also available on Signumclassics 2 CD SET

Sarah Connolly The Exquisite Hour SIGCD072 Anna Following Sarah Connolly's series of title roles at English National Opera, Glyndebourne and New York's Metropolitan Opera in 2005, this live recital was recorded at St. John's, Smith Karenina Square, London, having been premiered at Carnegie Hall earlier in the year. Accompanied by Eugene Asti, Sarah Connolly An Opera by David Carlson sings songs by Haydn, Brahms, Hahn, Libretto by Colin Graham Korngold and Weill. Her distinctive, intelligent, warm, bright-sounding mezzo-soprano will be World Première Recording enjoyed by her growing 'army' of fans in this rich, romantic repertoire. Opera Theatre of Saint Louis The Saint Louis Symphony Orchestra www.signumrecords.com Conductor, Stewart Robertson

Available through record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 In collaboration with Florida Grand Opera and Michigan Opera Theatre Anna Karenina CD2 Act II An opera in two acts by David Carlson 1 Part 4 Scene 1: The Admiralty Gardens, St. Petersburg. Early autumn. [07.31] Libretto by Colin Graham after the novel by Leo Tolstoy 2 Scene 2: A supper party at the Oblonskys’. [06.40] 3 Scene 3: Anna’s bedroom, that night. [06.40] CD1 4 Interlude [01.16] 5 Part 5 Scene 1: Levin’s house. Six months later. [02.45] Act I 6 Scene 2: Anna, writing. [04.37] 1 Prologue The Station, Moscow. Winter, 1874. [03.32] 7 Scene 3: Seriosha's bedroom. Early morning on his birthday. [04.30] 2 Part 1 Scene 1: A sitting room in Stiva's house. That day. [07.52] 8 Interlude [00.45] 3 Scene 2: A ball at Princess Betsy Tverskoya's house. [12.15] 9 Part 6 Scene 1: Anna’s apartments at an hotel. That evening. [18.43] 4 Scene 3: Karenin's house, St. Petersburg. That night. [06.10] bl Scene 2: The Station Platform. [07.14] 5 Part 2 Scene 1: Stiva's house. A few days later. [01.27] bm Scene 3: (Epilogue) The garden of Levin's country estate. 6 Scene 2: Lenin's house in the country. [08.53] Months later. [06.47] 7 Scene 3: Karenin’s country house outside St. Petersburg. Spring. [09.54] Total timings [67.35] 8 Part 3 Scene 1: A box at the races. Tsarskoe Selo. That afternoon. [10.49] Opera Theatre of Saint Louis, 9 Scene 2: Karenin’s study, some days later. Night. [11.15] The Saint Louis Symphony Orchestra stewart robertson, conductor Total timings [72.12] www.signumrecords.com anna Karenina – SYNOPSIS

Act One Anna visits her brother Stiva and his wife Dolly in Moscow, hoping to help save their marriage. A man falls under Anna’s train, and she is so disturbed by the accident that when she is introduced to Vronsky, she hardly notices him. He, however, is very taken with her. Later, Anna persuades Dolly to forgive Stiva’s infidelity.

At a New Year’s ball at Princess Betsy’s in St. Petersburg, Kitty, Dolly’s sister, is infatuated with Vronsky and refuses Levin’s proposal of marriage. Vronsky’s too-obvious attentions compromise Anna and, although she is attracted, she resists him. Anna’s husband insists that she try to maintain appearances, but discovers that her heart is locked against him.

The following spring, Dolly tries to persuade her sister Kitty that Vronsky is not worthy of her, and asks about her feelings for Levin. Levin himself is unable to take comfort, even from life as reborn in the spring. Stiva brings him news of Kitty and of Vronsky’s dangerous infatuation with Anna.

At the Karenins’ country house, Anna reveals to Vronsky Vronsky. Karenin still hopes to preserve his marriage; she suspects him of selfishness when he again urges insists that he meet Kitty at their house. Stiva learns that she will bear his child. He tries to persuade her he must at all costs preserve his reputation. He her to go away with him. She begs Karenin to give her with horror from Karenin of his impending divorce from to leave her husband but she refuses because the law insists that she return to him and continue as before. her son, but — consumed with rage — he refuses. Anna and begs him to talk to Dolly. Yashvin tries to would take away her son Seriosha. Vronsky suffers a He will not consider a divorce. Anna must choose persuade Vronsky to give up Anna for the sake of his severe accident at the races and Anna is distraught, between her lover and her son. She tells Vronsky Act Two career, but he refuses. Meeting at the Oblonskys’ for but Karenin insists that she behave properly. She tells of her recurring death-dream, connected with the In the Admiralty Gardens in St. Petersburg, Levin cannot the first time since Betsy’s ball, Levin and Kitty are both him that she cannot bear the sight of him — she loves accident at the station. He cannot comfort her, and reconcile the ironies of life and longs for death. Dolly very moved. Karenin is angered by talk of unfaithful

- 4 - - 5 - wives and luckless husbands, and Dolly cannot persuade him to forgive. Levin and Kitty declare their love during a Librettist's Notes game of solitaire and Stiva is delighted. Karenin comes home to find Anna near death after a miscarriage. He is reconciled to Vronsky at her bed-side and promises The recreation of Anna K arenina believer before he wrote this novel, reflecting his own forgiveness. Levin is now happily married to Kitty, who conversion. is pregnant, but he remains dissatisfied with his useless “Vengeance is mine — I will repay.” and unproductive life — exemplified by news from Dolly Anna Karenina’s two parallel stories illustrate and David Carlson puts these words on the opera that Anna, now recovered, has left Karenin for Vronsky illuminate each other — what begins as positive in one manuscript's frontispiece, before his adaptation of the and that Seriosha is with his aunt Lydia. relationship and ends negative is reversed in the other. traditional Czar's Hymn. Tolstoy placed the scriptural The changing trajectories of the stories bring home the quotation after the title of his novel, and Paul puts it Anna asks Karenin’s permission to see Seriosha one meaning of the epigraph that Tolstoy placed after the into context in his epistle: last time on his birthday. Lydia urges Karenin to forbid title (Whose vengeance? Karenin’s? Anna’s? God’s?); this and, against his better judgment, he does so. but like his characters, we are not to judge, only watch Do not be wise in your own estimation. Do not repay Anna forces her way into her son’s bedroom. He had and learn: There is only one solution — clemency and anyone evil for evil. Be at peace with all. Do not been told she was dead, and is overjoyed to see her. love. Caught in the whirlwind of life, Anna obeys the look for revenge. But leave room for the wrath, for He cannot know that this is the last time he will see life-force but perishes. Her empty existence as Karenin’s it is written, “Vengeance is mine,” says the Lord, her; he is distraught when she has to leave. In her wife has dulled her spirit, and slowly her fine mind is “I will repay.” rooms at a hotel Anna, now addicted to opiates, is at consumed by the madness of her passion for Vronsky. the end of her tether. She doubts Vronsky’s fidelity [Romans 12: 10 - 19] One cannot build one’s happiness on the sorrows of and is haunted by death. She is like a train hurtling “I, not you.” others, and Anna sacrifices both husband and son. to destruction. When Dolly and Stiva bring Levin to After a period of blissful, reckless happiness, her meet her, they are appalled at her condition; Levin is The quotation has two important functions. It is the doubts and jealousies torture her. She takes morphia moved by this beautiful, sad woman. Left alone with answer to all Kostya Levin’s questions about the to dull the bitter suffering that eventually throws her Vronsky, her jealousy leads to a desperate quarrel. would release her from its pain and responsibility. meaning of life, as paraphrased by the wise old Agafia under a train. When the train arrives, she throws herself beneath it. at the end of the story; and its revenge motif informs Vronsky leaves to visit his mother, and Anna fears he Karenin’s “punishment” of Anna, Anna’s of Vronsky, and Karenin, the bureaucrat, his intelligence masked with is leaving her forever. She contemplates an overdose Later, after Anna’s death, Levin at his country estate in Society’s of those who refuse or are unable to live by its irony in a narrow mind, is a man afraid to listen to his of morphia and instead decides to follow him to the the spring cannot come to terms with the irony of life. dictates, all of which lead to Anna’s tragic end. own heart. One can understand why Anna is attracted station to beg forgiveness. At the station, everything Then, through the wisdom of his old nurse, he at last to Vronsky, who is passionate, honest, and self-centered passes like a dream. Having missed Vronsky, Anna understands the reason for living: to live, love, and be As the character of Levin is in many ways a self-portrait — in every way other than in his devotion to Anna — waits to follow him on the next train. She reviews loved; not to judge or envy others, nor to bewail their of Tolstoy, it is interesting to note that the author, whom disaster overtakes only because he listens to the tortured life before her, and realises, as if a suffering; to accept life is everything in itself. His blind seeking in his own life the same answers as his fictional his heart. These three become simple and good for one light had suddenly illumined her soul, that death eyes have been opened. character, turned away from agnosticism to become a brief moment, when Anna lies at the point of death, but

- 6 - - 7 - thereafter find themselves compelled to do the evil that Operas take a long time to write these days. And, as the world considers the proper thing. we all know, new opera houses take a long time to get The Cast built. So postponements (like the one in Miami) gave (in order of appearance) Levin, the other main protagonist of the novel, the the authors more time and more frustration before simple boy from the country, is the antithesis of both both opera house and opera were happily completed. Vronsky and Karenin. Tortured by the struggle between It gave David Carlson time to assess more clearly Anna Karenina, wife of Alexei Karenin Prince Yashvin, Vronsky’s friend reason and heart, he attacks the hypocrisy of society. what alterations he would like from me — and some Kelly Kaduce Nicholas Pallesen Although the star of his love for Kitty ascends while alterations I asked from him: change this bit into an Anna’s descends, for a time he too hastens toward aria, this bit into a duet; this is too long, this is too Dolly (Princess Darya Oblonskaya), Countess Lydia Ivanovna destruction. He cannot reconcile the ironies of love, short; the inflection isn’t right here; we need a couple sister of Kitty Scherbatsky Dorothy Byrne Christine Abraham life, and death: Man’s greatest hopes and efforts seem of extra syllables to make this phrase work with the Karenin (Alexei Karenin), Anna’s husband always to be defeated by death. His dilemma is only music. It has been the very happiest collaboration, and Stiva (Prince Stepan Oblonsky), Christian Van Horn solved through the words of his old nurse, who shows now the characters live through words and music. Anna’s brother and Dolly’s unfaithful husband AgaFIa Mikhailovna, Levin’s old nurse him with her simple wisdom that the best way to live William Joyner is to live without fear or envy of others: “We cannot Nasdrovie and spasebo bolshoi to all concerned. Rosalind Elias Levin (Konstantin Levin, called Kostya), all be saints, but we can learn to love our neighbours, Seriosha, Anna’s son in love with Kitty and be loved.” Life is everything. He realises that he has Colin Graham David Tate learnt nothing from reason — all has been revealed Brandon Jovanovich Annushka, Anna’s maid by the heart. Betsy (Princess Betsy Tverskoy), Kimberly Wibbenmeyer a famed St. Petersburg hostess I had been haunted for many years by certain aspects Josepha Gayer A doctor of Tolstoy’s amazing work; I was distressed that the two Mike Dowdy most famous movie versions (starring Greta Garbo and Vronsky (Count Alexei Vronsky), Vivien Leigh) omitted the characters and philosophies an officer in love with Anna Mikhail, Seriosha’s tutor that informed the story with Tolstoy’s 'message,' Robert Gierlach Brad Lewandowsky particularly the Tolstoyan Levin and his search for the Kitty (Princess Ekaterina Scherbatskaya), meaning of life. Equally guilty in this respect was another Dolly’s younger sister, infatuated with Vronsky operatic version of the book, Iain Hamilton’s opera, Sarah Coburn which I directed for English National Opera in the early 1980s. This last event galvanized me into continuing my efforts to create a libretto that managed to encapsulate Saint Louis Symphony Orchestra, Conductor Stewart Robertson the whole story in a realistic time-frame for an opera. Production and Concept Colin Graham Stage Director Mark Streshinsky

Carl Fischer, LLC, publisher and copyright owner. - 8 - - 9 - David Carlson Colin Gr aham O.B.E. 1931–2007

David Carlson was born 13 March 1952 in California. He Born in England in 1931, Graham first came to Opera began composing at the age of ten, later studying theory Theatre of Saint Louis as Director of Productions in 1978 and composition with Alan Chaplin at the Los Angeles and was named artistic director in 1985. 2007 would High School of the Arts and with Leonard Stein at the have been his thirtieth season with the company, for California Institute of the Arts. From 1988 to 1992 he which he staged 48 highly successful new productions was coordinator of the San Francisco Symphony's New – including Gloriana, Billy Budd, Flight, Candide, Hamlet, and Unusual Music series. David Carlson’s symphonic Eugene Onegin, The Tales of Hoffmann, and many more. He works have been performed by such ensembles as the was librettist, dramaturge, and stage director for OTSL’s Philadelphia Orchestra, the National Symphony, the San world premiere productions of Minoru Miki’s Joruri and Francisco Symphony, the BBC Scottish Symphony, the The Tale of Genji, which the company presented in Tokyo orchestras of Atlanta, St. Louis, Tanglewood Festival, in 1988 and 2001. and others. He has composed several chamber pieces, including a cello sonata, two string quartets, Quantum A distinguished British stage director and librettist, he Quartet for clarinet, viola, cello, and piano; a large work was a close associate of Benjamin Britten and staged all for cello and male chorus called Nocturno, and two cello but one of the composer’s stage works. He was awarded an concertos, as well as a large work for viola and piano, O.B.E. in December 2001 for services to British opera and True Divided Light, premiered in 2005 by Geraldine music in the U.S.A. He directed acclaimed productions for Walther. Carlson is the recipient of awards from the major companies including the Metropolitan Opera, the American Academy of Arts and Letters, Meet the English National Opera, the Royal Opera House/Covent Composer, Chamber Music America, and several other Garden, the San Francisco Opera, the Santa Fe Opera, and grants and fellowships. He has written four operas, many more. In all, he directed close to 500 productions on three of which have received numerous performances. two continents, and worked with a long list of composers The Midnight Angel, to a libretto and original story by on new operas; David Carlson’s Anna Karenina would have author Peter S. Beagle, was commissioned by Opera been his 57th world premiere – a record unmatched by Theatre of Saint Louis, Glimmerglass Opera, and any other director. © Ken Howard Sacramento Opera. Dreamkeepers, with an original story San Francisco Bay Area’s Magnum Opus commissioning and libretto by Aden Ross, was commissioned by the program — with original text by American poet Susan One key aspect of Colin’s life work was the enhancement and champion for young people involved in other aspects Utah Opera in celebration of the 1996 Utah Centennial Kinsolving — featuring performances by the Marin, of the skills of young artists. He championed young of opera – composers, conductors, stage directors, and given a new production by Tulsa Opera in 1998. Oakland, and Santa Rosa symphonies. He is a resident singers and believed passionately in teaching them to designers, and all the people who work backstage. The David Carlson's most recent work is an orchestral song of Connecticut and his works are published by Carl sing persuasively in their own language and inhabit their rosters of companies all over the world include artists who cycle for American soprano Christine Brewer for the Fischer Music, New York. characters onstage. Beyond that, he was a great mentor were touched and inspired by Colin’s genius.

- 10 - - 11 - Stewart Robertson Background to the Opera

Born in Glasgow, Stewart Robertson is currently Music Tolstoy’s novel Anna Karenina has long been considered it is the portrayal of the doomed Anna in her tumultuous Director of Florida Grand Opera in Miami and the Atlantic one of the greatest works of literature ever written. It relationships with her husband and her lover, contrasted Classical Orchestra. His interests in both the orchestral has been translated at least six times into English, with the struggles of Levin to accommodate to the and operatic repertory are enormously wide ranging and and there are over 25 film versions of the story. In sorrows and joys of life, that make this work a natural he has become closely associated with the music of a recent translation by Richard Pevear and Larissa choice for dramatisation. Mozart and Benjamin Britten. In the field of contemporary Volokhonsky, the book became a best-seller again in music he has over seventy orchestral premières to his 2004. Tolstoy’s earlier novel War and Peace was made Anna Karenina is David Carlson’s third opera. The creation credit and in the realm of opera he has led numerous into an epic opera by Prokofiev which is frequently of a new opera is a huge collaborative project involving world premières. Robertson has appeared with orchestras seen. Anna Karenina, written from 1873 to 1877, at the many hands. In this case, Florida Grand Opera’s music as diverse as the BBC Scottish Symphony Orchestra, the midpoint of Tolstoy’s life and during a time of social director, Stewart Robertson, had long been interested in Netherlands Symphony, the Ukraine State Philharmonic, ferment, weaves many thematic threads — among Carlson’s music, which he first encountered in 1989 when Buenos Aires Philharmonic, the National Symphony which are the relationships of owners and labourers to judging the Santa Fe Symphony’s New Music Competition, Orchestra of Mexico, Mecklenburg Staatskapelle, the land, traditional ways versus innovation, passion versus in which Carlson’s Cello Concerto No. 1 took first prize. Louisville Orchestra, the Winnipeg Symphony Orchestra propriety, 'small-c' communism versus autocracy, social Maestro Robertson later conducted the premiere of and the Hong Kong Philharmonic. Operatic appearances mores and hypocrisies, love and lust, trust and jealousy, Carlson’s first commissioned opera, The Midnight Angel, include the Lyric Opera of Chicago, Opera Theatre of the life of the mind, the nature of religion, the meaning of in 1993 for Opera Theatre of Saint Louis, and his second, Saint Louis, New York City Opera, Norwegian National the San Bernardino Symphony Orchestra, and Artistic human existence — into a mesh of interconnected people Dreamkeepers, for the Utah Opera. Colin Graham for a Opera, the Deutsche Oper am Rhein, the Wexford Festival, Director of Opera Omaha. Maestro Robertson's recordings and the events that determine their fates. long time had an interest in translating Anna Karenina Italy's Jesi Festival, Scottish Opera, Opera Ireland and the with the Royal Scottish National Orchestra, the Saint into an opera. The opening of the Carnival Center (now opera companies of Montreal, Philadelphia and Detroit. Louis Symphony, the Utah Symphony and Glimmerglass Colin Graham, Anna Karenina’s librettist, who from his the Adrienne Arsht Center for the Performing Arts of His performance of Puccini's La Bohème at the Puccini Opera can be heard on the Naxos, Chandos, New World deathbed conceived and created the world première Miami-Dade County) provided FGO with the opportunity Festival in the composer's home town of Torre Del Lago and Verdi/EMI labels and his operatic and orchestral production with stage director Mark Streshinsky, had to to bring composer, librettist and company together. in Italy was filmed and is available on commercial performances have been broadcast frequently on National pare down this densely constructed novel to its essence Florida Grand Opera, under General Director Robert M. DVD, while his televised performances have been seen Public Radio in the USA. In 2006 Robertson was nominated in order to provide a structure that works dramatically, Heuer, commissioned the work to celebrate the première on PBS's 'Great Performances' and 'Live from Lincoln for a Grammy Award for his recording of Richard Rodney using the triangle of Anna, her husband Karenin, and her season of the Ziff Opera House. Center' series. Bennett's opera, The Mines of Sulphur. lover Vronsky, but equally importantly the contrasting story of Levin, the young man from the country (Tolstoy David Carlson said of working with Colin Graham: “One In 2006 Maestro Robertson was named Music Director Active also as a pianist in chamber music Stewart modelled Levin’s character after himself), and Kitty, of the things that made working with Colin so satisfying Emeritus of Glimmerglass Opera in recognition of his Robertson and his wife Meryl divide their time between his future wife. Anna’s brother Stiva and his wife, Dolly, was his complete understanding of the complexities of twenty-year tenure during which the company achieved the USA and their home in Argyll, Scotland where he plans provide yet another counterpart to the worries of these shaping a libretto. It is not a play set to music. Instead international artistic prominence, and he was formerly to develop an intimate chamber music festival featuring couples. Levin’s housekeeper, Agafia, takes on the weight a libretto must contain opportunities for duets, quartets, Music Director of the Santa Fe Symphony Orchestra, music drawn from his Scottish musical heritage. of an assortment of wise peasants in Tolstoy’s novel. But and various other vocal combinations, all of which must - 12 - - 13 - be specified. The whole drama must be distilled down heard, as well as Orthodox hymns. These are not literally Anna’s Theme — lyrical, soaring, yet tinged with Just as Tolstoy did not end his novel with the death of to its very essence both in the plot material and in the quoted, but composed through the lens of Carlson’s own melancholy — conveys the passion associated with her Anna but with Levin’s final coming to terms with his actual words. Colin’s libretto for Anna Karenina is a musical voice, which, from time to time, gives a loving character, and is used in many configurations throughout existence — and the birth in him of some sense of order marvel, and proved to be deeply inspiring.” nod to Russian composers of the past two centuries. the work. The second half of Anna’s Theme becomes in which he can believe — Graham’s libretto hones in on What has emerged is a passionately expressive score Vronsky’s Theme, and as Anna and Vronsky grow apart, Levin’s epiphany as the take-home lesson of how to live For Carlson, the music for Anna Karenina germinated — one with musical ideas (Leitmotivs) that identify and so does the melody, Vronsky’s becoming a discrete tune a life. In Anna’s case, her attempt to be true to her heart, over several years. The novel is one of his favourites, elucidate characters and themes — and an opera with in his Act II aria. her nature, led her inexorably to a place where she could and he has reread it several times since his teens. For its own distinctive sound world. not live. Levin, fighting the same battle to find a place him, although the plot itself certainly appealed directly, All the themes are interrelated like a family, but in the world where he can live and love at peace with it was the character development, and the way that The opera is structured in two acts, each divided into the contrasts between the music for Anna/Vronsky himself, succeeds. Tolstoy captured each person’s choices though their own three parts. The opera opens with a Prologue and and Levin/Kitty are maintained through various forms perspectives, that captivated him. Unlike the depictions concludes with an Epilogue. In the second act, the scenes of development. Lucie Spieler © Florida Grand Opera in most of the films, there are no villains. The opera — start to get shorter, to compress, and propel the action like the novel — is sympathetic to all the characters. forward. The opera opens with an important theme which Andante ( = c. 76 ) recurs at pivotal moments in the drama. This music  Carlson felt it was important that the listener empathise is Carlson’s version of a traditional Russian liturgical with Anna, even as we watch her long, slow decline, melody, The Czar’s Hymn (Tchaikovsky used it at the Anna's                            and through the course of the opera her music is opening of his 1812 Overture), which we first hear in the Theme                     characterised by marked sweetness in the beginning, woodwinds. This theme represents Tolstoy’s biblical motto,     mf appassionato  becomes increasingly agitated, and culminates in tragedy. which prefaces the novel, whose message reverberates  Carlson thought about Anna for three years before writing throughout the story. For example, when Anna tells her                         a note. “What is this music going to be? What is the tinta?” husband of her illicit affair with Vronsky, it is as if the             (Verdi’s term for the colour and character of a scene or an weight of the world has been lifted, and the hymn is heard   Anna's Theme  opera). Carlson spent time in Russia absorbing sounds in celestial form with high flutes, harp and celesta; at and colours, which found their way into his score: for the moment Anna realises her salvation will be suicide, Andante ( = c. 76 ) example the bells of St. Petersburg’s Kazan Cathedral are the hymn is heard in full orchestra with great force. 3  3 Adagio religioso = 54         Vronsky's                                    The                  Theme          p pp sub. Czar's f 3 3 Hymn pp                                                                                          The Czar's Hymn            3 Vronsky's Theme Musical examples by Matt Buchanan - 14 - - 15 - DOLLY DOLLY My own children's governess... (her hand on ANNA's shoulder) And how is he? I could not believe it. Anna Karenina You must forget it, a bad dream... Of course, she's young, and pretty! ANNA I know that I have changed— ANNA Well, thank God! I gave my youth to him A woman's scream and a great shout Vronskys, STIVA shepherds ANNA out Yes, a bad dream. I could hardly bear to leave him. CD1 Act one of many people overlay the sound of of the station. And to his children. (The door flies open and STIVA STIVA But I would never have thought the brakes and there is a general VRONSKY stands looking after ANNA, comes in with the three children: And how’s your husband? Stiva could be unfaithful. Prologue: movement towards the noise, the leaving his mother and her maid VASSYA, TANYA, and GRISHA. The Station, Moscow. Winter, 1874 source of which is invisible through to fuss over the luggage. After a ANNA (sighing) ANNA (going to her) They stand grouped in the doorway the smoke. moment the scene dissolves to Alexei Alexeandrovitch... Dearest, I'm sorry for a moment and then rush Out of the darkness the scene Judging by everyone's feverish STIVA’S HOUSE. Busy, always busy. With all my heart. upon ANNA.) slowly materializes. gestures and animated discussion, He is a good, good man, I will not defend my brother, This scene is played in mime. which even the weather cannot CHILDREN But always busy. But what is to be done? A cold, blustery, end-of-December defeat, some disaster has occurred Part 1, Scene 1 Aunt Anna! It's Aunt Anna! DOLLY (rising) DOLLY (breaking) day. Snow is whipped into the face at the platform’s edge. STIVA moves A sitting room in Stiva’s house. DOLLY Now, children, off you go! Nothing! Nothing! by angry gusts of wind that tear and anxiously toward the train and That day. Now, children! It's time for tea. There are the children— shriek about the station; visibility is disappears into the smoke. (ANNA is being revived by an anxious Leave your Aunt alone! (Dolly quells their clamour as they I cannot live without him. very limited. Now that the brakes are stilled, all DOLLY with tea and cognac.) go out. STIVA is about to stay.) ANNA ANNA People stamp up and down like that can be heard is the faint but Stiva, look after them, do! ANNA No, Let them stay! Do believe me— angry bears in their fur coats and ominous hiss of escaping steam. (STIVA goes, sheepishly. DOLLY bites Under the wheels— I love them all! He is unhappy too. hats; scurrying, impatient, cold ANNA appears out of the steam cloud: her lip and catches ANNA's eye.) He’d thrown himself under Heavens! Are you really Grisha? He knows that he has hurt you— figures of relatives, porters, and she moves very slowly and quite the wheels. And Tanya—how you've grown! ANNA (quietly) Made you suffer— other officials. Among them is STIVA alone. She is dressed in black fur If you had seen him, Dolly... But who is this? Dolly, my brother’s told me OBLONSKY, waiting for the arrival of and against this is very pale: she has DOLLY It was terrible! (STIVA has led the reluctant VASSYA everything. There’s nothing to be done— his sister ANNA. obviously suffered some great shock forward.) DOLLY (giving ANNA a glass of tea) (DOLLY looks away.) A bell has just rung, announcing the and is so dazed that at first she does ANNA Don't think of it. STIVA approach of the Moscow train: it can not recognize STIVA who now hurries DOLLY (bitter) And he is so unhappy. This is Vassya! already be heard on the line. As the out of the cloud towards her. ANNA Oh, has he? Everything? He's not unfaithful in his heart: (VASSYA bows gravely, very grown-up) train pulls into the station the air is She is eventually followed out of And when the shrieking of the wheels (She goes to the window) DOLLY filled with a dense cloud of steam the smoke by the COUNTESS was still, ANNA Has he told you I cannot live without him— and smoke. A young officer appears, VRONSKY, her son, her maid, and her There was this tapping— Goodness! (Bows back) That for years I've lived The children—ours... hurrying from the station entrance: baggage. STIVA, after greeting his The terrible sound of metal on iron— Not a baby any more! Believing I was happy— it is COUNT VRONSKY, come to meet sister, introduces her to VRONSKY. Tapping, coming out of the fog... Vassili Stepanovitch! That I would be the only one ANNA his mother off the train. He greets VRONSKY is evidently quite struck Like a blind man... (Laughter. VASSYA retreats, blushing.) He’d ever truly love? I remember, when he first saw you, STIVA, but no word can be heard over by her but she hardly pays him any Dreadful! He's so like Seriosha. And then I find... His eyes would shine with tears. the great grinding of brakes. attention. Waving a farewell to the (She shudders.)

- 16 - - 17 - For him you were a goddess... Part 1, Scene 2 STIVA (KITTY enters with VRONSKY, (The band has stopped, and BETSY Yesterday you asked me A Ball at Princess Betsy Tverskoya’s I can tell you have something on your laughing at some remark of his. fumbles for her program to cover up How long I'd stay in town— DOLLY house, St. Petersburg. New Year, 1875. mind: I can tell a young man in love She is radiant.) the gaffe she has so much enjoyed.) Then! KITTY by his eyes! STIVA (continuing to LEVIN) Goodness, what happens next? Did I? ANNA This is a small withdrawing room, LEVIN (serious) Let me introduce you to your rival. Why does one give these dreadful balls? ... And you still are! almost a foyer, leading off a corridor LEVIN Yes, I have something on my mind— Kitty, my dear! And Vronsky! which gives at one end onto the (She goes off, sweeping VRONSKY I said it would depend on you. DOLLY Kitty means the world to me. Do you know our Ballroom, where musicians are heard and STIVA with her. STIVA gives Oh, Anna! I went away when I declared Kostya-from-the-country? KITTY (aside) playing, and at the other to the rest LEVIN a little nod of encouragement If I cannot believe you— Such happiness could never be Konstantin Dmitrich Levin— Why must he ask me now? of the house. A few guests can be as he goes. LEVIN and KITTY are left It is the end of everything. Because I felt unworthy. Count Alexei Kirillovitch Vronsky! seen passing to and fro beyond the standing awkwardly at opposite sides LEVIN But some force took hold of me, (BETSY enters. KITTY and LEVIN ANNA pillars that separate this room from of the room.) I mean to say— Can you forgive him? the corridor. And would not let me rest— remain separated by the other three.) (He stops, tongue-tied. Stronger than love, KITTY (aside) Can you not find it in your heart? BETSY She lowers her head.) STIVA is entering with LEVIN as the Stronger than life itself Oh, God! Must I tell him now— For the sake of all those So there you are— scenes dissolve. STIVA is in the best I struggled with myself in vain. I do not love him? KITTY summer days— Splendid to see you, Stiva! of moods while LEVIN, coming in the That would not be true! How can I choose between them? Can you not forgive? For life is just an empty box hope of being able to propose to KITTY, And Kostya! Waiting to be filled with joy. So what am I to say? LEVIN (suddenly) DOLLY though charming with his friend, is Welcome back to Babylon, So, here I am. Now she must decide. That he is not the only one I love? Kitty—won't you be my wife? But how? nervous and apprehensive. STIVA my friend! LEVIN (aside) If you were I, would you? takes two glasses of champagne STIVA Have you reformed us, (The Band is heard tuning up for the Oh God—must I ask her now? Would you? from a passing footman and offers Dear Kostya! Or have we corrupted you? Mazurka. KITTY cannot speak—she is Afraid to move—afraid to speak— (ANNA turns away, perturbed.) one to LEVIN. There's something I must tell you (With a look at KITTY) enraptured and torn. She turns to look Do you know Vronsky? Afraid of what she’ll say! LEVIN into LEVIN's agonized face and gently ANNA STIVA No—Stiva’s right— LEVIN I don’t understand— takes his hand. She would have spoken, How can I know— How lucky you are— It must be settled. Why should I know him? but at that moment BETSY is heard.) How can I tell? All your life before you. BETSY (He turns to speak to KITTY just as (She stops to think) BETSY (off) LEVIN (smiling) STIVA Oh, yes, you do! (to VRONSKY) she turns to speak to him.) I should forgive— Mazurka—Mazurka! And yours? A charming man— He hates the town—despises us! I hoped— I should forgive with all my heart— you'd like him— So soon behind you? VRONSKY (to LEVIN, charmingly) KITTY KITTY You see, whatever happened, If he were not your rival. Forgive me, Kostya dear—it cannot be. STIVA I like the country very much! Konstantin Dmitrich— I could forget. (LEVIN pales.) (Mazurka begins.) Well, no— BETSY (rattling on) LEVIN (DOLLY looks at ANNA, the eyes A gilded youth of our immoral city: The future is yours, Oh, Nature’s such a splendid bore! I came because I hoped we could BETSY (entering) of both brimming with tears. Handsome, and rich— The present, also, is mine— Now where on Earth can Anna be? speak alone— Kitty, Mazurka! Then DOLLY runs to ANNA and I've heard he's fond of Kitty, too. But tell me, you savage, Vronsky? Where's Anna? You promised it to Vronsky! throws herself in her arms.) Gossip has it that the field is yours— (A silence. Neither moves. Why back in town so soon? Or perhaps I shouldn't ask— So I would ask her soon... Taking courage…) KITTY (to LEVIN) The scene dissolves to STIVA at LEVIN (He sees KITTY approaching.) No, no, I shouldn't ask! Try to forgive me? BETSY'S BALL. Can't you guess why I am here? Yes, Kostya, I should ask her soon!

- 18 - - 19 - LEVIN (Aloud, but half to himself) VRONSKY KITTY Far more to me than you can Part 1, Scene 3 What lies there is a matter for I hate you all, You know you don't want that! Is it that everyone admires her understand. Karenin’s house, St. Petersburg. your conscience— And most of all I hate myself! You know there is nothing that makes her eyes so bright? Au revoir. That night. But obligations cannot be ignored. to forgive— Or is it only Vronsky? It is my duty— (He turns and almost runs out of (ANNA turns to KARENIN and gives My Vronsky, or so I thought till now. (They speak as if just returning from to God, yourself, and to our son— the room. KITTY tries to stop him, ANNA (urgently) him her hand with a smile.) But now I see him standing there the Ball.) to ask you to be more discreet. too late.) If you want to please me as you Possessed by love, his love for Anna! KARENIN (ANNA looks at him as if he must say you do, KARENIN BETSY Enchantment flowing from his eyes. Well, Anna, have you enjoyed be mad.) Do as I ask and give me peace. Anna, there is something That young man grows stranger How could I have thought he loved me? yourself? I must say— ANNA Every time he comes to town. (KITTY enters, still looking for How could I have been so blind? ANNA ANNA Alexei Alexandrovitch, VRONSKY. They do not see her, Oh God, what have I done? (The two of them go out towards the You know Count Vronsky? Well, if you must, you are not well. although she makes no effort to What must he think? Ballroom. After a moment ANNA, (She makes as if to leave, conceal herself.) KARENIN (interrupting) But I would rather go to bed! restless and disturbed, comes in the The shame of it—the pain— I think we've met before. (Yawning.) but he stops her.) other way, followed by VRONSKY.) VRONSKY BETSY, LYDIA, YASHVIN KARENIN KARENIN (desperate) How can I give you that when I have This is becoming quite improper! (They bow somewhat curtly. When VRONSKY Anna, I must put you on your guard. Anna, I am your husband, none myself? Women with shadows come to KARENIN turns for a moment to his Forgive me if what I say and I love you! There can be no peace for us cousin, the predatory LYDIA, BETSY offends you— bad ends— ANNA Until you give your love to me. sweeps VRONSKY away, laughing (She looks at him for a moment, I only came tonight to be with you— I wonder how they dare— On my guard? But why? (ANNA pulls away angrily.) and scolding.) then turns impatiently back into Improper, most improper. KARENIN ANNA the room and sits.) ANNA BETSY (aside to VRONSKY) I only came tonight (During the ensemble two things Your excited talk with Vronsky I ask you— Careful, my friend— KARENIN Because I knew you would be here— happen: ANNA becomes aware of the Was extremely indiscreet. Never speak that word to me again. You should be more discreet If I am wrong I came to tell you this must end. others’ ill-concealed attentions and of ANNA (Blameless, but with a (She moves away.) For Anna’s sake. Then I beg your pardon— You know that I am married— Kitty’s distress; at the climax of it all guilty conscience, laughing it off) And what of Kitty, then? But if there is the smallest grain I’ve never had the cause to YASHVIN KITTY runs out, passing KARENIN on You told me to enjoy myself— of truth blush before— Dear me—how strange. his way in. The other guests delightedly (They are gone. KARENIN turns I was not bored— In what I say Why should I now, for you? make way for him. The atmosphere at back to ANNA.) Does that offend you? LYDIA once makes its impression upon him.) And if your heart allows you— VRONSKY The only thing that's strange KARENIN KARENIN (blocked) Tell me! VRONSKY (sotto voce) Then what do you want of me? Is Anna’s faithful shadow! Shall we go down to supper? Anna, this is not like you. Anna, tell me! You promise nothing and I ask (Turns away.) (A pause. ANNA rises. ANNA (VRONSKY attacks ANNA again, both for nothing. ANNA She turns, smiling, to KARENIN.) You've been behaving very badly. quite unaware that other people— But remember all I live for No, is the coach still here? (He nods) ANNA Ask Kitty to forgive you. including KITTY and BETSY—are is the word you hate so much. Then I'll go home. Alexei, what do you want of me? ANNA gathering about the room, intrigued. (He turns to her suddenly.) Alexei Alexandrovitch, (LYDIA and YASHVIN walk along the ANNA (seeing KARENIN's approach) (As she turns to go, the lights fade KITTY stands apart but cannot help There is nothing to tell you. corridor. They stop on seeing ANNA I hate the word because it means on the Ball and ANNA and KARENIN KARENIN hearing what is said.) (Sighing and turning to the door.) and VRONSKY.) so much— are seen returning to their home.) I have no right to pry into your heart—

- 20 - - 21 - Except that I'm very tired, I know she loves me as I love her, DOLLY Agafia, you old philosopher, Must I still mourn So I can feed my family for a while. It's very late— (Going) But I must warn her I cannot believe that Anna— What do you think of the spring? The love I gave, (He looks around and out of Late ... late... If she falls, I fall. The happiness I longed for. the window.) KITTY (interrupting) AGAFIA I know she loves me— (LEVIN shakes his head and sighs.) KARENIN (crying out) Anna—Anna! What do I think? STIVA And yet— I am not like you— Anna, is this you? (But she has gone.) It’s been slow in coming— LEVIN I can see what always brings you here! How strange she is tonight! I'd never love a man who loves But then, it always is! Can it be that all this spring You’re king of a different world— KARENIN another woman. (The lights fade on him. But now it’s here Can find no echo in myself? So beautiful—so light— How strange she is tonight! Don't ask me to pretend. He does not move.) It’s good to feel. (Fade back to KITTY and DOLLY.) What is the shadow in her eye DOLLY (hurt) (He goes to AGAFIA who is pouring The seasons change— That turns her face from mine? Kitty, you are being unfair. DOLLY out tea...) And so it is with grief. What can have happened for the world Kitty, tell me— (She turns away. KITTY looks at Like Agafia Mihailovna! to mutter Part 2, Scene 1 her in remorse. She buries her LEVIN did Levin never speak to you? "So improper!"? Double Scene head in DOLLY's lap.) It gives me hope— (He kisses her—she lets out a KITTY (looking up) How strange she is tonight… Stiva’s house. A few days later. And strength to live again. delighted shriek, pushes him into I cannot bear to think of Kostya— What unaccustomed feelings a chair, and gives him some jam KITTY is on the sofa, wretched, BOTH After what I said to him. Invade my troubled heart? Part 2, Scene 2 in a saucer.) pretending to read; Dolly is knitting. The spring has come, and we are But, no! This is absurd! Levin’s house in the country. DOLLY KITTY puts down her book and tries born again. Ah, this is the life! Kostya will forgive you To be jealous is an insult to my wife! to hide her tears in her handkerchief. You are a lucky fellow! LEVIN appears. It is spring. He is AGAFIA If he loves you, as I know he does, And yet— After a moment, DOLLY notices and You have everything you enjoy! looking out of the window in his All the same, Konstantin Dmitrich, And you love him, as I think you do... The possibility of gossip and scandal lets her knitting rest in her lap. living-room. You’re feeling sad, LEVIN (quietly) clouds my mind. (KITTY slowly raises her head to look DOLLY In spite of all this spring! I enjoy what I have— But she would never compromise LEVIN at DOLLY, then clutches her in misery our love Katya dear, believe me— (LEVIN tries to laugh.) And I don’t yearn for what I don't have. He’s not worth it. It’s good to be here in the spring! as the scene cross-fades again. The Or my position— The sun rises clear and bright, AGAFIA door flies open. It is STIVA. LEVIN (STIVA understands and looks at him KITTY Our position in society Melting the winter’s ice; Do you suppose I cannot see? leaps the furniture to greet him. Fade without speaking. AGAFIA leaves the And yet— Oh Dolly, don't try to be kind! I cannot bear it! Waking the earth beneath. It’s time I knew my master’s ways. back to LEVIN'S country home) room.) The possibility... The grass is green again: I brought you up, remember? (DOLLY goes to sit beside her.) LEVIN LEVIN How strange she is tonight! The velvet fields are carpets for DOLLY (A bell rings. AGAFIA goes to see Stiva! Well, and how are your affairs? What chasm opens here before us? the lambs Do you think I don’t understand? who it is.) (STIVA spreads his hands in mock I must declare myself STIVA The bees are humming in despair.) Before the bridge is broken— KITTY the willows. LEVIN Kostya, my dear! (Savagely, through her tears, rising) I must show her the danger Dear Agafia, STIVA What do you understand? Yes, spring has come, LEVIN That threatens to destroy What can I do? That I'm eating my heart out and we are born again. LEVIN and KITTY How glad I am to see you! All that is sacred in our lives: Love crosses my path again, For a man who doesn't care? (AGAFIA MIHAILOVNA enters How can you understand Our love, our marriage, I could see it all—standing there, STIVA And I am done for! with a samovar.) What I cannot? And yes, Among those dreadful people, I told you I’d be coming in the spring, Tragedy! Even our son... I could see it all! Can you accept my doubts, my pain?

- 22 - - 23 - LEVIN STIVA & DOLLY (ANNA rises eagerly as VRONSKY enters.) ANNA (sharply) Nothing in death... SERIOSHA (spoken) But the love you speak of No, here's the spring How can I? Mamma! VRONSKY VRONSKY is not love at all— And all Life is before you! You know what he will say— Anna Arkadyevna— I cannot bear to see you so unhappy. ANNA How can it be? Your wounds will heal (ANNA runs to embrace him.) VRONSKY Why Seriosha! Now spring has come— ANNA (almost radiant) STIVA (Sighs, then challenges) But did he ever even love you? And you’ll be born again ANNA I’m not unhappy— (ANNA, her eyes brimming, looks over Why don't you ask how Kitty is? In spite of all your sorrows! My darling! ANNA I'm like a starving man SERIOSHA’s head at VRONSKY.) (A difficult pause while LEVIN You are not angry I sent for you? Love? To whom you've given bread! LEVIN & KITTY How could I help loving you? brings himself to speak of what He doesn’t know the meaning of I/He loved her/me once VRONSKY VRONSKY Now, say good-day to Alexei Kirillovitch. he has been trying to avoid.) the word! But that is past. Angry? No—but what has happened? All the same, your husband must Eight years I thought I loved him— SERIOSHA (spoken, bowing) Alexei KITTY The time goes by— be told— ANNA But he crushed my love! Kirillovitch - Dolly! I’m so unhappy! Then we can go— In spite of all my sorrows! How can I tell you? For eight years he had no time to VRONSKY (spoken, bowing gravely) DOLLY (stroking her head) ANNA (interrupting) (The scene dissolves to Karenin’s house.) VRONSKY (kneeling beside her) spare! Sergei Alexeitch - I know your life seems empty, What, run away? You think I'd have a moment's peace But now I know that love Seems empty, sad and lonely— And be your mistress? (Malicious) (SERIOSHA goes shyly back to ANNA.) Not knowing how to help you? Was nothing but an empty dream. But time will pass, I promise you, Part 2, Scene 3 My heart was dying and only came Yes, be your mistress ANNA (Still she hesitates.) And soon your wounds will heal. Karenin’s country house, to life And ruin both our lives— Alexei Kirillovitch must go now— And Seriosha’s? LEVIN (quietly) outside St. Petersburg. Spring. ANNA (whispering slowly) When I was dancing in your arms. He's riding in the races... You know he’ll never let him go! Is she well? I am about to have your child. ANNA is pacing up and down a garden- VRONSKY VRONSKY TOGETHER STIVA room. She is only partly dressed, in a (He turns pale, starts to speak. He turns My heart was dying and only came Anna— Can life be so unkind No, she’s been very ill. strange state of elation and terror. his head away to hide his feelings, then to life To set us on this cruel path? ANNA (firm) You should have stayed to fight She is waiting for VRONSKY to arrive. lets it sink. She looks down at him, When you were dancing in my arms. Can love be so blind? Go— it out. terrified of his reaction. Then he rises BOTH ANNA He cannot see the reason— Your horses will become impatient. She was only building castles in and gently raises her from her chair.) You brought the sun into my life: What am I doing? The cruelest in all the world: the air You warmed my heart with sunshine (Blocked, he kisses her hand.) What am I to do? ANNA He pulls our lives, our love And Vronsky, for a moment, was And showed me what it means to love! What is it I fear - what is it I long for? Can life be so kind Apart? I'll see you there. Kitty's prince, Do I fear or desire what is past? As to give our love another chance? ANNA And then the castle fell— ANNA (weeping) (VRONSKY leaves, by the garden door. Or what will come? Can love be so blind Without your love I cannot live without my son— ANNA still clasps SERIOSHA to her.) LEVIN I do not know myself! That he gives us a reason— There is no meaning to my life: Promise me ANNA (looking at SERIOSHA) Once I loved her, yes, What shall I tell Alexei when he comes? To live our lives, If you should ever leave me You'll never ask me that again— Will you ever understand Now it only hurts to think of her, How will he take the news? Our love My sun would never rise again! Is it the end of everything? Together? (The door bursts open and SERIOJSHA I could not help myself? STIVA Without you, I must not think—I must not think. runs in and runs into Anna’s arms. Why concern yourself with the past? VRONSKY (softly, smiling) there’d be nothing left for me— SERIOSHA (spoken) What is it I fear? ANNUSHKA, in pursuit, appears in Winter is over and the snows Now you must tell your husband Without you I would die! Mamma? What is it I long for? the doorway.) have gone! everything. Nothing in life—

- 24 - - 25 - Part 3, Scene 1 YASHVIN YASHVIN (spoken) DOLLY You would not have missed a THE REST A box at the Races, Tsarskoe Selo. Who’ll be the next to break his neck? “Les honneurs de la Guerre (appearing with STIVA behind ANNA) single circus! No, it's Vronsky! That afternoon. Et les risques!” Anna, my dear! DOLLY, LYDIA, BETSY, YASHVIN, YASHVIN YASHVIN As the scene opens a race has STIVA BETSY ANNA They're off! They're going to take that Who's the favourite? You call this war? Dolly! How you startled me! fence together! just ended. Cheers, applause, (The crowd cheers.) and chatter. The races have YASHVIN (BETSY and YASHVIN laugh as ANNA DOLLY DOLLY, STIVA YASHVIN (almost immediately) been fairly sensational and Galitsin on Diana! appears by the box, closely followed How pale you are! Vronsky! Kuzovlov is down already! there are two schools of thought by KARENIN.) DOLLY, LYDIA, BETSY, YASHVIN, (They talk. A bell rings for the next LYDIA, BETSY, YASHVIN, KARENIN on their desirability. In the box DOLLY, LYDIA, BETSY, YASHVIN, STIVA BETSY race. All are galvanized once more.) Lermontov! are BETSY, LYDIA, DOLLY, STIVA STIVA, KARENIN Will you take my bet? Anna, my dear! and YASHVIN and others. YASHVIN A fall! A fall! DOLLY, LYDIA, YASHVIN, STIVA, Will you take my bet? Did you see that dreadful fall! Look—they're ready now— KARENIN DOLLY, LYDIA, BETSY, YASHVIN Galitsin! Dolokhov! BETSY (ANNA goes over to DOLLY while Coming up for Vronsky's race! Come on! So exciting at the races! His horse on top of him! BETSY BETSY annexes KARENIN for the ANNA YASHVIN LYDIA, STIVA What about Dolokhov? moment.) DOLLY Stiva! Lend me your glasses! My God—they're mad! What a perfect afternoon! Dreadful—dreadful! DOLLY BETSY (From now on ANNA takes no part (All agitate except ANNA who (Another cheer which turns into a BETSY, YASHVIN Let’s hope he doesn’t fall! You're looking tired, Karenin. So exciting! So exciting! in the mélee—with her eyes fixed watches only VRONSKY. dreadful gasp as VRONSKY falls. BETSY KARENIN on VRONSKY it is as if no one else KARENIN only watches her.) ANNA is riven with horror and rises.) DOLLY It’s the horses I am sorry for! Affairs of state you know— existed. KARENIN notices.) YASHVIN YASHVIN What a dreadful afternoon! I run a different kind of race. So many falls—so much disaster! STIVA, YASHVIN YASHVIN Here's Vronsky! It's Vronsky—under the horse! Galitsin, Dolokov! (Inadvertently he looks at ANNA as They’re into line! (A cheer as he jumps.) ANNA LYDIA, BETSY, YASHVIN, STIVA he says this; she appears not to No, it’s a false start. DOLLY Why doesn't he move? So exciting! So exciting! have heard. LYDIA appears with DOLLY, LYDIA, BETSY, YASHVIN, How many down at that one? Five? ANNA YASHVIN. KARENIN turns to greet her. STIVA, KARENIN DOLLY YASHVIN How I hate these races! STIVA, YASHVIN BETSY, KARENIN, LYDIA and YASHVIN Bravo, Vronsky! Bravo! The horse—the horse! No one’s to blame— They frighten me. Gladiator! How exciting! How exciting! It’s the luck of the draw! are talking together. ANNA is still BETSY KARENIN Beautiful! Beautiful! DOLLY, LYDIA, BETSY looking at her husband.) The horse is thrashing about! DOLLY, LYDIA, BETSY, YASHVIN, STIVA The danger is surely essential— Baba Yaga! YASHVIN Who’s the favourite? ANNA (to herself) ANNA DOLLY He's over again and out in the lead— Who’s the favourite? (Big crescendo ends in a huge cheer.) He is my husband Betsy, I must go to him! You call a broken neck essential? And perhaps he loves me— BETSY DOLLY, BETSY, YASHVIN, STIVA DOLLY, LYDIA, BETSY, YASHVIN, (But BETSY has turned to listen to But he only has ambition in his soul. LYDIA No, neck and neck with Lermontov. Who’s running in the next one? STIVA YASHVIN who runs up. The Race I know I’m bad, a wicked woman, Essential, no! Exciting, yes! (Another cheer.) LYDIA (tearing up their tickets) But he is worse— continues. Some cannot help noticing Yes, who’s running in the next one? It’s a waste of time and a waste he is a hypocrite! BETSY DOLLY, YASHVIN ANNA's hysteria, which follows.) of life! If you had been a Roman, Lydia, It's Lermontov!

- 26 - - 27 - KARENIN Shall I see him again? (He falters) Did you never give a thought to ANNA Then we shall all be free. (offering ANNA his arm, discreetly) Shall I see him again? Such time as I take steps— me— “I am not casting off a guilty wife VRONSKY Si vous voulez partir— Or our little Seriosha? But leading you to your salvation.” (She and KARENIN move forward (KARENIN can say no more. What are you saying? Can you bear to lose your son? YASHVIN (spoken) as the scene and sounds fade behind He turns and goes. (She throws down the letter. VRONSKY For leave me, and you will lose him. (Tears roll down ANNA's cheeks. He's broken his leg they say— them.) ANNA at last opens her eyes, has been listening with his head held Did you never give a thought to us? He kisses her hand again and again, It's really too bad. looks up and smiles.) in his hands. The light on Karenin is KARENIN as much to hide his own agitation (He goes.) (He suddenly puts the picture down now out.) I am obliged to tell you— ANNA as to reassure ANNA.) on its face.) (ANNA is left with KARENIN. To tell you your despair Heavens! How light it is! VRONSKY ANNA She struggles to get to STIVA Is quite unseemly— I long to see his face No! She is a vicious woman! Forgive me, Anna, I rejoice at this, It is the truth— through the crowd.) In this fantastic light! A solution must be found— Rejoice because you cannot do as ANNA (hardly listening) I dream about it often— God, forgive me— Some way to safeguard reputation! he supposes. ANNA (shouts) My despair! Thank God it is all over! She will suffer, but time will pass. Now you must leave him, (She lives through her dream in a Stiva! Stiva! Help me! KARENIN She is bound to be unhappy And end this wretched situation. dead, colorless voice, but with all She turns to go as the lights fade. KARENIN Once I spoke of your heart— But I am not to blame— the rising terror of the actual The lights come up almost at ANNA Anna, here is my arm: Now I speak of your conduct only— experience.) once on: (He brusquely takes up a pen and And my son? do you wish to leave? I do not wish it to occur again. prepares to write a letter. Writing:) And leave my son? Yes, I may be mistaken— ANNA (violently) No, that I will not do! I dream— If so I beg your pardon. "I have come to my decision, No! Leave me alone! There is no life for me without I dream— Part 3, Scene 2 The only just decision (YASHVIN returns.) ANNA my child. I dream it is night— Karenin’s study, some days later. In the sight of God and man: (her eyes clenched through all this) I seem to awake— YASHVIN Night. We have no right to break the ties (VRONSKY turns away, jealous No, you are not mistaken— An old man with a tangled beard Vronsky's all right With which a higher Power and hurt) You are not mistaken— He is sitting at his desk, And a sack— But the horse has had to be shot. has bound us." Even now I hear your voice, a picture of ANNA in his hand. Oh, my darling, understand! Little, and dreadful (ANNA sits and weeps. KARENIN But think of him! He is deeply disturbed. KARENIN, ANNA You changed my life forever, Looking down at me— steps forward to shield her from the Yes, I love him. (With Anna’s voice as she reads it) But do not make me choose He leans closer—muttering— KARENIN curious throng and bends down.) (KARENIN turns to stone.) "No matter what you may have done Between you and Seriosha! "Beat the iron— Without love—without heart— I love him as I loved you once— I know you will agree, Beat the iron and bend it!” KARENIN corrupt— VRONSKY You had no time for me, We must continue as before..." And as he speaks Once again, let me offer you my arm. To think that once I loved her: Anna— And now I cannot bear the sight I hear—I hear— Was it out of pity I deceived myself? (As he writes, the lights come up on (ANNA looks round as if waking in of you— ANNA And yet her tears could move me ANNA, standing in the Garden Room (She claps her hands to her ears.) terror, rises and submissively gives Do with me what you will! Be patient and our suffering will end. When she told me that she hated me! reading the letter aloud to VRONSKY, her arm to KARENIN.) I hear the tapping— KARENIN (dead) Can what she said be true? who lies on a chaise longue, his (She turns away, calmly.) Tapping— ANNA I must insist that you control I gave her everything— broken leg in splints. ANNA reads in For soon—soon I shall die— The terrible sound of metal Is he dead? Is he not dead? yourself, Wealth, position, and a son. anger and with great sarcasm. I know I am to die on iron— Is it true what they say? Until such time— Oh Anna! Dearest Anna! The lights fade slowly on KARENIN.) And I rejoice at it— Coming nearer—

- 28 - - 29 - Nearer— And Seriosha shall be taken (LEVIN turns sadly to DOLLY LEVIN (to get Dolly’s attention) Our hearts, no longer young, Tapping— from you. CD2 Act Two and STIVA.) Kitty—will she be there? Soon die. Nearer...! ANNA Well, I must say goodbye. DOLLY (taking his arm) (STIVA and KARENIN return, STIVA And then I awake. (galvanized at last) Part 4, Scene 1 You know, I'm very sorry for my shattered by what he has been told.) DOLLY (She rises quite calmly and goes No! The Admiralty Gardens, sister— No—stay— STIVA to the bell.) You do not even love him! St. Petersburg. Early autumn. You only suffered from your Come and dine with us tonight? I cannot believe what you tell me— You only want my son to punish me! injured pride— Tomorrow I shall go to him Kitty will be there... I simply cannot believe it! DOLLY, STIVA and LEVIN pass among (As he is about to object:) And we shall see— KARENIN You must be wrong. the misty autumn trees. LEVIN is very (LEVIN smiles shyly and sadly Yes, Pride!— (nodding at the realization) (As she rings the bell the lights depressed. as if KITTY were only some lost, While she fell ill and made KARENIN Yes, even my love for my son fade on them.) sad memory.) herself unhappy, I wish I were. Is lost in my loathing for you. ALL THREE Oh, not because of Vronsky, The next day. It is evening but But I will take him all the same. (Autumn Song #1) LEVIN STIVA But because she knew she'd the shades are not yet drawn. Goodbye. Autumn, the golden age Kitty—will she be there? I simply cannot believe it. KARENIN is standing, looking out Of summer's fading beauty— hurt you, (After a moment) of the window. ANNA appears, (He makes as if to go but ANNA (KARENIN appears, walking slowly Leaves fall, days pass, She is very young, you know, Come tonight and see my wife— moving slowly towards him as in throws herself on her knees and through the trees, trailing his cane Our hearts, no longer young, And Vronsky swept her off her feet. She loves Anna like a sister a dream. He turns to her as she clasps his arm.) among the fallen leaves. STIVA sees Are sad. And she loves you— comes into the room. him and calls. Recognizing STIVA's (LEVIN is about to remonstrate ANNA For God's sake, come and talk to her? ANNA (submissive but brave) LEVIN voice, KARENIN turns away.) with her.) Alexei—leave me Seriosha! I know I am a guilty woman— These gardens have a melancholy air. I do not say she loves you now— KARENIN I ask you nothing else— STIVA They know that life is short. If you wish it so, then I will come. But nothing can be changed. Alexei Alexandrovitch! But her refusal at the time Leave him with me— Have you never asked yourselves KARENIN Where are you going? meant nothing. (STIVA shakes his head wordlessly. Just until— (Shamed) What is the reason for it all? I assumed it would be so— They go their several ways without I am soon to be confined— Our hope, our loves, and all (He hurries over to him.) LEVIN (rising) But I shall strive for your If you knew how much you hurt me! noticing the approach of VRONSKY (KARENIN steps back in disgust that men achieve salvation. KARENIN who however does see KARENIN. and tears his hand away.) Are dust under the feet of Death. DOLLY And if you agree to be discreet— I'm sorry—I have no time— VRONSKY, seen for the first time in If I were not so fond of you, Our lives continue as before— Leave me my Seriosha! (He kicks the dead leaves.) civilian clothes, is with YASHVIN.) STIVA If I did not feel I knew you both ANNA (not stirring; dead) (KARENIN leaves the room STIVA (to rally him) But why in such a hurry? so well... YASHVIN Alexei Alexandrovitch— without a word. ANNA lies Life can be wonderful, you know, I'll walk along with you a little. The country needs you, Vronsky. (She pats his arm and they move Will you not understand? weeping on the floor.) Like the summer, while it lasts. (He takes KARENIN's unwilling arm We need a man like you: I cannot be your wife. off together.) LEVIN (dreamily) and they disappear among the trees You cannot hide yourself away. DOLLY, LEVIN, STIVA, KARENIN KARENIN (still) You may find pleasure in pursuit and people. LEVIN has been patiently VRONSKY l (Autumn Song #2) Then you force me to end this of life— waiting on the edge of this encounter. Yashvin, Autumn, the silent grave state of things— The thought of death is DOLLY turns slowly back, puzzled at All the ambition that once inspired me END OF ACT ONE Of summer's happy laughter— (Going) all that gives me peace. KARENIN's attitude.) Has vanished with the summer. Leaves fall, days pass,

- 30 - - 31 - I had it once—now it has gone. Part 4, Scene 2 KARENIN (cynical) That she herself has chosen ruin. (He leaves the room. As he goes he He looks at KITTY as if his whole A supper party at the Oblonskys'. Quite so, but the question is cannot help hearing the tail end of future depends on her understanding YASHVIN DOLLY (interrupts) Are women worthy to win them? a conversation between Betsy and what he is about to say.) "Now" cannot mean "Forever"— Anna could never be depraved, At first, as the previous scene Yashvin.) (They laugh, BETSY loudest of all. corrupt! LEVIN VRONSKY dissolves and its music ends, only DOLLY rises and KARENIN gets up to You must be wrong! So wrong! BETSY When you said you could not love me Now and forever. KITTY and LEVIN, standing by her move her chair. She leads him aside. Splendid, but why? Did you mean never, or only then? My love for Anna can admit no end. chair, are seen. Then a burst of KARENIN (rises coldly) The party fades into the background laughter brings the other guests I thank you for your sympathy - YASHVIN (KITTY is taken aback and cannot YASHVIN (stopping) during the following scene. KARENIN into view (KARENIN, BETSY, LYDIA, His wife! Acted like a man he did— answer for a moment.) Vronsky, my friend, is cold and defensive.) DOLLY (restraining him, urgently) Called him out and shot him! I understand, YASHVIN, and a couple of others, Let me tell you why I know you're LEVIN (Urgently) DOLLY But forgive me if I'm plain with you: with DOLLY) and the music of wrong. (KARENIN has gone. DOLLY, stunned, Never? Alexei Alexandrovitch, A love like yours, however strong, this scene starts. LEVIN has just rises and goes to STIVA, passing I have to speak of Anna— (They sit again, KARENIN with a sigh.) KITTY Could mean the end of your career. arrived and STIVA is introducing KITTY on the way as she rises from (Hurrying on) No. Only then. him to KITTY. DOLLY the table. She is concerned at VRONSKY I know I have no right, Not very long ago DOLLY’S evident distress.) LEVIN I don't care what the world may say STIVA But I beg you to tell me what is My Stiva was unfaithful. And now? Of reputations, or career! So, you've found one another again! LEVIN (anxious) wrong? In my rage and sorrow You say you understand me, friend, LEVIN You are not going? KITTY (in a tiny voice) KARENIN (his head bowed) I nearly destroyed all we had lived for. But I can tell you've never loved, Yes... If you can forgive me... She has treated duty with contempt; But it was Anna who saved me. KITTY (smiling) Or you would know a love like ours And forget... KITTY She has betrayed her husband and With her kindness and goodness No, not yet. Is strongest in adversity. How long it seems ... her son. She showed me that if you love, LEVIN Try to understand, my friend: (They smile at each other. (Takes LEVIN's hand.) you can forgive. There is nothing to forget, nothing As long as her dark life needs light DOLLY KITTY moves to sit at a nearby I have forgiven. to forgive. I shall be there to give her love! LEVIN Betrayed? card-table and idly fiddles with Can you not forgive? I have never stopped loving you. May I sit here? I'm sure you must be wrong! a pack of cards.) (During the following ensemble the (All the hatred in KARENIN's heart KITTY scene dissolves to the next episode.) (Another burst of laughter from the KARENIN (Stopping her) LEVIN finds voice.) I know. others; LEVIN sits never taking his She betrayed her husband and I've wanted to ask you for so long— KITTY, DOLLY, LYDIA, BETSY, (He picks up the exposed Queen of eyes off KITTY. STIVA circulates a her son, KARENIN LEVIN, STIVA, YASHVIN, (He sits near her and looks straight Hearts and passes it to her. bottle of wine.) And I must take the final step— Only the penitent can be forgiven. VRONSKY, KARENIN into her eyes.) KITTY’S hand closes over his.) I hate that woman with all my soul! (Autumn Song #3) BETSY DOLLY Will you answer a question? KITTY (DOLLY shrinks back, appalled.) Autumn the icy breath It seems so odd to me No! I beg you— Dear Kostya. KITTY Of winter's coming sorrow - That we women are splendidly What will become of her? DOLLY What is it? LEVIN Leaves fall, days pass, fighting "Love them that hate you...” KARENIN Then…? Our hearts, no longer young, For all the things you men pretend (LEVIN hesitates, then takes the cards I have thought so long of that: KARENIN (rising contemptuously) Are cold. to despise! and deals a hand of solitaire, which KITTY I have prayed for her salvation, "Love them that hate you...” Don't you agree, Karenin? they idly play during the following. Yes—yes, yes, yes, yes! But she is so depraved, so corrupt, But I cannot love those I hate!

- 32 - - 33 - (They look at each other with (A MIDWIFE hurries into the room. (KARENIN falls to his knees at the But—when I saw her now KITTY (Aside) LEVIN tear-brimming eyes. Their hands ANNA's voice is heard behind a glass- bedside weeping. VRONSKY moves round I could not help forgiving. Why was I so blind? If I could only understand... are closed over the card. topped screen that shields her from the screen into the room. I would even turn the other cheek Why could I not understand? If I could only understand! STIVA comes up behind them.) ANNA sees VRONSKY) I only pray to God the door.) LEVIN AGAFIA That he will not deprive me of this joy. STIVA ANNA'S VOICE (delirious) Is it you—Alexei? If I could only understand what Life If you could only understand! Oh, so it's not quite time to die? How strange, how terrible (The scene fades out.) is for? Alexei would not refuse me KITTY That they should both be Alexei! Why we are here! (He bends down to KITTY as he He is so good—no-one knows but I A letter from Dolly— Come—come—give him your hand— If only I could understand… says this and she kisses him.) how good! I cannot believe what she says: And his eyes, you know, are Seriosha’s. (VRONSKY turns away and buries his (During this, AGAFIA enters with a (Speaks) “Imagine my grief at the news: Part 5, Scene 1 head in his hands. KARENIN looks up.) lamp and letters. She puts the lamp Anna has left Saint Petersburg with (A cry of pain.) LETTERS: Levin's house. down near the window.) Vronsky—" (Angrily) Six months later. Part 4, Scene 3 Why does he not come? She’s become a woman I do not know. No, look at him! He is a saint! AGAFIA Anna’s bedroom, that night. "Karenin one never sees, (The cry brings KARENIN towards the Alexei Alexeitch— It is early evening on a winter's day. Some letters from Moscow! And were it not for his cousin Lydia...” bed. The MIDWIFE removes the screen.) take down his hands— KITTY is sitting with her embroidery by KARENIN enters and stops dead on (She turns up the lamp and KITTY Forgive him! the fire: LEVIN is at her feet, reading. seeing VRONSKY sitting, his head in DOCTOR jumps up.) KITTY is pregnant. She puts down her his hands. VRONSKY slowly raises Anna Arkadyevna, (KARENIN puts one hand on VRONSKY's embroidery and strokes the back of KITTY his head as he realises someone is here is your husband. shoulder; tears are streaming down his Part 5, Scene 2 there. They look at each other for a LEVIN's bowed head. After a moment I knew we should hear from home today! (The DOCTOR turns up a lamp and face. VRONSKY slowly lowers his hands.) Anna, writing. moment. VRONSKY rises hesitantly. he looks up, smiling. (She takes the letters over to the lamp moves out of sight.) Thank God—thank God! KARENIN is frozen at seeing his face, LEVIN to read while AGAFIA and talk quietly ANNA ANNA I am ready, my darlings. ravaged by tears. What are you thinking? by the fire.) “I write to you, dear Lydia, Alexei, come to me— Look after Seriosha— (A cry of pain) VRONSKY And not to Alexei Alexandrovitch, I have not long to live. Oh God! Oh God! When will it end! KITTY LEVIN (sadly - an echo of Act I) For I know that I would cause Thank God you've come! Oh, what am I thinking? Look at her, Agafia—so happy. (KARENIN moves to the foot of the DOCTOR (spoken) That noble heart more grief She lost her child this afternoon— I was thinking how happy we are— The doctors say there is no hope bed.) Go now. (To the nurse:) Morphia. AGAFIA By reminding him of me— How happy we are together, by the fire! My two lovebirds! Surely you will understand for her— I am not afraid of him— (The screen is replaced round the bed, LEVIN (Aside) How much I long to see my son— Whenever she is free from pain I am afraid of Death— which fades from view as KARENIN and LEVIN I’m so happy with her, I cannot bear this separation... she calls for you— I was another woman VRONSKY move forward.) Soon to be three! I cannot believe it is right. (ANNA takes laudanum as LYDIA, (DOCTOR spoken, behind the screen.) When I tried to hate you, AGAFIA VRONSKY reading this letter, is slowly illuminated And I am afraid of her— KITTY (Aside) A baby on the way! Hurry! Hurry with the ice! Alexei Alexeitch— in KARENIN's study. KARENIN is in But it will soon be over— When I think of all that’s passed You should be proud— VRONSKY My feet are heavy as lead. KARENIN (taking his hand) How could I have been so stupid? his accustomed position at his desk, Pray hear me— (with emotion) LEVIN but he is a changed man—crushed I am entirely in your hands— Alexei, before I die, forgive me— LEVIN (Aside) You know I had decided on divorce— I am, but if only I knew— and weakened. There is an element of Without her, I’m a dead man. I have been wicked, but forgive me— If tomorrow I should lose her, And I confess I hungered for revenge, insincerity in all LYDIA's condolence What would become of me? AGAFIA And happy too! and moralizing to which KARENIN, - 34 - - 35 - although grateful for her sympathy, (A pause. He turns his head away crushes the letter. As she does so, MIHAIL (Spoken) SERIOSHA ANNA is not entirely blind.) and in his misery and frustration the lights fade to darkness. The scene Sergei Alexeitch is not up yet— I knew you'd come— Seriosha, my darling— beats the desk with his fist. LYDIA changes at once to: I must ask you, Madame, to wait. I never believed what they told me— Your father is better than I am... LYDIA (Spoken) goes to him, stands behind his chair, "Your heart is full of Christian love (ANNA pushes past him into the room ANNA (KARENIN appears in the doorway. and takes his shoulders in her arms And, Lydia, I know you will not refuse and stops dead. She slowly lifts her veil.) What did they tell you? He stands, silent and stricken. ANNA does to console him.) Part 5, Scene 3 To let me see my Seriosha not see him, but SERIOSHA stares at him, Seriosha’s bedroom. Early morning ANNA (not moving, in a whisper) SERIOSHA (embarrassed) Before I leave St. Petersburg.” LYDIA (A sigh of sympathy) terrified.) on his birthday. Two days later. Seriosha! They told me you were dead... Oh, my dear friend! Do not weep! (Light fades on ANNA as LYDIA hands And I have been so—so naughty Do not give way to grief! (He is transfixed. Quietly, but almost (ANNA turns away in horror.) the letter to KARENIN who lets it fall The curtains are closed and the darkness to him— a cry, running to him.) heavily, unread, on the desk.) (His head still averted to hide is broken almost at once when MIHAIL SERIOSHA (drawing her back in alarm) Love him and one day you will the tears in his eyes, he clasps one IVANOVITCH, SERIOSHA's tutor, briskly Seriosha! But I never believed it, Mamma— understand... KARENIN of her hands on his shoulder.) opens them. SERIOSHA, in bed, wakes, I knew you'd come today! I have no right to refuse her. (She clasps him in her arms, tears (SERIOSHA clings to her desperately, in rubbing his eyes. And now, you must take off your hat! LYDIA (almost keening over him) pouring down her face. KORNEY and tears, terrified of losing her.) LYDIA In the Cross alone can we find peace, SERIOSHA (Spoken—still half asleep) MIHAIL look at each other in amazement (He does so, both laughing. She hugs Alexei, to all things there are limits! SERIOSHA Consolation…salvation ... Mihail Ivanovitch—is it my birthday? and alarm as they realise who she is.) him to her.) Where would this lead Mamma—don't go! But to suffering for yourself (With her arms around his shoulders, MIHAIL (Spoken) It is— SERIOSHA (Spoken) ANNA ANNA And torture for the child? (Turning away) they fade from view. ANNA is seen Mamma! You didn't believe it! You didn't (He turns back into the room and arranges Oh, my precious one! believe it! Immoral she may be reading LYDIA's reply.) the clothes he has been carrying on the ANNA But how can she be so cruel? (ANNA kisses him and he hides his face ANNA (reads in a harsh and side of the bed.) Seriosha, my dear boy! (The OLD NURSE comes into the in her bosom. Then she realises KARENIN KARENIN (to silence her) toneless voice, as if it is a room—she kneels and kisses the hem MIHAIL (Spoken, continuing brusquely) SERIOSHA (Spoken) is there and rises. SERIOSHA bursts into Lydia! disagreeable business letter.) of Anna’s coat. MIKHAIL and KORNEY Well, get up! Get up! I knew you'd come— noisy and heart-broken tears, clinging Have I not forgiven her? continue to keep anxious watch at "Madam, to remind your son of A birthday's just like any other— I knew you'd come on my birthday— to her arm. The OLD NURSE helps to How can I refuse her the door. Then MIHAIL hurries into the your existence disengage him—he throws himself What her love demands? (SERIOSHA buries himself in the sheets. ANNA room and there is a flurry of whispers. Would lead to questions which, weeping uncontrollably face down on the MIHAIL is about to open the bed when Seriosha, my darling, my darling! The OLD NURSE whispers to ANNA, LYDIA in the circumstances, bed. After a last tragic look of farewell SERIOSHA looks at him over the sheet How big and strong you are! indicating the door and SERIOSHA, But is it love, my friend? Would be impossible to answer. ANNA turns away and crosses slowly without speaking.) sensing danger, clings to ANNA In the spirit of Christian love and charity Alexei Alexandrovitch begs you to SERIOSHA to the door, carrying her hat. She gives desperately as she rises.) You must refuse. understand his refusal to let you SERIOSHA (Spoken) Why are you crying? KARENIN a look of hatred and he turns Think of your son— see your son in the spirit of Mihail Ivanovitch— Mamma, don't cry— SERIOSHA away looks at SERIOSHA.) We have told him she is dead. Christian love and charity. why don't you love me? Don't go away! He won't come yet! ANNA ANNA (in an undertone) He prays to God to forgive her for her We both pray Almighty God to (MIHAIL looks at him, devastated, as I won't cry any more— (ANNA looks at him, realizing from his How could you— (She falters) sins! have mercy on your soul.” the door flies open and ANNA, heavily But it's been so long— frightened expression that he is not How could you tell him I... KARENIN (heavily, defeated) She takes a deep and racking breath, veiled, is seen outside with KORNEY, the But I won't cry, I won't! (Recovering) only speaking of his father, but asking (She breaks off and looks back at I had forgotten that— turns away with a stifled sob and Porter, who is unsuccessfully trying to There, I promise! her protection from him.) bar the way.) SERIOSHA.) - 36 - - 37 - KARENIN (Dead) His love... DOLLY (with concern) STIVA (to Anna) ANNA ANNA What else could I say? But is all his love for me? (Bitterly) Anna, my dear, forgive us— You’re looking sad. What makes you think I do? What must you think of me? Too easily I understand We were so happy I thought I’d die! (ANNA leaves the room. No-one else ANNA (unnaturally bright) LEVIN to Dolly DOLLY The burden I must be to him. But now our lives have drifted apart— moves. Only SERIOSHA's sobs are heard.) Forgive you, why? I’ve never seen anyone so beautiful… I want to love you as you are, (She subsides onto a chair.) The more I ask of him the less he Annushka—tea... Nor anyone so sad. Not as I think you ought to be. No—no— I know he loves me still needs my love. Part 6, Scene 1 He does—he must! (She lets DOLLY kiss her but keeps her ANNA (ANNA embraces DOLLY just as VRONSKY STIVA Anna’s apartments at an hotel. Or there is nothing left for me— face averted. ANNUSHKA goes out.) We’re leaving for Venice quite soon: enters in outdoor clothes, surprised but What do you think of her? That evening. Away, thank God! Away! pleased to see the visitors.) Nothing in life, STIVA LEVIN Nothing in death. We have brought our Kostya to see you— STIVA STIVA ANNA is sitting at a table in the So beautiful and yet so sad... (Pacing again, in crescendo.) Why must we always run away Dolly, here’s Vronsky—we must go. gathering gloom, a photograph album DOLLY So why does he not come? from life? ANNA before her, looking at pictures of I can’t believe you’ve never met before! ANNA (to Levin) Oh, Alexei! Can we not learn from our mistakes, Where love must end, there hate SERIOSHA. She has been here since Tell Kitty that I love her still. Why do you not come? (ANNA gives her hand and LEVIN bows Forget the past, forget the pain? begins. she returned home: her coat is flung I hope she won’t forgive me for the past: over it. He never takes his eyes from her.) Why must we always make our days over the back of the chair, and her (Desperately she pours herself a draft DOLLY To understand, she’d have to know so dark hat is still on the table. The door is of laudanum, but she is interrupted by ANNA (with great charm) What makes you think he hates you? What I have known. When life can be so beautiful, locked, no lamp has yet been lit, nor a knock on the door.) I am delighted— I pray she never will. STIVA are the curtains drawn. The bottle of I’ve heard so much of you from Stiva, So bright? ANNUSHKA (off) Why must we run away from life?— (They go. Hugs and kisses. There is a laudanum is not far away. And then I’ve come to love you too, (Annushka comes in with tea.) Anna Arkadyevna? terrible feeling of a final leave-taking. For Kitty’s sake. LEVIN ANNA ANNA ANNA and VRONSKY are alone. (ANNA quickly places herself between I’ve never seen anyone... It is over— the laudanum and the door. ANNUSHKA LEVIN Stiva, give Kostya some tea. ANNA’s gracious, loving facade I am alone again. (She turns a page) comes in with a lamp, which she sets on You’re very kind. (She takes DOLLY aside while the men DOLLY dissolves in a moment.) Seriosha, I have lost you— I’ve never seen you look so sad. the table. She cannot help but see the ANNA drink tea and talk in the background.) Lost you— VRONSKY laudanum. For a moment their eyes meet, And soon she’ll be a mother? ANNA (Heavily) ANNA So—you’ve not been lonely then? (She closes the album and picks up a then ANNA sits, defeated, at the desk.) Dolly, I have seen my son. I have such dreams that even morphia (She bites her lip and turns away. ANNA (trying to laugh) framed picture of VRONSKY.) cannot drown. ANNA (speaks in a whisper) A moment of embarrassment, then DOLLY (Surprised) Lonely? You don’t know what it means! Oh, Alexei! What is it, Annushka? DOLLY notices and takes LEVIN’s arm Seriosha? STIVA When you are here, I trust you. What do you know of love? ANNUSHKA to lead him away.) Why must we make our days so dark? When you’re away Will you never understand ANNA (Spoken—putting the bottle away) STIVA (to Anna) ANNA You don’t know what I suffer. I cannot live without you both? They’ll never let me have him— Your brother is here, And how are you? But life can be so beautiful— But, love the one, I lose the other. They told him I was dead! VRONSKY sighs And Darya Alexandrovna— So bright! Anna, you know there is no need— (Rises) ANNA DOLLY (Shocked, but with sympathy.) Where is he now? (Pacing) (ANNA goes quickly to a mirror to adjust Oh, life goes on, you know. Oh, Anna dear! DOLLY, LENIN, STIVA (ANNA turns on him and interrupts.) He leaves me here to weep alone? her appearance. STIVA tentatively puts I know how that must hurt you, When life can be so beautiful— DOLLY (to Levin) ANNA When he knows I need his love— his head round the door, then comes in, But at least you still have Alexei. So bright! What do you think of her? What do I know? (Stops) followed by a worried Dolly, and LEVIN.) - 38 - - 39 - What do I know? The night I thought I’d lost you VRONSKY (Exasperated) ANNA Part 6, Scene 2 She thinks that one should pity her Only what you tell me. I knew I could not live— You are impossible! Alexei! Oh Alexei! The Station Platform. But we are only born to suffer— Is it the truth? I could not live without your love. (She puts a hand to her mouth) To hate and torture one another. ANNA We cannot live to make each other Gone! He’s gone! When the darkness clears, the lights VRONSKY (weary) Tonight or not at all! (Another church bell starts tolling, suffer! And so it’s over! (Suddenly reviving) of the station platform dimly seen How often have I said I love you? nearer and louder. The beggar woman You think I care about the world? VRONSKY (Turning away) Dear God, have I gone mad? through the foggy night. Church bells But with our love approaches a man, leaving the boy Should it reject us, we’ll reject This is unbearable! ring for an evening service. People You make a prison for us both! (She rings a bell and feverishly writes alone near ANNA.) the world! come and go; we have seen them all ANNA a note at the desk. ANNUSHKA comes ANNA (Cold, bitter) Far, far away, far from vicious in the Prologue. ANNA moves slowly Alexei! Alexei! You hate me, that is clear— in. Writing:) You forget who is the prisoner! out of the icy mist. All that follows Leave one and lose the other— tongues, I’m a millstone round your neck! You men can roam the world at will, Send this after the Count— passes like a dream. Far away from all their hatred— So go! Go to Moscow! (She looks at the forlorn beggar boy.) Leaving your women to weep at home! (Gives it to her) Far, far away Go to your mother! ANNA You—Stiva—selfish! Hurry! Seriosha, I thought I loved you! We will find a haven where sorrow Let her find you a wife! Where are all these people going? You’re all the same! That I could not live without you— cannot enter You mean to leave me anyway, (ANNUSHKA runs out. ANNA takes Useless—useless— But I sold you— VRONSKY And pain is never known: So go! opium, then looks at the bottle.) There is no escape from life— Sold you for another love... Selfish? You call me selfish? There you will believe I love you VRONSKY To die would be so easy— (A drunk passes, dragged along by Have I not sacrificed my life for you? And there our hearts will learn to (Between her and the boy appears Anna! Anna! To die would wash all shame away a policeman.) My friends, my whole career— smile again. a little old man, bound up in rags, Then he would suffer— All gone and all for you, ANNA He's found a better way... with a sack. He glances at her as he ANNA (like a child) How he would suffer! While you—you dream yourself Your mother hates me for the shame passes up the edge of the platform Then let us go— No…I know he loves me still— (She passes two girls smiling at an Into another world! I bring you, and out of sight.) Take me away from this! He must or there is nothing left officer who resembles VRONSKY. They She thinks I am your whore! (ANNA lets out a cry of anguish and Let us go tonight! for me— look at her curiously and laugh.) (A cold hand at her throat) falls into an armchair, defeated.) VRONSKY (He slaps her face. Silence. Neither Nothing in life— Why do you laugh? Why do I seem to know you? moves.) Nothing in death. Why do I seem to know your face? How often have I said I loved you? Of course— There is no cause for joy. But not tonight. Go away! How often have I dried your tears? ANNA (a whisper) (ANNUSHKA comes back, out of breath.) (A bell is rung to announce the train; How can I bear to watch you suffer, You will be sorry for that! (Another peal on the station bell and ANNA (Stiff) ANNUSHKA it becomes confused with the church To watch your mind destroy itself a distant train whistle. The three men Why not tonight? VRONSKY (appalled) Piotr couldn’t stop the carriage. tocsin.) When, drop by poisoned drop pass by her, leering and laughing as VRONSKY Anna—I— I see it waste away? (ANNA suddenly clings to her.) ANNA the crowd materializes once again You know I have to see my mother ANNA (stifled) If only these bells would stop... through the mist and seems to be (He slams down the bottle of laudanum ANNA Before we leave. Go—go! converging on ANNA from every on the desk.) Annushka, what shall I do? (Three men pass her, laughing and direction.) ANNA (Pulls away and stands up) (Exasperated he slams out of the room. I will lose everything— (Suddenly) talking noisily. They stop a little way And yet you can’t believe I love you! Your mother! ANNA does not move until she hears Tonight or not at all! off and cast looks in her direction. Why do they laugh? Why do they (Kneeling beside her) In that case we shall never leave! another door slam further off. Then A beggar woman and her child, who laugh? The bells—the noise— (Pulling at her coat she runs from Yet you can’t believe how I love you! Tonight or not at all! she lets out a stifled, unwilling cry.) looks like SERIOSHA, ask for alms. the room.) ANNA turns away—they follow.)

- 40 - - 41 - (She puts her hands to her ears as Part 6, Scene 3 AGAFIA And I have found the answer here, Death may destroy us (They both look at the baby for three boys almost knock her over, (EPILOGUE) No point in dwelling on the past— In Life itself! And all that we achieve, a moment, then at each other. rushing past and hooting.) Folks don’t need to live in sorrow But if we learn to know ourselves, LEVIN kisses KITTY gently, then The garden of Levin’s country (He shakes his head and laughs, then Of other peoples’ lives! And love each other, rises, swinging the baby in the Seriosha! estate. Months later. plays with the baby.) It is for God to judge, not us. Then there is life in every air with a great cry. They go You shall not torment me! I’ve been so blind blade of grass, towards the house together.) Everything is false— (Kitty lifts the baby out of the cradle It is spring once more. The But now I see what I have always known: In every smile and tear! Everything is evil! atmosphere is one of sunny and puts him in LEVIN’s arms. LEVIN T h e e n d Where can I go? relaxation. LEVIN, KITTY, and looks up, questioning, to AGAFIA.) (The other people have now mostly AGAFIA are ending a picnic; the AGAFIA Recorded in association with: Recorded at: disappeared through the mist. Time baby is in his crib beside them. We cannot all be saints. stops for a moment as the lights of LEVIN But we can live Opera Theatre of Saint Louis the Loretto-Hilton Center the train are seen in the distance. She was happy for a while, And learn to love Charles MacKay General Director in St. Louis, MO, USA Anna moves towards the edge of I often think of her with pity. And to be loved. Colin Graham Artistic Director during performances in June, 2007. the platform, like a moth drawn to That’s what Life is for! Stephen Lord Music Director Blanton Alspaugh Producer a candle.) KITTY Paul Kilmer Director of Artistic Administration (She looks down fondly at KITTY John Newton Balance Engineer To have known what she had Maggie Stearns Director of Communications Heavens, how bright it is! known! and LEVIN.) Jesse Lewis Recording Engineer I long to see his face in this I pray to God I never will. I only have to look at you The Saint Louis Symphony Orchestra Mark Donahue Mastering Engineer fantastic light! LEVIN And I am happy. David Robertson Music Director For one brief moment… Andrew Giles Design Another sacrifice—to what? (After a moment she turns and W. Randolph Adams President and Executive Director “Put out the light, The malice and hypocrisy of goes into the house.) Robert McGrath Vice-President and Orchestra Manager And then put out the light…” that dark world! Why not? LEVIN (musing out loud.) The production was made possible with generous support from The Andrew W. Mellon Foundation, When there is nothing more to see— KITTY “It is not for us to judge... the National Endowment for the Arts and Centene Corporation. Nothing more to live for…. Oh Kostya, you look so sad! Learn to love and to be loved…” Why not? Don’t look down into your heart Is this what I’ve been seeking all Oh, God, forgive me! It is over! my love— my life? images © 2009 The copyright in this recording is owned by Opera Theatre of Saint louis He’s laughing at us both. What have I found that I did not  2009 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. The lights of the train appear out of the Cover & Kelly Kaduce in performance as Anna Karenina. His smile should be enough to know before? fog, rushing towards ANNA who turns heal your heart. Tray Photograph © Deborah Gray Mitchell Any unauthorised broadcasting, public performance, copying or re-recording of Signum impulsively towards them. As it passes, KITTY for Florida Grand Opera. Compact Discs constitutes an infringement of copyright and will render the infringer liable for an instant she is seen silhouetted (A moment as LEVIN places his Still sad, my love? Page 4 Declaration of Love, c. 1851. V. E. Makovsky.* to an action by law. Licenses for public performances or broadcasting may be obtained from hand silently on Kitty’s and looks Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, against the lights before she throws Page 5 In Summer (detail), c. 1909. S. A. Vinogradov.* stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, at his son. Slowly the depression LEVIN (laughing) herself under the wheels. Some distant Page 6 The Green Sofa, c. 1876. Sir John Lavery.* photocopying, recording or otherwise, without prior permission from Signum Records Ltd. clears and, as AGAFIA sings, he No, happy at last! shouts in the sudden darkness. Page 8 Portrait of Lev Tolstoy, 1909. A. V. Morarov.* even begins to smile) I’ve been wretched for so long, SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Then silence. Trying to find a reason for our lives, *The Bridgeman Art Library International Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected]

- 42 - - 43 -