waiter This must be stopped. way. Sing and off we go! Schoolgirls Just two of you? Students Wonderful, wonderful! (to Lhotsk´y) Schoolmistresses Be quiet, quiet! Or you as well, sir? ‘Call out when the reapers pass. Lhotsk´y From your sickle spare us.’ Are we all ready? Off we go! Students Lhotsk´y Miss Stuhlá We’ve got a pole, to fly our standard! Waiter, the menu! Students Stop! Off we go! Schoolgirls Schoolmistresses Dr Suda, Lhotsk´y, Students and Schoolgirls What shocking manners! (They fall in line behind the improvised flag and set Our standard! To fly our standard! (mocking) off gaily.) (Miss Stuhlá and the schoolmistresses are by the Spare us, spare us, spare us! (The bagpipe player strikes up.) ‘Sun up above descend to us…’ 48 49 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 50

(The stage grows empty, save for a few waiters and Míla made of dreams. ‘Dreamers, romantics and painless, though I thought we would not ever spa guests. Miss Stuhlá comes out of the salon with Choose it for me. parasites!’ meet again. But later, when they took me from her choir.) (bitterly) Prague, to help me forget you, and sent me away ˇ Zivn´y That was the way your mother once described us. to the country, how I missed you! Students (from a distance) As if the two of us had any choice… ‘Hearts…’ How could she understand that passion is the (despairingly) Míla spring of creation and is my only source of You were in Prague, so far away from me! Miss Stuhlá (angrily) Do go on… inspiration. (She sits near the chair where the bouquet is lying. What a disgrace! What shocking manners! Zˇivn´y sits in the chair next to her and gazes into the (Míla rises uneasily. The afternoon sun, which has Zˇivn´y distance.) (Miss Stuhlá and the schoolmistresses leave. Míla’s been beating down warmly, disappears.) mother wanders off in the same direction as the The past, the past, with what longing I relive it, Until that physical separation, I lived so near you excursion, searching for her daughter.) the past. Silent and passionate glances illumined Míla in a world of dreams, and felt you through the 7 (The sun shines brightly. A spa guest or two take our empty existence, and filled it with a blazing The sun’s vanished. bustle of the city. Sometimes I imagined that we advantage of the shade in the colonnade. Míla and light that no-one, that nothing could extinguish. (sadly) met, and we walked through the trees by the Zˇivn´y enter from the avenue of trees.) We did not heed the outside world, whose I need its heat to burn my sorrow. river’s edge. And when I gazed into the silent darkness only made the light brighter, light that (resuming her story) water, seeing your reflection next to mine, I lost Zˇivn´y no-one, that nothing could extinguish. They forced me to receive a suitor, assuming I’d myself within a misty dream-world, in an idyll of 6 We’re back too late, we’ve missed your friends. Sometimes desire fed on those glances; at other agree. He was elegant, perhaps even handsome. never-ending pleasure. times, how it longed for more to feed on. For Yet, every time, no sooner had he left me, I ran Míla Zˇivn´y (half to himself) when we were apart, suspicion made our lips ask to be with my secret love, just to catch a glimpse, Whatever shall we say to them? To think I believed what the slanderers said of secretly, where were those glances turning to? Yet just to see your face, longing to speak a word you… Zˇivn´y (quietly) whenever we met, silently those lips needed with you, so you, you could see in my eyes my Say to them? Say to them that we both have words that were never enough – no lips, no misery at all I had lost: a life in ruins, my live in (Míla lowers her head to the flowers, heavily started to retrace the steps that lie behind us, in words were ever enough. ruins. self-absorbed.) the past. Oh how glorious the harmony of human passion, And once, in the opera house, I remember clearly Míla (recovering herself) (They go to the end table outside the hotel and sit.) when two spirits seek and find each other. Was as if it were today, I watched you conducting What did they say? Let’s sit awhile. there not beauty and honesty in the way we your latest opera, and willed you to turn and ˇ (to the waiter) expressed our love? Yet something conspired to look at me. In the applause that followed, you Zivn´y Bring us the menu. threaten us each day we spent together. were lost to me. But how I drank you in! Oh, it’s Oh, nothing. You’ll learn soon enough. (passionately) so clear, as if it were today. It all came back just Míla Míla Everything round us assumed new warmth and now with my bouquet, when you leant down to And in the end I bore it all alone. Once more my Only if you choose for me. colour; flowers, and people shuffling about their smell the scarlet roses. life was empty and routine; but then, here Zˇivn´y daily business glowed in our love and shared its Then came the moment when it all seemed over, beneath my heart, something stirred within me. No, it’s for you to choose. glory. We lived in a world of our own creation like an unfinished novel. Yet at first it was The emptiness within me was filled by life

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awakening, filled by the life of our baby, who (They leave. Some young gentlemen returning notice Let them see all, yes all! I am yours! I and the Major’s wife cried within my womb for his absent father! Zˇivn´y and Míla.) child are yours! She was here just now, but she left with Zˇ ivn´y. Zˇivn´y First young gentleman Two young gentlemen (watching from the Míla’s mother The life of our baby! Good heavens, Zˇivn´y! verandah) Oh, no! That’s not true! Not with Zˇ ivn´y! (The excursion starts to return.) Second young gentleman Let them be. (The remaining excursionists have gone into the Míla (hurriedly) Looks as though we’d better leave them to it. Zˇivn´y hotel. Míla’s mother stops and looks at the lighted Listen! They are back again. You are mine! You and the child are mine! windows. The electric lights on the promenade are Lhotsk´y (to Míla) switched off. It is dark.) (She gives Zˇivn´y the roses and adjusts her hair and I’ve spent the day admiring you revelling in the (They start to leave.) hat.) sun. A student (softly) Míla (turning round, pausing) Fancˇa! Let me kiss you once again! Zˇivn´y (hurriedly taking the flowers) Two young gentlemen Yet even as I say it, I’m still frightened. Just Fancˇa Can you bear seeing them after this? Revelling in the sun. think how our meeting here will affect my Never! Never! Míla Lhotsk´y mother. Student No let’s avoid them. Revelling in the sun. ˇ Zivn´y (following Míla) If not, I’ll tell what you did just now. You’ll catch (They start to leave. It is growing dark. A young Míla Well, that’s settled then. it then! widow and an engineer drift back with the How kind of you. Dr Suda (entering with students, carrying the flag) excursion.) Fancˇa Councillor’s wife (to the Major’s wife) Indoors for the grand finale! What I did just now? Let me go! Engineer Why ever didn’t Míla join the party, I wonder? Students 8 Never will I forget this fleeting moment! (She escapes.) Grand finale! Tomorrow! Major’s wife Míla’s mother (distraught) Who knows? Why not go and ask? Dr Suda (to Míla) Young widow Have you seen my Míla? Won’t you join us for the grand finale? After dark? (They both watch Zˇivn´y and Míla with curiosity.) Dr Suda, Lhotsk´y and Konecˇny Students Engineer Míla (to Zˇivn´y) Romance! Just a summer romance! Grand finale! After dark? Oh, take me away! Míla’s mother (exploding with grief ) (Dr Suda goes into the hotel.) Gone with Zˇ ivn´y! (They leave.) Zˇivn´y Konecˇny (reading a love poem to a young There’s no hurry. Since prying eyes never find Míla’s mother (to Lhotsk´y) Student (from the distance) excursionist) much pleasure from an open book. Have you seen my Míla? Fancˇa! ‘Love lingers on your lips and turns them into a Míla Lhotsk´y (trying to avoid her, gesturing that he Míla’s mother scarlet flower, ripe for plucking, while in your From an open book? hasn’t) Oh, God! A disastrous blow! eyes…’ (with sudden passion) Not for ages. Quick curtain. 52 53 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 54

Act II Míla (smiling) Míla (plainly shaken) heart is full of uncertainty, yours is always 9 Four years later. About 6 o’clock on a winter A funny way to put it! To have completed an I do, I do! demanding; my heart is never free from anguish, evening. Light from a standard lamp in Zˇ ivn´y’s opera with no ending! (to Doubek) yours is calling me, “Come, oh come to me, study. A piano to the left with a sofa; a balcony Little Doubek, go to Nanny. Destiny”!’ Zˇivn´y with pillars supporting it is seen through the (She hugs him. Doubek potters off with a book.) We must let these notes sound at least once, to Zˇivn´y window. Upstage a door leading to a passage exorcise their power to haunt us, to silence them, Zˇivn´y Always that answering echo! which in turn leads to stairs up to the balcony. to leave not even an echo. ‘I saw the beauty of your eyes, A door, right, leads to other rooms. A potted Míla (Míla stirs uncomfortably.) palm in the curve of the piano. Zˇ ivn´y sits at All these years of harrassment, never Míla (gently) dimmed by the long hours of weeping. the piano. Míla is in a rocking-chair, from which relenting. You regret having written these notes? (Míla rises in fear.) she can see the music. Doubek, their four-year-old Zˇivn´y (tenderly, calmly) Zˇivn´y What have I done to cause you pain, why is your son, is pulling music out of a cabinet and 11 We’re married now; why are you crying, when soul racked with suffering? examining it. Regret them? none can harm you? To protect you was my one Why are you unhappy?’ Míla desire, but I failed in protecting you from myself. ˇ Zivn´y (picking up the score of his opera) You play them so often, these tunes that still Míla’s mother (off-stage) Perhaps because I saw in you, saw in the flower Slumber on undisturbed in the shadow, bitter accuse me. God be my witness, what those two did was sinful. of our passion, all I needed to inspire me. memories, sleep. You who bear the burden of our (He flicks rapidly through the pages of the score.) ˇ Míla (to herself) past sorrow… when, oh when will you take flight Zivn´y (approaching Míla, full of love) Oh, cruelty, such cruelty! Oh, these memories, why revive them? and release your victims? May we not hear them just once without (glancing at the score) How sweetly you come to charm us, promise our recrimination? Zˇivn´y This is how I took revenge. I wanted to tear out hearts the love and certainty that we both long (There are indistinct screams from Míla’s deranged And you replied: ‘Unspoken thoughts go far the heart from your body, and reveal your for. Yet you bear witness to the lingering doubts mother off-stage. Zˇ ivn´y affects not to hear them.) beyond words, silently winging between us; but wounds in public, drowning your death knell from out of our past. our thoughts are elusive, they can’t speak for both howling with laughter. Must I leave you to reproach me in silence, Míla’s mother (off-stage) of us. I have surrendered my will to your will. I wanted to bathe in the tears you shed, and denied to your public, the victim of your What are those people saying? My daughter, and Our hearts are conflicting echoes; my heart is full strike at your breast with a knife, hacking you till creator’s conscience? Dare I awaken you? Zˇ ivn´y? of uncertainty, yours is always demanding; my I’d killed you. Bring you to judgement, show you Or must it be that you remain here in silence? Míla heart is never free from anguish, yours is calling for a lying harlot! Lay bare your pretences, and Yet this is the music I wrote when first we fell in That ghastly gibbering… me, “Come, oh come to me, Destiny”!’ tear off the mask that concealed your love. debauchery! To anyone and everyone you gave Míla I wrote the whole of this opera, and only the last Zˇivn´y both your heart and soul as well, you gave them For heaven’s sake, stop it! act remains incomplete. Do you still remember what I wrote in my first all your body! (lightly) letter? Míla’s mother (her voice heard from off-stage) (He goes to the piano, seizes the score, tears pages A funny way to put it, come to think of it. 10 He starts to play softly. ‘Destiny! Our hearts are conflicting echoes; my from it and hurls it to the floor.) 54 55 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 56

Deceit, deceit, a lie, born of my own suspicion Doubek (turning to John and Nanny, whom he sees Zˇivn´y to warn us of it. Why was there no thunder? and nurtured on jealousy! at the door) Silence her! Why was there no thunder? John and Nanny! (Míla pulls herself together and goes to the fallen Míla’s mother (He sees the others carrying Míla’s mother upstairs score.) Míla (turning to Doubek and seeing John and She always came when you called to her. Ha, ha! and falls to the floor at Míla’s side.) (The door flies open, revealing the passage and the Nanny.) Destiny! Curtain. steps to the balcony.) Nanny, where’s the mother? (slyly, as she backs towards the door) Doubek (running in) (She hurries from the room with John and Nanny.) But the songbird fell to the earth. You will see Act III 12 Quick! Can’t you see her room is empty? Where’s what I mean, after I’m dead and gone, you will Mummy, Mummy! 14 my mother? Where’s my mother? see what I mean. Eleven years later – the present. The Great Hall of Míla the Conservatory. On the left a huge organ with (Doubek is about to follow them.) (She gets closer to the door, trying to conceal her What is it, little one? jewel box. Míla keeps close to her.) silver pipes; two doors at the rear. Sofas and chairs Zˇivn´y You’ll not get anything! I’ll take my jewellery! line the walls. Paintings on the walls. A chandelier Doubek converted to electricity. In the centre a concert grand Mummy, do you know what love is? Stay here with me, Doubek. Stay with Daddy. You’ll not inherit it! I’ll get away from you vultures. piano. Students enter severally to attend a lecture. A Míla (Having found her, John, Nanny and Míla gently group of eight or ten is gathered round the piano, try to lead Míla’s mother into the room. She is (in surprise to those crowding around her) Darling, I do, I do. Who are these mad people? What do they want following a score which Verva is playing. A group of clutching her jewel box.) girl students, led by Hrazda and Kosinská, enters Doubek of me? Míla (in the hall) and forms a group upstage. No you don’t, no you don’t. (In a flash, she runs through the door to the flight of Mother dear, come and sit in here with us. Students (round the piano) Míla steps. Míla hurries after her, and in the course of a ‘Listen to the thunder over the horizon. Oh, yes I do, I do. Míla’s mother struggle is pulled over the balcony as her mother Don’t come near me, I’m not crazy! throws herself off.) Farmland and field deserted, as though death lay Doubek in waiting; roads to the villages empty and silent, (She sees Zˇivn´y and runs to him with outstretched ˇ No you don’t, no you don’t. Because you don’t Zivn´y (running to the stairs) fearful at the anger of God’s own messenger. arms.) behave like John and Nanny. God almighty! ‘See, the cockerel hurries homeward, tail feathers 13 ‘Unspoken thoughts go far beyond words, Doubek (alone on stage, his eyes fixed on the door, blown in the wind, until at last he is safe, Míla silently winging between us, but our thoughts which is now closed) underneath the rafters roosting; and even What do you mean, John and Nanny? are elusive, can’t speak for both of us.’ Where’s my mummy? Where’s my mummy? humans cower in terror. I know you! You have seduced my daughter! (John and Nanny peer nervously through the door. (Zˇivn´y enters, carrying Míla’s corpse.) ‘See now a bolt of lightning strikes at the old oak (with grotesquely amorous movements) Míla picks up the score and walks towards Zˇ ivn´y.) Mummy! Mummy! tree and splits the trunk from top to bottom, ‘Oh! My heart is full of uncertainty, yours is shattering its age-old beauty.’ Míla always demanding; my heart is never free from Zˇivn´y (laying the body on the sofa) All the same, it is true that I did wrong, and guilt anguish, yours is calling me, “Come, oh come to Silence, silence! Silence, silence, and a blast from Hrazda (singing the tenor solo from the score) will not be silenced. me, Destiny”!’ a clear sky. With nothing to warn us of lightning, 15 ‘Endless the pain I must suffer; in the stormwind 56 57 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 58

I see you so clearly, my silver flower. How many of you are going to the premiere? Verva Hrazda And always that unforeseen lightning, that bolt Students (affectedly) He must be writing about his own suffering. Verva! from a cloudless sky, strikes from the very height We must all go! Every note cries out his name, and her name also, Kosinská of heaven.’ and the child can only be Doubek. Soucˇková! Hrazda Students Oh, yes, we’ll all go. (Doubek enters. Verva whispers something to Hrazda.) (They all burst out laughing.) ‘Unforeseen lightning, striking from heaven, Girl students (sotto voce) spent at last in the cold earth.’ (They gather round the piano.) Soucˇková (jumping up from the organ) Do you think it’s true? Does Doubek know? Watch out! Verva Verva (Soucˇková starts to play the organ.) ˇ That’s it, that’s how the opera ends. I’ve been backstage in rehearsal. One way to find out, that’s by going to Zˇ ivn´y (Zivn´y has entered unobserved. Verva gets up from the piano.) Soucˇková Students and asking him. Where’s the thunderstorm? All go. Hrazda (sarcastically) Zˇivn´y Go and ask, go and ask. He will be certain to tell Why this unusual silence? Students Soucˇková (sarcastically) you, certain! Funny ending! Oh what a lot you’ll have seen there! Verva (smiling shyly) No more thunderstorm? Girl students We were preparing for this evening’s premiere. Verva No thunder? Funny ending! Come on, come on, leave them alone with their Yes, indeed, you learn a lot in rehearsal. Kosinská secrets. Come on Doubek, leave them to it. Soucˇková (He points to the score from which he is playing, And we were going to ask you to tell us all about It’s up to us to improvise the thunder! subdued, serious.) Verva (sits at the piano again) your opera, about the man called Lensk´y. (Soucˇková seats herself at the organ and plays Zˇ ivn´y came with his score to the theatre for the Don’t go. Listen to this extraordinary little Zˇivn´y loudly.) first rehearsal, saying he’d brought the whole of passage scored for treble; surely there’s something For my opera’s premiere? the opera except for the incomplete finale, which for you here. Lensk´y? You could say I know him intimately. Students (imitating a child’s voice) Improvise the thunder! was still in God’s hands and there it would stay. Short-tempered, and a lonely man. 17 ‘Mummy, Mummy! Do you know what love is?’ (He goes to the piano and sits, as if to lecture them. Students (to themselves) (They tune their instruments noisily.) ‘Darling, I do, I do.’ They gather round. Doubek watches his father ‘Still in God’s hands and there it would stay…’ ‘No you don’t, no you don’t.’ solicitously.) Hrazda A funny way to put it! He has completed an ‘Oh, yes I do, I do.’ Music flowed from his imagination, poured out Shut up! Stop it! opera with no ending. ‘No you don’t, no you don’t. Because you don’t in a golden stream, although he led a solitary, 16 (The girl students dance.) Verva (looking at the score again) behave like John and Nanny.’ private existence. ˇ Verva (sits at the piano again) There’s more to it. Lensk´y, he must be Zivn´y ‘What do you mean, John and Nanny?’ (half aside) Enough of that! That bloody awful racketing will himself. Students (mocking) Must I revive these memories? fetch the roof down. Stop that noise! Students ‘Do you know what love is?’ (aloud) (They stop dancing and quieten down.) Lensk´y is Zˇ ivn´y? ‘John and Nanny!’ Very pretty! Most of his music reflected his loneliness, and in

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its intensity it failed to please the public taste. Soucˇková her to the dead wood still battered by the storms? eternity. In his surprise he stood and gazed at the But something happened to change that. And how much pain it gives him! Who knows… maybe they were right to say it was blinding gleam of silver light; he knew that dark (He gets up and walks to the window.) Zˇivn´y (disjointedly) chance when Lensk´y and Míla met at the spa. clouds meant the storm was near. 18 People said it must have been his falling in love. Where once their spirit shared a life of perfect Doubek, would you fetch me a glass of water? (Exit Doubek.) (More lightning. The students back away and Kosinská (half to herself, half to Soucˇková) unison, now their existence was always Who would have recognised Lensk´y when they crouch in fear.) Falling in love! Oh, how wonderful that must be! threatened by strident rhythms and by hysteria. Crashing and beating down on them, in the end, met again? Full of love and deeply happy, both of Students ˇ Zivn´y strings that had bound them snapped in two. them drowning in pleasure. How could they have Oh, dreadful! Oh, dreadful! Please could you switch the lights on? It’s getting ˇ realized that love so gentle and harmonious (Doubek goes to his father in alarm. Zivn´y looks Zˇivn´y dark outside. round in surprise.) would soon be silenced by the nearness of death? (with great pain) Why do you shake like leaves in a storm? Soucˇková (tartly) Why are you silent? How could he forget, how could he forget? (Doubek returns with the glass of water.) As if she didn’t know. 20 Students Listening to her last breath, listening to her last It seems to be so clear, where the silver lightning (Zˇivn´y turns round; there are signs of a storm We’re so frightened. Please don’t go on with it, sigh? shatters into fragments. There is a white face, so outside. He sits again.) don’t you see we are afraid for you? (with a spasm of pain) pale and so sad! (The students crouch behind the organ. Doubek Zˇivn´y An interrupted melody, torn from her, torn from Zˇivn´y turns from Zˇivn´y and looks at the lightning outside Now you understand why these memories make her dying lips! How happy he was then! He felt that God was in alarm.) me so bitter? smiling on him. Confidence blossomed within Verva and Students Now I see you once more, ah, once more, see you him; no longer lonely, his passion embraced all Doubek (pleadingly, warning) Do you start to understand him? so clearly once more… your heavenly face, your humanity. Father! golden hair that falls around your brow, and your (A wind rises outside.) And from the breath of love, what inspiration Zˇivn´y (agitated) shining eyes smile at me… came to him, what spontaneous melody flowed 19 ˇ Bitter memories! Separated from her Lensk´y, she Zivn´y Doubek (crying out and dropping the glass of from his soul that seemed born again, and, became a ghostly shadow, aimlessly wandering, From then on no sound came to him save for the reflected in her beauty, music assumed perfection water) cowering and timorous, a broken reed blown menacing rumble of thunder. Ever louder and My mother! of form. helplessly hither and thither. And Lensk´y? Like louder still, it hurtled around in his head. He And when in time their love came to an end, dead wood severed from live branches, hacked off tried to challenge that music, to silence it for ever (Thunder and lightning; the lights go out; darkness memories sufficed to feed a spirit always hungry and heedlessly cast aside, battered by the fierce through his will. He stood by trees in storms to on stage; Zˇivn´y falls in a faint.) for new stimulus. Soon his libretto sprang to life, winds, thinking he had been defeated. watch them shake in terror, waiting for God’s and he conveyed so well his laughter and joy, his Students In revenge he made his score an attack on her, own messenger. Jesus! pain, his pain. and hoped that her guilt would shame her into (A great clap of thunder; flashes of lightning Verva (to Soucˇková) loving him again. Could the winds that blew the criss-cross; the lights in the hall flash on and off.) (The lights come on again; students still by the Don’t you see now? He is describing his own pain. broken reed bring her back to him again, bring There in the lightning’s flash he saw the gates of organ; Zˇivn´y lies unconscious.) 60 61 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 62

Verva (the first to pull himself together) Verva (to students) Run and get help for him! Get a doctor! Hurry up! Could that be the music for the final scene? Helen Field in the title role in ˇ ˇ (Hrazda and the others raise Zivn´y. Soucˇková runs Zivn´y (hearing him and raising himself briskly) Scottish Opera’s production of for a doctor.) Music for the final scene? That is still in God’s Janácˇek’s Kát’a Kabanová Zˇivn´y (raising himself slightly) hands, and there it will stay! Can’t you hear it too? That terrible sound! Can’t (He clings to Doubek, who supports him with you hear it too!? difficulty.) (He intones wordlessly.) Dr Suda (entering) Verva What is the matter now? Oh, please be calm, I beg you. Curtain. Kosinská One of you fetch some water, fetch him some English translation by Rodney Blumer. water. Send for help! Reproduced by permission of Faber Music Ltd on behalf of Alkor-Edition Kassel Zˇivn´y (intoning again, expressively, passionately) Listen now! That is her weeping. Can’t you hear it too? Bill Cooper Bill 62 63 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 64

Opera in English on Chandos Opera in English on Chandos CHAN 7023/4 CHAN 3000(2) CHAN 3004 CHAN 3003 CHAN 3014(3) CHAN 3007 CHAN 3022 CHAN 3008(2) 64 65 CHAN 3029 BOOK.qxd 24/7/07 4:46 pm Page 66

Opera in English on Chandos Opera in English on Chandos CHAN 3010 CHAN 3006 CHAN 3017(2) CHAN 3019(3)

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Opera in English on Chandos Kathryn Harries as Emilia Marty in Scottish Opera’s production of Janácˇek’s The Makropulos Affair

CHAN 3027(2)

CHAN 3011(2) Bill Cooper Bill 68 69 CHAN 3029 BOOK.qxd 24/7/07 4:47 pm Page 70

Philip Langridge

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Katie Vandyck Producer James Mallinson Production assistant Jane Woodfield Sound engineer Mark Vigars Remastering engineer Peter Newble Recording venue Brangwyn Hall, Swansea; 13–18 July 1989 Front cover Lady Agnew (1892–3) by John Singer Sargent Back cover Photograph of Sir Charles Mackerras by Dominic Photography Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Finn S. Gundersen P 1999 Chandos Records Ltd digitally remastered from a P 1990 recording C 1999 Chandos Records Ltd Helen Kathryn Chandos Records Ltd, Colchester, Essex, England Field Harries Printed in the EU 70 71 CHAN 3029 Inlay.qxd 24/7/07 4:37 pm Page 1 JANÁC JANÁC digitally bit CHANDOS DIGITAL CHAN 3029 ˇ ˇ K SD-Slit/Oceta&Chorus of Welsh National Opera/Mackerras Orchestra & EK: OSUD - Soloists/ K SD-Slit/Oceta&Chorus of Welsh National Opera/Mackerras Orchestra & EK: OSUD - Soloists/ 20

Leosˇ Janácˇek (1854–1928) Osud (Fate) Opera in three acts Libretto by Leosˇ Janácˇek and Fedora Bartosˇová English translation by Rodney Blumer

Míla Valková...... Helen Field Zˇ ivn´y, a composer ...... Philip Langridge Míla’s mother...... Kathryn Harries

Orchestra and Chorus of Welsh National Opera Andrew Greenwood chorus master Sir Charles Mackerras TT 78:33 DDD HN3029 CHAN HN3029 CHAN CHANDOS CHANDOS

CHANDOS RECORDS LTD p 1999 Chandos Records Ltd c 1999 Chandos Records Ltd Colchester . Essex . England Printed in the EU