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N A H LEOSˇ JANÁCˇ EK: THE MAKROPULOS CASE CHANDOS CCHAN 3138(2) Front Inlay.indd 1 Leosˇ Janácˇek (1854 – 1928) The Makropulos Case in three acts Libretto by the composer after Karel Cˇapek’s comedy Veˇc Makropulos English translation by Norman Tucker

© Lebrecht Music & Arts Library Photo Music © Lebrecht Emilia Marty (E.M.), a famous diva soprano Dr Kolenatý, a lawyer Neal Davies - Vítek, his head clerk John Graham-Hall tenor Kristina, Vítek’s daughter Elena Xanthoudakis soprano Albert Gregor, a litigant Robert Brubaker tenor Baron Jaroslav Prus, his opposing litigant John Wegner baritone Janek Prus, Baron Prus’s son Thomas Walker tenor Count Hauk-Šendorf, one of E.M.’s former beaux Graham Clark tenor Stage Hand Graeme Danby bass Cleaner Kathleen Wilkinson mezzo-soprano Chambermaid Susanna Tudor-Thomas mezzo-soprano

English National Opera Chorus Martin Merry chorus master Orchestra Gonzalo Acosta leader assistant conductor Sir Charles Mackerras Leosˇ Janácˇek 3

CCHANHAN 3138(2)3138(2) Book.inddBook.indd 2-32-3 119/12/069/12/06 10:09:4010:09:40 COMPACT DISC ONE Time Page Time Page

Act I (35:45) 1 Prelude 5:22 [p. 76] 12 ‘Allow me to ask you this question’ 6:29 [p. 97] 2 ‘Oh dear, my goodness!’ 4:14 [p. 76] Prus, Marty Vítek, Gregor 13 ‘Is that you, Bertie?’ 9:17 [p. 99] 3 ‘Daddy, she really is wonderful’ 1:55 [p. 77] Marty, Gregor, Cleaner, Janek, Prus Kristina, Gregor, Vítek TT 66:24 4 ‘Come this way please’ 11:23 [p. 78] Kolenatý, Kristina, Marty, Gregor COMPACT DISC TWO 5 ‘Gone at last! 5:53 [p. 84] 6 ‘Emilia’ 4:10 [p. 87] Act III (29:34) Gregor, Marty 1 ‘Well? D’you hear me?’ 5:30 [p.103] 7 ‘Found it! We’ve found it’ 2:45 [p. 89] Marty, Prus, Chambermaid Kolenatý, Marty, Gregor, Prus 2 ‘Buenos dias Maxi! Why so early?’ 3:29 [p.105] Marty, Hauk, Chambermaid, Kolenatý, Gregor Act II (30:25) 3 ‘The seal and th’initials E.M.’ 12:20 [p.107] Gregor, Vítek, Kolenatý, Prus, Marty, Kristina 8 ‘Did you ever see such fl owers?’ 2:14 [p. 90] Cleaner, Stage Hand, Prus 4 ‘Fetch the doctor!’ 8:14 [p.112] Kolenatý, Marty, Gregor, Vítek, Prus, Kristina, Chorus 9 ‘Janek, come on. No one here will see us’ 6:35 [p. 91] Kristina, Janek, Prus, Marty, Gregor, Vítek 5 - 10 Interview with Sir Charles Mackerras 29:27 10 ‘Excuse me. Excuse me, may I…’ 4:15 [p. 95] Sir Charles Mackerras talks with Rodney Milnes about Hauk, Marty, Prus how he came to love Janácˇek, the man and the musician. 11 ‘And the next! Is that the lot?’ 1:34 [p. 96] TT 59:19 Marty, Vítek, Kristina, Janek, Prus, Gregor

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 4-54-5 119/12/069/12/06 10:09:4110:09:41 On session: ??

Cheryl Barker as Emilia Marty 6 7

CCHANHAN 3138(2)3138(2) Book.inddBook.indd 6-76-7 119/12/069/12/06 10:09:4110:09:41 We were thrilled to be able to record The Makropulos Case ‘live’ at the London Coliseum in May 2006 with Sir Charles Mackerras a great cast. Sir Charles conducted the UK première of Janácˇek’s gripping opera at Sadler’s Wells in 1964. As a bonus you can also hear him talking about his lifetime’s experience of Janácˇek’s music in conversation with Rodney Milnes.

Sir Peter Moores, CBE, DL February 2007

Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 8 9

CCHANHAN 3138(2)3138(2) Book.inddBook.indd 8-98-9 119/12/069/12/06 10:09:4310:09:43 Veˇc Makropulos – she will solve her problem. this material, his response was profoundly Janácˇek: The Makropulos Case Yet when she fi nds the answer, she rejects it. A tragic. He focused on the predicament of mystery indeed, wrapped in a riddle, enclosed a woman who had been granted the gift ‘Why should not old men be mad?’ This is known in the English-speaking world as in an enigma. All intriguing stuff, to be sure, of eternal life and as a result had become a what the great Irish poet W.B.Yeats wrote The Makropulos Case. but scarcely the raw material of lyric theatre. bitter, destructive human shell, beautiful and in one of his fi nal lyrics. Like his near The title itself is a paradox. The Czech So why did Janácˇek choose to transform fascinating on the outside and made of dust contemporary, Leosˇ Janácˇek, he was a late words ‘Veˇc Makropulos’ occur only in the this unlikely drama into his penultimate and ashes within. He set himself the task not ˇ developer, coming to creative maturity in fi nal act. The fi rst time we hear them, they opera? He had seen Karel Capek’s play The merely of embodying this creature in music his fi fties, and driven by similar demons – a refer to an ancient formula which promises Makropulos Affair performed in Prague late but of engaging our sympathy and love for her. fi erce nationalism, a passionate obsession eternal life. The second time, they are used in in 1922 and immediately applied to the A primary motive, as in so many of his late with a younger woman and a preoccupation a more general sense to mean ‘the Makropulos author for permission to fashion a libretto works, was his infatuation with a married with what he described as ‘the fascination stuff’ – much as in Mussorgsky’s opera, the from it. and Janácˇek were strange bedfellows. woman less than half his age. Janácˇek had ˇ of what’s diffi cult’. Yet even Yeats never title Khovanshchina is best translated as ‘The Capek was an urbane and sceptical Prague met Kamila Stösslová in 1917, when he was undertook artistic risks on the scale of Khovansky Business’. There is indeed a ‘Case’ dramatist, best known for his collaboration sixty-three and she was twenty-fi ve, and Janácˇek in the ten remarkable years which in the opera, but it is not the Makropulos with his brother on the allegorical Insect instantly fallen in love with her. He conducted witnessed the birth of almost all of his Case. It is a lawsuit which has been conducted Play and for introducing the word ‘robot’ an epic and largely one-sided correspondence musical masterpieces. In particular, in his over many generations between two branches into general coinage in his satire RUR. Like with her for the rest of his life. She inspired three last – , of a family – one legitimate and the other not. George Bernard Shaw, whom he knew, each of his last four operas, the Glagolitic The Makropulos Case and From the House This dispute will only be resolved when an his Prague contemporary Franz Kafka and Mass, the Sinfonietta, a song cycle and two of the Dead – he set himself challenges authentic will is produced. So the opera’s plot another contemporary H.G.Wells, he was a string quartets. She may have been a reluctant which were not merely diffi cult but well-nigh is wound on a spring of mystery – who is the speculative writer, concerned with questions muse, but the artistic results of his obsession insane – and surmounted them triumphantly. real heir and how will we discover his identity? of human progress. In the same year as Shaw’s are breathtaking. In 1922, when Janácˇek ˇ ˇ Inspired respectively by a strip cartoon, The person who can answer these questions Back to Methuselah, Capek tackled the same fi rst came across Capek’s play, Kamila was a philosophical satire and a fi ctionalised is the central character of the piece, the diva issue of human mortality. The Makropulos doing her best to keep the celebrated but account of a Tsarist labour-camp, these three Emilia Marty, and what drives her is not this Affair asks a similar question – what would it troublesome composer at arm’s length. It is music dramas are among the most humane mystery but another greater and more terrible mean if we could live forever? Shaw’s answer scarcely surprising, therefore, that in his letters and moving musical documents of the one. What she is seeking is not the will, but was optimistic, promising infi nite spiritual to her shortly after beginning work on the ˇ twentieth century. None of them is stranger the ancient formula secreted along with it. development. Capek was ambivalent and left opera, Janácˇek stresses the coldness and harsh or more affecting than the opera which is When she locates this piece of paper – the real the question open. When Janácˇek seized on behaviour of his heroine:

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 10-1110-11 119/12/069/12/06 10:09:4310:09:43 A three-hundred-year-old beauty – and eternally there is an extra unseen character, who is present, as if a psychic trapdoor has opened Letters after his own correspondence with his young – but only burnt-out feeling. Brrr! Cold as constantly present in the music. We hear him in the stage. muse. The instrument and the theme associated ice! About such a woman I shall write an opera. fi rst in the prelude, in the offstage trumpets There is another sonic string which draws with it work in human juxtaposition to the And shortly after its completion: and drums. He returns again as a fragmentary us through the web of the story. It is a series string harmonics, reminding us of the sixteen- At the end she was so unhappy! After that I want fanfare when the clerk Vítek describes the of glassy violin harmonics, accompanied by a year-old girl whose capacity for love has been everyone to like her. Without love it won’t work titled family engaged in the lawsuit. He is child’s drum or possibly a renaissance tabor. crushed out of her by eternal reincarnation. It for me. present in the insistent stretto at the end of We fi rst encounter it when Marty reveals that is through these subtle and elusive devices that The most remarkable feature of his approach the fi rst act, after Emilia promises evidence Gregor’s ancestor was the illegitimate son of Janácˇek holds us captive through two severe to this unyielding subject is how few hostages to authenticate the will whose location she Baron Prus’ own forbear (and of course of and concentrated acts in preparation for the he takes. Cˇapek’s play is sardonic and prosaic has mysteriously revealed. He makes a further Emilia herself in her previous identity as the heart-rending third. and for the fi rst two acts, Janácˇek’s music eerie appearance in Act II, when Prus fi rst Scottish singer Ellian MacGregor). A few Where Emilia has been presented so far is equally terse and abrasive. Marty is given realises that a certain Elena Makropulos may moments later these sounds recur in one of the largely through her effect on others, in Act hardly any extended music of her own. Instead, be at the heart of the mystery. His music few moments of tenderness in this act, where III she becomes increasingly the dominant she is presented in a series of dialogues – with dominates the last act, when Marty’s true Emilia refl ects that this child never knew his vocal presence in the opera. As we witness the lawyer Kolenaty´, the main opponents story is revealed. He is Rudolf II, Habsburg own mother. They reappear in the Second Act, the effects of the potion gradually wearing in the lawsuit, Ferdinand Gregor and Baron Emperor, connoisseur and collector of fi rst when Emilia tells the young singer Kristina off, the score’s harmony and instrumentation Prus and the crazy old former suitor Hauk- mysterious scholars and artefacts, whose that sex is a game not worth the candle (as develop new colours absent from the fi rst two Sˇendorf who recognises Emilia to be the gypsy court in Prague at the turn of the seventeenth indeed are none of life’s pleasures) and then Acts. Meanwhile, Rudolf’s trumpet calls, and singer he loved half a century earlier. It would century attracted scientists, astrologers, when she fl irtatiously asks her great great great the motif associated with him, puncture the be excessive to describe these conversational necromancers and quacks. In Cˇapek’s play, great great great grandson if he likes the name texture with growing insistence. As she recalls interchanges as duets. They contain not an he has commanded one of them, the Cretan Makropulos. It is not exactly a leitmotiv – more giving the Makropulos formula to the one man ounce of lyricism and moreover, it is the male physician Hieronymus Makropulos, to a pinhole in Marty’s psyche through which we she genuinely loved, old Pepi Prus, Janácˇek interlocutors who have the lion’s share of the produce an elixir of eternal life. It was on his perceive the lover and mother she has been to weaves a yearning string theme into the musical words and notes. Yet Janácˇek involves us in daughter Elina that he tested the potion and so many men throughout the centuries. These fabric in preparation for a new fi gure which his heroine’s drama with consummate skill. her endless life through the following three echoes of another world are reinforced by a will dominate the opera’s closing moments. His means are disorientating, provocative and centuries provokes the action of the drama. third recurrent theme, on the viola d’amore, It accompanies Marty as she asks Gregor to wholly original. In Janácˇek’s operatic recreation, we are given the instrument which Janácˇek associated with feel her hands, which are now turning to ice. To begin with, in addition to the lawyers, continual aural glimpses into Rudolf’s court Kamila and which he wished to be included in Yet as she grows colder, the music acquires the litigants, their families and Marty herself, and the past which dominates Emilia’s eternal his second string quartet, itself named Intimate new warmth. The theme persists as she slips

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 12-1312-13 119/12/069/12/06 10:09:4410:09:44 back into her native Greek and in quoting the not a gram of sentimentality. At the very end to try it on his own daughter Elina. For a week fi nally give the estate to his adversary, Jaroslav Lord’s Prayer – ‘Pater hemon’ – merges ‘Our of the original play, when all on stage refuse the she lay in a coma but, although she recovered, Prus. Father in Heaven’ with her own father the formula and Kristina burns it, Cˇapek leaves us the effi cacy of the potion was naturally physician Hieronymus. It is a demonstration uncertain whether Marty dies or not. In the impossible to prove. The physician was put 4 – 7 All this is changed by the appearance of Janácˇek’s mastery that his restraint over English National Opera production on which in prison and his daughter fl ed Prague for in Prague of the famous opera singer, Emilia the fi rst two acts enables the opera’s fi nal ten this recording is based, the director took a abroad, to start a series of new lives as a singer. Marty. Her uncanny knowledge of past events minutes to deliver their message with almost hint from Cˇapek and Marty was left neither Every generation she changed her name, but concerning Elian MacGregor, the mistress of unbearable emotional intensity. The death dead nor alive with the formula clinging to her throughout her extended life she has retained ‘Pepi’ Prus, reopens the case. At the same time theme fi rst heard in her short interchange with fi ngers like fl ypaper. Audiences must make up the same initials, E.M. (Eugenia Montez, Elsa she begins to exercise a strange fascination over Gregor is transformed in the fi nal bars into a their own minds, but in Janácˇek’s score there is Müller, Ellian MacGregor, Ekaterina Myskina, the two rivals. passionate chorale that is fi rst cousin to the no room for uncertainty. Emilia’s death is fi nal, Emilia Marty). The prelude to the opera peroration which concludes his previous opera and the music which accompanies it is some evoked the tragic existence of the alchemist’s Act II The Cunning Little Vixen. The same humanistic of the most transcendent in all of twentieth- daughter, and its distant fanfares suggest the Backstage at the opera house in Prague, after a vision is present in both works – that only century opera. fantastic court of Rudolf II surrounded by his matinée death gives meaning to life. © 2007 Dennis Marks astrologers. 8 – 9 Following her triumphant performance When Janácˇek’s Glagolitic Mass was given at the opera Marty continues to use her its premiere, one critic remarked that it was COMPACT DISC ONE spell-binding power to destroy the other ‘touching to observe the faith of the old man Synopsis characters. She fascinates not only Gregor and true believer’. Janácˇek responded with a Act I but the young singer Kristina and Prus’s son characteristically terse postcard: ‘No old man, The action of the opera takes place in Prague in The offi ces of Dr Kolenatý Janek, her tongue-tied boyfriend, and even and no true believer till I see for myself.’ He 1924. 1 Prelude. 2 – 3 The outcome is expected Kolenatý’s clerk, the prosaic Vítek. 10 In a was seventy-one when he completed today of the century-old case of Gregor strange interlude the dotty old count Hauk- The Makropulos Case and in the words of In 1585 a daughter, Elina, was born to versus Prus. Baron ‘Pepi’ Prus died intestate Šendorf recalls passionate memories from her , raging against the dying of the Hieronymus Makropulos, the Cretan court in 1817, and his valuable estate passed to a misty past. 11 – 12 But it gradually appears light. Indeed he wrote to Kamila when he was physician to the Habsburg Emperor Rudolf cousin. Soon afterwards it was claimed by one that her real object is not to help Gregor win completing From the House of the Dead, that II. The Emperor, obsessed with alchemy and Ferdinand Gregor, and it has been contested by his case, but the recovery of a Greek document there was still so much music waiting to pour magic potions, commissioned Makropulos descendants of each family ever since. It now which contains the formula of the potion out of him. In all these late creations, despite to fi nd him an elixir of eternal life. Fearing seems that Albert Gregor’s inability to supply which grants three hundred years of existence. the solipsism of his letters to Kamila, there is poison, the Emperor forced the physician fi rst convincing written proof of his claim will For the fi rst time in her life she is experiencing

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 14-1514-15 119/12/069/12/06 10:09:4410:09:44 the onset of age. She attemps to use her power Figaro), Mimì (La State Opera and the Deutsche Oper; the title Covent Garden; Ariodates (Xerxes), Handel’s fi rst over Gregor, 13 and then Janek. A tense Bohème), Violetta role in Katya Kabanova in Geneva and for L’Allegro, Publio () conversation reveals that Baron Prus holds the (La traviata), Donna ; and the title roles in and Zebul (Jephtha) for English National Gregg Barrett Gregg answer, and she makes him a proposition. Elvira (), and The Merry Widow, Mimì, Opera; Handel’s Radamisto for the Opéra Tatyana (Eugene Desdemona () and Liù () for de Marseille; Handel’s Theodora with Les COMPACT DISC TWO Onegin) and the title De Vlaamse Opera. Arts Florissants and William Christie (Paris roles in both Madama She appears regularly on the recital and and Salzburg); Handel’s Orlando with the Act III Butterfl y and . concert platform and her many recordings Gabrieli Consort; Leporello (Don Giovanni) Emilia Marty’s hotel room She has also sung the include Madama Butterfl y and Dyson’s Quo for Scottish Opera; Britten’s Curlew River 1 – 4 Prus has spent the night with Marty. roles of Mimì, Antonia Vadis for Chandos, and a solo CD featuring at the Edinburgh Festival; and Zebul, Bitterly disillusioned by her coldness, he hands (Les Contes d’Hoffmann) and Tatyana for the Puccini Arias. Guglielmo (Così fan tutte), Leporello and over the document. But although the prize is ; Tatyana and Violetta for Dulcamara (L’elisir d ’amore ) for Welsh in her grasp, her control of events is on the Opera Queensland; and Madama Butterfl y and Neal Davies (Dr National Opera. He made his debut with wane. Prus is overwhelmed by news of his Violetta for . Kolenatý) was born Chicago Lyric Opera as Major General son’s suicide, caused by Marty’s callousness. Internationally, Cheryl Barker is particularly in Newport, Gwent Stanley () under Sir The others arrive to call her to account for her noted for her performances of Madama and studied at King’s Andrew Davis. actions and to explain her past. As they begin Butterfl y, singing this role for English National College, London, and Neal Davies’ concert engagements have to discover elements of the truth, she decides Opera, Houston Grand Opera, De Vlaamse the Royal Academy included appearances with the Cleveland the time has come to reveal her identity and Opera, State Opera, Deutsche Oper, of Music, of which he and Philharmonia Orchestras, the Gabrieli the secret of her tormented existence. Berlin and most recently for The Netherlands was made a Fellow in Consort, the Oslo Philharmonic, the BBC Opera. Other international appearances 2003. He continued Symphony, The Kings Consort with Robert 5 – 10 Interview with Sir Charles Mackerras include Jenifer (A Midsummer Marriage) for his studies at the King, the Academy of St Martin in the Fields, , Covent Garden; Tatyana International Opera Studio, Zurich, under the Orchestra of the Age of Enlightenment Australian-born Cheryl Barker (Emilia Marty) and Adina (L’elisir d’amore) for Scottish the patronage of Dame Gwyneth Jones. and the Chamber Orchestra of Europe. studied in Melbourne with Dame Joan Opera; Oksana (Rimsky Korsakov’s Christmas Operatic appearances have included His recordings include Britten’s A Hammond and in London with David Harper. Eve), The Governess (The Turn of the Screw), Rameau’s Platée (in London and at the Midsummer Night’s Dream under Sir Colin In Australia, she appears regularly with Opera Musetta (La Bohème), and Donna Elvira for Edinburgh Festival), Handel’s Giulio Davis; Messiah, Theodora and Saul under Paul Australia, where her roles have included Nedda English National Opera; the title role in Maria Cesare under Ivor Bolton, and Figaro (The McCreesh; Handel’s L’Allegro under Robert (), the Countess (The Marriage of Stuarda for ReisOper; Violetta for Hamburg Marriage of Figaro) for the Royal Opera, King; and Dutilleux songs for Chandos.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 16-1716-17 119/12/069/12/06 10:09:4510:09:45 John Graham-Hall Basilio at La Monnaie in Brussels; Shapkin From April to July 2004, she undertook a tenor in opera (Vítek) studied (From the House of the Dead ) for Nice Opera; Young Artists position at Teatro del Maggio companies throughout at King’s College, Lysander in Paris, Lyon, Caen, Montpellier, Musicale Fiorentino, where she sang the role the United States

Stu Williamson Stu Cambridge and the Rome, and at the Ravenna Festival; Lensky of Contessa di Folleville (Il viaggio a Rheims). and Europe. Born Royal College of () in Lyon and Toronto; She won the fi rst prize in the 2006 Salzburg in Pennsylvania, he Music. He was a Ferrando in Vancouver; and Basilio and International Mozart Competition. received his degree member of English Spoletta (Tosca) for Netherlands Opera. Operatic repertoire includes Leila (The Pearl from the Hartt College National Opera where For Chandos’ Opera in English series John Fishers), Pamina and Papagena (The Magic of Music in Hartford, roles have included Graham-Hall has recorded Alwa (Lulu), Flute), Olympia (), where he studied with Alwa (Lulu), Mime Monostatos (), Isacco (The Anne Trulove (The Rake’s Progress), Constance David Ray Smith. (the Ring cycle), Herod (), Lysander Thieving Magpie), the Idiot (), and (Dialogues des Carmélites), and Kristina (The He has become a regular guest of the leading (A Midsummer Night’s Dream), and Sylvester Basilio (). Makropulos Case), and she has sung with opera houses in the past seasons where he (The Silver Tassie). Other roles in the UK Melbourne Opera, Victorian College of Arts, has performed at the include Albert Herring, Basilio, Tanzmeister Elena Xanthoudakis Oz Opera, Royal Opera, Covent Garden, and (Mephistopheles in Doktor Faustus), the Royal (Ariadne auf Naxos) and Monostatos (The (Kristina), of joint English National Opera. Opera House, Covent Garden (Bacchus in Magic Flute) at the Royal Opera House, Greek/Australian Concerts engagements include Melbourne Ariadne auf Naxos), the Hamburg Staatsoper Covent Garden; Mayor (Albert Herring) nationality, completed Town Hall, the Hermitage in St Petersburg and (Gherman in Pique Dame), the Teatro alla for Opera North; Vanya Kudrjas (Katya her Bachelor of Music Hong Kong (with the St Petersburg Camerata) Scala (Guido Bardi in Zemlinsky’s Florentine Kabanova), Flute (A Midsummer Night’s Performance (Voice) in a repertoire including Beethoven’s Ninth Tragedy and Golitsin in Khovanshchina), the Dream) and Bob Boles (Peter Grimes) for with Honours at the Symphony, Rossini’s Petite Messe sollennelle, Glyndebourne Festival (Lacˇa in Jenu˚fa), the Glyndebourne Festival Opera; Cassio (Otello) Victorian College of Bach’s St John and St Matthew Passions, Fauré’s Salzburg Festival (the title role in Zemlinsky’s for Welsh National Opera; Eisenstein, Arts, Australia. She also Requiem, Handel’s Messiah and Jephtha, Der König), the Liceu in Barcelona (Golitsin, Schoolmaster (The Cunning Little Vixen) for completed her Master Mozart’s Exsultate Jubilate and Vivaldi’s Gloria, and Erik in The Flying Dutchman) and the Scottish Opera; and Dada in the premiere of of Music Performance at the University of and she has given recitals at the Hessisches Opéra de Paris-Bastille (Count Pierre Bezukhov Nyman’s Man and Boy with Almeida Opera. Melbourne in 2003. After winning fi rst prize Staatstheater, Wiesbaden, in Hong Kong and in War and Peace, Dimitri in Boris Godunov, Operatic engagements abroad have included in the Australian Singing Competition at the in Salt-Lake City, Utah. Golitsin, and the title role in Der Zwerg). He Michel (Juliette) and the title role in Pascal Opera House, she was awarded a year’s has also performed with Houston Grand Opera, Dusapin’s new opera Perela, l’homme de fumée scholarship at the Guildhall School of Music, American tenor Robert Brubaker (Albert , Montpellier Opera, at the Opéra de Paris-Bastille; Cassio and London, where she was awarded the MMus. Gregor) has established himself as a leading Dallas Opera, and the Deutsche Oper Berlin.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 18-1918-19 119/12/069/12/06 10:09:4610:09:46 John Wegner (Baron Scottish Academy of Ferrando (Così fan tutte) with Holland Park Graeme Danby (Stage Prus) was born in Music and Drama Opera. Hand) is widely Jeff Busby Jeff Germany and grew before studying singing recognised as one of

up in Australia where Ahlburg Sussie with Ryland Davies at Graham Clark (Count Britain’s fi nest bassi he was a member of the Royal College of Hauk-Šendorf) was profondi, and performs from Music. born in Littleborough, regularly with the 1981 until 1992. Concert engagements Lancashire and began Royal Opera Covent He is currently a include Elijah at the his singing career Garden. He sang the resident member of Royal Albert Hall at Scottish Opera major role the Deutsche Oper am with Kurt Masur and before joining English of Charrington Rhein. He has a wide repertoire and performs the London Philharmonic Orchestra at the National Opera as a in Loren Maazel’s new Covent Garden regularly as a guest throughout the world, BBC Proms, where he has also performed Company Principal commission 1984, a part written especially including La Scala, Milan, Australia, Toulouse, in Janácˇek’s Otcenás and Bach’s Magnifi cat. (1978 – 85). He has for him. Brussels, Sao Paulo, Prague, Copenhagen, He appears regularly with orchestras in the appeared at the Royal Opera House, Covent Roles for English National Opera Oslo, Dublin and many leading companies in UK, including the BBC Scottish Symphony Garden, Opera North and Welsh National include Lorenzo (The Montagues and the Germany. Orchestra, English Chamber Orchestra Opera. His extensive international career Capulets), Don Basilio (The Barber of At Bayreuth he has sung Telramund and the Academy of Ancient Music singing has taken him to the for Seville), Dulcamara (The Elixir of Love), (Lohengrin), Donner (), Biterolf repertoire such as Britten’s Serenade for Tenor, sixteen seasons (Loge, Mime, Steuermann, Somnus (Semele), Quince (A Midsummer (Tannhäuser) and Klingsor (Parsifal ). Further Horn and Strings and St Nicolas, and Tippett’s Melot), the Metropolitan Opera for fourteen Night’s Dream), Collatinus (The Rape of repertoire includes Wotan/Wanderer and A Child of Our Time. seasons (Loge, Mime, Vere (), Števa Lucretia), Poo-Bah (), Sarastro Alberich (Der Ring der Nibelungen), Jochanaan Roles include Don Ottavio (Don (Jenu˚fa), Herodes (Salome), Prince/Marquis (The Magic Flute), Pistol ( ) and (Salome), the title roles in Der fl iegende Giovanni) for Opera North and Tamino for (Lulu)). He has also appeared at international Ribbing (A Masked Ball). Other appearances Holländer and Boris Godunov, Scarpia, Iago, British Youth Opera while still a student festivals, including Edinburgh and the BBC include Antonio (The Marriage of Figaro) at Pizarro and Escamillo. He received the 2005 at the International Proms. Glyndebourne; Brag (The Fairy Queen) at the Australian Entertainment Industry Helpmann Opera School, where appearances included He has recorded for all the major companies Gran Teatro del Liceu, Barcelona; Xuthus award as Best Male Performer in Opera. Chevalier (Dialogues des Carmélites), and several of his key roles (including those (Param Vir’s Ion) at the Opéra National Ferrando (Così fan tutte), and Peter Quint in the Ring) have been recorded on DVD. du Rhin, Strasbourg; and roles with Opera Born in Glasgow, Thomas Walker (Janek Prus) (The Turn of the Screw). He has sung Fenton He received the 1986 Olivier Award for North, Scottish Opera, and at the Buxton studied in the brass department of the Royal (Falstaff ) for English National Opera, and Mephistopheles in Busoni’s . and Garsington Festivals.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 20-2120-21 119/12/069/12/06 10:09:4710:09:47 Kathleen Wilkinson Susanna for the Chorus have been Prokofi ev’s War education and outreach department. The ENO (Cleaner) was born Tudor-Thomas and Peace, Shostakovich’s Lady Macbeth of Orchestra appears in many recordings as part in Lancashire and (Chambermaid) Mtsensk, Britten’s Billy Budd and Peter Grimes, of Chandos’ Opera in English series: studied with Barbara studied at the Mussorgsky’s Boris Godunov, Bizet’s The Carmelites, Lulu, Falstaff, Otello, Ernani, Robotham at the Guildhall and the and Verdi’s Otello. Their recording of the last, Mary Stuart, Julius Caesar, The Barber of Royal Northern Royal Scottish in Jonathan Miller’s production conducted by Seville, Rigoletto, La traviata, , and College of Music, Academy of Music Mark Elder, appeared on Chandos under the a recording of the complete Ring Cycle where she was and Drama. She sponsorship of the Peter Moores Foundation, conducted by Sir Reginald Goodall. supported by the Peter made her operatic as did their recording of the celebrated ‘Ring Moores Foundation début aged seventeen Cycle’ conducted by Sir Reginald Goodall. Sir Charles and won several awards. singing Barbarina (The Marriage of Figaro) Other Chandos/Peter Moores Foundation Mackerras studied She has sung with Scottish Opera, Opera with Welsh National Opera. She joined the recordings featuring the ENO Chorus are at the Sydney Ireland, Holland Park, Grange Park and at English National Opera Chorus in 1994 and The Carmelites, Falstaff, Mary Stuart, Julius Conservatorium of the Glyndebourne Festival, in roles including created the role of Mrs Van Tricasse in Gavin Caesar, Rigoletto and La traviata. Music and came to Madame de la Haltière (), Britten’s Bryars’s Doctor Ox’s Experiment and sang in 1947. Lucretia, Mercedes and the title role in Flora (La traviata), Pitti-Sing (The Mikado), Critically and publicly acclaimed, the English He gained a British Carmen, Filipyevna (Eugene Onegin), Suzuki and Mercedes (Carmen). Other roles include National Opera Orchestra has in recent years Council Scholarship (Madama Butterfl y), Martha (Faust), Azucena Orlovsky (Kentish Opera) and L’enfant received several prestigious awards, including to study further (Il trovatore), and Madam By-Ends in the (L’Enfant et les sortilèges for Opera Zuid). the Royal Philharmonic Society Music at the Academy of RNCM staging and recording of The Pilgrim’s Award and an Olivier Award for Outstanding Music in Prague. His great interest and love Progress. The Chorus of English National Opera Achievement in Opera. The Orchestra is at for Janácˇek commenced in 1947 on hearing For Scottish Opera she created the roles is one of the Company’s fi nest assets. the heart of English National Opera’s artistic Katya Kabanova conducted by the great of Margaret Muir (David Home’s Friend of In countless English National Opera life, and as well as opera performances at the Václav Talich. the People), and Mary Lamb (Sally Beamish’s productions they have thrilled audiences London Coliseum it has also been seen on the As an assistant conductor at Sadler’s Wells Monster!). For the same company, she has also with the power of their singing and the concert platform, at the in 1951 he gave the fi rst performance of sung the roles of Nurse/Old Woman in James intensity of their acting. The wide range (Peter Grimes and The Rape of Lucretia), and Katya Kabanova in the English-speaking MacMillan’s Ines di Castro, and Schwertleite/ of skills and experience members bring to at Glastonbury in 2004 (Act III of Wagner’s world. Later he introduced The Makropulos Erda in the company’s Edinburgh Festival performances distinguish any production The Valkyrie). Many of the players participate Case and From the House of the Dead at Ring cycle. in which they appear. Particular triumphs in the work of ENO Baylis, the company’s Sadler’s Wells and continued conducting

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 22-2322-23 119/12/069/12/06 10:09:4810:09:48 highly successful productions of Janácˇek’s Onegin, Jenu˚fa, The Magic Flute and The operas as well as more standard repertoire Bartered Bride. when he became Musical Director of English Sir Charles has also undertaken much National Opera (1970 – 77) and for Welsh research into the music of the eighteenth National Opera when he became their century, particularly Handel and Mozart. Musical Director (1987 – 1992). He has been He has recorded a series of Mozart and a pioneer in the dissemination of the music operas as well as a of Janácˇek throughout the capitals of Europe complete series of Mozart, Beethoven and and in the USA and Australia. Jenu˚fa has Brahms Symphonies, several oratorios been a particular favourite. by Handel and symphonies by Mahler He has had a long association with the and Elgar. He is at present Principal Czech Philharmonic and recorded most of Guest Conductor of the Philharmonia Janácˇek’s orchestral works with them as well Orchestra, Conductor Laureate of the as Katya Kabanova and Dvorˇák’s . Scottish Chamber Orchestra and Conductor Included in his vast discography is an award- Emeritus of Welsh National Opera and the winning cycle of the Janácˇek operas with the San Francisco Opera. Vienna Philharmonic in the early 1980s. For Sir Charles received a CBE in 1974, Chandos he has recorded Janácˇek Glagolitic was knighted in 1979, honoured with the Mass in the original version, Kodály’s Medal of Merit from the Czech Republic in Psalmus Hungaricus and Dvorˇák’s Cello 1996 and made a Companion of the Order Concerto. As part of the Opera in English of Australia in 1997. In 2003 he became series he has recorded Osud, La traviata, a Companion of Honour in the Queen’s Werther, Julius Caesar, Mary Stuart, Eugene Birthday Honours.

Cheryl Barker as Emilia Marty and John Wegner as Baron Prus

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 24-2524-25 119/12/069/12/06 10:09:4910:09:49 British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 to of a Faculty Directorship and Chair of Management Studies at Oxford University (providing realise his charitable aims and, to fulfi ll one of these, the Compton Verney House Trust in the lead donation which paved the way for the development of the Said Business School). 1993 to create a new art gallery in the country. Through his charities he has disbursed more than £104 million to a wide variety of arts, environmental and social causes ‘to get things In 1993 the Foundation bought Compton Verney, a Grade I Georgian mansion in done and open doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world- Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a class art gallery that would provide an especially welcoming environment for the ‘fi rst-time’ number of young artists in the crucial, early stages of their careers, several of whom – Dame gallery visitor. The gallery, which houses six permanent collections, a Learning Centre for all , Sir Colin Davis and the late Sir Geraint Evans amongst them – became ages, and facilities for major visiting exhibitions, was opened in March 2004 by HRH the world-famous. Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk

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

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 26-2726-27 119/12/069/12/06 10:09:5010:09:50 wir seine Identität herausfi nden? Die Person, Insekten-Spiel, wie auch dafür, daß er mit seiner Die Sache Makropulos die diese Fragen beantworten kann, ist die Satire RUR den Begriff des Roboters in den zentrale Figur dieses Stücks, die Diva Emilia allgemeinen Sprachgebrauch einführte. Wie “Warum sollten alte Männer nicht verrückt bewegendsten musikalischen Dokumenten des Marty; sie allerdings ist nicht von diesem George Bernard Shaw, mit dem er persönlich sein?” So schrieb der große irische Dichter zwanzigsten Jahrhunderts. Doch keines von Geheimnis angetrieben, sondern von einem bekannt war, wie sein Prager Zeitgenosse Franz W. B. Yeats in einem seiner letzten Gedichte. ihnen ist seltsamer oder anrührender als die anderen, viel größeren und schrecklicheren. Kafka und wie ein weiterer Zeitgenosse, Wie sein annähernder Zeitgenosse Leoš Oper, die in der deutschsprachigen Welt als Was sie sucht, ist nicht das Testament, H. G. Wells, war er ein spekulativer Autor, der Janácˇek war auch er ein Spätentwickler, der Die Sache Makropulos bekannt ist. sondern die gemeinsam mit diesem versteckte sich mit Fragen des menschlichen Fortschritts seine schöpferische Reife in seinen Fünfzigern Schon der Titel ist ein Paradox. Die uralte Formel. Wenn sie dieses Stück Papier beschäftigte. Im selben Jahr wie Shaws Back to erreichte; auch wurde er von ähnlichen tschechischen Worte “Veˇc Makropulos” fi ndet – die eigentliche Veˇc Makropulos –, Methuselah beschäftigte auch Cˇapek sich mit Dämonen heimgesucht wie dieser – einem tauchen erst im letzten Akt auf. Als wir sie zum wird sie auch ihr eigenes Problem lösen. Doch dem Thema der menschlichen Sterblichkeit. ungestümen Nationalismus, der intensiven ersten Mal hören, beziehen sie sich auf eine als sie die Lösung schließlich fi ndet, lehnt Die Makropulos-Affäre stellt eine ähnliche Leidenschaft für eine jüngere Frau und der alte Formel, die ewiges Leben verspricht. Das sie sie ab. In der Tat ein Geheimnis, das in Frage – was würde es bedeuten, wenn wir ständigen Beschäftigung mit dem, was er als zweite Mal werden sie in einem allgemeineren einem Rätsel versteckt ist, welches wiederum ewig leben könnten? Shaws Antwort war “die Faszination des Schwierigen” bezeichnete. Sinn verwendet, der in etwa “der Makropulos- verschlüsselt ist. Alles sicherlich sehr spannend, optimistisch und versprach grenzenlose geistige Doch selbst Yeats setzte sich nie solch Kram” bedeutet, ähnlich wie in Mussorgskys doch wohl kaum geeignetes Rohmaterial für Entwicklung. Cˇapek war ambivalent und ließ künstlerischen Risiken aus wie Janácˇek es in Oper der Titel Khovanshchina sich am besten lyrisches Theater. die Frage offen. Als Janácˇek sich des Stoffes den zehn bemerkenswerten Jahren tat, die als “Die Khovansky-Affäre” übersetzen läßt. Warum also beschloß Janácˇek, dieses annahm, war seine Reaktion zutiefst tragisch. die Entstehung fast aller seiner musikalischen In der Oper gibt es tatsächlich einen “Fall”, ungewöhnliche Drama zum Thema seiner Er konzentrierte sich auf das Schicksal einer Meisterwerke sahen. Vor allem in seinen drei aber das ist nicht der Fall Makropulos. vorletzten Oper zu machen? Er hatte Frau, die das Geschenk ewigen Lebens erhalten letzten Opern (Das schlaue Füchslein, Die Sache Vielmehr ist es ein Rechtsfall, der sich über gegen Ende des Jahres 1922 in Prag eine hatte und als Konsequenz zu einer verbitterten, Makropulos und Aus einem Totenhaus) stellte er viele Generationen zwischen den zwei Zweigen Inszenierung von Karel Cˇapek Schauspiel Die zerstörerischen menschlichen Hülle geworden sich Herausforderungen, die nicht nur einfach einer Familie hingezogen hat, von denen der Makropulos-Affäre gesehen und holte sofort war, äußerlich schön und attraktiv, innen schwierig, sondern geradezu irrsinnig waren – eine legitim ist und der andere nicht. Dieser die Genehmigung des Autors ein, das Stück aber nur noch Staub und Asche. Janácˇek und überwandt sie mit Bravour. Inspiriert von Disput wird sich nur schlichten lassen, wenn zu einem Libretto umzuarbeiten. Cˇapek und stellte sich die Aufgabe, diese Kreatur nicht einem Comic Strip, einer philosophischen ein authentisches Testament vorgelegt werden Janácˇek waren seltsame Bettgenossen. Cˇapek, nur musikalisch umzusetzen, sondern unsere Satire und der fi ktionalen Schilderung eines kann. Die Handlung der Oper ist also von ein urbaner, skeptischer Prager Dramatiker, Sympathie und sogar Liebe für sie zu wecken. zaristischen Arbeitslagers, gehören diese der Feder dieses Geheimnisses gespannt war vor allem bekannt für sein gemeinsam mit Wie in so vielen seiner späten Werke drei Musikdramen zu den humansten und – wer ist der wahre Erbe, und wie werden seinem Bruder verfaßtes allegorisches Werk war ein primäres Motiv Janácˇeks seine

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 28-2928-29 119/12/069/12/06 10:09:5010:09:50 leidenschaftliche Liebe für eine verheiratete Der erstaunlichste Aspekt seiner hören wir ihn im Vorspiel, in den hinter der zur Handlung des vorliegenden Dramas. Frau, die weniger als halb so alt war wie Annäherung an dieses spröde Thema ist, wie Bühne ertönenden Trompeten und Pauken. In Janácˇeks opernhafter Nachschöpfung er. Janácˇek hatte Kamila Stösslová 1917 wenige Geiseln er nimmt. Cˇapeks Stück ist Sodann kehrt er als fragmentarische Fanfare gewinnen wir immer wieder hörbare Einblicke kennengelernt, als er 63 und sie 25 Jahre alt höhnisch und prosaisch, und in den beiden wieder, während der Sekretär Vitek die an in Rudolfs Hofl eben und die Vergangenheit, war, und sich sofort in sie verliebt. Für den Rest ersten Akten ist auch Janácˇeks Musik von dem Prozeß beteiligten adligen Familienzweige die Emilias ewige Gegenwart beherrscht, wie seines Lebens führte er mit ihr eine epische, ähnlicher Schärfe und Rauheit. Marty erhält beschreibt. Er ist auch zugegen in dem wenn sich auf der Bühne eine spiritistische meist allerdings einseitige Korrespondenz. kaum eine eigene ausgedehntere musikalische insistierenden stretto am Ende des Ersten Falltür geöffnet hätte. Sie inspirierte seine letzten vier Opern, die Passage. Stattdessen wird sie in einer Reihe Akts, nachdem Emilia verspricht, Zeugnisse Es gibt noch einen weiteren roten Faden Glagolitische Messe, die Sinfonietta, einen von Dialogen vorgestellt – mit dem Anwalt zur Bestätigung des Testaments beizubringen, aus Klängen, der uns durch das Gewebe der Liederzyklus und zwei Streichquartette. Sie mag Kolenatý, den Hauptgegnern in dem dessen Verbleib sie rätselhafterweise aufgedeckt Geschichte zieht. Dies ist eine Reihe von zwar eine zögerliche Muse gewesen sein, aber Rechtsfall, Ferdinand Gregor und Baron Prus hat. Ein erneutes unheimliches Auftauchen glasklaren Flageolett-Tönen auf der Violine, die künstlerischen Resultate dieser Besessenheit und dem verrückten alten vormaligen Galan fi ndet sich im Zweiten Akt, als Prus zum begleitet von einer Kindertrommel oder sind atemberaubend. 1922, als Janácˇek zum Hauk-Šendorf, der Emilia für die Zigeuner- ersten Mal begreift, daß sich am Grunde des möglicherweise einem Renaissance-Tambourin. ersten Mal auf Cˇapeks Stück aufmerksam Sängerin hält, die er ein halbes Jahrhundert Geheimnisses eine gewisse Elena Makropulos Wir begegnen diesen Klängen zum ersten wurde, setzte Kamila alles daran, den gefeierten zuvor geliebt hat. Es ginge zu weit, diesen verbergen könnte. Und seine Musik dominiert Mal, als Marty verrät, daß Gregors Ahne der doch beunruhigenden Komponisten auf Konversationsaustausch als Duette zu den letzten Akt, in dem Martys wahre illegitime Sohn des Vorfahren von Baron Prus Armeslänge zu halten. Es überrascht daher bezeichnen. Sie enthalten nicht einen Hauch Geschichte enthüllt wird. Diese Figur ist war (wie natürlich auch von Emilia selbst in kaum, daß Janácˇek in den Briefen, die er von Lyrik, außerdem haben vor allem die Rudolf II., der habsburgische Kaiser, Kenner ihrer letzten Identität als schottische Sängerin ihr kurze Zeit nach Beginn seiner Arbeit an männlichen Gesprächspartner den Löwenanteil und Sammler von mysteriösen Gelehrten und namens Ellian MacGregor). Kurze Zeit später der Oper schrieb, die Kälte und das schroffe an den Worten und Noten. Doch Janácˇek Kunstgegenständen, dessen Hof in Prag an der kehren diese Klänge wieder in einem der Benehmen seiner Heldin betonte: bindet uns mit großem Geschick in das Drama Schwelle zum 17. Jahrhundert Wissenschaftler, wenigen zärtlichen Augenblicke in diesem Eine dreihundert Jahre alte Schönheit – und ewig seiner Heldin ein. Seine Mittel zu diesem Astrologen, Meister der schwarzen Magie und Akt, als Emilia darüber refl ektiert, daß dieses jung – doch nur ausgebrannte Gefühle. Brrr! Kalt Zweck sind verwirrend, provokant und durch Quacksalber anzog. In Cˇapeks Schauspiel hat Kind niemals seine eigene Mutter gekannt hat. wie Eis! Über eine solche Frau werde ich eine und durch einzigartig. er einen von ihnen, den griechischen Arzt Ein weiteres Mal tauchen sie im Zweiten Akt Oper schreiben. Zunächst ist zu erwähnen, daß es neben Heironymos Makropulos, beauftragt, ein auf, zunächst als Emilia der jungen Sängerin Und kurz nach Vollendung des Werks schrieb er: den Anwälten, den prozessierenden Parteien, Elixir zu erfi nden, das ewiges Leben verspricht. Kristina erklärt, daß Sex – wie überhaupt die Am Ende war sie so unglücklich! Danach möchte deren Familien und Marty selbst noch einen Dieser erprobte den Zaubertrank an seiner Annehmlichkeiten des Lebens – nicht einmal ich, daß alle sie mögen. Ohne Liebe funktioniert weiteren, unsichtbaren Mitwirkenden gibt, Tochter, und ihr endloses Leben führte im das Kerzenlicht wert sei, und erneut, als sie es für mich nicht. der in der Musik ständig präsent ist. Zuerst Verlauf der nachfolgenden drei Jahrhunderte kokett ihren Ururururururenkel fragt, wie

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 30-3130-31 119/12/069/12/06 10:09:5110:09:51 ihm der Name Makropulos gefalle. Es handelt die Harmonien und Instrumentierung kurzen Unterredung mit Gregor gehörte der Inszenierung der English National Opera, sich hier nicht gerade um ein Leitmotiv, eher der Musik neue Klangfarben, die in den Todesthema wandelt sich in den letzten auf der die vorliegende Einspielung basiert, um ein winziges Loch in Martys Psyche, beiden ersten Akten noch nicht zugegen Takten in einen leidenschaftsvollen Choral, nahm der Regisseur einen Hinweis Cˇapeks durch das wir die Geliebte und Mutter waren. Gleichzeitig punktieren Rudolfs der mit der Schlußrede seiner vorhergehenden auf und Marty blieb weder tot noch lebendig erkennen, die sie im Laufe der Jahrhunderte Trompetenrufe und das mit ihm assoziierte Oper Das schlaue Füchslein seelenverwandt zurück, wobei das Blatt mit der Zauberformel so vielen Männern gewesen ist. Diese Echos Motiv das Klanggewebe mit wachsender ist. In beiden Werken zeigt sich dieselbe wie Fliegenpapier an ihren Fingern klebte. einer anderen Welt werden noch verstärkt Beharrlichkeit. Indem Emilia sich daran humanistische Vision – daß nur der Tod dem Die Zuhörer müssen hier letztlich selbst durch ein drittes wiederkehrendes Thema erinnert, die Makropulos-Formel dem einzigen Leben einen Sinn geben kann. entscheiden, in Janácˇeks Musik allerdings auf der Viola d’amore, dem Instrument, das Mann gegeben zu haben, den sie wirklich Als Janácˇeks Glagolitische Messe uraufgeführt fi ndet sich kein Raum für Zweifel. Emilias Janácˇek mit Kamila assoziierte und das er liebte, dem alten Pepi Prus, arbeitet Janácˇek wurde, bemerkte einer der Kritiker, es Tod ist endgültig, und die begleitende Musik in seinem zweiten Streichquartett einsetzen in Vorbereitung einer neuen Figur, die die sei “anrührend, das Gottvertrauen des gehört zu den transzendentalsten Klängen im wollte, welches er nach seiner Korrespondenz Schlußmomente der Oper beherrschen wird, in tiefgläubigen alten Mannes zu beobachten”. gesamten Opernrepertoire des zwanzigsten mit seiner Muse Intime Briefe nannte. Das das musikalische Gewebe ein sehnsuchtsvolles Janácˇek reagierte mit einer seiner typischen Jahrhunderts. Instrument und das mit ihm verbundene Streicherthema ein. Dieses Thema begleitet knapp gehaltenen Postkarten: “Weder alter © 2007 Dennis Marks Thema bilden einen menschlichen Kontrast Marty, als sie Gregor bittet, ihre Hände zu Mann, noch tiefgläubig, bis ich es selbst zu den Flageolett-Tönen in den Streichern berühren, die nun eiskalt werden. Doch herausfi nde.” Als er Die Sache Makropulos und erinnern uns an das sechzehnjährige indem sie immer kälter wird, entwickelt vollendete, war er einundsiebzig und, in den Synopse Mädchen, dessen Liebesfähigkeit durch seine die Musik neue Wärme. Das Thema wird Worten von Dylan Thomas, “wütete gegen das ewige Reinkarnation erdrückt wurde. Mit weiter ausgeführt, als sie in ihre griechische Ersterben des Lichts”. Tatsächlich schrieb er in Die Handlung der Oper spielt 1924 in Prag. diesen subtilen und fl üchtigen Mitteln hält Muttersprache zurückfällt und, indem sie das der Zeit, als er Aus einem Totenhaus vollendete, Janácˇek uns während zweier ernster und Vaterunser zitiert – “Pater hemon” – “unseren an Kamila, daß es noch so viel Musik gebe, die Im Jahr 1585 wurde dem kretischen Hofarzt dichter Akte gespannt in Erwartung auf den Vater im Himmel” mit ihrem eigenen Vater, nur darauf warte, aus ihm herauszuströmen. Kaiser Rudolfs II. von Habsburg, Hieronymus herzbewegenden dritten. dem Arzt Hieronymus, in Einklang bringt. In all diesen späten Werken fi ndet sich – trotz Makropulos, eine Tochter geboren, die er Elina Während Emilia bisher vor allem durch Und hierin liegt Janácˇeks Meisterschaft des Solipsismus seiner Briefe an Kamila – kein nannte. Der Kaiser, der von alchimistischen ihre Wirkung auf andere dargestellt wurde, – die in den beiden ersten Akten geübte bißchen Sentimentalität. Ganz am Ende Theorien und Zaubertränken besessen entwickelt sie sich im Dritten Akt zunehmend Zurückhaltung macht es ihm nun möglich, in des ursprünglichen Schauspiels, als alle auf war, beauftragte Makropulos, ein Elixir zu zur dominanten vokalen Präsenz in der Oper. den abschließenden zehn Minuten der Oper der Bühne Versammelten die Zauberformel fi nden, das ewiges Leben verspräche. Da er Indem wir mit ansehen, wie die Wirkung des deren Botschaft mit nahezu unerträglicher zurückweisen und Kristina sie verbrennt, läßt befürchtete, vergiftet zu werden, zwang er den Zaubertranks allmählich nachläßt, entwickeln Intensität zu vermitteln. Das zuerst in ihrer Cˇapek offen, ob Marty stirbt oder nicht. In Arzt, den Trank zunächst an dessen eigener

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 32-3332-33 119/12/069/12/06 10:09:5110:09:51 Tochter Elina auszuprobieren. Diese lag eine Ansprüche an, und die Nachfahren beider leidenschaftliche Episoden aus ihrer obskuren zu lassen. Indem sie beginnen, Einzelheiten Woche lang im Koma, doch auch als sie wieder Familien haben seither das Erbe angefochten. Vergangenheit. 11 – 12 Allmählich stellt sich der Wahrheit herauszufi nden, beschließt erwachte, war die Wirkung des Zaubertranks Nun scheint es, als würde Albert Gregors jedoch heraus, daß ihr eigentliches Ziel nicht Marty, daß es an der Zeit sei, ihre Identität natürlich nicht zu beweisen. Der Arzt wurde Unfähigkeit, seine Ansprüche mit den darin liegt, Gregor seinen Prozeß gewinnen preiszugeben und das Geheimnis ihrer ins Gefängnis geworfen und seine Tochter notwendigen Beweismitteln zu untermauern, zu helfen, sondern daß sie ein griechisches geplagten Existenz zu enthüllen. fl oh ins Ausland, wo sie das erste einer Reihe dazu führen, daß der Besitz endgültig an seinen Dokument mit der Formel sucht, die ein Übersetzung: Stephanie Wollny von Leben als Sängerin begann. In jeder Kontrahenten Jaroslav Prus gehen wird. dreihundert Jahre währendes Leben verspricht. neuen Generation änderte sie ihren Namen, Zum ersten Mal in ihrem Leben beginnt sie, doch sie behielt während ihres gesamten 4 – 7 All dies ändert sich, als die berühmte das herannahende Alter zu spüren. Sie versucht 5 – 10 Interview mit Sir Charles Mackerras ausgedehnten Lebens dieselben Initialen Opernsängerin Emilia Marty in Prag zunächst auf Gregor Einfl uß zu nehmen, 13 bei – E. M. (Eugenia Montez, Elsa Müller, auftaucht. Ihre geradezu unheimliche Kenntnis dann auf Janek. Ein intensives Gespräch führt Die aus Australien gebürtige Cheryl Barker Ellian MacGregor, Ekaterina Myskina, Emilia vergangener Ereignisse um Ellian MacGregor, zu der Erkenntnis, daß Baron Prus die Lösung (Emilia Marty) studierte in Melbourne bei Marty). Das Vorspiel der Oper beschwört die die Geliebte von “Pepi” Prus, führt dazu, daß kennt, und sie macht ihm ein Angebot. Dame und in London tragische Existenz der Tochter des Alchemisten, der Fall noch einmal aufgerollt wird. Zugleich bei David Harper. In Australien arbeitet wobei die Klänge ferner Fanfaren an den beginnt die Sängerin, auf die beiden Rivalen COMPACT DISC TWO sie regelmäßig mit der Opera Australia fantastischen Hof Rudolfs II. inmitten seiner eine seltsame Faszination auszuüben. zusammen; zu ihren bisherigen Rollen dort Astrologen erinnern. Dritter Akt gehören Nedda (Pagliacci), die Gräfi n (Le Zweiter Akt Emilia Martys Hotelzimmer nozze di Figaro), Mimì (La Bohème), Violetta COMPACT DISC ONE Hinter der Bühne der Prager Oper, nach einer 1 – 4 Prus hat die Nacht bei Marty verbracht. (La traviata), Donna Elvira (Don Giovanni), Matinée Von ihrer Gefühlskälte bitter enttäuscht, Tatyana (Eugene Onegin) sowie die Titelrollen Erster Akt 8 – 9 Nach ihrem triumphalen Auftritt an überreicht er ihr das Dokument. Doch obwohl von Madama Butterfl y und Tosca. An der Das Büro von Dr. Kolenatý der Oper benutzt Marty ihre hypnotisierenden das Ziel damit für sie in greifbare Nähe rückt, Victoria State Opera hat sie zudem die Mimì, 1 Vorspiel 2 – 3 Heute wird das Ergebnis Kräfte, um die anderen Figuren zu zerstören. ist ihre Kontrolle über die Dinge bereits Antonia (Hoffmanns Erzählungen) und Tatyana des mehr als ein Jahrhundert währenden Sie fasziniert nicht nur Gregor, sondern auch im Schwinden begriffen. Prus wird von der gesungen, an der Opera Queensland Tatyana Prozesses von Gregor gegen Prus erwartet. die junge Sängerin Kristina und Prus’ Sohn Nachricht überwältigt, daß sein Sohn wegen und Violetta sowie an der New Zealand Opera Baron “Pepi” Prus starb 1817, ohne ein Janek, ihren wortkargen Freund, und selbst Martys Gefühlskälte Selbstmord begangen Madama Butterfl y und Violetta. Testament zu hinterlassen, und sein kostbarer Kolenatýs Sekretär, den prosaischen Vitek. habe. Die übrigen Figuren fi nden sich ein, um International ist Cheryl Barker vor allem Besitz ging an einen Cousin. Wenig später 10 In einem seltsamen Zwischenspiel erinnert sie für ihre Handlungen zur Verantwortung für ihre Interpretation der Madama Butterfl y meldete ein gewisser Ferdinand Gregor der einfältige alte Graf Hauk-Šendorf an zu ziehen und sie ihre Vergangenheit erklären bekannt; sie hat diese Rolle bisher an der

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 34-3534-35 119/12/069/12/06 10:09:5110:09:51 English National Opera, der Houston Grand und studierte am King’s College in London Consort, den Osloer Philharmonikern, dem Schulmeister (Das schlaue Füchslein) an der Opera, der Vlaamse Opera, der Hamburger sowie an der , wo er BBC Symphony Orchestra, dem Kings Scottish Opera, und Dada in der Premiere von Staatsoper, der Deutschen Oper Berlin 2003 zum Fellow ernannt wurde. Er vertiefte Consort mit Robert King, der Academy of Nymans Man and Boy an der Almeida Opera. und jüngst an der Niederländischen Oper seine Studien am Internationalen Opernstudio St Martin in the Fields, dem Orchestra of the Zu seinen Opernengagements im Ausland gesungen. Zu ihren weiteren internationalen in Zürich unter der Leitung von Dame Age of Enlightenment und dem Chamber zählten Michel (Juliette) und die Titelrolle in Verpfl ichtungen zählen Jenifer (A Midsummer Gwyneth Jones. Orchestra of Europe. Pascal Dusapins neuer Oper Perela, l’homme Marriage) an der Royal Opera in Covent Zu seinen bisherigen Opernauftritten Zu seinen Einspielungen zählen Brittens de fumée an der Opéra de Paris-Bastille, Cassio Garden, Tatyana und Adina (L’elisir d’amore) zählen Rameaus Platée (in London und auf A Midsummer Night’s Dream unter Sir Colin und Basilio an La Monnaie in Brüssel, Shapkin an der Scottish Opera, Oksana (Rimsky- dem Edinburgh Festival), Händels Giulio Davis, der Messias, Theodora und Saul unter (Aus einem Totenhaus) für die Oper in Nizza, Korsakovs Die Nacht vor Weihnachten), die Cesare unter Ivor Bolton sowie Figaro (Die Paul McCreesh, Händels L’Allegro unter Robert Lysander in Paris, Lyon, Caen, Montpellier Gouvernante (The Turn of the Screw), Musetta Hochzeit des Figaro) an der Royal Opera in King und Lieder von Dutilleux für Chandos. und Rom sowie auf dem Festival von Ravenna, (La Bohème) und Donna Elvira an der English Covent Garden, Ariodates (Xerxes), Händels Lensky (Eugene Onegin) in Lyon und Toronto, National Opera, die Titelrolle in Maria Stuarda L’Allegro, Publio (La Clemenza di Tito) und John Graham-Hall (Vítek) studierte am Ferrando in Vancouver, sowie Basilio und an der ReisOper, Violetta an der Hamburger Zebul (Jephtha) an der English National King’s College, Cambridge und am Royal Spoletta (Tosca) an der Niederländischen Oper. Staatsoper und der Deutschen Oper Berlin, Opera, Händels Radamisto an der Opéra de College of Music. Er war Mitglied der English Für die bei Chandos erschienene Serie die Titelrolle in Katya Kabanova in Genf und Marseille, Händels Theodora mit Les Arts National Opera, wo Alwa (Lulu), Mime “Opera in English” hat John Graham-Hall an der Welsh National Opera und schließlich Florissants unter William Christie in Paris und (Wagners Ring), Herodes (Salome), Lysander Alwa (Lulu), Monostatos (The Magic Flute), die Titelrollen in Suor Angelica und Die lustige Salzburg, Händels Orlando mit dem Gabrieli (A Midsummer Night’s Dream) und Sylvester Isacco (The Thieving Magpie), den Idiot Witwe sowie ferner Mimì, Desdemona (Otello) Consort, Leporello (Don Giovanni) an der (The Silver Tassie) zu seinen Rollen zählten. (Wozzeck) und Basilio (The Marriage of Figaro) und Liù (Turandot) an der Vlaamse Opera. Scottish Opera, Brittens Curlew River auf dem Weitere Opernengagements in Großbritannien aufgenommen. Cheryl Barker ist zudem regelmäßig auf dem Edinburgh Festival sowie Zebul, Guglielmo umfassen Albert Herring, Basilio, den Recital- und Konzertpodium anzutreffen. Zu (Così fan tutte), Leporello und Dulcamara Tanzmeister (Ariadne auf Naxos) und Elena Xanthoudakis (Kristina) ist griechisch- ihren zahlreichen CD-Einspielungen zählen (L’elisir d’amore) an der Welsh National Opera. Monostatos (Die Zauberfl öte) am Royal Opera australischer Abstammung und schloß die Madama Butterfl y und Dysons Quo Vadis Sein Debüt an der Chicago Lyric Opera feierte House in Covent Garden, Mayor (Albert ihren Bachelor of Music Performance im für Chandos sowie eine Solo-CD mit Arien er in der Rolle des Major General Stanley (The Herring) an der Opera North, Vanya Kudrjas Fach Gesang am Victorian College of Arts von Puccini. Pirates of Penzance) unter Sir Andrew Davis. (Katya Kabanova), Flute (A Midsummer Night’s (Australien) mit Auszeichnung ab. 2003 Zu Neal Davies’ Konzertengagements Dream) und Bob Boles (Peter Grimes) an der absolvierte sie zudem an der University Neal Davies (Dr. Kolenatý) wurde in Newport zählen Auftritte mit dem Cleveland und Glyndebourne Festival Opera, Cassio an der of Melbourne ihren Master of Music in der walisischen Grafschaft Gwent geboren dem Philharmonia Orchester, dem Gabrieli Welsh National Opera, Eisenstein und den Performance. Nachdem sie am Opernhaus von

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 36-3736-37 119/12/069/12/06 10:09:5210:09:52 Sidney in der Australian Singing Competition Jubilate und Vivaldis Gloria umfaßt. Außerdem Weitere Engagements haben ihn an die Thomas Walker (Janek Prus) wurde in mit dem ersten Preis ausgezeichnet wurde, hatte sie Recitals am Hessischen Staatstheater Houston Grand Opera, die Canadian Opera Glasgow geboren und studierte zunächst in gewann sie ein Stipendium für ein Studienjahr in Wiesbaden, in Hong Kong und in Salt-Lake Company, die Oper von Montpellier, die der Abteilung für Blechbläser an der Royal an der Guildhall School of Music in London, City (Utah). Dallas Opera und die Deutsche Oper Berlin Scottish Academy of Music and Drama, das sie mit dem Master of Music abschloß. Von geführt. bevor er bei Ryland Davies am Royal College April bis Juli 2004 war sie Young Artist am Der amerikanische Tenor Robert Brubaker of Music ein Gesangsstudium aufnahm. Teatro del Maggio Musicale Fiorentino, wo sie (Albert Gregor) hat sich an zahlreichen John Wegner (Baron Prus) wurde in Zu seinen Konzertverpfl ichtungen zählt die Rolle der Contessa di Folleville (Il viaggio Opernhäusern in den USA und Europa als Deutschland geboren und wuchs in Australien der Elias in der Royal Albert Hall mit Kurt a Rheims) sang. Auf dem Internationalen herausragender Tenor einen Namen gemacht. auf, wo er von 1981 bis 1992 Mitglied Masur und dem London Philharmonic Mozart-Wettbewerb in Salzburg 2006 wurde Er wurde in Pennsylvania geboren und der Opera Australia war. Derzeit ist er Orchestra im Rahmen der BBC Proms, sie mit dem ersten Preis ausgezeichnet. studierte bei David Ray Smith am Hartt Ensemblemitglied der Deutschen Oper an wo er auch in Janácˇek Otcenás und Bachs Ihr Opernrepertoire umfaßt Leila (Les College of Music in Hartford. Rhein. Er verfügt über ein ausgedehntes Magnifi cat sang. Mit verschiedenen britischen Pêcheurs de perles), Pamina und Papagena In den letzten Spielzeiten war er regelmäßig Repertoire und hat weltweit regelmäßige Orchestern verbinden ihn regelmäßige (Die Zauberfl öte), Olympia (Hoffmanns bei den führenden Opernhäusern zu Gast, Gastengagements, so an der Mailänder Scala Auftritte, darunter das BBC Scottish Erzählungen), Anne Trulove (The Rake’s so etwa an der Metropolitan Opera (als und in Australien, Toulouse, Brüssel, Sao Symphony Orchestra, das English Chamber Progress), Constance (Dialogues des Carmélites) Mephistopheles in Doktor Faustus), dem Royal Paulo, Prag, Kopenhagen, Oslo, Dublin Orchestra und die Academy of Ancient und Kristina (Die Sache Makropulos); bisherige Opera House in Covent Garden (als Bacchus sowie an zahlreichen erstrangigen deutschen Music, wo zu seinem Repertoire Werke wie Verpfl ichtungen führten sie an die Melbourne in Ariadne auf Naxos), an der Hamburger Opernhäusern. Brittens Serenade for Tenor, Horn and Strings Opera, das Victoria College of Arts, die Oz Staatsoper (Gherman in Pique Dame), am In Bayreuth hat er Telramund (Lohengrin), und St Nicolas sowie Tippetts A Child of Our Opera, das Royal Opera House in Covent Teatro alla Scala (Guido Bardi in Zemlinskys Donner (Das Rheingold), Biterolf (Tannhäuser) Time gehören. Garden und die English National Opera. Eine fl orentinische Tragödie und Golitsin in und Klingsor (Parsifal) gesungen. Ferner Zu seinen Opernrollen zählten Don Konzertengagements führten sie bisher an Khovanshchina), auf dem Glyndebourne umfaßt sein Repertoire Wotan/Wanderer und Ottavio (Don Giovanni) an der Opera North die Melbourne Town Hall, die Eremitage in Festival (Lacˇa in Jenu˚fa), auf dem Salzburger Alberich (Der Ring der Nibelungen), Jochanaan und Tamino an der British Youth Opera in St. Petersburg sowie nach Hong Kong Festival (in der Titelrolle in Zemlinskys Der (Salome), die Titelrollen in Der fl iegende der Zeit, als er noch an der Benjamin Britten (mit der St. Petersburger Camerata) mit einem König), am Liceu in Barcelona (Golitsin sowie Holländer und Boris Godunov, Scarpia, Iago, International Opera School studierte; dort Repertoire, das Beethovens Neunte Sinfonie, Erik im Fliegenden Holländer) und an der Pizarro und Escamillo. 2005 wurde er als “Best umfaßten seine Auftritte den Chevalier Rossinis Petite Messe sollenelle, Bachs Johannes- Opéra de Paris-Bastille (Graf Pierre Bezukhov Male Performer in Opera” mit dem Helpmann (Dialogues des Carmélites), Ferrando (Così und Matthäus-Passion, Faurés Requiem, in Krieg und Frieden, Dimitri in Boris Godunov, Award der Australian Entertainment Industry fan tutte) und Peter Quint (The Turn of the Händels Messias und Jephtha, Mozarts Exsultate Golitsin und die Titelrolle in Der Zwerg). ausgezeichnet. Screw). An der English National Opera hat

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 38-3938-39 119/12/069/12/06 10:09:5210:09:52 er den Fenton (Falstaff ) und an der Holland Graeme Danby (Bühnenarbeiter) ist weithin of Music, wo sie von der Peter Moores Rolle der Barbarina (Die Hochzeit des Figaro). Park Opera den Ferrando gesungen. bekannt als einer der herausragendsten Foundation gefördert wurde und mehrere 1994 wurde sie in den English National britischen bassi profondi und tritt regelmäßig Auszeichnungen gewann. Opera Chorus aufgenommen. Sie verkörperte Graham Clark (Graf Hauk-Šendorf) wurde an der Royal Opera in Covent Garden auf. Sie hat an der Scottish Opera, der Opera erstmals die Rolle der Mrs. Van Tricasse in in Littleborough in Lancashire geboren In Loren Maazels neuem Auftragswerk für Ireland, in Holland Park, Grange Park und auf Gavin Bryars’ Doctor Ox’s Experiment und sang und begann seine Gesangslaufbahn an der Covent Garden, 1984, hat er die zentrale Role dem Glyndebourne Festival gesungen, wobei die Flora (La traviata), Pitti-Sing (The Mikado) Scottish Opera, bevor er an der English des Charrington gesungen, die eigens für ihn zu ihren Rollen die Madame de la Haltière und Mercedes (Carmen). Weitere Rollen National Opera als Company Principal konzipiert wurde. (Cendrillon), Brittens Lucretia, Mercedes und umfassen Orlovsky an der Kentish Opera und verpfl ichtet wurde (1978–1985). Er hat am Seine Rollen an der English National Opera die Titelrolle in Carmen, Filipyevna (Eugene L’enfant (L’Enfant et les sortilèges) an der Opera Royal Opera House in Covent Garden, an umfassen Lorenzo (I Capuletti e I Montecchi), Onegin), Suzuki (Madama Butterfl y), Martha Zuid. der Opera North und an der Welsh National Don Basilio (Der Barbier von Sevilla), (Faust), Azucena (Il trovatore) und Madam Opera gesungen. In seiner ausgedehnten Dulcamara (The Elixir of Love), Somnus By-Ends in der Inszenierung und Einspielung Der Chor der English National Opera internationalen Karriere war er für sechzehn (Semele), Quince (A Midsummer Night’s von The Pilgrim’s Progress am Royal Northern ist eine Stütze der gesamten Truppe. Spielzeiten mit dem Bayreuther Festival Dream), Collatinus (The Rape of Lucretia), College of Music zählten. In zahllosen Produktionen der English (Loge, Mime, Steuermann, Melot) und für Poo-Bah (The Mikado); Sarastro Für die Scottish Opera hat sie erstmals die National Opera hat er das Publikum mit vierzehn Spielzeiten mit der Metropolitan (Die Zauberfl öte), Pistol (Falstaff ) und Rollen der Margaret Muir (in David Homes der Kraft seines Gesangs und der Intensität Opera (Loge, Mime, Vere in Billy Budd, Ribbing (Ein Maskenball). Zu seinen weiteren Friend of the People) und der Mary Lamb seiner Darstellung entzückt. Die weit Števa in Jenu˚fa, Herodes in Salome, Prinz/ Engagements zählen Antonio (Die Hochzeit (in Sally Beamishs Monster!) auf der Bühne gefächerten Talente und Erfahrungen, die die Marquis in Lulu) verbunden. Er ist zudem des Figaro) in Glyndebourne, Brag (The verkörpert. Außerdem hat sie dort die Rollen Sängern in ihre Darbietungen einbringen, auf internationalen Festivals wie dem Fairy Queen) am Gran Teatro del Liceu in der Nurse/Old Woman in James MacMillans kennzeichnen jede Inszenierung, an der sie Edinburgh Festival und den BBC Proms Barcelona, Xuthus (Param Virs Ion) an der Ines di Castro gesungen sowie auf dem mitwirken. Besondere Triumphe für den aufgetreten. Opéra National du Rhin in Strasbourg sowie Edinburgh Festival in der Ring-Inszenierung Chor waren Prokofjews Krieg und Frieden, Graham Clark hat für alle großen Verlage Verpfl ichtungen an der Opera North, der der Scottish Opera die Schwertleite/Erda. Schostakowitschs Lady Macbeth von Mzensk, CD-Aufnahmen eingespielt und eine Reihe Scottish Opera und auf den Festivals in Buxton Brittens Billy Budd und Peter Grimes, seiner großen Rollen (darunter auch die im und Garsington. Susanna Tudor-Thomas (Dienstmädchen) Mussorgskis Boris Godunow, Bizets Carmen Ring) wurden auf DVD aufgenommen. 1986 studierte an der Guildhall und der Royal und Verdis Otello. Seine Aufnahme der wurde er für seine Rolle des Mephistopheles Kathleen Wilkinson (Putzfrau) wurde in Scottish Academy of Music and Drama. letztgenannten Oper in der von Mark Elder in Busonis Doktor Faust mit dem Olivier Lancashire geboren und studierte bei Barbara Bereits mit siebzehn Jahren feierte sie an der geleiteten Inszenierung von Jonathan Miller Award ausgezeichnet. Robotham am Royal Northern College Welsh National Opera ihr Operndebüt in der wird unter der Schirmherrschaft der Peter

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 40-4140-41 119/12/069/12/06 10:09:5310:09:53 Moores Foundation demnächst bei Chandos im Rahmen der Chandos-Reihe “Opera in Wegbereiter der Musik Janácˇeks. Jenu˚fa ist Händel und Mozart. Er hat eine Reihe von erscheinen, ebenso seine Aufzeichnung des English” mitgewirkt – Lulu, Falstaff, Otello, ihm besonders ans Herz gewachsen. Mozart-Opern und Gilbert-und-Sullivan- gefeierten Ring-Zyklus unter der Leitung von Ernani, Mary Stuart, Julius Caesar, Der Barbier Name verbindet sich seit langem mit Operetten sowie Gesamtaufnahmen der Sir Reginald Goodall. Andere Aufnahmen von Sevilla, Rigoletto, La traviata, Werther sowie der Tschechischen Philharmonie, mit der Sinfonien von Mozart, Beethoven und des Chors für Chandos und die Peter Moores eine Einspielung des vollständigen Ring-Zyklus er die meisten Orchesterwerke Janácˇeks, Brahms, mehrere Oratorien von Händel Foundation sind The Carmelites, Falstaff, unter der Leitung von Sir Reginald Goodall. Katja Kabanowa und Dvorˇáks Rusalka sowie Sinfonien von Mahler und Elgar Maria Stuarda, Giulio Cesare, Rigoletto (Regie: aufgenommen hat. Seine umfangreiche vorgelegt. Derzeit ist er Hauptgastdirigent Jonathan Miller) und La traviata. Sir Charles Mackerras studierte am Diskographie enthält einen preisgekrönten des , Conductor Konservatorium in Sydney und kam 1947 Zyklus von Janácˇek-Opern mit den Wiener Laureate des Scottish Chamber Orchestra Das von Kritikern und Zuhörern nach England. Von der Kulturorganisation Philharmonikern aus den frühen achtziger sowie Conductor Emeritus der Welsh gleichermaßen gefeierte English National British Council erhielt er ein Stipendium Jahren. Für Chandos hat er Janácˇeks National Opera und der San Francisco Opera Orchestra hat in den vergangenen zur Erweiterung seines Studiums an der Glagolitische Messe in der Originalfassung, Opera. Jahren mehrere begehrte Auszeichnungen Musikakademie Prag. In jenem Jahr begann Kodálys Psalmus Hungaricus und Dvorˇáks Sir Charles wurde 1974 mit dem erhalten, darunter den Royal Philharmonic seine Leidenschaft für die Musik Janácˇeks, Cellokonzert eingespielt. Für die Chandos- britischen Verdienstorden CBE Society Music Award und den Olivier Award als er Katja Kabanowa unter der Leitung des Serie “Opera in English” hat er Osud, La ausgezeichnet, 1979 zum Ritter geschlagen, für herausragende Leistungen auf dem Gebiet großen Václav Talich hörte. traviata, Werther, Julius Caesar, Mary Stuart, 1996 mit der Ehrenmedaille der der Oper. Das Orchester ist das künstlerische Als Assistant Conductor am Londoner Eugene Onegin, Jenu˚fa und The Magic Flute Tschechischen Republik gewürdigt und Herzstück der English National Opera und ist Opernhaus Sadler’s Wells dirigierte er 1951 und aufgenommen. 1997 zum Companion of the Order of neben den regelmäßigen Opernaufführungen die erste Aufführung von Katja Kabanowa Sir Charles hat auch die Musik des Australia ernannt. 2003 erhob ihn Königin im Londoner Coliseum auch auf dem in der englischsprachigen Welt und brachte 18. Jahrhunderts erforscht, insbesondere Elizabeth II. zum Companion of Honour. Konzertpodium aktiv; Auftritte in jüngerer später auch Die Sache Makropulos und Zeit führten das Orchester unter anderem Aus einem Totenhaus nach Sadler’s Wells. zum Aldeburgh-Festival (Peter Grimes und The Hocherfolgreiche Inszenierungen von Rape of Lucretia) sowie 2004 nach Glastonbury Janácˇeks Opern sowie vertrautere Werke (Dritter Akt von Wagners Walküre). Viele aus dem Standardrepertoire leitete er auch Musiker des Orchesters engagieren sich für während seiner Zeit als Musikdirektor der die Arbeit von ENO Baylis, der Abteilung English National Opera (1970–77) und der für Bildung und Kommunikation. Das ENO Welsh National Opera (1987–1992). In ganz Orchestra hat an zahlreichen Aufnahmen Europa, den USA und Australien gilt er als

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 42-4342-43 119/12/069/12/06 10:09:5310:09:53 autre plus grand et plus terrible. Ce qu’elle que la pièce Back to Methuselah de Shaw, il L’Affaire Makropoulos recherche n’est pas le testament, mais la traita du même problème de la condition vieille formule cachée avec lui. Quand elle mortelle de l’Homme. L’Affaire Makropoulos “Pourquoi les vieillards ne pourraient-ils pas documents musicaux les plus humains et les découvrira ce morceau de papier – le véritable pose en effet une question semblable – que être fous?” Telle est la question posée par le plus bouleversants du vingtième siècle. Parmi Veˇc Makropulos – elle pourra résoudre son signifi erait la possibilité de vivre éternellement? grand poète irlandais W.B. Yeats dans l’un eux, nul n’est plus étrange ou plus émouvant problème. Cependant, quand elle trouve la La réponse de Shaw est optimiste, promettant ˇ de ses derniers poèmes. À l’instar de son que L’Affaire Makropoulos? réponse, elle la rejette. Un mystère en effet, un développement spirituel infi ni. Capek est contemporain presque exact, Leoš Janácˇek, Le titre lui-même est un paradoxe. Les mots enveloppé dans un rébus, enfermé dans une ambivalent et laisse la question ouverte. Quand Yeats fut un artiste au développement tardif, tchèques “Veˇc Makropulos” n’apparaissent que énigme. Tout ceci est certes bien fascinant, Janácˇek s’empara de ce matériau, sa réponse parvenant à la maturité créatrice à plus de dans le dernier acte. La première fois, ils se mais à peine le matériau brut d’un ouvrage fut profondément tragique. Il se concentra cinquante ans, et poussé par les mêmes réfèrent à une très vieille formule promettant lyrique. sur la situation diffi cile d’une femme qui a démons – un nationalisme farouche, une la vie éternelle. La seconde fois, ils sont utilisés Pourquoi Janácˇek a-t-il donc choisi de reçu le don de la vie éternelle, et qui devient obsession passionnée pour une femme plus dans un sens plus général signifi ant “l’affaire transformer ce drame peu vraisemblable pour en conséquence une carapace humaine amère jeune que lui, et une préoccupation pour ce Makropoulos” – tout comme dans l’opéra de en faire son avant-dernier opéra? Il avait vu et destructive, belle et fascinante à l’extérieur, ˇ qu’il décrivit comme étant “la fascination Moussorgski, le titre Khovantchina est mieux la pièce de Karel Capek L’Affaire Makropoulos mais faite de poussière et de cendres à de ce qui est diffi cile”. Et pourtant, même traduit par “L’Affaire Khovansky”. Il y a en à Prague vers la fi n de 1922 et demanda l’intérieur. Il se donna pour but non seulement Yeats ne prit jamais des risques artistiques de effet une “affaire” dans l’opéra, mais ce n’est immédiatement à l’auteur la permission d’en d’incarner musicalement cette créature, mais ˇ l’ampleur de ceux de Janácˇek au cours des dix pas l’affaire Makropoulos. C’est un procès tirer un libretto. Capek et Janácˇek formaient également d’éveiller notre compassion et notre ˇ années remarquables qui virent la naissance de poursuivit depuis de nombreuses générations une drôle de paire. Capek était un dramaturge amour envers elle. presque tous ses chefs-d’œuvre musicaux. En entre deux branches d’une famille – l’une praguois urbain et sceptique, mieux connu Une raison principale, comme pour tant de particulier, dans ses trois derniers opéras – étant légitime, l’autre ne l’étant pas. Cette pour avoir écrit avec son frère une pièce ses œuvres tardives, fut sa passion pour une Le Petit Renard rusé, L’Affaire Makropoulos et dispute ne sera résolue que lorsqu’un testament allégorique intitulée De la Vie des insectes, femme mariée beaucoup plus jeune que lui. La Maison des morts – il s’imposa des défi s non authentique sera produit. Ainsi, l’argument et pour avoir introduit le mot “robot” dans Janácˇek rencontra Kamila Stösslová en 1917 seulement diffi ciles, mais quasi démentiels – de l’opéra est enveloppé de mystère – qui est l’usage courant avec sa satire R.U.R. Comme alors qu’il avait soixante-trois ans et elle vingt- et les surmonta triomphalement. S’inspirant le véritable héritier et comment découvrirons- George Bernard Shaw qu’il connaissait, son cinq, et tomba immédiatement amoureux respectivement d’une bande dessinée, d’une nous son identité? La personne qui peut contemporain praguois Franz Kafka et un autre d’elle. Il entretint une correspondance épique ˇ satire philosophique et de la description répondre à ces questions est le personnage contemporain H.G. Wells, Capek était un et en grande partie non réciproque avec elle romancée d’un camp de travaux forcés tsariste, central de la pièce, la diva Emilia Marty, et écrivain spéculatif, préoccupé par les questions pour le reste de son existence. Elle lui inspira ces trois drames lyriques sont parmi les ce qui la pousse n’est pas ce mystère, mais un touchant le progrès humain. La même année ses quatre derniers opéras, la Messe glagolitique,

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 44-4544-45 119/12/069/12/06 10:09:5310:09:53 la Sinfonietta, un cycle de mélodies et deux principaux opposants du procès Ferdinand Elena Makropoulos pourrait bien être au cœur précédente, celle de la chanteuse écossaise quatuors à cordes. Elle fut peut-être une muse Gregor/Baron Prus, et le vieux prétendant fou du mystère. Sa musique domine le dernier Ellian MacGregor). Quelques instants plus peu enthousiaste, mais les résultats artistiques Hauksendorf qui connaît Emilia comme étant acte quand la véritable histoire de Marty est tard, ces sonorités reviennent au cours de l’un de cette obsession sont extraordinaires. En la gitane qu’il a aimée un demi-siècle plus tôt. révélée. Il s’agit de l’empereur Rodolphe II de des rares moments de tendresse de cet acte, 1922, quand Janácˇek découvrit la pièce de Il serait excessif de décrire ces échanges comme Habsbourg, un connaisseur et collectionneur quand Emilia songe au fait que cet enfant ne Cˇapek, Kamila s’efforçait de son mieux de étant des duos. Ils ne contiennent pas un d’érudits et d’objets mystérieux dont la cour connut jamais sa mère. Elles réapparaissent à tenir à distance le compositeur célèbre mais gramme de lyrisme, et qui plus est, ce sont les à Prague au tournant du dix-septième siècle l’Acte II, d’abord quand Emilia déclare à la importun. Il est donc peu surprenant que dans personnages masculins qui ont la part du lion attirait les hommes de science, les astrologues, jeune chanteuse Kristina que le sexe est un jeu les lettres qu’il lui écrivit peu de temps après pour les paroles et la musique. Et pourtant, les nécromanciens et les charlatans. Dans la qui n’en vaut pas la peine (comme d’ailleurs le début de la composition de l’opéra, Janácˇek Janácˇek nous implique dans le drame de son pièce de Cˇapek, il a ordonné à l’un d’eux, le aucun des plaisirs de l’existence), puis quand souligne la froideur et le comportement dur de héroïne avec un art consommé. Ses moyens médecin crétois Hieronymus Makropoulos, de elle demande de manière charmeuse à son son héroïne: sont déconcertants, provocants et totalement produire un élixir procurant la vie éternelle. arrière-arrière-arrière-arrière-arrière-arrière- Une beauté de trois cents ans – et éternellement originaux. Hieronymus testa la potion sur sa fi lle Elena, petit-fi ls s’il aime le nom Makropoulos. Ce jeune – mais ayant perdu tout sentiment. Brrr! Pour commencer, outre les avocats, les et son existence sans fi n pendant les trois n’est pas exactement un leitmotiv – mais plutôt Froide comme de la glace! Je vais écrire un opéra à plaideurs, leurs familles et Marty elle-même, siècles suivants provoque l’action du drame. une fi ssure dans le psychisme de Marty par propos d’une telle femme. il y a un personnage supplémentaire caché, La recréation musicale de Janácˇek nous fait lequel nous pouvons entrevoir l’amante et la Et peu après avoir terminé l’ouvrage: constamment présent dans la musique. Nous entendre de continuels aperçus sonores de la mère qu’elle a été pour tant d’hommes à travers À la fi n elle était si malheureuse! Après ça je veux l’entendons d’abord au cours du prélude cour de Rodolphe et du passé qui domine le les siècles. Ces échos d’un autre monde sont que tout le monde l’aime. Sans amour, ça ne avec les trompettes et les tambours joués en présent éternel d’Emilia, comme si une trappe- renforcés par un troisième thème récurrent, marchera pas pour moi. coulisses. Il revient sous la forme d’une fanfare médium s’était ouverte au milieu de la scène. confi é à la viole d’amour. Janácˇek associait cet L’aspect le plus remarquable de sa manière fragmentaire quand le clerc de notaire Vítek Un autre fi l sonore nous conduit à travers instrument avec Kamila, et souhaitait l’inclure d’aborder ce sujet infl exible est combien décrit la famille titrée engagée dans le procès. la trame de l’histoire. Il s’agit d’une série de dans son second Quatuor à cordes intitulé peu d’otages il prend. La pièce de Cˇapek Il est présent dans le stretto insistant à la fi n sons harmoniques glaciaux jouée au violon Lettres intimes d’après sa propre correspondance est sardonique et prosaïque, et pendant les du premier acte, après qu’Emilia a promis qu’accompagne un tambour d’enfant ou avec sa muse. La viole d’amour et son thème deux premiers actes, la musique de Janácˇek la preuve authentifi ant le testament qui se peut-être d’un tabourin de la Renaissance. sont comme l’aspect humain juxtaposé aux est également laconique et mordante. Marty trouve dans un lieu qu’elle a révélé d’une Cette série apparaît la première fois quand sons harmoniques du violon, nous rappelant la n’a presque aucune musique développée. Au manière mystérieuse. Il effectue une nouvelle Marty révèle que l’ancêtre de Gregor était le jeune fi lle de seize ans dont la capacité d’aimer lieu de cela, elle est présentée en une suite apparition inquiétante au deuxième acte fi ls illégitime de l’aïeul du Baron Prus (et bien a été détruite par son éternelle réincarnation. de dialogues – avec l’avocat Kolenat, les quand Prus prend conscience qu’une certaine entendu d’Emilia elle-même sous une identité Grâce à ces moyens subtils et insaisissables,

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 46-4746-47 119/12/069/12/06 10:09:5410:09:54 Janácˇek nous retient captifs pendant deux C’est là une démonstration de la maîtrise toute fi n de la pièce originale, quand tous de tester la potion d’abord sur sa fi lle Elina. actes graves et concentrés en préparation au de Janácˇek qui grâce à la retenue dont il fait les personnages sur scène refusent la formule Elle reste dans le coma pendant une semaine, déchirant troisième acte. preuve au cours des deux premiers actes permet et que Kristina la brûle, Cˇapek nous laisse mais bien qu’elle en sorte en bonne santé, il est Emilia nous est présentée jusqu’ici en aux dix dernières minutes de l’opéra de délivrer dans l’incertitude quant au sort de Marty: impossible de prouver l’effi cacité de la potion. grande partie à travers l’effet qu’elle produit leur message avec une intensité émotionnelle meurt-elle ou non? Dans la production de Le médecin est jeté en prison, et sa fi lle s’enfuit sur les autres, mais dans l’Acte III elle devient presque insoutenable. Le thème de la mort l’English National Opera dont le présent de Prague pour l’étranger où elle commence peu à peu la présence vocale dominante de d’abord entendu dans les brefs échanges enregistrement est issu, le metteur en scène une série de nouvelles vies comme chanteuse. l’opéra. Tandis que nous assistons aux effets entre Emila et Gregor se transforme dans les saisit une allusion de Cˇapek, et Marty demeure À chaque génération, elle change de nom, mais peu à peu déclinant de la potion, l’harmonie mesures fi nales en un choral passionné qui ni morte ni vivante avec la formule colée aux tout au long de sa longue existence, elle retient et l’orchestration de la partition développent est un cousin proche de la péroraison de son doigts tel du papier tue-mouche. Si le public les même initiales, E.M. (Eugenia Montez, Elsa de nouvelles couleurs absentes dans les deux opéra précédent, Le Petit Renard rusé. La même doit décider pour lui-même, la partition de Müller, Ellian MacGregor, Ekaterina Myskina, premiers actes. Entre temps, les appels de vision humaniste est présente dans les deux Janácˇek ne laisse aucune place pour le doute. Emilia Marty). Le prélude de l’opéra évoque trompette de Rodolphe et le motif qui lui est ouvrages: seule la mort donne un sens à la vie. La mort d’Emilia est fi nale, et la musique qui l’existence tragique de la fi lle de l’alchimiste, associé percent la texture avec une insistance À l’occasion de la création de la Messe l’accompagne est l’une des plus transcendantes et ses fanfares distantes suggèrent la cour grandissante. Quand Emilia se souvient d’avoir glagolitique de Janácˇek, un critique remarqua de tout l’opéra du vingtième siècle. fabuleuse de Rodolphe II entouré de ses donné la formule Makropoulos au seul homme qu’il était “touchant d’observer la foi d’un astrologues. © 2007 Dennis Marks qu’elle ait vraiment aimé, le vieux Pepi Prus, vieil homme et d’un vrai croyant”. Janácˇek Janácˇek mêle à la trame musicale un thème répondit par une carte postale d’un laconisme COMPACT DISC ONE aux cordes plein d’ardeur en préparation du typique: “Pas vieux, et pas vrai croyant jusqu’à Argument nouveau motif qui dominera les derniers ce que je voie moi-même”. Il était âgé de Acte I moments de l’opéra. Il accompagne Emilia soixante et onze ans lorsqu’il termina L’Affaire L’action de l’opéra se situe à Prague en 1924. L’étude du Dr Kolenat quand elle demande à Gregor de lui palper les Makropoulos, et pour reprendre les mots de 1 Prélude 2 – 3 On s’attend aujourd’hui mains, qui deviennent glacées. Cependant, Dylan Thomas, il tempêtait contre la lumière En 1585 une fi lle, Elina, naît de Hieronymus au résultat du procès vieux d’un siècle entre alors qu’elle se refroidit, la musique acquiert qui s’éteint. En effet, il écrivit à Kamila au Makropoulos, le médecin crétois de la cour Gregor et Prus. Le baron “Pepi” Prus mourut une nouvelle chaleur. Le motif persiste quand moment où il achevait La Maison des morts de l’empereur Rodolphe II de Habsbourg. intestat en 1817, et sa fortune passa alors à un elle se met à parler dans sa langue grecque qu’il avait encore tant de musique prête à jaillir Obsédé par l’alchimie et les potions magiques, cousin. Peu après, elle fut revendiquée par un natale, et en citant le Notre Père – “Pater de sa plume. Dans toutes ces œuvres tardives, l’empereur demande à Makropoulos de lui certain Ferdinand Gregor, et depuis elle est hemon” – mêle “Notre Père qui est aux cieux” malgré l’égoïsme de ses lettres à Kamila, il fournir un élixir donnant la vie éternelle. un objet de contestation entre les descendants avec son propre père, le médecin Hieronymus. n’y a pas un gramme de sentimentalité. À la Craignant le poison, il contraint le médecin des deux familles. Il semble maintenant que

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 48-4948-49 119/12/069/12/06 10:09:5410:09:54 l’incapacité d’Albert Gregor de fournir une n’est pas d’aider Gregor à gagner son procès, 5 – 10 Interview avec Sir Charles Mackerras Korsakov), la Gouvernante (The Turn of preuve écrite qui lui permettrait de gagner mais de récupérer le document écrit en grec the Screw), Musetta (La Bohème), et Donna son procès va avoir pour conséquence de contenant la formule de la potion qui garantit Née en Australie, Cheryl Barker (Emilia Elvira à l’English National Opera; le rôle titre transmettre la fortune à son adversaire, trois cents ans de vie. Pour la première fois Marty) a étudié à Melbourne avec Dame Joan dans Maria Stuarda au ReisOper; Violetta au Jaroslav Prus. de son existence, Marty ressent les premiers Hammond et à Londres avec David Harper. Staatsoper de Hambourg et au Deutsche Oper signes de la vieillesse. Elle tente d’utiliser son Elle se produit régulièrement dans son pays de Berlin; le rôle titre dans Katya Kabanova 4 – 7 Tout ceci est changé par la venue pouvoir d’abord sur Gregor, 13 puis sur Janek. natal à l’Opéra d’Australie où elle a chanté des à Genève et au Welsh National Opera; et les à Prague de la célèbre chanteuse d’opéra Une conversation tendue révèle que le Baron rôles tels que Nedda (Pagliacci), la Comtesse rôles titres dans Suor Angelica et Die lustige Emilia Marty. Sa connaissance troublante de Prus possède la réponse, et elle lui fait une (Le nozze di Figaro), Mimì (La Bohème), Witwe, Mimì, Desdemona (Otello) et Liù certains événements passés concernant Ellian proposition. Violetta (La traviata), Donna Elvira (Don (Turandot) à l’Opera De Vlaamse. MacGregor, la maîtresse de “Pepi” Prus, rouvre Giovanni), Tatiana (Eugène Onéguine) et les Cheryl Barker se produit régulièrement en l’affaire. En même temps, elle commence à COMPACT DISC TWO rôles titres dans Madama Butterfl y et Tosca. Elle récital et en concert, et sa vaste discographie exercer une étrange fascination sur les deux a également incarné les rôles de Mimì, Antonia inclut Madama Butterfl y et Quo Vadis de Dyson rivaux. Acte III (Les Contes d’Hoffmann) et Tatiana à l’Opéra pour Chandos, et un album solo consacré à des La chambre d’hôtel d’Emilia Marty d’État de Victoria; Tatiana et Violetta à l’Opéra arias de Puccini. Acte II 1 – 4 Prus a passé la nuit avec Marty. de Queensland; Madama Butterfl y et Violetta à Dans les coulisses d’un théâtre d’opéra à Prague, Amèrement déçu par sa froideur, il lui remet le l’Opéra de Nouvelle-Zélande. Né à Newport en Pays de Galles, Neal Davies après une matinée document. Bien qu’elle ait le résultat précieux à Cheryl Barker est particulièrement réputée (Dr Kolenat), a étudié au King’s College de 8 – 9 À la suite de sa prestation triomphale à portée de la main, son contrôle des événements dans le monde entier pour ses interprétations Londres et à la Royal Academy of Music, dont l’opéra, Marty continue d’user de son pouvoir est sur le déclin. Prus est bouleversé par la de Madama Butterfl y, un rôle qu’elle a chanté il est devenu “Fellow” en 2003. Il a ensuite envoûtant pour détruire les autres personnages. nouvelle du suicide de son fi ls, provoqué par à l’English National Opera de Londres, au poursuivi sa formation au Studio International Elle fascine non seulement Gregor mais aussi la dureté de cœur de Marty. Les autres arrivent Grand Opéra de Houston, à l’Opéra De d’Opéra de Zurich sous le patronage de Dame la jeune chanteuse Kristina et son amant pour lui demander de rendre compte de sa Vlaamse, au Staatsoper de Hambourg, au Gwyneth Jones. silencieux Janek, le fi ls de Prus, et même le conduite et d’expliquer son passé. Pendant qu’ils Deutsche Oper de Berlin, et plus récemment Il s’est produit dans Platée de Rameau (à clerc de Kolenat, le prosaïque Vítek. 10 Au découvrent des éléments de la vérité, elle décide à l’Opéra de Hollande. Elle a également Londres et au Festival d’Édimbourg), Giulio cours d’un étrange interlude, le vieux comte que le temps est venu de révéler son identité et interprété Jenifer (A Midsummer Marriage) au Cesare de Haendel sous la direction de Ivor Hauksendorf un peu fou évoque des souvenirs le secret de son existence tourmentée. Royal Opera de Covent Garden à Londres; Bolton, et Figaro (Le nozze di Figaro) au Royal passionnés du passé fl ou de Marty. 11 – 12 Mais Tatiana et Adina (L’elisir d’amore) au Scottish Opera de Covent Garden; Ariodates (Xerxes), peu à peu, il apparaît que son véritable but Traduction: Francis Marchal Opera; Oksana (La Veillée de Noël de Rimski- L’Allegro de Haendel, Publio (La clemenza di

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 50-5150-51 119/12/069/12/06 10:09:5510:09:55 Tito) et Zebul (Jephtha) à l’English National John Graham-Hall (Vítek) a étudié au King’s Ferrando à Vancouver; Basilio et Spoletta (Dialogues des Carmélites), et Kristina (The Opera; Radamisto de Haendel à l’Opéra College de Cambridge et au Royal College of (Tosca) à l’Opéra de Hollande. Makropulos Case); elle a chanté à l’opéra de de Marseille; Theodora de Haendel avec Music de Londres. Il a été membre de l’English Pour la série “Opera in English” de Melbourne, au Victorian College of Arts, à l’ensemble Les Arts Florissants et William National Opera où il a chanté des rôles tels que Chandos, John Graham-Hall a enregistré Alwa l’Oz Opera, au Royal Opera de Covent Garden Christie (à Paris et à Salzbourg); Orlando de Alwa (Lulu), Mime (dans le cycle du Ring), (Lulu), Monostatos (The Magic Flute), Isacco et à l’English National Opera. Haendel avec le Gabrieli Consort; Leporello Hérode (Salome), Lysander (A Midsummer (The Thieving Magpie), l’Idiot (Wozzeck), et Elena Xanthoudakis s’est produite en (Don Giovanni) au Scottish Opera; Curlew Night’s Dream), et Sylvester (The Silver Tassie). Basilio (The Marriage of Figaro). concert au Town Hall de Melbourne, à River de Britten au Festival d’Édimbourg; Il a également chanté au Royaume-Uni les l’Hermitage de Saint-Pétersbourg et à Hong Zebul, Guglielmo (Così fan tutte), Leporello rôles d’Albert Herring, Basilio, le Maître de De nationalité grecque et australienne, Elena Kong (avec la Camerata de Saint-Pétersbourg) et Dulcamara (L’elisir d ’amore ) au Welsh ballet (Ariadne auf Naxos) et Monostatos Xanthoudakis (Kristina) est titulaire d’une dans un répertoire comprenant la Neuvième National Opera. Il a fait ses débuts au (Die Zauberfl öte) au Royal Opera de Covent licence en musique (chant) du Victorian Symphonie de Beethoven, la Petite Messe Chicago Lyric Opera dans le rôle du Major Garden; le Maire (Albert Herring) à l’Opera College of Arts en Australie. Elle a également solennelle de Rossini, la Passion selon saint Jean Général Stanley (The Pirates of Penzance) North; Vanya Kudrjas (Katya Kabanova), Flute obtenu une maîtrise en musique à l’Université et la Passion selon saint Matthieu de Bach, le sous la direction de Sir Andrew Davis. (A Midsummer Night’s Dream) et Bob Boles de Melbourne in 2003. Après avoir remporté Requiem de Fauré, le Messie et Jephtha de En concert, Neal Davies s’est produit avec (Peter Grimes) au Festival de Glyndebourne; le premier prix du Concours de chant Haendel, l’Exsultate Jubilate de Mozart et le l’Orchestre de Cleveland et le Philharmonia Cassio (Otello) au Welsh National Opera; d’Australie à l’Opéra de Sydney, elle a reçu Gloria de Vivaldi. Elle a donné des récitals au Orchestra, le Gabrieli Consort, la Eisenstein, l’Instituteur (Le Petit Renard rusé ) une bourse d’un an pour parfaire sa formation Hessisches Staatstheater de Wiesbaden, à Hong Philharmonie d’Oslo, le BBC Symphony, le au Scottish Opera; et Dada dans la création à la Guildhall School of Music and Drama Kong et à Salt-Lake City aux États-Unis. Kings Consort avec Robert King, l’Academy mondiale de Man and Boy de Michael Nyman de Londres où elle a obtenu une maîtrise of St Martin in the Fields, l’Orchestra of avec l’Almeida Opera. en musique (MMus). D’avril à juillet 2004, Le chanteur américain Robert Brubaker the Age of Enlightenment et l’Orchestre de À l’étranger, John Graham-Hall a interprété elle a suivi un stage au Teatro del Maggio (Albert Gregor) s’est imposé comme l’un des chambre d’Europe. le rôle de Michel (Juliette) et le rôle titre Musicale Fiorentino où elle a chanté le rôle de meilleurs ténors dans les salles d’opéra aux Ses enregistrements incluent A Midsummer du nouvel opéra de Pascal Dusapin, Perela, la Comtesse de Folleville (Il viaggio a Rheims). États-Unis et en Europe. Né en Pennsylvanie, Night’s Dream de Britten sous la direction l’homme de fumée à l’Opéra de Paris-Bastille; Elle a remporté en 2006 le premier prix du il est diplômé du Hartt College of Music de de Sir Colin Davis; le Messie, Theodora et Cassio et Basilio au Théâtre de La Monnaie Concours international Mozart de Salzbourg. Hartford où il a étudié avec David Ray Smith. Saul sous la direction de Paul McCreesh; de Bruxelles; Shapkin (La Maison des morts) à Son répertoire lyrique inclut Leïla (Les Il est régulièrement invité par les grands L’Allegro de Haendel sous la direction de l’Opéra de Nice; Lysander à Paris, Lyon, Caen, Pêcheurs de perles), Pamina et Papagena (Die théâtres lyriques, et s’est récemment produit Robert King; et des mélodies de Dutilleux Montpellier, Rome, et au Festival de Ravenne; Zauberfl öte), Olympia (Les Contes d’Hoffmann), au Metropolitan Opera de New York pour Chandos. Lenski (Eugène Onéguine) à Lyon et Toronto; Anne Trulove (The Rake’s Progress), Constance (Méphistophélès dans Doktor Faustus), au

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 52-5352-53 119/12/069/12/06 10:09:5510:09:55 Royal Opera de Covent Garden de Londres John Wegner a incarné à Bayreuth les rôles de Britten, et A Child of Our Time de Tippett. Graham Clark a enregistré pour toutes les (Bacchus dans Ariadne auf Naxos), au de Telramund (Lohengrin), Donner (Das Thomas Walker a chanté le rôle de Don grandes maisons de disques, et plusieurs de Staatsoper de Hambourg (Hermann dans Rheingold), Biterolf (Tannhäuser) et Klingsor Ottavio (Don Giovanni) à l’Opera North et ses rôles majeurs (incluant ceux du Ring) ont La Dame de Pique), au Teatro alla Scala de (Parsifal ). Il a également chanté les rôles de Tamino avec le British Youth Opera pendant été enregistrés sur DVD. Il a reçu le Olivier Milan (Guido Bardi dans Eine fl orentinische Wotan/le Voyageur et Alberich (Der Ring der qu’il était encore étudiant à la Benjamin Award 1986 pour son interprétation de Tragödie de Zemlinsky et Galitzine dans La Nibelungen), Jokanaan (Salome), les rôles titres Britten International Opera School, où il Méphistophélès dans Doktor Faust de Busoni. Khovantchina), au Festival de Glyndebourne dans Der fl iegende Holländer et Boris Godounov, s’est produit dans le Chevalier (Dialogues des (Lacˇa Klemen dans Jenu˚fa), au Festival de Scarpia, Iago, Pizarro et Escamillo. En 2005, il Carmélites), Ferrando (Così fan tutte), et Peter Considéré comme l’une des meilleures basses Salzbourg (dans le rôle titre dans Der König de a remporté l’Australian Entertainment Industry Quint (The Turn of the Screw). Il a incarné (basso profondo) d’Angleterre, Graeme Danby Zemlinsky), au Liceu de Barcelone (Galitzine, Helpmann Award dans la catégorie “Meilleur Fenton (Falstaff) à l’English National Opera, et (un Machiniste) se produit régulièrement au et Erik dans Der fl iegende Holländer) et à Chanteur d’Opéra”. Ferrando (Così fan tutte) avec le Holland Park Royal Opera de Covent Garden. Il a chanté le l’Opéra de Paris-Bastille (le Comte Pierre Opera. rôle important de Charrington, spécialement Bezukhov dans Guerre et paix, Dimitri dans Né à Glasgow, Thomas Walker (Janek Prus) a écrit pour lui, dans 1984 de Loren Maazel, Boris Goudonov, Galitzine, et le rôle titre dans d’abord étudié à la Royal Scottish Academy of Né à Littleborough dans le Lancashire, commandé par Covent Garden. Der Zwerg). Il a également chanté au Grand Music and Drama (Département des cuivres) Graham Clark (le Comte Hauksendorf) a À l’English National Opera il a chanté Opera de Houston, à l’Opéra du Canada, puis a étudié le chant avec Ryland Davies au commencé sa carrière au Scottish Opera avant Lorenzo (I Capuletti e I Montecchi), Don l’Opéra de Montpellier, l’Opéra de Dallas, et Royal College of Music de Londres. de devenir membre de l’English National Basilio (Il barbiere di Siviglia), Dulcamara au Deutsche Oper de Berlin. Il s’est produit en concert dans Elijah au Opera (1978 –1985). Il s’est produit au Royal (L’elisir d’amore), Somnus (Semele), Quince Royal Albert Hall de Londres avec le London Opera de Covent Garden, à l’Opera North (A Midsummer Night’s Dream), Collatinus Né en Allemagne, John Wegner (Baron Prus) a Philharmonic Orchestra sous la direction de et au Welsh National Opera. Son importante (The Rape of Lucretia), Poo-Bah (The Mikado), grandi en Australie où il a été membre de l’Opéra Kurt Masur dans le cadre des BBC Proms, où carrière internationale l’a conduit au Festival Sarastro (Die Zauberfl öte), Pistol (Falstaff) d’Australie de 1981 à 1992. Il est actuellement il a également chanté dans Otcenás de Janácˇek de Bayreuth pendant seize ans (Loge, Mime, le et Ribbing (). Il s’est membre résident du Deutsche Oper am Rhein. et dans le Magnifi cat de Bach. Il se produit Pilote, Melot), au Metropolitan Opera de New également produit dans Antonio (Le nozze Il maîtrise un vaste répertoire et se produit régulièrement avec des orchestres en Grande- York pendant quatorze ans (Loge, Mime, Vere di Figaro) à Glyndebourne; Brag (The Fairy régulièrement dans le monde entier, notamment Bretagne parmi lesquels le BBC Scottish (Billy Budd), Števa (Jenu˚fa), Hérode (Salome), Queen) au Gran Teatro del Liceu de Barcelone; à La Scala de Milan, en Australie, à Toulouse, Symphony Orchestra, l’English Chamber le Prince/Marquis (Lulu)). Il s’est également Xuthus (Ion de Param Vir) à l’Opéra National Bruxelles, Sao Paulo, Prague, Copenhague, Oslo, Orchestra et l’Academy of Ancient Music dans produit dans des festivals internationaux, du Rhin de Strasbourg, et divers rôles à l’Opera Dublin, et dans de nombreux grands théâtres un répertoire comportant des œuvres telles que notamment au Festival d’Édimbourg et aux North, au Scottish Opera, et aux festivals de lyriques en Allemagne. la Sérénade pour ténor, cor et cordes et St Nicolas BBC Proms de Londres. Buxton et de Garsington.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 54-5554-55 119/12/069/12/06 10:09:5510:09:55 Kathleen Wilkinson (une Habilleuse) est née Susanna Tudor-Thomas (la Femme de Peter Grimes de Britten, Boris Godounov de d’instrumentistes participent au travail de dans le Lancashire. Elle a étudié avec Barbara chambre) a étudié à la Guildhall School of Moussorgsky, Carmen de Bizet et Otello de l’ENO Baylis, département de pédagogie et Robotham au Royal Northern College of Music and Drama de Londres et à la Royal Verdi. Leur enregistrement de ce dernier d’assistance de la troupe. L’Orchestre de l’ENO Music de Manchester grâce à une bourse Scottish Academy of Music and Drama. Elle a opéra, dans une mise en scène de Jonathan apparaît dans beaucoup d’enregistrements de la Peter Moores Foundation, et a obtenu fait ses débuts à l’opéra à l’âge de dix-sept ans Miller et sous la direction de Mark Elder, est réalisés dans le cadre de la série de Chandos plusieurs récompenses. dans le rôle de Barbarina (Le nozze di Figaro) sorti chez Chandos grâce au fi nancement de “Opera in English”: The Carmelites, Lulu, Elle a chanté avec des compagnies telles au Welsh National Opera. Elle est devenue la Peter Moores Foundation, tout comme Falstaff, Otello, Ernani, Mary Stuart, Jules César, que le Scottish Opera, l’Opera Ireland, membre de l’English National Opera Chorus leur enregistrement combien célèbre du cycle Le Barbier de Séville, Rigoletto, La traviata, Holland Park, Grange Park, et au Festival de en 1994 et a créé le rôle de Mrs Van Tricasse du Ring dirigé par Sir Reginald Goodall. Werther et un cycle complet de la Tétralogie sous Glyndebourne, dans un répertoire incluant dans Doctor Ox’s Experiment de Gavin Bryars, Il sont aussi enregistré pour Chandos, en la direction de Sir Reginald Goodall. Madame de la Haltière (Cendrillon), Lucretia et a chanté Flora (La traviata), Pitti-Sing collaboration avec la Peter Moores Foundation, de Britten, Mercedes et le rôle titre dans (The Mikado), et Mercedes (Carmen). Elle a The Carmelites, Falstaff, Maria Stuarda, Giulio Sir Charles Mackerras étudia au Conservatoire Carmen, Filipievna (Eugène Onéguine), également interprété le personnage d’Orlovsky Cesare, Rigoletto (dans la mise en scène de de Musique de Sydney et vint en Angleterre en Suzuki (Madama Butterfl y), Martha (Faust), (Kentish Opera) et celui de l’Enfant (L’Enfant Jonathan Miller) et La traviata. 1947. Il obtint une bourse du British Council Azucena (Il trovatore), et Madam By-Ends et les sortilèges, Opera Zuid). pour continuer ses études à l’Académie de dans la production et l’enregistrement du dAcclamé par la critique comme par le Musique de Prague. Son vif intérêt et sa Royal Northern College of Music de Le Chœur de l’English National Opera est public, l’Orchestre de l’English National passion pour la musique de Janácˇek commença Manchester de The Pilgrim’s Progress de l’un des plus beaux atouts de cette compagnie Opera a reçu plusieurs prix prestigieux au en 1947 après avoir entendu l’opéra Kat’á Vaughan Williams. lyrique. Remarquable autant pour la puissance cours de ces dernières années, notamment Kabanová dirigé par le grand Václav Talich. Au Scottish Opera Kathleen Wilkinson de son chant que l’intensité de son jeu, cet le Royal Philharmonic Society Music Award C’est en qualité de chef assistant au Sadler’s a créé les rôles de Margaret Muir (dans ensemble a enthousiasmé le public dans et un Olivier Award pour sa contribution Wells qu’il donna la première de Kat’á Friend of the People de David Home) et d’innombrables productions de l’English remarquable dans le domaine de l’opéra. Kabanová dans un pays de langue anglaise Mary Lamb (dans Monster! de Sally Beamish). National Opera. Ces choristes, riches d’une Cet orchestre est au cœur de la vie artistique en 1951. Plus tard, il présenta L’Affaire Également au Scottish Opera, elle a interprété vaste expérience et d’une multitude de de l’English National Opera et, outre des Makropoulos et La Maison des morts au Sadler’s les rôles de Nourrice/la Vieille Femme talents, marquent de leur sceau toutes les représentations lyriques au Coliseum de Wells. Il continua à diriger des productions très dans Ines di Castro de James MacMillan, et représentations auxquelles ils participent. Londres, il s’est produit en concert, au Festival acclamées d’opéras de Janácˇek ainsi que des Schwertleite/Erda dans le cycle du Ring Le Chœur a triomphé entre autres dans d’Aldeburgh (Peter Grimes et Le Viol de ouvrages du répertoire habituel quand il devint donné par la compagnie au Festival Guerre et paix de Prokofi ev, Lady Macbeth Lucrèce) et à Glastonbury en 2004 (Acte III directeur musical de l’English National Opera d’Édimbourg. de Mtsensk de Chostakovitch, Billy Budd et de La Walkyrie de Wagner). Un grand nombre (1970 –1977), et au Welsh National Opera

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 56-5756-57 119/12/069/12/06 10:09:5610:09:56 dont il fut directeur musical de 1987 à 1992. Charles Mackerras a également fait Il a été un défenseur de la musique de Janácˇek d’importantes recherches dans le domaine dans les capitales européennes, aux USA et de la musique du dix-huitième siècle, en en Australie. Jenu˚fa est l’une de ses œuvres particulier Haendel et Mozart. Il a enregistré préférées. une série consacrée aux opéras de Mozart Il a entretenu une longue collaboration et à ceux de Gilbert et Sullivan, ainsi que les avec la Philharmonie tchèque et a enregistré cycles complets des symphonies de Mozart, à la tête de cette formation la plupart des Beethoven et Brahms, plusieurs oratorios œuvres pour orchestre de Janácˇek, ainsi que de Haendel et des symphonies de Mahler et Kat’á Kabanová et Rusalka de Dvorˇák. Sa Elgar. Il est actuellement chef principal invité vaste discographie inclut le cycle primé des du Philharmonia Orchestra, chef lauréat du opéras de Janácˇek réalisé avec le Wiener Scottish Chamber Orchestra et chef émérite Philharmoniker au début des années 1980. du Welsh National Opera et du San Francisco Pour Chandos, il a enregistré la version Opera. originale de la Messe Glagolitique de Janácˇek, Charles Mackerras fut nommé commandeur le Psalmus Hungaricus de Kodály et le de l’empire britannique (CBE) en 1974 Concerto pour violoncelle de Dvorˇák. Dans et anobli en 1979. Il a reçu la Médaille du la série Opera in English, il a enregistré Osud, Mérite de la République tchèque en 1996 et La traviata, Werther, Julius Caesar, Mary fait Companion of the Order of Australia en Stuart, Eugène Oneguine, Jenu˚fa, The Magic 1997. En 2003, la reine Elizabeth II l’a nommé Flute et The Bartered Bride. Companion of Honour.

Elena Xanthoudakis as Kristina and John Graham-Hall as Vítek Thomas Walker as Janek Prus

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 58-5958-59 119/12/069/12/06 10:09:5610:09:56 lo rifi uta. Un vero mistero, avvolto in un promessa di infi nito sviluppo spirituale. Cˇapek L’Affare Makropulos indovinello, incluso in un enigma. Tutte cose lasciò ambiguamente aperta la questione. Du avvincenti, senz’altro, ma non esattamente fronte a questo materiale, Janácˇek ebbe una “Perché i vecchi non dovrebbero esser Il titolo in sé è un paradosso. L’espressione ideali per la trama di un melodramma. reazione profondamente tragica. Incentrò pazzi?” Così scriveva il grande poeta “Veˇc Makropulos” ricorre solo nell’ultimo Come mai Janácˇek scelse di trasformare l’attenzione sulla situazione di una donna a irlandese W.B.Yeats in una delle sue atto. La prima volta che vengono utilizzate, le questa vicenda improbabile nella sua penultima cui era stato concesso il dono della vita eterna, ultime liriche. Come Leoš Janácˇek, quasi parole in ceco sono riferite a un’antica formula opera? Avendo assistito al dramma teatrale ma che per questo era diventata esternamente ˇ suo contemporaneo, anche il poeta era che promette la vita eterna. La seconda volta, di Karel Capek, L’affare Makropulos, in un dura, distruttiva, bellissima e affascinante, ma maturato tardi dal punto di vista creativo, hanno un senso più generale e indicano teatro di Praga alla fi ne del 1922, si rivolse completamente spenta dentro. Il compositore intorno ai cinquant’anni, ed era animato da un “affare Makropulos” – come nell’opera immediatamente all’autore per chiedergli si prefi sse il compito non solo di personifi care sentimenti simili: un fi ero nazionalismo, di Mussorgsky Khovanshchina, (la miglior il permesso di realizzarne un libretto. Ma il questa creatura in musica, ma di suscitare nel la passione ossessiva per una donna più traduzione sarebbe “L’affare Khovansky”). Ciò drammaturgo e il compositore erano una pubblico solidarietà e amore per lei. ˇ giovane e la preoccupazione per quanto di cui si parla prevalentemente nell’opera non coppia veramente strana. Capek era un La spinta originaria a creare questa, come defi niva il “fascino delle cose diffi cili”. è l’Affare Makropulos, ma un’annosa causa drammaturgo praghese urbano e scettico, tante delle sue ultime opere, fu l’infatuazione Eppure Yeats non si confrontò con gli stessi che coinvolge da molte generazioni due rami meglio noto per la sua collaborazione con il del compositore per una donna sposata che rischi artistici di Janácˇek nel decennio che di una famiglia, uno legittimo e l’altro no. fratello all’allegorica Dalla vita degli insetti aveva meno della metà dei suoi anni. Nel 1917 fu testimone della nascita di quasi tutti i La controversia sarà risolta solo quando verrà e per avere introdotto la parola “robot” nel il sessantatreenne Janácˇek aveva conosciuto la suoi capolavori musicali. In particolare, alla luce un testamento autentico. Quindi linguaggio universale con la sua satira RUR. venticinquenne Kamila Stösslová e se ne era nelle sue ultime tre opere – La volpe astuta, la trama dell’opera è avvolta in una spirale Come George Bernard Shaw, che conosceva, immediatamente innamorato. Con lei instaurò L’af fare Makropulos e Da una casa di morti di mistero: chi è il vero erede e come sarà il suo contemporaneo di Praga Franz Kafka una fi tta corrispondenza, per lo più unilaterale, – il compositore si impose delle sfi de quasi identifi cato? L’unica in grado di rispondere e un altro contemporaneo, H.G.Wells, per il resto della sua vita. La donna gli ispirò impossibili, superandole trionfalmente. a queste domande è la protagonista, la diva era uno scrittore speculativo, preoccupato le ultime quattro opere: la Messa glagolitica, la Ispirati rispettivamente a un fumetto, a una Emilia Marty, ma dietro la sua persona si delle problematiche del progresso umano. Sinfonietta, un ciclo di lieder e due quartetti satira fi losofi ca e a un racconto romanzato nasconde un altro mistero ancora, ben più Nello stesso anno in cui Shaw scriveva Back per archi. Nonostante la palese riluttanza della ˇ di un campo di prigionia zarista, questi tre grande e più terribile. La donna non va in to Methuselah, Capek affrontò lo stesso sua musa, l’ossessione del compositore ebbe drammi sono alcuni dei documenti musicali cerca del testamento, ma desidera l’antica problema della mortalità umana. L’affare esiti veramente mozzafi ato. Nel 1922, quando ˇ più umani e commoventi del Ventesimo formula conservata insieme ad esso, l’autentico Makropulos formula una domanda analoga: Janácˇek si accostò al dramma di Capek, secolo, ma nessuno è più originale o tragico Veˇc Makropulos, l’unico che risolverà il suo cosa signifi cherebbe per noi poter vivere in Kamila faceva del suo meglio per tenerlo a dell’Affare Makropulos. problema. Eppure quando fi nalmente lo trova, eterno? Shaw aveva risposto con un’ottimistica debita distanza. Non sorprende molto, quindi,

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 60-6160-61 119/12/069/12/06 10:09:5710:09:57 che nelle lettere indirizzate a lei poco dopo aver note. Eppure Janácˇek coinvolge gli ascoltatori a uno di loro, il medico cretese Hieronymus e poi quando chiede in maniera civettuola iniziato a lavorare all’opera, Janácˇek sottolinei nel dramma della sua eroina con consumata Makropulos, di creare un elisir di vita eterna. al suo pronipote di quinta generazione se la freddezza e il comportamento duro della sua abilità, servendosi di mezzi sconcertanti, L’uomo aveva sperimentato la pozione sulla gli piace il nome Makropulos. Non si tratta eroina: provocatori e totalmente originali. propria fi glia Elina, e il dramma fi nale è il esattamente di un leitmotiv, ma piuttosto un Una bellezza di trecento anni – ed eternamente Per iniziare, oltre agli avvocati, le parti risultato degli eventi della sua lunghissima impercettibile squarcio nella psiche di Emilia, giovane – ma con i sentimenti in cenere. Brrr! in causa, le famiglie e la stessa Emilia, vita nell’arco dei successivi tre secoli. La attraverso cui si può intuire che tipo di amante Fredda come il ghiaccio! Comporrò un’opera su è incluso anche un personaggio non ricostruzione operistica di Janácˇek contiene e madre è stata per tanti uomini nell’arco dei una donna così. visto, ma costantemente presente nella continui riferimenti orali alla corte di Rodolfo secoli. Questi echi di un altro mondo sono E poco dopo averla terminata… musica. Lo ascoltiamo per la prima volta e al passato che domina l’eterno presente di rafforzati da un terzo tema ricorrente, sulla È stata talmente infelice fi no alla fi ne! Per questo nel preludio, nelle trombe e nei tamburi Emilia, come se sul palcoscenico si fosse aperta viola d’amore, lo strumento associato da tutti devono volerle bene, dopo. Le cose non fuori scena. Ritorna poi nei frammenti di una botola extrasensoriale. Janácˇek a Kamila e incluso nel suo secondo hanno senso, per me, senz’amore. fanfara quando l’impiegato Vítek descrive C’è un altro fl usso sonoro che ci attira quartetto di archi, detto Lettere intime in La caratteristica più notevole di questo la famiglia nobiliare impegnata nella causa. attraverso le intricate fasi della storia. Si tratta nome della corrispondenza del compositore approccio a un argomento che lascia pochi È presente nell’insistente stretto alla fi ne di una serie di armonici cristallini del violino, con la sua musa. Lo strumento e il tema ad spiragli è la quasi assenza di cedimenti. Il del primo atto, quando Emilia promette di accompagnati da un tamburo giocattolo o esso associato fungono da giustapposizione dramma di Cˇapek è sardonico e prosaico e dimostrare l’autenticità del testamento di cui possibilmente un tamburino rinascimentale. umana agli armonici degli archi, ricordandoci per i primi due atti la musica di Janácˇek è ha misteriosamente rivelato la collocazione. Si sentono per la prima volta quando Emilia la ragazza sedicenne la cui capacità di amare ugualmente essenziale e abrasiva. Emilia Marty Fa un’ulteriore, strana apparizione nell’Atto rivela che l’antenato di Gregor era fi glio è stata schiacciata e distrutta dall’eterna quasi non ha musica estesa propria, ma viene II, quando Prus si rende conto per la prima illegittimo dell’antenato del barone Prus (e reincarnazione. È attraverso questi espedienti presentata attraverso una serie di dialoghi – con volta che al centro del mistero potrebbe naturalmente della stessa Emilia, che all’epoca sottili ed elusivi che Janácˇek tiene prigionieri l’avvocato Kolenatý, le principali parti in causa, essere una certa Elina Makropulos. La sua aveva assunto l’identità di Ellian MacGregor, gli ascoltatori durante due atti severi e Ferdinand Gregor e il barone Prus, e il suo musica domina l’ultimo atto, quando viene cantante scozzese). Poco dopo questi suoni concentrati, in preparazione allo strazio del vecchio ex spasimante Hauk-Šendorf, ormai rivelata la vera storia di Emilia Marty. Si ricorrono in uno dei due momenti di tenerezza terzo. demente, che rivede in Emilia la cantante tratta dell’imperatore Rodolfo II d’Asburgo, di questo atto, mentre Emilia rifl ette che Emilia, fi nora presentata per lo più zingara da lui amata mezzo secolo prima. conoscitore e collezionista di misteriosi sapienti questo bambino non ha mai conosciuto sua attraverso il suo effetto sugli altri, diventa Sarebbe eccessivo defi nire duetti questi scambi e manufatti, la cui corte a Praga al volgere del madre. Ricompaiono quindi nel Secondo sempre più la presenza vocale dominante di battute, privi del benché minimo spirito diciassettesimo secolo richiamava scienziati, atto, quando Emilia dice alla giovane cantante dell’opera nel Terzo atto. Mentre gli effetti lirico. Per di più sono gli interlocutori maschili astrologi, negromanti e ciarlatani. Nel dramma Kristina che il sesso (come tutti i piaceri della pozione scompaiono gradualmente, ad avere la parte del leone in fatto di parole e di Cˇapek proprio l’imperatore aveva ordinato della vita) è un gioco che non vale la candela l’armonia e la strumentazione della partitura

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 62-6362-63 119/12/069/12/06 10:09:5810:09:58 sviluppano nuovi colori, assenti dai primi precedente, La volpe astuta. Lo stesso ideale la musica che l’accompagna è una delle più esistenza della fi glia dell’alchimista e le fanfare due atti. Nel frattempo il richiamo della umanistico è presente in entrambe le opere: trascendenti della lirica del Ventesimo secolo. in lontananza ricordano la splendida corte di tromba di Rodolfo e il motivo a lui associato solo la morte dà signifi cato alla vita. Rodolfo II, circondato dai suoi astrologhi © 2007 Dennis Marks punteggiano la tessitura con crescente Alla prima della Messa glagolitica, un insistenza. Mentre la donna ricorda di aver critico defi nì “toccante osservare la fede di COMPACT DISC ONE dato la formula Makropulos all’unico uomo un vecchio e vero credente”. Janácˇek rispose Argomento da lei veramente amato, il vecchio Pepi Prus, con una cartolina concisa, alla sua maniera: Atto I Janácˇek inserisce uno struggente tema degli “Né vecchio né vero credente fi nché non La vicenda si svolge a Praga nel 1924. L’uffi cio dell’avvocato Kolenatý archi nel tessuto musicale, in preparazione toccherò con mano.” Aveva settantun anni 1 Preludio 2 – 3 Si attende l’esito di una di una nuova fi gura che dominerà i momenti quando completò L’affare Makropulos e, per Nel 1585 Hieronymus Makropulos, fi sico e causa che da cento anni contrappone le conclusivi dell’opera. Il tema accompagna dirla con Dylan Thomas, “inveiva contro alchimista cretese alla corte dell’imperatore famiglie Gregor e Prus. Dopo la morte del Emilia quando chiede a Gregor di toccarle l’affi evolirsi della luce”. Anzi, quando stava Rodolfo II d’Asburgo, era diventato padre di barone “Pepi” Prus, nel 1817, i suoi beni erano le mani, che si stanno facendo fredde come completando Da una casa di morti, scrisse a una bambina, Elina. Ossessionato dall’alchimia passati a un cugino. Successivamente l’eredità il ghiaccio. Ma con il sopravvenire del gelo Kamila che aveva dentro ancora tanta musica. e dalle pozioni magiche, l’imperatore aveva era stata rivendicata da un certo Ferdinand mortale, la musica acquista nuovo calore. In tutte queste tarde creazioni, nonostante ordinato all’achimista di creare un elisir di vita Gregor e da allora il fatto era stato contestato Il tema persiste mentre lei scivola nella sua il solipsismo delle lettere a Kamila, non c’è eterna ma, nel timore di essere avvelenato, dai discendenti delle due famiglie. L’ultimo lingua d’origine, il greco, e cita il Padre nemmeno un grammo di sentimentalismo. lo aveva obbligato a sperimentarlo prima erede, Albert Gregor, non sembra in grado di Nostro – “Pater hemon” – accomunando Alla fi ne del dramma originario, quando tutti sulla fi glia. Elina era rimasta in coma per fornire un documento convincente come prova il Padre celeste e quello vero, l’alchimista sulla scena rifi utano la formula e Kristina la una settimana, prima di riprendersi ma, della sua rivendicazione e quindi fi nalmente la Hieronymos. Con la sua tecnica magistrale, brucia, Cˇapek stende un velo di incertezza naturalmente, l’effi cacia della pozione era proprietà ritornerà al suo avversario, Jaroslav Janácˇek ribalta l’atmosfera contenuta dei sulla morte di Emilia. Nell’allestimento rimasta impossibile da dimostrare. Il medico Prus. primi due atti in maniera tale da consentire della English National Opera da cui questa veniva imprigionato e la fi glia fuggiva da agli ultimi dieci minuti dell’opera di registrazione è tratta, il regista si ispirò alla Praga per rifugiarsi all’estero. Qui iniziava una 4 – 7 Le cose cambiano radicalmente con comunicare il loro messaggio con un’intensità visione di Cˇapek ed Emilia non rimane né carriera di cantante che sarebbe durata trecento l’arrivo a Praga della famosa cantante lirica emotiva quasi insopportabile. Il tema della morta né viva, mentre la formula le rimane anni, cambiando nome al passaggio di ogni Emilia Marty. La sua misteriosa conoscenza morte, prima emerso nel breve colloquio di attaccata alle dita come carta moschicida. Il generazione, ma sempre conservando le stesse degli eventi passati riguardanti Elian Emilia con Gregor, nelle ultime battute si pubblico può decidere indipendentemente, iniziali: E.M. (Eugenia Montez, Elsa Müller, MacGregor, amante di “Pepi” Prus, fa riaprire trasforma in una corale appassionata, molto ma la partitura di Janácˇek non lascia spazio Ellian MacGregor, Ekaterina Myskina, Emilia il caso. Allo stesso tempo la donna comincia a vicina alla perorazione che conclude l’opera all’incertezza. La morte di Emilia è certa, e Marty). Il preludio dell’opera evoca la tragica esercitare uno strano fascino sui due rivali.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 64-6564-65 119/12/069/12/06 10:09:5810:09:58 Atto II le consegna il documento. Ma nonostante Butterfl y e Violetta per la New Zealand Neal Davies (Dr Kolenatý) è nato a Newport, Dietro le quinte nel teatro lirico di Praga dopo l’obiettivo sia ormai a portata di mano, la Opera. Gwent, nel Galles, e ha studiato presso il una matinée donna non riesce più a controllare gli eventi. A livello internazionale, Cheryl Barker King’s College di Londra e la Royal Academy 8 – 9 Dopo aver trionfato sulle scene, Prus è sopraffatto dalla notizia del suicidio è particolarmente apprezzata per le sue of Music, di cui è stato nominato Fellow nel Emilia continua a esercitare il proprio fascino di suo fi glio, annientato dal rifi uto di Emilia. interpretazioni di Madama Butterfl y con 2003. Si perfeziona presso l’International per distruggere gli altri personaggi. Oltre a Arrivano gli altri per chiederle conto delle sue numerose compagnie tra cui English National Opera Studio di Zurigo, con l’appoggio di conquistare Gregor, riesce a fare innamorare di azioni e rivelare il suo passato. Mentre la verità Opera, Houston Grand Opera, Opera De dame Gwyneth Jones. sé anche Janek, giovane fi glio di Prus e timido comincia lentamente a farsi luce, la donna Vlaamse, Opera di Amburgo, Deutsche Oper, In teatro è apparso nelle vesti di Platée di fi danzato della cantante Kristina, e persino decide che è arrivato il momento di rivelare la Berlino e più di recente per la Netherlands Rameau (a Londra e al Festival di Edimburgo), l’impiegato di Kolenatý, il prosaico Vítek. sua identità e il segreto della sua tormentata Opera. Altre apparizioni internazionali Giulio Cesare di Handel per la direzione di 10 In uno strano interludio il vecchio e ormai esistenza, prima di morire. comprendono Jenifer (A Midsummer Marriage) Ivor Bolton, e Figaro (Le nozze di Figaro) per demente conte Hauk-Šendorf rievoca con per la Royal Opera, Covent Garden; Tatiana la Royal Opera, Covent Garden; Ariodate Traduzione: Emanuela Guastella passione il suo nebuloso passato. 11 – 13 e Adina (L’elisir d’amore) per Scottish Opera; (Serse), L’Allegro di Handel, Publio (La Gradualmente si capisce che il vero obiettivo Oksana ( di Rimskij Korsakov), clemenza di Tito) e Zebul (Jephtha) per English della donna non è quello di aiutare Gregor 5 – 10 Intervista con sir Charles Mackerras la Governante (The Turn of the Screw), Musetta National Opera; Radamisto di Handel per a vincere la causa, bensì quello di recuperare (La Bohème), e Donna Elvira per English l’Opéra de Marseille; Theodora di Handel l’antico documento contenente la formula della Nata in Australia, Cheryl Barker (Emilia National Opera; il ruolo di protagonista nella con Les Arts Florissants e William Christie pozione che allunga la vita di trecento anni. Per Marty) ha studiato a Melbourne con dame Maria Stuarda per la ReisOper; Violetta per (Parigi e Salisburgo); Orlando di Handel con la prima volta Emilia comincia a invecchiare. Joan Hammond e a Londra con David l’Opera di Amburgo e la Deutsche Oper; il il Gabrieli Consort; Leporello (Don Giovanni) La conversazione rivela che il barone Prus è in Harper. Nel suo Paese si esibisce regolarmente ruolo di protagonista in Katá Kabánova a per Scottish Opera; Curlew River di Britten possesso del documento e lei gli promette una con Opera Australia, interpretando ruoli tra Ginevra e per la Welsh National Opera; e i al Festival di Edimburgo; Zebul, Guglielmo notte d’amore pur di averlo. cui Nedda (Pagliacci), la contessa (Le nozze ruoli di protagonista in Suor Angelica e La (Così fan tutte), Leporello e Dulcamara (L’elisir di Figaro), Mimì (La Bohème), Violetta (La vedova allegra, Mimì, Desdemona (Otello) e d’amore) per Welsh National Opera. Ha COMPACT DISC TWO traviata), Donna Elvira (Don Giovanni), Liù (Turandot) per l’Opera De Vlaamse. esordito con la Chicago Lyric Opera nelle Tatiana (Eugenio Onieghin) e i ruoli di Cheryl Barker è regolarmente impegnata vesti del Major General Stanley (The Pirates of Atto III protagonista in Madama Butterfl y e Tosca. È in recital e concerti e la sua ricca discografi a Penzance) con sir Andrew Davis. La camera d’albergo di Emilia Marty stata Mimì, Antonia (Les Contes d’Hoffmann) comprende Madama Butterfl y e Quo Vadis di Gli impegni concertistici di Neal Davies 1 – 4 Prus ha trascorso la notte con Emilia. e Tatiana per la Victoria State Opera, Tatiana Dyson per Chandos, oltre a un CD di arie lo hanno visto collaborare con la Cleveland Amaramente deluso dalla sua freddezza, e Violetta per Opera Queensland e Madama pucciniane. Orchestra e la Philharmonia Orchestra, il

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 66-6766-67 119/12/069/12/06 10:09:5810:09:58 Gabrieli Consort, la Oslo Philharmonic, la Nyman con la Almeida Opera. Master in musica. Da aprile a luglio 2004 ha Il tenore americano Robert Brubaker (Albert BBC Symphony, il Kings Consort con Robert Gli impegni teatrali all’estero hanno lavorato come Giovane Artista al Teatro del Gregor) si è affermato come primo tenore nei King, l’Academy of St Martin in the Fields, compreso Michel (Juliette) e il ruolo di Maggio Musicale Fiorentino, dove ha cantato teatri lirici degli Stati Uniti e dell’Europa. Nato l’Orchestra of the Age of Enlightenment e protagonista in Perela, l’homme de fumée, il ruolo della Contessa di Folleville (Il viaggio a in Pennsylvania, si è diplomato presso l’Hartt l’Orchestra da Camera Europea. nuova opera di Pascal Dusapin all’Opéra de Rheims). Ha vinto il primo premio al Concorso College of Music di Hartford, dove ha studiato La discografi a comprende A Midsummer Paris-Bastille; Cassio e Basilio al teatro La Internazionale Mozart di Salisburgo nel 2006. con David Ray Smith. Night’s Dream di Britten con sir Colin Davis; Monnaie di Bruxelles; Shapkin (Da una casa di Il repertorio operistico comprende È regolarmente ospite dei principali teatri Messiah, Theodora e Saul diretti da Paul morti) per l’Opera di Nizza; Lysander a Parigi, Leila (Les Pêcheurs de perles), Pamina e lirici e si è esibito alla Metropolitan Opera McCreesh; L’Allegro di Handel diretto da Lione, Caen, Montpellier, Roma e al Festival Papagena (Die Zauberfl öte), Olympia (Les (Mephistopheles nel Doktor Faustus), alla Robert King; brani di Dutilleux per Chandos. di Ravenna; Lenski (Eugenio Onieghin) a Lione Contes d’Hoffmann), Anne Trulove (The Royal Opera House, Covent Garden (Bacchus e Toronto; Ferrando a Vancouver; Basilio e Rake’s Progress), Constance (Dialogues des in Ariadne auf Naxos), alla Staatsoper di John Graham-Hall (Vítek) ha studiato presso Spoletta (Tosca) per la Netherlands Opera. Carmélites), e Kristina (L’af fare Makropulos). Amburgo (Gherman nella Dama di Picche), il King’s College, Cambridge e presso il Royal Per la serie Opera in English di Chandos, Ha collaborato con Melbourne Opera, al Teatro alla Scala (Guido Bardi in Eine College of Music. È stato membro della John Graham-Hall ha registrato Alwa (Lulu), Victorian College of Arts, Oz Opera, Royal fl orentinische Tragödie di Zemlinsky e Golitsin English National Opera, dove ha interpretato Monostatos (The Magic Flute), Isacco (The Opera, Covent Garden, ed English National nella Khovanshchina), Glyndebourne Festival tra l’altro Alwa (Lulu), Mime (il ciclo del Ring), Thieving Magpie), l’Idiota (Wozzeck), e Basilio Opera. (Lacˇa in Jenu˚fa), Festival di Salisburgo (ruolo Herodes (Salome), Lysander (A Midsummer (The Marriage of Figaro). I suoi impegni concertistici l’hanno vista di protagonista in Der König di Zemlinsky), Night’s Dream), Sylvester (The Silver Tassie). esibirsi a Melbourne (Town Hall), San al Liceu di Barcelona (Golitsin ed Erik ne Altri ruoli nel Regno Unito comprendono Elena Xanthoudakis (Kristina), di nazionalità Pietroburgo (Hermitage) e Hong Kong L’Olandese volante) e all’Opéra de Paris- Albert Herring, Basilio, Tanzmeister (Ariadne greco/australiana, si è diplomata in canto (con la Camerata di San Pietroburgo) in Bastille (il conte Pierre Bezukhov in Guerra auf Naxos) e Monostatos (Il fl auto magico) alla per il teatro con il massimo dei voti presso il un repertorio che include la nona Sinfonia e pace, Dimitri in Boris Godunov, Golitsin, Royal Opera House, Covent Garden; Mayor Victorian College of Arts, in Australia. Ha di Beethoven, la Petite Messe sollennelle di e il protagonista in Der Zwerg). Ha inoltre (Albert Herring) per Opera North; Vanya anche completato un Master in interpretazione Rossini, La passione secondo San Giovanni collaborato con la Houston Grand Opera, Kudrjas (Katá Kabanova), Flute (A Midsummer musicale presso l’università di Melbourne e La passione secondo san Matteo di Bach, il la Canadian Opera Company, l’Opéra di Night’s Dream) e Bob Boles (Peter Grimes) nel 2003. Dopo aver vinto il primo premio Requiem di Fauré, il Messiah e Jephtha di Montpellier, la Dallas Opera e la Deutsche per la Glyndebourne Festival Opera; Cassio dell’Australian Singing Competition presso la Handel, Exsultate Jubilate di Mozart e il Oper Berlin. (Otello) per Welsh National Opera; Eisenstein, , ha ottenuto una borsa Gloria di Vivaldi. Ha svolto recital presso il maestro (La volpe astuta) per la Scottish di studio di un anno presso la Guildhall School l’Hessisches Staatstheater di Wiesbaden, a John Wegner (Barone Prus) è nato in Opera; Dada nella prima di Man and Boy di of Music di Londra, dove ha conseguito un Hong Kong e a Salt-Lake City, Utah. Germania ed è cresciuto in Australia, dove

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 68-6968-69 119/12/069/12/06 10:09:5910:09:59 ha collaborato con Opera Australia dal 1981 Janácˇek e nel Magnifi cat di Bach. L’artista alla Metropolitan Opera per quattordici Glyndebourne, Brag (The Fairy Queen) al Gran al 1992. Attualmente è membro residente compare regolarmente con le orchestre del stagioni (Loge, Mime, Vere (Billy Budd), Števa Teatro del Liceu di Barcellona, Xuthus (Ion della Deutsche Oper am Rhein. Ha un vasto Regno Unito, tra cui BBC Scottish Symphony (Jenu˚fa), Herodes (Salome), Principe/Marchese di Param Vir) all’Opéra National du Rhin di repertorio ed è regolarmente ospite dei teatri di Orchestra, English Chamber Orchestra e (Lulu)). Ha inoltre partecipato a festival Strasburgo, oltre a collaborazioni con Opera tutto il mondo, per esempio Milano (La Scala), Academy of Ancient Music, interpretando un internazionali tra cui quello di Edimburgo e i North, Scottish Opera e interpretazioni ai Australia, Toulouse, Bruxelles, Sao Paulo, repertorio che comprende Serenade for Tenor, Proms BBC. festival di Buxton e Garsington. Praga, Copenaghen, Oslo, Dublino e di molte Horn and Strings e St Nicolas di Britten, e Ha registrato per tutte le principali case e importanti compagnie in Germania. A Child of Our Time di Tippett. molti dei suoi ruoli principali (tra cui quelli del Kathleen Wilkinson (Cleaner) è nata nel A Bayreuth ha cantato Telramund I ruoli teatrali includono Don Ottavio Ring) sono disponibili su DVD. Ha ricevuto Lancashire; ha studiato con Barbara Robotham (Lohengrin), Donner (Das Rheingold ), Biterolf (Don Giovanni) per Opera North e Tamino un Olivier Award nel 1986 per il ruolo di presso il Royal Northern College of Music, con (Tannhäuser) e Klingsor (Parsifal). Il repertorio per la British Youth Opera quando ancora Mephistopheles nel Doktor Faust di Busoni. l’appoggio della Peter Moores Foundation, e ha comprende Wotan/Wanderer e Alberich (Der frequentava la Benjamin Britten International vinto numerosi premi. Ring der Nibelungen), Jochanaan (Salome), i Opera School, per cui ha interpretato anche il Graeme Danby (Stage Hand) è considerato Ha collaborato con Scottish Opera, Opera ruoli di protagonista in Der fl iegende Holländer ruolo del Cavaliere (Dialogues des Carmélites), uno dei migliori bassi profondi della Gran Ireland, Holland Park, Grange Park e Festival e Boris Godunov, oltre a Scarpia, Iago, Pizarro Ferrando (Così fan tutte), e Peter Quint (The Bretagna e si esibisce regolarmente con la di Glyndebourne e i suoi ruoli comprendono ed Escamillo. Ha ricevuto nel 2005 il premio Turn of the Screw). Ha cantato Fenton (Falstaff ) Royal Opera Covent Garden. Ha interpretato Madame de la Haltière (Cendrillon), Lucretia Helpmann della Australian Entertainment per English National Opera e Ferrando (Così l’importante ruolo di Charrington composto di Britten, Mercedes e il ruolo di protagonista Industry come miglior interprete lirico fan tutte) con la Holland Park Opera. appositamente per lui in 1984, opera in Carmen, Filipyevna (Eugenio Onieghin), maschile nel teatro. commissionata a Lorin Maazel per il Covent Suzuki (Madama Butterfl y), Martha (Faust), Graham Clark (Conte Hauk-Šendorf) è nato Garden. Azucena (Il trovatore), e Madam By-Ends Nato a Glasgow, Thomas Walker (Janek Prus) a Littleborough, nel Lancashire e ha iniziato Per English National Opera ha cantato nell’allestimento e registrazione di The ha frequentato il dipartimento ottoni della la sua carriera di cantante alla Scottish Opera Lorenzo (I Capuletti e i Montecchi), Don Pilgrim’s Progress del Royal Northern College Royal Scottish Academy of Music and Drama prima di entrare alla English National Opera Basilio (), Dulcamara of Music. prima di studiare canto con Ryland Davies al come solista della compagnia (1978 – 85). (The Elixir of Love), Somnus (Semele), Quince Per la Scottish Opera ha creato i ruoli Royal College of Music. È apparso alla Royal Opera House, Covent (A Midsummer Night’s Dream), Collatinus di Margaret Muir (Friend of the People di Gli impegni concertistici comprendono Garden, Opera North e Welsh National (The Rape of Lucretia), Poo-Bah (The Mikado), David Home), e Mary Lamb (Monster! di Elijah alla Royal Albert Hall con Kurt Masur Opera. La sua vasta carriera internazionale lo Sarastro (The Magic Flute), Pistol (Falstaff ) Sally Beamish). Per la stessa compagnia ha e la London Philharmonic Orchestra ai BBC ha portato al Festival di Bayreuth per sedici e Ribbing (A Masked Ball). Altre apparizioni anche cantato i ruoli di Nurse/Old Woman Proms, dove si è esibito anche in Otcenás di stagioni (Loge, Mime, Steuermann, Melot), comprendono Antonio (Le nozze di Figaro) a nella Ines di Castro di James MacMillan e

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 70-7170-71 119/12/069/12/06 10:09:5910:09:59 Schwertleite/Erda nel ciclo del Ring allestito Carmen di Bizet e l’Otello di Verdi. La loro Falstaff, Otello, Ernani, Mary Stuart, Julius Sir Charles Mackerras ha al suo attivo una dalla compagnia per il Festival di Edimburgo. ultima registrazione, nella produzione di Caesar, The Barber of Seville, Rigoletto, La lunga collaborazione con la Filarmonica ceca, Jonathan Miller diretta da Mark Elder, è uscito traviata, Werther, e nella registrazione completa con cui ha registrato la maggior parte delle Susanna Tudor-Thomas (Chambermaid) ha per Chandos con il patrocinio della Peter del Ring Cycle diretta da sir Reginald Goodall. opere orchestrali di Janácˇek oltre a studiato presso la Guildhall e la Royal Scottish Moores Foundation, come la loro registrazione Katá Kabánova e Rusalka di Dvorˇák. La sua Academy of Music and Drama. Ha esordito in del amoso “Ciclo del Ring” diretti da Sir Sir Charles Mackerras ha studiato presso il vasta discografi a comprende un premiato teatro a diciassette anni nel ruolo di Barbarina Reginald Goodall. Altre registrazioni Chandos/ Conservatorio di Sydney e si è trasferito in ciclo di opere di Janácˇek con i Wiener (Le nozze di Figaro) con la Welsh National Peter Moores Foundation sono The Carmelites, Inghilterra nel 1947. Ha ottenuto una borsa Philharmoniker all’inizio degli anni Ottanta. Opera. È entrata nel coro della English Falstaff, Maria Stuarda, Giulio Cesare, Rigoletto di studio del British Council per proseguire Le registrazioni per Chandos comprendono National Opera nel 1994, ha creato il ruolo di (produzione di Jonathan Miller) e La traviata. gli studi presso l’Accademia Musicale di Praga. la versione originale della Messa glagolitica di Mrs Van Tricasse in Doctor Ox’s Experiment di Nel 1947 nasceva il suo appassionato interesse Janácˇek, Psalmus Hungaricus di Kodály e il Gavin Bryars e ha cantato Flora (La traviata), Apprezzata dalla critica e dal pubblico, per Janácˇek, dopo aver ascoltato la Katá Concerto per violoncello di Dvorˇák. Per la Pitti-Sing (The Mikado), e Mercedes (Carmen). l’Orchestra della English National Opera Kabánova diretta dal grande Václav Talich. serie Opera in English ha registrato Osud, Altri ruoli comprendono Orlovsky (Kentish ha ricevuto numerosi riconoscimenti In qualità di vicedirettore d’orchestra a La traviata, Werther, Julius Caesar, Mary Stuart, Opera) e L’enfant (L’Enfant et les sortilèges, per prestigiosi, tra cui il Music Award della Royal Sadler’s Wells nel 1951 Mackerras proponeva Eugene Onegin, Jenu˚fa, The Magic Flute e Opera Zuid). Philharmonic Society e un premio Olivier la prima esecuzione di Katá Kabánova The Bartered Bride. per il suo contributo all’opera. L’Orchestra nel mondo anglofono. Il seguito avrebbe Sir Charles Mackerras ha svolto inoltre Il Coro di English National Opera è una delle è il fulcro della vita artistica della English presentato L’affare Makropoulos e Da una ricerche approfondite sulla musica del XVIII migliori risorse dell’Opera. In innumerevoli National Opera e, oltre al lavoro in teatro casa di morti a Sadler’s Wells; avrebbe poi secolo, soprattutto quella di Handel and produzioni della English National Opera presso il London Coliseum, si esibisce continuato a dirigere le opere di Janácˇek in Mozart. Ha registrato opere di Mozart e ha entusiasmato le platee con il potere del anche in concerto; è stata presente al festival allestimenti di grande successo, oltre a un Gilbert e Sullivan oltre a una serie completa canto e l’intensità della recitazione. L’ampia di Aldeburgh (Peter Grimes e The Rape of repertorio più tradizionale alla sua nomina delle sinfonie di Mozart, Beethoven e Brahms, gamma di capacità ed esperienza che portano Lucretia) e a Glastonbury nel 2004 (Atto III a Direttore musicale della English National numerosi oratori di Handel e sinfonie di I coristi nelle esibizioni costituiscono il tratto della Valchiria di Wagner). Molti dei suoi Opera (1970 – 77) e in seguito della Welsh Mahler ed Elgar. Attualmente è Principal distintivo di ogni produzione in cui appaiono. componenti collaborano con il dipartimento National Opera (1987 – 1992). È stato un Guest Conductor della Philharmonia Particolari trionfi per il Coro sono stati Guerra di istruzione esterno della compagnia, ENO pioniere della diffusione della musica di Orchestra, Conductor Laureate della Scottish e pace di Prokofi ev, Lady Macbeth dei macelli Baylis. L’Orchestra della ENO compare in Janácˇek nelle capitali europee, negli USA e in Chamber Orchestra e Conductor Emeritus di Shostakovich, Billy Budd e Peter Grimes numerose registrazioni per la serie Opera in Australia. Una delle sue opere predilette della Welsh National Opera e della San di Britten, Boris Godunov di Mussorgsky, la English di Chandos: The Carmelites, Lulu, è Jenu˚fa. Francisco Opera.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 72-7372-73 119/12/069/12/06 10:10:0010:10:00 Sir Charles Mackerras ha ricevuto diverse 1996 e il titolo di Companion of the Order of onorifi cenze, tra cui il CBE nel 1974, seguito Australia nel 1997. Nel 2003 all’elenco delle dalla nomina a baronetto nel 1979, la onorifi cenze reali britanniche si è aggiunto il Medaglia di Merito della Repubblica Ceca nel Companion of Honour.

Neal Davies as Dr Kolenatý Graham Clark as Count Hauk-Šendorf

CCHANHAN 3138(2)3138(2) Book.inddBook.indd 74-7574-75 119/12/069/12/06 10:10:0010:10:00 COMPACT DISC ONE Gregor Gregor Kristina Bravo citizen Marat! And the verdict? 3 Daddy, she really is wonderful. Daddy, she is The Makropulos Case so wonderful. Vítek Vítek Act I No no! That wasn’t Marat. I couldn’t tell you. When you think back on it, The Clerk’s room at Dr Kolenatý’s. A high fi ling Gregor (climbs down the ladder) it’s thirty years, thirty years we’ve kept this action cabinet with numerous pigeon holed arranged Who is? That was Danton. Speech of October the twenty- going. Then hey presto, you take it to the High alphabetically. Left, the Clerk’s table: centre, a third, 1792. Please excuse me, sir, if I correct you. Court! Fancy killing off such a fi ne lawsuit. double writing table; right, a few armchairs for Vítek waiting clients. On the walls various tariffs, notices, Who is? a calendar, a telephone. Everywhere documents, law Gregor Gregor books etc. Where’s our friend the lawyer? Nonsense Vítek. I want to end it and win it. Kristina You must know Marty. 1 Prelude Vítek Vítek He’s not returned yet, sir. Yes, or lose it. Vítek Gregor Who is she? 2 Oh dear, my goodness! Just gone one o’clock. Where can the boss be? Gregor versus Prus. Gregor Gregor G-G-R… That’s it. (climbs up the ladder) Gregor And the verdict? Have I lost it? Am I ruined? Well, if I should lose, then… Kristina versus… Thank God! This is the last of you. Emilia Marty! Emilia Marty. Oh dear, my goodness! (rummages in the fi le) Vítek Vítek Eighteen hundred and twenty-seven, eighteen I couldn’t tell you. You see, the boss has been in Then you’d shoot yourself. That’s exactly how Vítek thirty-two, forty, eighteen forty-seven, only a court all morning. your father talked. My daughter’s on the stage you know. few years now to its hundredth anniversary. Gregor versus Prus. Pity! Nothing lasts for Gregor Gregor Kristina ever. Vanitas… ashes and dust! (sits refl ectively Please telephone him at once. But he did shoot himself. O father, father, I’m going to leave the stage. on the top rung of the ladder) But of course! It’s There is no greater singer in all the world. I’m the gentry. What d’you expect from a baron. A Vítek Vítek going to leave the stage. I will never go back. I’ve hundred years of lawsuits! Plutocrats! Citizens! Right away. That was because he went bankrupt. no talent, none at all. Father. This Marty! She is Mark my words. You are far too tolerant (Gregor (speaking into the phone) really, she is really lovely! stands in the doorway unobserved, and listens for Hullo. Doctor Kolenatý. He’s left? I’m much Gregor a moment.) of the ancient gentry, men who owe obliged. (hangs up the receiver) Shut up, for God’s sake! Gregor their privileges to kings and tyrants. He’s left. (Kristina enters.) And what might be her age?

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 76-7776-77 119/12/069/12/06 10:10:0110:10:01 Kristina Kolenatý Marty Kolenatý Nobody knows it, nobody’s found it out. 4 Come this way please, if you don’t mind. Really? Really? Then he might just as well stay! I wouldn’t say so. All the papers have it. (Kolenatý sits opposite her.) Vítek (Marty appears in the doorway.) And so you’re the solicitor representing this man Marty Well, is she thirty? Gregor over the legacy of old man Prus. Briefl y, could I trouble you to tell me something Kristina about the case? Kolenatý Kristina Good heavens, it’s her. It is Marty. Father, look. You mean Baron Josef Ferdinand Prus, deceased Kolenatý Maybe. And lovely. Where shall I begin? Kolenatý in the year 1827. What can I do for you? Gregor Marty Marty I shall be at the theatre tonight. I’ll look at you So he’s dead then? From the beginning. there, not at Marty! (Vítek goes out on tip toe. Kristina follows.) Kolenatý Kolenatý (settles down in his armchair and speaks Kristina Marty Dead! It’s almost a hundred years ago. rapidly) Then you will be stupid! Where will your eyes Doctor Kolenatý? I’ve seen that girl somewhere Well then, about the year 1820 the Prus be? else before. I want advice about something. Marty estates belonged to the half-witted Baron Josef Poor fellow. No one ever told me. Ferdinand Prus. Kolenatý Vítek With pleasure. Please sit down. Kolenatý Marty Oh dear. Oh dear! Indeed, indeed! Is there anything else that I can Pepi? What, old Pepi half-witted? Marty do for you? Kristina It’s a matter concerning the Gregor case. Kolenatý Not to be seeing Marty! Marty (stands up) Well, eccentric perhaps! Oh don’t let me keep you. Gregor Marty Vítek What did you say madam? What a chatterbox. Kolenatý (stands up) No, unhappy. Pray forgive me! I presumed you’d a reason for Marty calling on me. Kolenatý Kristina Introduce me. You can’t possibly know that. If he hasn’t seen Marty he shouldn’t talk! Marty (sits down again and opens a paper) Kolenatý Yes. This. Verdict today in the case Gregor versus Marty (Dr Kolenatý enters.) Yes, of course Miss Marty, my client, Mr Gregor. Prus. Quite a coincidence. And nor can you!

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 78-7978-79 119/12/069/12/06 10:10:0210:10:02 Kolenatý revenues from the estate together with the title: Marty Marty God knows best. Anyway, Josef Ferdinand Prus Besitzer, und Eigentümer. All of this is utter nonsense, utter nonsense! Pepi It’s a Scottish name, MacGregor. who died without issue and intestate in 1827. must have been meaning Gregor, Ferdinand Marty Gregor! Gregor Marty For ev’rything was all in order then. There you are, doctor! MacGregor. Not Gregor What did he die of? Kolenatý Mach. Kolenatý Littera scripta valet. What’s written is written. Kolenatý Not so fast please. Against this Baron Meanwhile another cousin came forward. He’d Kolenatý Meningitis or something. The property was Emmerich Prus raised the objection that there managed to fi nd someone who was actually taken over by his cousin Baron Emmerich Prus was no written statement or will to prove the called Gregor Mach. Ah, but why then wasn’t her son also called Zabrzinski. It consists of several estates of which endowment, that in point of fact, the deceased MacGregor? while on his deathbed made a verbal arrangement the largest and the richest was Loukov. And Marty in favour of some other person. Loukov was claimed by one Ferdinand Gregor, Wait a bit. Wait a bit, he was his son of course. Gregor great grandfather of my client in the very same Can’t you see? Out of respect for his mother. Marty Ferdi of course was Pepi’s son! Ferdi of course was year 1827. Ferdi, you see, never knew his mother. That is quite untrue. Pepi’s son.

Marty Kolenatý Kolenatý Kolenatý One moment, why, Ferdinand must have been That’s just the problem. Who? Whose son? Pepi’s son? I see. Have you any proof of this? still quite a boy then. Marty Gregor Kolenatý Marty That is quite impossible. Pepi’s son? Yes, precisely. Student at the Academy in I don’t know. Go on. Vienna. His claim to the Loukov estate was Kolenatý based on these facts: fi rstly, the deceased, a year That’s just the problem. Kolenatý Kolenatý before he died, had gone to see the director of (climbs up the ladder, takes out the Gregor fi le, And who was the boy’s mother? I’ll go on. Ever since then this case has continued the Academy, ‘hoch persönlich’. And clearly sits down on the last rung and rapidly turns over thro’ several generations. Pruses, Gregors, on and stated that he was handing over the whole papers) Marty on, assisted by the doctors Kolenatý. And thanks estate of Loukov to be held in trust for the Just let me read you this: ‘While dying, in a high Mother? His mother’s name was Ellian to the present one this Gregor will lose his case aforementioned Gregor. Who, if and when he fever, the Baron several times declared that the MacGregor, she was a singer at the opera. once for all, and as it so happens, this very day. came of age, should get full ownership item estate of Loukov should belong to one Gregor (Kolenatý scribbles excitedly on the document.) prosecundo: during the lifetime of the deceased, Mach’. (closes and returns fi le) Please to note Gregor That’s the whole story. Have you any more the aforementioned Gregor used to receive the Mach is a surname. (remains sitting on the ladder) What d’you say her name was? questions?

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 80-8180-81 119/12/069/12/06 10:10:0210:10:02 Marty Gregor Kolenatý Kolenatý Yes. Just what do you require if you’re to win the Archives. Yes, of course, we’ll go at midnight with false And is the envelope sealed? case. keys and rope ladders. Can’t you see us, can’t you Kolenatý see us! Miss Marty, you have the strangest ideas Marty Kolenatý Filing cabinet. about lawyers. Of course. One thing. A valid will. Marty Marty (anxiously) Kolenatý One of the drawers was marked with the year Marty But you simply must get hold of it. There are With Josef Prus’s own deal? eighteen hundred and sixteen. Well now, that was those letters there and you will fi nd among And can’t you fi nd one anywhere? the year that Pepi got to know Ellian MacGregor. then a yellow envelope, in it Pepi’s last will and Marty And in that drawer he kept the love letters sent to testament duly signed and sealed. Oh yes. Kolenatý him by Ellian . Nowhere: there isn’t one. Kolenatý Kolenatý (sits) Kolenatý (stands up) I’m much obliged. (sits) You must think we are How d’you know that? In heaven’s name, how d’you know that? Please. Marty just children! That is awkward. Marty Gregor (jumps up) Marty Never mind about that. There are letters from his Kolenatý Can you be certain? So you don’t believe me? Very awkward. agents, in fact piles of old documents. Couldn’t you go and look through them? (stands up) Kolenatý Gregor Have you any more questions? Kolenatý What’s in it, what’s it like? Yes, I do. Certainly. Of course, if the owner permits. Marty Marty Kolenatý Who owns the house where old man Pepi lived? Marty In it Pepi leaves the whole estate of Loukov to his Stuff and nonsense. And suppose he doesn’t? illegitimate son, Ferdi. Kolenatý Gregor My client’s opponent Jaroslav Prus. Kolenatý You sit there are you dare to tell me. That’s that then! Kolenatý Marty Literally? Kolenatý Now listen to me. (mysteriously) In Pepi’s house Marty Come to your senses, man! There’s an envelope there used to be a cupboard like that. Every You must get that drawer, no matter how you Marty duly closed and sealed. How could anyone know drawer had the number of a year marked on it. do it. That’s right. what’s inside?

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 82-8382-83 119/12/069/12/06 10:10:0210:10:02 Gregor Kolenatý (drags the telephone away from him) there! Strange this wonderful feeling you give me. Gregor I trust her. Wait a moment. We’re friends, aren’t we? I’ll go. Is it because you’re so wondrously lovely, lovely? You knew about those letters? You knew about the old man’s will. Where from? Since when? Kolenatý Gregor Marty Who told you all about it? Who could know Childish nonsense! Miss Marty, you have a To Pepi’s house? How old are you? about it? Understand that, that I must know genius for making up fairy tales. what’s behind it. Kolenatý Gregor Gregor To the Devil. (hurries off ) Thirty-four. Ever since I was a child, I Marty I trust her. Let me tell you, doctor. I believe her, determined I would get those millions. I was A miracle. ev’ry syllable. So you’ll please go at once to Pepi’s Gregor crazy for them. I simply couldn’t help it, and 5 Gone at last! house. this very day if you’d not appeared I would have Gregor killed myself. Yes, a miracle. But ev’ry miracle must have Marty Kolenatý an explanation. Otherwise we cannot bear it. Good for you Gregor! You know I couldn’t do that. Marty Why did you come here? What is your reason Debts then? for helping me? Why especially me? What can Gregor possibly concern you? Gregor Gone at last. Or I shall get another lawyer, the fi rst one I fi nd Gregor Yes. I won’t try to hide the fact… that my future in the directory. (goes to the telephone and looks Marty Marty was desperate. And then suddenly you appeared. through the directory. Kolenatý goes up to him.) Is he really then so stupid? That is my affair. God knows where from, famous, wonderful, Kolenatý breathing mystery. Why d’you laugh at me? Gregor Gregor As you please. Practical. Not used to reckoning with miracles! Marty Mine also. Oh Miss Marty tell me, if it’s to you I I’ve always looked for miracles and then you owe my future, my fortune, even my life. What Gregor No. Silly boy. appeared. You must permit me to thank you for can I offer you? Doctor Abrahams. it. Gregor Kolenatý Marty Speak to me I beg you, tell me! Tell me Marty Surely not that man. Pray don’t mention it. ev’rything. Can’t you tell me? What d’you mean by that?

Gregor (at the telephone) Gregor Marty Gregor This is Gregor! Strange but I’m positive that he will fi nd the will Don’t want to. What can I offer you?

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 84-8584-85 119/12/069/12/06 10:10:0310:10:03 Marty (bursting with indignation) Marty Gregor to tell you. I never saw you before. (pleadingly) I see. Well upon my word! This little fellow’s What? And was she beautiful? No, No, please don’t laugh at me. off’ring me money! Gregor Marty Marty Gregor (taken aback) MacGregor. Gorgeous. I am not laughing, don’t be crazy. Forgive me! Marty Gregor Gregor Marty Christian name, stupid! Was she in love with my great grandfather? I am crazy. Never before have I been so crazy. He’d give it all away, this little fellow. When you speak it excites me, like a summons Gregor (goes to the window and looks out) Marty to battle. Have you ever seen fl owing blood? It Albert. Yes perhaps. But in her own way. drives men mad, so they can’t account for their Gregor actions. And you at the fi rst glance I knew for Marty Am I a child to be talked to like this? certain. In you there’s something terrible. Have I suppose your mama calls you Bertie, eh? Gregor When did she die? you lived a full life. Tell me. Marty Gregor Well? Marty That’s right. But my mother’s been dead for some Marty Stop this nonsense. time now. I don’t know. (tired) That’s enough Bertie. Some Gregor other time please. It’s quite intolerable, you make me feel like I’m Marty Gregor a little boy. Why is it no one’s ever killed you yet? Bah! Bah! All of them go the same way. Gregor (goes nearer to her) 6 Emilia. Marty (turns from the window) Gregor Marty What is your name? Now tell me about Ellian MacGregor. Stop this nonsense! Marty Gregor Marty I am not Emilia to you. Gregor Pardon? At last! About time you thought of asking. I’ve so much to say to you. You treated me so Gregor harshly, that sends a man off his balance. I feel Marty Gregor What am I to you then? Please don’t humiliate a hot wind searing, scorching. What is it? Men What do they call you? Can you tell me anything? Who was she? me so! Please don’t torment me so! Just suppose sense it and turn at bay, just like wild beasts. You that I owed you nothing, nothing at all. Suppose arouse something, something terrible. Were you Gregor Marty you were just a lovely woman and you had never told that? (goes nearer to her) Emilia, you Gregor. A famous prima donna. dazzled someone. Listen then, one thing I’d like surely know that you are lovely!

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 86-8786-87 119/12/069/12/06 10:10:0310:10:03 Marty (wearily) Marty Gregor (Kolenatý gets up.) Look! Lovely! Well then, this can be no use to you. Give me the Emilia! Greek document. Prus (to Kolenatý) (A light shines.) Marty Introduce me! Gregor Is it with Prus? Get it from him. Call me a taxi. Gregor Which one? Kolenatý This is wonderful. You’re lovely. Kolenatý (enters quickly followed by Prus) Our case is established. Mary 7 Found it. We’ve found it. (kneels before Marty (In the light she appears old.) The one that Ferdi had – you know, your great Emilia) Please forgive me! A thousand apologies! Prus Leave me! Please go Bertie. grandfather. Can I have it? I’m just a silly old fool! Introduce me! Where are the documents? The documents. Gregor Gregor Marty Terribly lovely! I’ve never heard of it. So it was there? Kolenatý Gregor wins it. Which ones? Marty Marty Kolenatý D’you know, Bertie, (The light goes out.) there’s Nonsense, surely you know! In heav’n’s name, You know ev’rything! It was there. Marty something you could give me. Bertie. Surely you must know. Those from Ellian. Gregor Gregor (lifts his hood ) Gregor (stands up) What was? Prus What? I don’t. I don’t. They’re with me still, but Mister Gregor need Kolenatý have no fear. Marty Marty (stands up abruptly) The will was there, the letters too. You yourself offered it. D’you know what I’d like? Liar! You must know! Idiot. I must get it back. And something else – a document. D’you hear me? Find it! Kolenatý Gregor Prus (offering Gregor his hand) Miss Marty, Baron Prus. Our archenemy. You can have anything. Gregor Congratulations. Tell me where it is. Marty (vehemently) Marty Kolenatý Gregor’s giving them to me. Listen, Bertie. D’you know Greek? Marty In Greek. Look for it. Bring it here! I came here to get it. Prus Gregor I came here to get it. Prus But there’s just one little thing that is missing No! We’ve found the missing will. still.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 88-8988-89 119/12/069/12/06 10:10:0310:10:03 Marty Act II Cleaner (The Cleaner goes off the other side. Kristina enters.) What can be missing? I don’t mind admitting it. I cried like a baby. The stage of a large theatre, empty, in some disorder Kristina Prus from the previous night’s performance. A few props, Prus (entering) 9 Janek, come on. No one here will see us. We shall need some proof that this son Ferdinand rolled up scenery, lighting equipment. The whole Where can I fi nd Miss Marty? was really the son of Baron Prus. bare and forlorn backstage appearance. In the Janek (follows her) foreground, a stage throne on a platform. Cleaner No one who will throw me out here? Marty She’ll be with the manager, sir. But she’s bound Some proof in writing. Cleaner to come this way; she’s left some things in her Kristina 8 Did you ever see such fl owers? dressing room. Oh dear, Janek. I’m so unhappy. Prus Nothing less. Stage Hand Prus Janek (tries to kiss her) Why? Marty Never did. Very well. I’ll wait. (steps to the side) All right doctor. I’ll give you something in the Kristina Cleaner Cleaner morning. No, no kissing! No more of that. I’ve other things Never in my life have I heard anything like it. That’s the fi fth one. Just like a bloody doctor’s to think about. Kolenatý Shouting, stamping! It’s a wonder that the roof surgery. Really? D’you carry these things around with didn’t collapse. Really mad they were. Nothing Janek you? would stop them. Fifty curtains, yes, at least Stage Hand Oh, but Krista! fi fty… all for Marty. One thing I would like to know. Does a woman Marty (sharply) of her sort have many lovers? Kristina Does that surprise you, why? Stage Hand I say… isn’t Marty wonderful? D’you think I’ll Listen here now. listen here now. Women like her Cleaner Kolenatý make a singer? I must give up all my life to it, must have lots of money. Oh yes, oh yes, oh I should say so indeed. Gregor, get me a number, two, O, double seven, understand? And only think of the theatre. Oh one. Janek, (sits on the throne) it’s so dreadful. All I do Cleaner Stage Hand is think of you all day long, all day long! (Janek Gregor (at the telephone) Good gracious! I should say so! Cor blimey! She’s not quite my line of business. tries to kiss her.) Oh dear, what a wretch you are! That’s Doctor Abrahams, why? Stage Hand Cleaner Janek Kolenatý Funny thing, but when she starts to sing I go Why get so worked up about it? She ain’t exactly Oh, if you only knew, Krista, I spend all my time It seems you need him. shiv’ry all over. your type. thinking of you alone.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 90-9190-91 119/12/069/12/06 10:10:0410:10:04 Kristina Kristina Prus Gregor That’s all right, you’re not a singer. I’ve got to Truly! Truly! I’m afraid of her – she frightens me. It is. Come here, Janek. These are for you. think of my voice. I must study hard, and I’m not supposed to talk much. So darling, this is Janek Marty Marty my decision. Janek! Everything is over now, over Kristina! (steals a kiss) Come closer, Janek, let me see you. Were you Give it me. (takes the bouquet) Look at this. between us! We shall see each other only once here tonight? (removes a small box from it) You can take it back! a day. Kristina How can you afford presents for ladies? (gives Oh Janek. Janek him back the box. Smells the fl owers and throws Janek Yes, ma’am. them on the ground) What did it cost, you idiot? But… You’ve been borrowing again. Money lenders, eh? Prus (coming forward a little) Marty (rummages in her handbag and takes out a handful I’m not looking. Kristina Did you like my performance? of money) Here! I’d like to shake some sense into In between whiles, we must be like perfect you. strangers the whole day long. Come here, silly. Janek (jumps up) Janek Plenty of room for you too. D’you think there is Father! Yes, ma’am. Gregor (fl aring up) anyone she is in love with? Money! (Janek hurries Kristina off into the wings.) Marty Janek (sits by her on the throne) Don’t you ever say anything but just yes ma’am? Prus (to Gregor) Who? Prus For God’s sake stop this fooling. No need to run away! (comes nearer) Janek Kristina Yes, ma’am. Marty I mean Marty. Marty (behind the scenes) You behave in the strangest way. What, another? (entering) And another? (speaking Marty Janek in the wings) No more today gentlemen. (sees Your son is stupid. Gregor (snatches the money away from her and Yes, it’s always her. Prus) What, still another? gives it to Vítek) Prus Put that down to Miss Marty’s account. Kristina Prus I am ashamed of him. All the men rave about Marty. One look and they No, of course not, Miss Marty. Quite other Marty (to Vítek) lose their heads. business. (Gregor enters with a bouquet, followed by Vítek.) No, his account.

Janek Marty (sits on the throne and looks at Janek) Marty Vítek Don’t talk such nonsense! Is that your son? Ah Bertie! Very good ma’am.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 92-9392-93 119/12/069/12/06 10:10:0410:10:04 Marty (to Vítek) Marty Hauk Hauk Were you here tonight? Did you like my They’ll come anyway. 10 Excuse me. Excuse me, may I… (falls on She was a gipsy woman, ‘chula negra’ so they performance? (She looks at Janek and Kristina who are holding his knees sobbing) O. Pardon me. May I? (kneels called her, down there faraway in Andalusia. hands. She bursts into laughter.) down in front of the throne) Oh, if you only knew. How the men all raved about her! Vaya Gitana! Vítek Ha, ha, ha, look at those two, what a pair! Have (sobbing) Oh, you are so like… you’re so like her! Oh I was so happy there. Oh so happy there. My goodness, oh yes! Finer than Strada! they been in paradise yet? It’s her voice, her eyes, her face. Oh, you’re the Ever since then I’ve lived in a sort of daze, do you image of her! Th’image of her! (sobbing) Oh, oh, understand? Marty (violently) Vítek oh, oh. Since then my life seems like a never-ending So you heard la Strada? She’d no voice at all. What d’you mean please? dream. But what do you care, she died so long Thin and shrill as a whistle, nearly always out of Marty ago? tune too! Marty Who’s this old idiot? Marty Have they been to bed yet? Died? But what nonsense! Maxi! (bends down) Vítek Hauk (standing up) Oh excuse me, she’s been dead at least a hundred Kiss me! Vítek I’m a little mad you see. years now. Good heavens Krista, surely there’s no truth in it. Hauk Prus Eugenia! (begins to cry) Marty Kristina Soft’ning of the brain. Of course, I should know that! Father, how can you… Marty Kiss me love! Kristina Hauk Janek, let’s get out of here. Marty Yes, yes, Hauk, idiot. That’s enough girl. If you haven’t then you will. Hauk What’s that? Gregor And really I assure you it’s not worth it. Marty Oh! Oh! Shall I collect some more people so you can be Marty rude to them as well. Prus Besa me, besa, besa me! Then what do you think is worth it? Hauk Marty You see we were lovers, she and I, it must must Hauk No, don’t bother! Marty (coldly) be fi fty years ago, eighteen hundred and seventy. Jesús milveces. Nothing! Nothing at all! Kristina Marty Marty Janek, let’s get out of here! (Hauk enters with a bouquet.) That’s right. Animal un besito!

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 94-9594-95 119/12/069/12/06 10:10:0410:10:04 Hauk (kisses her) Janek Gregor (very formally) Prus Eugenia, moza negra quérida carisima! It was just… (He looks fi xedly at Marty.) Very well. You knew that those particular letters were there. And you knew that Pepi’s will was there too, even Marty Marty (Gregor bows to Prus and goes.) though it’s sealed up! Did you know that there is Chite tonto! Quita! Fuera! But I’ll do it for Kristina. something else there? Marty Hauk Vítek (bows) Gone at last. Marty (stands up, agitated) Es ella, es ella, Gitana en diablada! Ella es ella, A thousand thanks ma’am. (goes off with Kristina) What’s that? Did you fi nd something else there? Gitana en diablada! (Hauk bows low to Prus and Prus Tell me, please, what is it? turns to go.) Adios Eugenia! (sobbing) O, O! Marty 12 Allow me to ask you this question. (He goes.) Good day to you! Now leave me, all of you leave (Marty nods silently. They bow, sit down.) me! No more today gentlemen, Have you taken some special int’rest in the Prus Marty (harshly) person of Mister Gregor? I don’t know. It is only an old document. What d’you know about her, about the woman you call 11 And the next! Is that the lot? Prus (bows) Your most unwilling servant! Marty Ellian MacGregor? Vítek No. No, please! Would you oblige me by signing this Marty (to Prus) Marty photograph? For my daughter Kristina. Not you! So it seems this Janek has lost his Prus You have got her letters. tongue! He’d better go! Does it mean so much to you that he should win Marty this case? Prus How absurd. (Janek goes.) Maybe you know something more still about that Marty harlot. Kristina Marty (to Gregor) No. Janek, come!… Well and what for you? Prus Marty (starting up) Marty Gregor Thank you, Madam. I won’t ask you how you How dare you. How dare you say that? By what Why are you two quarrelling? Let me stay a moment! knew what things there were locked in the right do you dare say that? cupboards in my own house. That is evidently Kristina Marty your secret. Prus Come! I’ve got no time for you now. Leave me now But my dear lady, what is this? What interests Bertie, I beg you! Go dearest. Go now! You can Marty you in this thoroughly immoral woman who (Marty sighs.) come back later! Yes, surely. lived so long ago?

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 96-9796-97 119/12/069/12/06 10:10:0510:10:05 Marty Marty Prus Prus Nothing. Nothing at all! (sits) So she was just a That obviously stands for Ellian MacGregor. That’s plenty, that’s plenty. Price indeed! (bows and goes) harlot. Prus Marty (Marty sits motionless with eyes closed. Gregor enters Prus It could stand just as well for Emilia Marty, O, my poor Bertie! So the Loukov estate remains and remains standing in silence.) You know last night I read those letters through. Eugenia Montez, or thousands of others. yours, eh? Shockingly passionate type, that woman. Marty Marty Prus 13 Is that you Bertie? But it is Ellian MacGregor. Marty (sadly) Just as long as no Mister Makropulos comes to claim it. You shouldn’t have read them. Prus Gregor Or rather, Elina Makropulos, nationality Greek. Why do you lie there eyes tight shut? You look Marty like a woman who is suffering. What’s the Prus And if no Mister Makropulos comes to claim it? matter? They contain allusions to strange practices, Marty (raising her head) intimate things. I am no novice Miss Marty, but Damn you for that. I have to admit that the most accomplished rake Prus Marty hasn’t got as much experience in certain matters Prus Then I’ll keep that envelope closed and sealed, I’m just tired. Speak softly. as this lady. So then you knew it? and no one will ever get it. Gregor (gets closer to her) Marty (furious) Softly. Then I warn you, you won’t like what I Marty Marty In the devil’s name, how d’you know that? speak softly! Do you hear Emilia, you won’t like What you mean is, as this harlot? Then he’ll come along, you will see! what I speak softly! I’m in love with you. Why Prus Prus are you laughing? Yes, I’m in love with you. Prus Very simple. Pepi’s will refers to a certain Where d’you keep him? In your trunk? What a Now what do you think was the real name of this Ferdinand born at Loukov on November the shame that it isn’t true. Marty Ellian? twentieth 1816, so I looked up the parish register. (takes out a notebook and reads) I’m cold. Bertie. Nomen infantis Ferdinand Makropulos male Marty (stands up) Marty child illegitimate, father’s name not given, So you think I’m lying? (He kisses her hand. Prus Gregor Ellian MacGregor as you see from the letters. mother, Elina Makropulos. turns to go.) One moment. What is your price for Are you sleeping? that envelope? Prus Marty Marty Not so, not so! There it’s only E.M. No more. Nothing else? (Prus turns back.) Freezing.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 98-9998-99 119/12/069/12/06 10:10:0510:10:05 Gregor Marty Gregor Marty Emilia I warn you! You treat me harshly, even No, it’s not, I swear it. Bertie, I swear it. But we Come, Emilia, let’s go away. No one has ever Janek? Come here, Janek! Would you do so, even so that can make me happy. You horrify must have another one in the name Makropulos. loved you as much as I. D’you hear me? (Marty something to help me? me, even so that can make me happy. I’d like to snores regularly and audibly) Emilia? (excitedly) strangle you when you humiliate me. I’d like… Gregor What is this? Sleeping like a drunkard. Why do Janek Emilia, don’t make me kill you! In you there’s Then will you make love to me? you make me feel so foolish? Emilia, it is I! Oh yes, oh yes. something that repels me. You’re base, evil, (gets closer to her) There’s no one else here. terrible. A beast without feeling. Marty Marty Never, understand, never! Cleaner (standing a little distance away, coughs Something big, Janek, something heroic? Marty warmingly and severely) And what would you ask for in return, eh? Not so, Bertie, not so! Gregor (sits) Hm, hm, hm, hm, hm. Then I’ll kill you Emilia! Janek Gregor Gregor (starting up) Oh, nothing! Yes. Nothing seems to move you. You are cold Marty What’s that? Oh, it’s you! Madam’s gone to sleep. as steel. As if you’d risen from the grave. It’s Stupid fool. See that, that scar on my throat? Don’t wake her up! (kisses Emilia’s hand and Marty perversity loving you. And yet I love you so, I’d He was another who said he’d kill me, and if I runs off ) Come closer! D’you know you’re being very nice tear the fl esh from my body. stripped myself naked in front of you then you to me? Listen. In your father’s house there’s an could see all my other souvenirs! Why is it men (The Cleaner approaches Emilia and gazes at old document, and on it this is written! ‘To be Marty feel that they must kill me? her silently.) handed to my son Ferdinand.’ It’s with Ellian’s How do you like the name Makropulos? letters in that drawer. Compris? Gregor Cleaner Gregor I’m in love with you! Can’t help feeling sorry for her. (goes off ) Janek Don’t provoke me! I love you although you Oh yes, yes indeed ma’am. destroy me Emilia! Marty (Janek enters from behind the scenes, stops about Then kill yourself! If only you knew that I am ten paces from Emilia and gazes at her as if Marty Marty past all caring. (sadly) If only you knew. thunderstruck.) Bring it to me here. Then go at once, run to doctor Kolenatý, tell him I must have that letter back. The one I sent Gregor Marty (waking up) Janek him. What is it? Is that you, Bertie? Will father give me it?

Gregor Marty (wrings her hands) Janek Marty It’s a forgery then? Unhappy, unhappy Elina! No, only me, only Janek. Oh no. You will have to take it!

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 100-101100-101 119/12/069/12/06 10:10:0510:10:05 Janek Prus (Marty enters from the bedroom in a peignoir. Prus I couldn’t! Waiting for you. Behind her Prus in a dinner jacket without a collar. Yes, I should have kept it. I feel like a thief. Prus sits silently on the right. Emilia goes to the Ugh! Ugh! Marty Marty (goes up close to him) window, draws the blind.) Little boy’s afraid of daddy. Well then give me that document. Marty (stands up) Marty (turns from the window) Do you want to spit in my face then? Janek Prus 1 Well? D’you hear me? Give me the document. I’m not afraid, but ma’am, ma’am. It’s not mine to give. (Prus silently draws a pocket book from his breast Prus pocket and takes a paper out. He throws it, without No, in my own! Marty Marty a word, on the table. Marty takes the envelope and Janek, on my word of honour it’s just a keepsake Please give it to me. carries it to the dressing table. She sits and lights a Marty of no value. I’d like so much to have it. small lamp and examines the seal on the envelope. Well, please yourself then. She hesitates then quickly tears the envelope open Prus Janek with a hairpin, and takes out a yellow faded But when? But when? (a knock at the door. A Chambermaid enters in I will try and get it. manuscript.) night dress and petticoat, out of breath.) That’s it. (folds the paper and hides it in her bosom) Prus (enters from the shadow) Marty Well, come on. Marty I wouldn’t bother, Janek. Prus Who’s that? You have defrauded me. Prus Janek (Prus turns round.) Agreed. Father, you here again. Marty You’ve had what you wanted. Chambermaid Prus COMPACT DISC TWO If you please, madam, have you seen a Mister Get out! Get out! Prus? (Janek goes off, ashamed.) Act III Prus You have defrauded me. Frigid as ice. Like Well Miss Marty. I thought he was prowling Prus embracing a dead thing. (shudders) That’s what I round the theatre for Kristina. A room in a hotel. Left, a window; right, a door What’s that? get for stealing documents. Fine reward that was. to the passage; centre, the entrance to Emilia’s Marty bedroom which is separated by transparent Chambermaid And what were you prowling round the theatre hangings. Through the hangings are seen Marty Mister Prus’s servant’s waiting outside, says he’s for? movements of people dressing. Do you regret you gave me the document? got to see him, says he’s something for him.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 102-103102-103 119/12/069/12/06 10:10:0610:10:06 Prus Marty (Marty takes the comb and does her hair.) Prus How on earth did he know? He must wait. Turn out the light and be quiet. My only son! ‘Father, be happy, as for me…’ Quiet, or I’ll… No, stay here. (goes into the bedroom) (stands up) What are you doing there? (a knock at the door) Chambermaid (collides with Hauk at the door) Idiot! Chambermaid His lips too, blue and swollen, the poor chap. Marty (has hairpins in her hair) My goodness! I thought to myself, he’s poorly. And crying too, Doing my hair. Marty (Marty sits at the dressing table.) just like a little baby. 2 Buenos dias Maxi! Why so early? I was that scared! There was the servant, all of Prus a heap like, couldn’t get a word out. Something Marty Hauk You stupid girl, you’re tearing my hair out. Perhaps you haven’t understood. Janek was in surely must be wrong, madam. love with you! Killed himself for your sake! Pst, pst. Pst, pst. Get dressed quickly Eugenia, Give me the comb! we’re going. Marty Chambermaid Marty Stop, you’re pulling. Marty It’s because my hands are shaking. Pooh, lots of people kill themselves. Where? Chambermaid Marty Prus And pale too as a sheet, the poor chap. Hauk Just look there, see how you’ve torn my hair out. And you’re just doing your hair? Hi, hi, hi. Back to Spain. Prus (enters hurriedly from the bedroom with collar Chambermaid Marty and tie) Something quite awful has happened. Marty Excuse me. (goes off ) Would you like my hair untidy? Are you mad? (Prus returns from the passage with an opened letter Chambermaid (brushing her hair) which he handles mechanically.) Prus Hauk He’s a real swell gent, eh? You should have seen Dead and it’s your fault! I’ve not told my wife about it. I’m not going back him, the poor chap, all of a tremble. Prus (hoarsely) to her. D’you see what I’ve brought with me? All Send the girl away. (gropes for a chair and sits) Marty Matilda’s jewellery. Understand please, she’s my Marty Well, how can I help it? wife, my poor Matilda, she’s old. Tell them to send up an omelette. (yawns) Marty What is the time now? Go, get out. (chambermaid goes out) Prus Marty You killed him. Si, si, señor. Chambermaid Prus He’d a letter he was holding or something. Oh, so that’s why he did it. (sobbing) Marty Hauk Seven o’clock. Poor wretched Janek! Your fault also. So I must tear my hair out? It’s dreadful to be old! But you have not grown

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 104-105104-105 119/12/069/12/06 10:10:0610:10:06 older. Did you know that madmen live to a ripe Kolenatý Kolenatý Before you try that, look at poor Krista, look old age. I shall live a long time too! As long as If you cooperate then we won’t have to call in It’s a forgery! at her straight in the eye. Do you know what’s any man can make love still life is worth living. the… happened? Gipsy will you come with me? Marty Marty I swear it, that was written by Ellian MacGregor! Marty Marty The police? Janek! Yes, I’ll come. (begins to pack) (Kolenatý offers her a chair.) Do you want to Kolenatý question me? When? Gregor (a knock at the door) And d’you know why? That young man is on Kolenatý Marty your conscience! Chambermaid No, Miss Marty, just have a nice friendly chat Oh, that doesn’t matter. Excuse me madam, (thrusting her head in) you’re with you! Did you sign this photograph for Marty wanted. Mister Vítek’s daughter? Is that your signature? Kolenatý Pah! So that’s why you came here? One thing at It does matter, does matter. Now when did Ellian a time, please. First I’ll get dressed and then I’ll Marty (astonished) Marty MacGregor die? have my breakfast. (runs into the bedroom) Visitors at this hour. Yes. (enter Gregor, Dr Kolenatý, Vítek, Kristina, Prus Marty (They all start going through her trunk. Gregor and a doctor) Kolenatý Get out and leave me! I won’t answer another pulls out a seal.) Allow me to inform you gentlemen, I’m just Excellent! May I ask you now, did you send me question. leaving, just leaving. yesterday this missing document? Dated eighteen hundred and thirty-six? You admit that? Gregor Gregor 3 Then we shall have to look through all your The seal and th’initials E.M. as in the letters from Hauk Ellian MacGregor. Now they’ve got me. Marty belongings. Yes. Marty Vítek Kolenatý Kolenatý Stop that! Keep your hands off. (opens the drawer Look, a medallion. Leaving! Really! I shouldn’t do that. But the ink in which it’s written is fresh and of the dressing table) smears still. Don’t you know what that must Kolenatý (The doctor leads Hauk off.) mean? Eh? Gregor (jumps towards her and wrenches a What’s that? revolver) Hauk Marty A pistol! Vítek Chi, chi, chi! And how should I know? (pushing Kristina in front of Emilia) With the mad man’s crest on it.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 106-107106-107 119/12/069/12/06 10:10:0610:10:06 Kolenatý Prus Kolenatý Marty Eugenia Montez, Elsa Müller, eighteen ninety- No doubt, by Elina Makropulos. What’s your name, madam? That makes me three hundred and thirty-fi ve. nine. Ellian MacGregor, Ekaterina Myskina. Kolenatý Marty Kolenatý Vítek This is crazy! Name? Elina Makropulos. Who was your father? Always E.M. (Vítek returns with the lawyer’s gown.) Kolenatý Marty Kolenatý Where were you born? Hieronymus Makropulos, private physician to Here we are: ‘Meine Liebste Ellian.’ Prus Emperor Rudolf the Second. It’s the self-same handwriting as in those love Marty Prus letters. In Crete. Kolenatý Not Elina. No more, I’ve had quite enough! Kolenatý (to Vítek who goes into the bedroom) Kolenatý Kolenatý Vítek, call her in now! And your age, ma’am? Prus Plain enough Ellian MacGregor, Vienna. Vítek, Will you tell us your real name? run and fetch my gown. (Vítek brings in Emilia, elaborately dressed, with Marty a bottle and a glass in her hand, from which she How old do you think? Marty Vítek drinks.) Elina Makropulos. Yes, at once, sir. (Vítek goes out.) Kristina Vítek Over forty. Prus (Kristina bursts out crying.) She’s been drinking whisky. Are you related to that Elina Makropulos, Marty (puts her tongue out at her) who was the mistress of Josef Prus? Kolenatý Marty (enters tipsy, leans against the wall) Bitch! Stop this silly childish wailing. Let me be; this is my medicine. Marty Kolenatý She and I are one! Prus Kolenatý (folds his gown) Your date of birth? Let me see that document! This document is She’s drunk. Let me have the bottle! Prus genuine, written by a Greek woman, Elina Marty How so? Makropulos. Marty Fifteen hundred and eighty-fi ve. No! Hands off! (clasps the bottle to her bosom) Marty Kolenatý Or I’ll tell you nothing! (to Kolenatý ) You look Kolenatý I lived for many years as Pepi Prus’s mistress. Oh, but you know it was written by… like the undertaker. Really. Stop this silly fooling! And the child that we had, that was Gregor.

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 108-109108-109 119/12/069/12/06 10:10:0710:10:07 Gregor Myskina and Elsa Müller. How could you live Marty Marty And Ellian MacGregor? for three hundred years and never change your I did. Yes, I used to tell Pepi everything. Then Ha ha ha. Ha ha ha. I don’t give a damn now name? Three hundred years? you see I loved him. Why yes, I really loved him. you’re mine. Who knows how many thousand Marty So I sent him the formula of Makropulos. bastards I have got roaming round the world, She and I are one. Prus how many bastards roaming round the world? And how on earth did you know the will was in Prus (pressing the manuscript to her heart) At last you’re Gregor that envelope? What was that? mine, now at last, at last you’re mine. Father had Are you mad? written it for Emperor Rudolf. Marty Marty Kolenatý Vítek Before he sealed it Pepi showed it me, asked me I am your great great great great great great What was that? Emperor Rudolf. to tell that young fool of a Ferdi that the will was grandmother. Ferdi, he was my son. inside it. Gregor Marty Gregor What was that you lent him? Oh children, children! What a swine he was. And Which Ferdi? Prus as he got older he kept searching for the secret And why didn’t you tell him then? of eternal life, eternal youthfulness. One day my Vítek Marty father went up to see him and wrote down on What was that? Why of course, Ferdinand Gregor. But in the Marty this paper, the potion, three hundred years of register I’d no option but to give his real name. What the hell do I care, h-hi-hi-hi. All those life and of youth. But the Emperor Rudolf took bastards. Marty fright and he said: let your daughter try it, First Kolenatý Of Makropulos. He begged so hard for it. let your daughter try it. I was the girl he meant, Oh dear! Oh dear! (to Prus) The paper you’ve just returned me, I was the girl he meant. And I was only sixteen Kolenatý the one addressed to his son, Ferdinand. Pepi That’s not ladylike. then. But my father made me try it. For a week Marty thought of trying it, promised that he’d return it. or longer I lay ill with a fever and then I got Ferdinand Makropulos. And then he went and put it with that will of his! better. Marty Thinking that he’d make me come back and… Kolenatý Ladylike, ladylike! For a long time past now I’ve and… and I came back at last. I had to get that Vítek And when were you born. not been a lady. Nobody drinking? Mother of paper that gives a man three hundred years! Of And the Emperor? God, my mouth’s so dry, my head burns! life and youth! Marty Marty O Christos Soter, God give me patience! Fifteen Prus Gregor No. How could he really know that I would live hundred and eighty-fi ve. I was also Ekaterina You wrote these letters then yourself? Just for that you came here? to three hundred? That I would live to three

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 110-111110-111 119/12/069/12/06 10:10:0710:10:07 hundred? He said my father was a charlatan, had Kolenatý Marty Chorus him put in prison. And I escaped with all his That medallion belonging to Eugenia Montez, Now I am sure (a pale green light overfl ows the We’re happy! Fools, how happy we all are! papers abroad somewhere, I’ve forgotten where. you stole it! stage and auditorium) that death laid his hand on me. Why was I afraid of it? Marty Prus Marty And it’s due to the paltry chance that you will all Did you show anyone the Makropulos Pater hemon, hos eis enuranois! Gregor, Vítek, Prus and Kolenatý die soon. document? Oh, Miss Makropulos, we’ve misjudged you Kolenatý harshly! Chorus Marty We’re happy! Fools, how happy we all are! Only to Pepi as he wanted it so badly, but now Yes, now we’ve got her. What’s your real name? Kristina I’m the person who needs it. Marty Marty (falling) I am so dreadfully sorry! You believe in mankind, love, virtue, progress. Kolenatý Elina Makropulos. There’s nothing more that you can want. How old are you now? Marty You are all here now, and it’s as if you were not Kolenatý (lets her fall to the ground) Chorus Marty Damn it, she’s not lying! here, you’re mere shadows and dead things! I’m growing older. Don’t fuss me! (shrilly) Three Nothing more we can want. hundred and twenty-seven. Because I’m at the Prus Chorus Marty end of things. Feel my hands Bertie, how cold It’s true! Mere shadows and dead things! they are. Feel them, they’re colder than ice! But in me life has come to a standstill, O Jesù Christe, I cannot go on. How dreadful this Marty Kolenatý Gregor loneliness! In the end it’s the same, Kristina, Dying or living it’s all one, it’s the same thing! Tell me why you forged the handwriting of Ellian It’s true! singing and silence. There’s no joy in goodness, MacGregor? there is no joy in evil. Joyless the earth, joyless Vítek Chorus the sky! When you know that then your soul dies Marty It’s true! Dying or living, it’s all one, it’s the same thing! within you. Pater hemon! Kolenatý (takes off his gown) Marty (wrings her hands) Gregor, Vítek, Kolenatý and Prus Kolenatý 4 Fetch the doctor! It’s a great mistake to live so long! Oh, if you Why did you come here, for that piece of paper? Don’t lie! You are Emilia Marty. could only know how easy life is for you! You (They take Marty into the bedroom. The doctor goes are so close to life! You see in life some meaning! Marty Marty into the bedroom. Marty re-enters like a ghost or Life has for you some value! Fools, how happy Here it is in writing. Ego Hieronymus Makropulos, Pater hemon! shadow. The doctor supports her. All get up.) you all are. istros kaisaros Rodolfu. I don’t want it now! Well,

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 112-113112-113 119/12/069/12/06 10:10:0710:10:07 take it someone. Nobody wants it? You here Robert Brubaker as Albert Gregor Kristina? I robbed you of your lover, you’re beautiful. You take it. You’ll be famous and you’ll sing like Emilia Marty! Take it, girl, take it, girl!

Gregor, Vítek, Prus and Kolenatý Stop her!

(Kristina takes the document and holds it over the fl ame until it is all burnt.)

Marty Pater hemon. (breaks down)

(The document is completely burnt.) Libretto by the composer English translation by Norman Tucker © 1964 by Universal Edition A.G. Wien

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 114-115114-115 119/12/069/12/06 10:10:0810:10:08 The Opera In English Series Great Operatic Arias

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

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 116-117116-117 119/12/069/12/06 10:10:0810:10:08 Sir Charles MackerrasOn session:conducts Richard Janác Farnesˇek and Brian Couzens

Vocal and language consultant: Ludmilla Andrew Music hire: Universal Edition

Production photos from English National Opera’s production of The Makropulos Case by Neil Libbert

Recording producer Brian Couzens Sound engineer Mike Hatch, Floating Earth Assistant engineer Andrew Mellor, Floating Earth Editor Mike Hatch, Floating Earth Mastering Jonathan Cooper Operas administrator Sue Shortridge Recording venue London Coliseum; 18, 20, 24 & 26 May 2006 Front cover Photo of Cheryl Barker by Tristram Kenton CHAN 3029(2) CHAN 3106(2) Back cover Photo of Sir Charles Mackerras Design and typesetting Cassidy Rayne Creative Booklet editor Kara Reed Copyright Schott/Universal Edition AG P 2007 Chandos Records Ltd C 2007 Chandos Records Ltd

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CCHANHAN 3138(2)3138(2) Book.inddBook.indd 118-119118-119 119/12/069/12/06 10:10:0810:10:08 LEOS MACKERRAS CHARLES SOLOISTS /ENO/ SIR CHANDOS DIGITAL CHAN 3138(2) ˇ

JANÁC Leosˇ Janácˇek (1854 – 1928) Recorded live at Printed in the EU English National Opera LC 7038 DDD TT 125:43 performances on 18, 20, Recorded in 24-bit/96kHz ˇ The Makropulos Case 24 & 26 May 2006 EK Opera in three acts : THE MAKROPULOS CASE Libretto by the composer after Karel Cˇapek’s Also includes: comedy Veˇc Makropulos Sir Charles Mackerras on Janácˇek – an interview with Rodney Milnes English translation by Norman Tucker

Emilia Marty (E.M.), a famous diva Cheryl Barker soprano Dr Kolenatý, a lawyer Neal Davies bass-baritone Vítek, his head clerk John Graham-Hall tenor Kristina, Vítek’s daughter Elena Xanthoudakis soprano Albert Gregor, a litigant Robert Brubaker tenor Baron Jaroslav Prus, his opposing litigant John Wegner baritone Janek Prus, Baron Prus’s son Thomas Walker tenor Count Hauk-Šendorf, one of E.M.’s former beaux Graham Clark tenor Stage Hand Graeme Danby bass Cleaner Kathleen Wilkinson mezzo-soprano Chambermaid Susanna Tudor-Thomas mezzo-soprano CHAN 3138(2) CHANDOS English National Opera Chorus COMPACT DISC ONE TT 66:24 English National Opera Orchestra COMPACT DISC TWO Sir Charles Mackerras TT 59:19

p 2007 Chandos Records Ltd c 2007 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England

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