London Orchestra Living Music

Sunday 20 March 2016 7pm Barbican Hall

Schumann Scenes from Goethe’s ‘Faust’

Daniel Harding conductor Faust/Pater Seraphicus/Dr Marianus Christiane Karg Gretchen/Una Poenitentium Alastair Miles Mephistopheles/Böser Geist Andrew Staples Ariel/Pater Ecstaticus/Angel Tara Erraught London’s Symphony Orchestra Mangel/Maria Aegyptiaca Olivia Vermeulen Not/Mulier Samaritana/Mater Gloriosa Lucy Crowe Soprano Matthew Rose

Choir of Eltham College London Symphony Chorus chorus director

Concert finishes approx 9.30pm 2 Welcome 20 March 2016

Welcome Living Music Kathryn McDowell In Brief

Welcome to this evening’s LSO concert at the SIR PETER MAXWELL DAVIES CH CBE Barbican. We are delighted to welcome LSO Principal (1934–2016) Guest Conductor , to conduct Schumann’s Scenes from Goethe’s ‘Faust’. In recent The LSO was deeply saddened to hear of the years Daniel Harding has been a champion of this death of the composer Sir Peter Maxwell Davies work, and it was his great desire to perform it with on Monday 14 March 2016. Our thoughts are with the LSO. his family and friends. Sir Peter had been working closely with the LSO in recent years, with his Tenth Tonight’s performance features a stellar cast of Symphony in 2014 and latterly on his new children’s soloists, comprised of many of the leading operatic The Hogboon, which receives its premiere artists of our time including: Christiane Karg, Alastair in June 2016. His vision for music education and Miles, Andrew Staples, Matthew Rose, Lucy Crowe, the wealth of pieces he has left for young people is Tara Erraught, Olivia Vermeulen and, in the title unparalleled in recent times. He will be remembered role, Christian Gerhaher, whom LSO audiences will for his significant contribution to British music, and remember from his performance of Debussy’s will be greatly missed by his many colleagues all Pelléas et Mélisande in January. over the world.

We are also delighted to welcome the of To read the LSO’s full tribute, please visit our website. Eltham College, the London Symphony Chorus and LSO Choral Director Simon Halsey. This season the lso.co.uk/more/news LSC celebrates its 50th anniversary, a great milestone in the history of the choir. LSO 2016/17 SEASON NOW ON SALE I hope that you enjoy tonight’s concert and can join us again soon. The LSO returns to the Barbican on Booking is now open for the LSO’s 2016/17 season. Sunday 3 April for the first of a pair of programmes Full listings for all concerts taking place between with conductor Alan Gilbert, who will make his debut September 2016 and July 2017 can be found on with the LSO. the LSO website, along with details on how to purchase tickets.

lso.co.uk/201617season

Kathryn McDowell CBE DL Managing Director lso.co.uk Composer Profile 3

Robert Schumann Composer Profile

My would have reached Opus 100 if I had but written them down ... Sometimes I am so full of music, and so overflowing with melody, that I find it simply impossible to write down anything.

Robert Schumann

orn into a middle-class home in Zwickau on 8 a way out through music.’ His secret engagement to June 1810, Robert Schumann was the youngest Clara in 1837 and subsequent battle with Bof five children. In 1816, the boy enrolled at Wieck to win approval led to the composition of a private school where he also appears to have a flood of remarkable songs and song-cycles. received his first piano lessons. Robert’s youthful In August 1840 the Leipzig Court of Appeal compositions and considerable keyboard skills judged that Schumann and Clara were free to attracted attention at Zwickau’s Lyceum, although he marry. The couple, in addition to their tireless was equally recognised for his extensive schoolboy musical activities, produced seven children. literary efforts. Schumann’s worsening periods of manic depression, possibly heightened by the secondary As a student of law at Leipzig University, Schumann symptoms of syphilis, periodically blocked his spent his time writing, composing and improvising immense creative output. After he attempted at the piano. Lessons with piano teacher Friedrich suicide in February 1854 by drowning in the River Wieck and composition studies with Heinrich Rhine, he requested to enter a sanatorium near Dorn helped prepare the way for a musical career. Bonn, where he died on 29 July 1856. Unfortunately, Schumann’s ambitions as a pianist were undermined by finger problems. Severe Composer Profile © Andrew Stewart depression prompted the young man to consider suicide; however, his almost obsessive love for Wieck’s musically gifted daughter, Clara, offered an alternative to terminal melancholy.

‘Everything that happens in the world affects me, politics, literature, people,’ observed Schumann; ‘I think it all over in my own way, and then it has to find 4 Programme Notes 20 March 2016

Robert Schumann (1810–56) Scenes from Goethe’s ‘Faust’ (1844–53)

1 OVERTURE In his youth Schumann had originally wanted to be a poet. He certainly had the talent: his mature PART ONE journalistic writings show an exuberant literary 2 SZENE IM GARTEN [SCENE IN THE GARDEN] flair. Composition only came via a long, obsessively 3 GRETCHEN VOR DEM BILD DER MATER DOLOROSA determined and at times eccentric process of [GRETCHEN BEFORE THE IMAGE OF MATER DOLOROSA] self-education. Even then literature retained a 4 SZENE IM DOM [SCENE IN THE CATHEDRAL] powerful hold on Schumann’s imagination. The discovery of Byron’s poetry for instance was an PART TWO experience as devastating as falling passionately 5 SONNENAUFGANG [SUNRISE] in love. (Schumann was the kind of man who could 6 MITTERNACHT [MIDNIGHT] only ever fall in love passionately.) Given all that, 7 FAUSTS TOD [FAUST’S DEATH] and given Schumann’s growing romantic nationalist feelings in the 1840s, it was inevitable that he would PART THREE one day find himself tackling the great verse drama 8 FAUSTS VERKLÄRUNG [FAUST’S TRANSFIGURATION] Faust by Johann Wolfgang von Goethe (1749–1832) – for Germans, Goethe is a figure as totemic as PROGRAMME NOTE WRITER DANIEL HARDING CONDUCTOR Shakespeare is for the English. Goethe had treated STEPHEN JOHNSON the legend of Faust – the academic who sells his CHRISTIAN GERHAHER soul to the Devil in return for youth, knowledge FAUST/PATER SERAPHICUS/DR MARIANUS and magical powers – in two distinct parts. Part CHRISTIANE KARG One is a relatively conventional depiction of Faust’s GRETCHEN/UNA POENITENTIUM bargain with Mephistopheles, his seduction of the ALASTAIR MILES girl Gretchen and its tragic consequences. Part MEPHISTOPHELES/BÖSER GEIST Two is a much less easily graspable account of the ANDREW STAPLES maturation of Faust’s soul, his death and subsequent ARIEL/PATER ECSTATICUS/ANGEL transfiguration in an ethereal world which only TARA ERRAUGHT superficially resembles the Roman Catholic Heaven: MANGEL/MARIA AEGYPTIACA Goethe was emphatically not a Christian. OLIVIA VERMEULEN JOHANN WOLFGANG VON NOT/MULIER SAMARITANA/MATER GLORIOSA Initially the thought of taking on such a revered GOETHE (1749–1832) LUCY CROWE SOPRANO SOLO poetic work was daunting, and Schumann appears was a poet, playwright and scientist. MATTHEW ROSE BASS SOLO to have spent about ten years wavering between Following the success of his first LUCY ANDERSON, GEORGIA BISHOP, ROBIN HORGAN setting it as an opera or a sacred-secular choral work novel, The Sorrows of Young Werther VOCAL SOLOISTS FROM THE GUILDHALL SCHOOL – perhaps he was really putting it off. Eventually, (1774), he has remained an important in 1844, buoyed up by the recent success of his figure in German and world literature. CHOIR OF ELTHAM COLLEGE choral-orchestral Das Paradies und die Peri – in his He is most widely known as the LONDON SYMPHONY CHORUS own description ‘halfway between an opera and an author of the tragedy Faust, published SIMON HALSEY CHORUS DIRECTOR oratorio’ – Schumann began working with feverish in two parts in 1808 and 1832. enthusiasm on a similar hybrid setting of the final lso.co.uk Programme Notes 5

‘transfiguration’ scene from Part Two of Faust. He his own Parts One and Two, and in 1853, not seems to have been pleased with it, yet a year later long before his final mental collapse, he added he was writing to his friend Mendelssohn: the Overture.

‘The scene from Faust reposes in my desk. I am absolutely Whether Schumann would have gone on adding afraid to look at it again. The lofty poetry, especially of the scenes from Goethe’s drama is impossible to say. As it stands, Schumann’s choice of scenes from final part, moved me so deeply that I ventured to begin. Faust might at first seem confusingly arbitrary. It I have no idea whether I shall ever publish it.’ would be difficult to divine Goethe’s story from Schumann’s setting, and scenes that had such a Why such reticence? One possible reason is the powerful effect on his fellow romantic Berlioz – music had dark associations. After four years of Faust’s solitary address to elemental nature, the staggering, at times almost manic productivity, scenes of student ribaldry in the Bierkeller – seem Schumann had composed the Faust scene ‘by to have had little interest for Schumann. Instead the sacrifice of his last strength’, as his devoted his settings concentrate on some of the drama’s wife Clara reported. He had then plunged into a psychological and philosophical themes. catastrophic depressive episode that lasted well into the following year, and which for a while silenced him creatively. Turning again to these famous lines earlier in the scene must have given Schumann painful pause for thought:

DANIEL HARDING CONDUCTS ‘The man who strives with all his might, IN 2016 him we can redeem’ Sun 8 May 2016 7pm Mozart Piano Concerto No 20 [‘Wer immer strebend sich bemüht, Bruckner Symphony No 3 den können wir erlösen!’]

with Leif Ove Andsnes piano Yet four years later, in 1848, Schumann was setting those very words in an extended and Sun 5 Jun 2016 7pm partly recomposed version of the transfiguration Mahler Symphony No 2 scene. What we now know as Part Three of Schumann’s Scenes from ‘Faust’ was finished in with Miah Persson, Anna time to be performed simultaneously in Dresden, Larsson and London Symphony Leipzig and Weimar in August 1849, in honour of Chorus the centenary of Goethe’s birth. Its success (except in Leipzig), inspired him to tackle earlier scenes An extract from Schumann’s original shortscore Box Office from the drama. The following year Schumann had manuscript for Scenes from Goethe’s ‘Faust’. lso.co.uk | 020 7638 8891 completed the two sets of scenes that comprise 6 Programme Notes 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’ continued

SCHUMANN on LSO LIVE THE MUSIC but the personification of ‘pure and unselfish love revealed to mortals in its most perfect form in the Schumann After the darkly striving Overture, the ‘Scene in the love of a woman’, as one contemporary writer put Das Paradies Garden’ depicts love as a form of escapism (for it. Idealistic though this may sound, Schumann und die Peri Faust himself, at least), after which ‘Gretchen before devoutly believed he had found a woman capable £14.99 the Image of the Mater Dolorosa’ shows what of that kind of love in his adored wife Clara, the Faust’s emotional self-gratification has done to the woman who had sacrificed her own brilliant career supposed object of his love. Flowers – symbol of as composer and concert pianist to support and Sir conductor the joy of love in the previous scene – now embody nurture him and his genius. Half a century later, pain and repentance. ‘Scene in the Cathedral’ is Mahler would set the same scene in an outpouring In his debut recording on LSO Live, the high point of Part One. Gretchen’s self-torment of quasi-religious adoration to his own wife, Alma, Sir Simon Rattle conducts a stunning (personified by the Evil Spirit) heightens her sense in his monumental Eighth Symphony. But where performance of Schumann’s rarely of agonising loneliness and estrangement amongst Mahler’s setting storms Heaven in an oceanic final recorded Das Paradies und die Peri massed humanity. crescendo, Schumann approaches the throne of featuring a superb line-up of soloists. the Ewig-Weibliche with more modest devotion. As In Part Two, nature rekindles Faust’s creative the critic Eduard Hanslick put it, after the belated ‘There’s no hiding either Rattle’s impulses in ‘Sunrise’, but in one of those premiere of the complete Scenes from ‘Faust’ in eloquent advocacy of the work or sudden mood-swings which Schumann the man 1862, six years after Schumann’s death: the encouraging signs regarding his experienced all too frequently, spiritual sunrise rapport with the orchestra, who play leads to ‘Midnight’ in the following scene, a sombre, ‘All is heartfelt, warm and simple. Far from superbly for him.’ The Observer atmospheric confrontation with Goethe’s Four Grey Schumann lay the temptation to approach the poem Women: Want, Guilt, Care and Need. Care breathes on its brilliant outside. He let it grow warm in his lsolive.lso.co.uk on Faust and blinds him, but in the soul’s darkness heart, and then gave us, instead of a transcendental an inner light dawns, and minor key darkness turns scene of triumph, a piece of his deepest and most to confident major as Faust sings of the great work individual feeling.’ he now has in mind. Yet again, Schumann’s selection brings immediate reversal in ‘Faust’s Death’. Mephistopheles summons Lemurs (spirits of the dead) to dig Faust’s grave, but the still blind Faust thinks they are his own workmen, carrying out his utopian plans, and dies happy. Is it then delusion that finally redeems us? INTERVAL: AFTER PART TWO – 20 minutes There are bars on all levels of the Concert Hall; ice cream No, there is something else. In Goethe’s Heaven can be bought at the stands on Stalls and Circle level. (in which the traditional male deity is strikingly The Barbican shop will also be open. absent), Faust’s redeemed soul is brought before the Ewig-Weibliche, the ‘Eternal Feminine’ – not the Why not tweet us your thoughts on the first half of the Virgin Mary, the Mater Dolorosa (Mother of Sorrows), performance @londonsymphony, or come and talk to before whom Gretchen laid her flowers in penitence, LSO staff at the information point on the Circle level? lso.co.uk Text 7

Robert Schumann Scenes from Goethe’s ‘Faust’: Text

PART ONE

SZENE IM GARTEN SCENE IN THE GARDEN

Faust Faust Du kanntest mich, o kleiner Engel, wieder, You recognised me then, my little angel, Gleich als ich in den Garten kam? As soon as I came into the garden?

Gretchen Gretchen Saht ihr es nicht? Ich schlug die Augen nieder. Didn’t you see? I cast my eyes down.

Faust Faust Und du verzeihst die Freiheit, die ich nahm, And you forgive the liberty that I took, Was sich die Frechheit unterfangen, The audacity I showed, Als du jüngst aus dem Dom gegangen? When you had just come out of the cathedral?

Gretchen Gretchen Ich war bestürzt, mir war das nie gescheh’n I was perplexed, for this had never happened to me before

Faust Faust Und du verzeihst? And you forgive me?

Gretchen Gretchen … es konnte niemand von mir Übels sagen. … no one could speak ill of me. Ach, dacht’ ich doch, hat er in deinem Betragen Ah, I thought, though, that in my behaviour Was Freches, Unanständiges geseh’n? He has seen something overbold, unmannerly? Es schien ihn gleich nur anzuwandeln It seemed to him that he could do Mit dieser Dirne grad’ hin zu handeln. With this lass, whatever he wanted. Gesteh’ ich’s doch, ich wußte nicht was sich Yet I confess, some feeling, I know not what, Zu eurem Vorteil hier zu regen gleich begonnte; Started to rise up in your defence;

Faust Faust Süß’ Liebchen! Sweet darling!

Gretchen Gretchen Allein gewiß, ich war recht bös’ auf mich, To be sure I was very angry with myself, Daß ich auf euch nicht böser konnte. Because I could not be angrier with you. 8 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Faust Faust Süß’ Liebchen! Sweet darling!

Gretchen Gretchen Laßt einmal! Wait a moment! (Sie pflückt eine Sternblume und zupft die Blätter ab, (She picks a daisy and pulls the petals off, eins nach dem andern) one by one)

Faust Faust Was soll das? Einen Strauß? What then? A daisy-chain?

Gretchen Gretchen Nein! es soll nur ein Spiel. No! It is only a game.

Faust Faust Wie? How?

Gretchen Gretchen Geht, ihr lacht mich aus! Come, you are laughing at me! (Sie rupft und murmelt) (She pulls the petals off and murmurs)

Faust Faust Was murmelst du? What are you murmuring?

Gretchen Gretchen Er liebt mich – liebt mich nicht – He loves me – he loves me not – er liebt mich – liebt mich nicht – liebt mich – he loves me – he loves me not – he loves me – liebt mich nicht – liebt mich – nicht – he loves me not – he loves me – not – (Die letzte Blatt ausrupfend, mit holder Freude) (Pulling off the last petal, happily) er liebt mich! he loves me!

Faust Faust Ja, mein Kind! Laß dieses Blumenwort Yes, my child! Let this flower’s words dir Götterausspruch sein! Er liebt dich! be the verdict of the gods for you! He loves you! Verstehst du, was das heißt: Er liebt dich, er liebt dich! Do you understand what that means: He loves you, he loves you!

Gretchen Gretchen Mich überläuft’s! I tremble! lso.co.uk Text 9

Faust Faust O schaud’re nicht! laß diesen Blick, Do not tremble! Let this look, Laß diesen Händedruck dir sagen, was unaussprechlich ist: Let this pressure of the hand say to you what cannot be expressed: Sich hinzugeben ganz und eine Wonne zu fühlen, Wholly to give yourself up and feel bliss Die ewig, ewig, ewig sein muß! That must last for ever!

Mephistopheles Mephistopheles Es ist wohl Zeit zu scheiden! It is time to part!

Marthe Marthe Ja, es ist spät, mein Herr! Yes, it is late, sir!

Faust Faust Darf ich euch nicht geleiten? May I not come with you?

Gretchen Gretchen Die Mutter würde mich – lebt wohl! My mother would – farewell!

Faust Faust Muß ich denn geh’n? Lebt wohl! Must I then go? Farewell!

Marthe Marthe Ade! Adieu!

Gretchen Gretchen Auf baldiges Wiederseh’n! Soon to meet again!

GRETCHEN VOR DEM BILD DER MATER DOLOROSA GRETCHEN BEFORE THE IMAGE OF THE MATER DOLOROSA (Zwinger. In der Mauerhöhle ein Andachtsbild der Mater dolorosa, (The ramparts. In a niche an image of the Mater Dolorosa, jugs with Blumenkrüge davor. Gretchen steckt frische Blumen in die Krüge) flowers in front of it. Gretchen puts fresh flowers into the jugs)

Gretchen Gretchen Ach neige, Ah cast down, Du Schmerzenreiche, Thou rich in sorrows, Dein Antlitz gnädig meiner Not! Thy gracious countenance on my misery! Das Schwert im Herzen, The sword in the heart, Mit tausend Schmerzen With a thousand sorrows Blickst auf zu deines Sohnes Tod. Thou seest thy son’s death. Zum Vater blickst du, To the Father thou lookest, 10 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Und Seufzer schickst du And sendest thy sighs Hinauf um sein’ und deine Not. Up for his and thy misery.

Wer fühlet, Who feels Wie wühlet How sorrow Der Schmerz mir im Gebein? Enters every bone? Was mein armes Herz hier banget, What my poor heart here is anxious over, Was es zittert, was verlanget, What it trembles at, what it calls for, Weißt nur du, nur du allein! Alone thou, alone thou knowest!

Wohin ich immer gehe Wherever I go Wie weh, wie weh, wie wehe What woe, what woe, what woe Wird mir im Busen hier! Is here in my heart! Ich bin, ach, kaum alleine, I am, ah, barely alone, Ich wein’, ich wein’, ich weine, I weep, I weep, I weep, Das Herz zerbricht in mir. Then my heart breaks within me.

Die Scherben vor meinem Fenster The flowers before my window Betaut’ ich mit Tränen, ach! I bedewed with tears, ah! Als ich am frühen Morgen When in the early morning Dir diese Blumen brach. I brought these flowers to you.

Schien hell in meine Kammer Brightly shone in my room Die Sonne früh herauf, The early sun, Saß ich in allem Jammer But I sat in utter wretchedness In meinem Bett schon auf. Upon my bed.

Hilf! Rette mich von Schmach und Tod! Help! Save me from shame and death! Ach neige, Ah cast down, Du Schmerzenreiche, Thou rich in sorrows, Dein Antlitz gnädig meiner Not! Thy gracious countenance on my misery! lso.co.uk Text 11

SZENE IM DOM SCENE IN THE CATHEDRAL (Amt, Orgel und Gesang. Gretchen unter vielem Volke. (Service, with organ and choir. Gretchen among many people. Böser Geist hinter Gretchen) The Evil Spirit behind Gretchen)

Böser Geist Evil Spirit Wie anders, Gretchen, war dir’s, How different you were, Gretchen, Als du noch voll Unschuld When you in utter innocence Hier zum Altar trat’st, Came here to the altar, Aus dem vergriff’nen Büchelein And from your well-worn little book Gebete lalltest, Babbled prayers, Halb Kinderspiele, Half children’s game, Halb Gott im Herzen! Half God in your heart!

Gretchen! Wo steht dein Kopf? Gretchen! What are you thinking? In deinem Herzen, welche Missetat? In your heart what crime? Bet’st du für deiner Mutter Seele, Do you pray for your mother’s soul, die durch dich zur langen, That through you to long, langen Pein hinüberschlief? Long pain was sent to sleep? Auf deiner Schwelle wessen Blut? Whose blood is at your doorstep? – Und unter deinem Herzen – And within your heart Regt sich’s nicht quillend schon, What stirs, welling up, Und ängstigt dich und sich And brings you anguish and Mit ahnungsvoller Gegenwart? Misgivings?

Gretchen Gretchen Weh! Weh! Woe! Woe! Wär’ ich der Gedanken los, O that I were without these thoughts, Die mir herüber und hinüber gehen That go always Wider mich! Accusing me!

Chor Choir Dies irae, dies illa, Day of wrath, that day, Solvet saeclum in favilla, When earth is in ashes,

Böser Geist Evil Spirit Grimm faßt dich! Wrath holds you! Die Posaune tönt! The trumpet sounds! Die Gräber beben! The graves tremble! Und dein Herz, aus Aschenruh And your heart, from ashes 12 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Zu Flammenqualen wieder aufgeschaffen, To the pain of flames is born again, Bebt auf! And trembles!

Gretchen Gretchen Wär’ ich hier weg! O that I were away from here! Mir ist als ob die Orgel mir It is as if the organ Den Atem versetzte, stifled my breathing, Gesang mein Herz My heart lost in the depths Im Tiefsten löste. Of singing.

Chor Choir Judex ergo cum sedebit, Therefore when the judge shall sit, Quidquid latet apparebit, Whatever is hidden shall be revealed, Nil inultum remanebit. Nothing shall remain unavenged.

Gretchen Gretchen Mir wird so eng! I feel so oppressed! Die Mauernpfeiler befangen mich! The pillars close me in! Das Gewölbe drängt mich! – Luft! The vaulted dome presses down on me! – Air!

Böser Geist Evil Spirit Verbirg dich! Sünd’ und Schande Hide yourself! Sin and shame Bleibt nicht verborgen, Remain unhidden, Luft? Licht? Weh dir! Air? Light? Woe on you!

Chor Choir Quid sum miser tunc dicturus? What shall I, poor wretch, then say? Quem patronum rogaturus? Whom seek to intercede? Cum vix justus sit securus. When the just is hardly safe.

Böser Geist Evil Spirit Ihr Antlitz wenden The transfigured ones turn Verklärte von dir ab. Their faces from you. Die Hände dir zu reichen, The pure shudder Schauert’s den Reinen. To reach out their hands to you. Weh! Woe! lso.co.uk Text 13

Chor Choir Quid sum miser tunc dicturus? What then shall I, a wretch, say? Quem patronum rogaturus? Whom seek to intercede?

Gretchen Gretchen Nachbarin! Euer Fläschchen! – (Sie fällt in Ohnmacht) Neighbour! Your phial! – (She faints)

Chor Choir Quem patronum rogaturus, Whom seek to intercede? Cum vix justus sit securus? When the just is hardly safe.

PART TWO

SONNENAUFGANG SUNRISE (Anmutige Gegend. Faust auf blumigen Rasen gebettet, ermüdet, (A pleasant landscape. Faust stretched out on a flowery lawn, tired and unruhig schlafsuchend. Dämmerung. Geisterkreis schwebend, bewegt, restlessly seeking sleep. Twilight. A ring of spirits hovering, with little anmutige kleine Gestalten.) pleasing forms.)

Ariel Ariel Die ihr dies Haupt umschwebt im luft’gen Kreise, You who surround this head in airy circle, Erzeigt euch hier nach edler Elfen Weise, Show here according to your noble elfish way, Besänftiget des Herzens grimmen Strauß, Soothe the heart’s grim strife, Entfernt des Vorwurfs glühend bittre Pfeile, Dismiss the glowing bitter arrows of reproach, Sein Inn’res reinigt von erlebtem Graus. Purify his inmost being from horror witnessed. Vier sind die Pausen nächtiger Weile, Four are the watches of the night, Nun ohne Säumen füllt sie freundlich aus. Now without tarrying give him comfort.

Erst senkt sein Haupt aufs kühle Polster nieder, First rest his head on the cool grass pillow, Dann badet ihn in Tau aus Lethes Flut; Then bathe him in dew from the river of Lethe; Gelenk sind bald die krampferstarrten Glieder, Soon will his cramped limbs be agile again, Wenn er gestärkt dem Tag entgegenruht; When strengthened he meets the day; Vollbringt der Elfen schönste Pflicht, Fulfil, elves, your fairest duty, Gebt ihn zurück dem heiligen Licht. Bring him back to holy light.

Chor Choir Wenn sich lau die Lüfte füllen When cool are the airs Um den grünumschränkten Plan, About the green-begirt scene, Süße Düfte, Nebelhüllen With sweet fragrances, mists Senkt die Dämmerung heran. Falls the dusk, 14 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Lispelt leise süßen Frieden, Whispers gently sweet peace, Wiegt das Herz in Kindesruh; Cradles the heart in childlike rest; Und den Augen dieses Müden And on the eyes of this weary man Schließt des Tages Pforte zu. Closes the gates of day.

Nacht ist schon hereingesunken, Night has fallen now, Schließt sich heilig Stern an Stern, Holy star joins star, Große Lichter, kleine Funken Great lights, little sparks Glitzern nah und glänzen fern; Glitter near and shine afar; Glitzern hier im See sich spiegelnd, Glitter here in the lake reflected, Glänzen droben klarer Nacht, Shine above in the clear night, Tiefsten Ruhens Glück besiegelnd Bringing the boon of deepest rest Herrscht des Mondes volle Pracht. The moon’s full splendour rules the sky.

Schon verloschen sind die Stunden, Now are passed the hours Hingeschwunden Schmerz und Glück; Vanished pain and happiness; Fühl es vor! Du wirst gesunden; Now sound out! You will be healed; Traue neuem Tagesblick. Trust the new light of day. Täler grünen, Hügel schwellen, The valleys are green, the hills increase, Buschen sich zu Schattenruh; Thickets give the shaded rest; Und in schwanken Silberwellen And in swaying silver waves Wogt die Saat der Ernte zu. Billows the sowing of the harvest.

Wunsch um Wünsche zu erlangen, To achieve wish on wish, Schaue nach dem Glanze dort! Look on the shining there! Leise bist du nur umfangen, Lightly are you only held, Schlaf ist Schale, wirf sie fort! Sleep is a shell, now break forth! Säume nicht, dich zu erdreisten, Tarry not to dare, Wenn die Menge zaudernd schweift; If the crowd may tremble and hesitate; Alles kann der Edle leisten, All can the noble soul achieve, Der versteht und rasch ergreift. Who understands and quickly lays hold.

Ariel Ariel Horchet! horcht dem Sturm der Horen! Hark! Hark to the storm of hours! Tönend wird für Geistesohren Sounding for the ears of spirits Schon der neue Tag geboren. The birth of the new day. Felsentore knarren rasselnd, Rocky gates creak and rattle, Welch Getöse bringt das Licht! What din the light brings! Es trommetet, es posaunet, Drums, trumpets sound, lso.co.uk Text 15

Auge blinzt und Ohr erstaunet, Eyes are dazzled and ears astounded, Unerhörtes hört sich nicht. Unheard sounds are heard by none. Schlüpfet zu den Blumenkronen, Glide away to the crown of flowers, Tiefer, tiefer, still zu wohnen, Deep, deep, quietly to dwell In die Felsen, unters Laub; Among the rocks, under the foliage; Trifft es euch, so seid ihr taub. The sound may turn you deaf.

Faust Faust Des Lebens Pulse schlagen frisch lebendig, The pulse of life beats living and afresh, Äther’sche Dämm’rung milde zu begrüßen; To greet gently ethereal dawn; Du, Erde, warst auch diese Nacht beständig You, earth, were also steadfast through this night Und atmest neu erquickt zu meinen Füßen, And breathe, newly awakened, at my feet, Beginnest schon, mit Lust mich zu umgeben, You begin to engird me with pleasure, Du regst und rührst ein kräftiges Beschließen, You stir and move a strong purpose, Zum höchsten Dasein immerfort zu streben. – To strive evermore for the highest existence. –

Hinaufgeschaut! – Der Berge Gipfelriesen Look up! – The mighty mountain peaks Verkünden schon die feierlichste Stunde; Proclaim the most glorious hours; Sie dürfen früh des ewigen Lichts genießen, Blest early by the eternal light, Das später sich zu uns hernieder wendet. That later shines down on us below. Jetzt zu der Alpe grüngesenkten Wiesen Already to the green meadows of the Alps Wird neuer Glanz und Deutlichkeit gespendet, Will new brightness and clarity be granted, Und stufenweis’ herab ist es gelungen; – And step by step light shines down; – Sie tritt hervor! – und schon geblendet, It steps forward! – and, sadly now blinded, Kehr’ ich mich weg, vom Augenschmerz durchdrungen. I turn away, pierced by the ache in my eyes.

So ist es also, wenn ein sehnend Hoffen So is it too, when yearning hope Dem höchsten Wunsch sich traulich zugerungen, Has struggled to the highest wish, Erfüllungspforten findet flügeloffen; Finds fulfilment’s gates open; Nun aber bricht aus jenen ewigen Gründen But now breaks from those eternal depths Ein Flammenübermaß, wir stehn betroffen; An excess of flames, we stand shocked; Des Lebens Fackel wollten wir entzünden, Life’s torch we would enkindle, Ein Feuermeer umschlingt uns, welch ein Feuer! A sea of fire surrounds us, what a fire! Ist’s Lieb’? ist’s Haß? die glühend uns umwinden, Is it love? Is it hate? that glowing encircles us, Mit Schmerz und Freuden wechselnd ungeheuer, With pain and joy in great alternation, So daß wir wieder nach der Erde blicken, So that we look again down to the earth, Zu bergen uns in jugendlichstem Schleier. To cover us in the veil of youth.

16 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

So bleibe denn die Sonne mir im Rücken! So I stay, the sun on my shoulders! Der Wassersturz, das Felsenriff durchbrausend, The waterfall, rushing down the rocks, Ihn schau’ ich an mit wachsendem Entzücken. I see with growing delight. Von Sturz zu Sturzen wälzt er jetzt in tausend, From fall to fall it flows now in a thousand, Dann abertausend Strömen sich ergießend, Then thousands and thousands of streams, Hoch in die Lüfte Schaum an Schäume sausend. High in the air spray on spray rushing. Allein, wie herrlich, diesem Sturm ersprießend, Alone how glorious, from this tempest, Wölbt sich des bunten Bogens Wechseldauer, To see the coloured rainbow’s varied duration, Bald rein gezeichnet, bald in Luft zerfließend, Now clear, now melting in the air, Umher verbreitend duftig kühle Schauer. Spreading about a fragrant cool shower. Der spiegelt ab das menschliche Bestreben. It reflects human striving. Ihm sinne nach, und du begreifst genauer: Think on this and grasp it carefully: Am farbigen Abglanz loben wir das Leben. In coloured reflection we praise our life. So bleibe denn die Sonne mir im Rücken! So I stay, the sun on my shoulders! Der Wassersturz, das Felsenriff durchbrausend, The waterfall, rushing down the rocks, Ihn schau’ ich an mit wachsendem Entzücken. I see with growing delight.

MITTERNACHT MIDNIGHT (Vier graue Weiber treten auf) (Four grey old women enter)

Erste First Ich heiße der Mangel. I am called Want.

Zweite Second Ich heiße die Schuld. I am called Guilt.

Dritte Third Ich heiße die Sorge. I am called Care.

Vierte Fourth Ich heiße die Not. I am called Need.

Zu Drei Three Together Die Tür ist verschlossen, wir können nicht ein; The door is closed, we cannot get in; Drin wohnet ein Reicher, wir mögen nicht ‘nein. Here lives a rich man, we may not go in. lso.co.uk Text 17

Mangel Want Da werd’ ich zum Schatten. Then I will become a shadow.

Schuld Guilt Da wird’ ich zunicht. I will become as nothing.

Not Need Man wendet von mir das verwöhnte Gesicht. One turns away from me the pampered face.

Sorge Care Ihr, Schwestern, ihr könnt nicht und dürft nicht hinein. Sisters, you cannot and must not go in. Die Sorge, sie schleicht sich durchs Schlüsselloch ein. Care can sneak in through the key-hole. (Sorge verschwindet) (Care disappears)

Mangel Want Ihr, graue Geschwister, entfernt euch von hier! You, grey sisters, away from here!

Schuld Guilt Ganz nah an der Seite verbind’ ich mich dir. I will go with you, by your side.

Not Need Ganz nah an der Ferse begleitet die Not. Right on their heels comes Need.

Zu Drei Three Together Es ziehen die Wolken, es schwinden die Sterne! The clouds gather, the stars vanish! Dahinten, dahinten! von ferne, von ferne, From beyond, from beyond! From far, from far, Da kommt er, der Bruder, da kommt er, der Tod. Comes our brother, comes – Death.

Faust (im Palast) Faust (in the palace) Vier sah ich kommen, drei nur gehn; Four I saw coming, only three go; Den Sinn der Rede konnt’ ich nicht verstehn. The sense of their speech I could not understand. Es klang so nach, als hieß es: Not, There sounded out the word Need, Ein düstres Reimwort folgte: Tod! A darker rhyme-word followed: Death! Es tönte hohl, gespensterhaft gedämpft. It resounded hollow, ghostly and muted. Noch hab ich mich ins Freie nicht gekämpft. Still have I not struggled to freedom. Könnt’ ich Magie von meinem Pfad entfernen, Could I rid my path of magic, Die Zaubersprüche ganz und gar verlernen Quite unlearn magic spells Stünd’ ich, Natur, vor dir ein Mann allein, I should stand, Nature, before you, a man alone, Da wär’s der Mühe wert, ein Mensch zu sein! That were worth the trouble, to be a man! 18 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Das war ich sonst, eh’ ich’s im Düstern suchte, That was I once, before I sought out the dark, Mit Frevelwort mich und die Welt verfluchte. With impious words cursed myself and the world. Nun ist die Luft von solchem Spuk so voll, Now is the air of such ghosts so full Daß niemand weiß, wie er ihn meiden soll. That no one knows how he may escape them. Von Aberglauben früh und spät umgarnt: By superstition, soon or late, we are ensnared: Es eignet sich, es zeigt sich an, es warnt! It possesses, it points, it warns! Und so verschüchtert, stehen wir allein. - And so bewildered, we stand alone. – Die Pforte knarrt, und niemand kommt herein. (erschüttert) The door creaks, and no one comes in. (He shudders.) Ist jemand hier? Is anyone there?

Sorge Care Die Frage fordert Ja! The question brings a ‘yes’!

Faust Faust Und du, wer bist denn du? And you, who are you then?

Sorge Care Bin einmal da. I am here.

Faust Faust Entferne dich! Away with you!

Sorge Care Ich bin am rechten Ort. I am in the right place.

Faust Faust (erst ergrimmt, dann besänftigt, für sich) (first angry, then more calmly, to himself) Nimm dich in acht und sprich kein Zauberwort! Take heed and speak no magic spell!

Sorge Care Würde mich kein Ohr vernehmen, No ear would hear me, Müßt’ es doch im Herzen dröhnen; Yet must it sound in the heart; In verwandelter Gestalt In changed form Üb’ ich grimmige Gewalt: I wield a cruel power: Auf den Pfaden, auf der Welle, On the path, on the waves, Ewig ängstlicher Geselle, Ever an uneasy companion, Stets gefunden, nie gesucht, Constantly found, never sought, So geschmeichelt wie verflucht! – As flattered as accursed! – Hast du die Sorge nie gekannt? Have you never known Care? lso.co.uk Text 19

Faust Faust Ich bin nur durch die Welt gerannt! I have only rushed through the world! Ein jed’ Gelüst ergriff ich bei den Haaren, Any pleasure I seized by the hair, Was nicht genügte, ließ ich fahren, What did not satisfy, I left, Was mir entwischte, ließ ich ziehn. What escaped me, I let go. Ich habe nur begehrt und nur vollbracht I have only desired and only fulfilled Und abermals gewünscht und so mit Macht And then wanted again and so with might Mein Leben durchgestürmt: erst groß und mächtig, My life I stormed through: first great and mighty, Nun aber geht es weise, geht bedächtig. But now with wisdom and deliberation it goes.

Sorge Care Wen ich einmal mir besitze, Whom I once possess, Dem ist alle Welt nichts nütze: For him is the whole world useless: Ewiges Düstre steigt herunter, Eternal dark arises, Sonne geht nicht auf noch unter, Sun nor rises nor sets, Bei vollkommnen äußern Sinnen In his outer senses perfect Wohnen Finsternisse drinnen, Yet within dwells darkness, Und er weiß von allen Schätzen And he knows that of all treasures Sich nicht in Besitz zu setzen. He will not be the possessor. Glück und Unglück wird zur Grille, Happiness and unhappiness are indifferent, Er verhungert in der Fülle, He hungers in plenty, Sei es Wonne, sei es Plage, Be it delight, be it sorrow, Schiebt er’s zu dem andern Tage, He pushes it to the next day, Ist der Zukunft nur gewärtig, Only on the future is he waiting, Und so wird er niemals fertig. And so will he achieve nothing.

Faust Faust Unselige Gespenster! so behandelt ihr Unholy phantoms! Thus have you dealt Das menschliche Geschlecht zu tausend Malen; With human kind a thousand times; Gleichgültige Tage selbst verwandelt ihr Days unconcerned even you change In garstigen Wirrwarr netzumstrickter Qualen. Into ugly chaos enmeshed in troubles. Dämonen, weiß ich, wird man schwerlich los, Demons, I know, it is difficult to be free of, Das geistig-strenge Band ist nicht zu trennen; The spirit-strict bond is not to be severed; Doch deine Macht, o Sorge, schleichend-groß, Yet your power, O Care, so insidious, Ich werde sie nicht anerkennen! I will not acknowledge!

Sorge Care Erfahre sie, wie ich geschwind Learn, then, how I swiftly Mich mit Verwünschung von dir wende! Part from you with a curse! 20 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Die Menschen sind im ganzen Leben blind: Men are in their whole lives blind: Nun, Fauste, werde du’s am Ende! (Sie haucht ihn an.) Now, Faust, shall you be, to the end! (She breathes on him.)

Faust (erblindet) Faust (blinded) Die Nacht scheint tiefer tief hereinzudringen, The night seems deeper, deep brought on, Allein im Innern leuchtet helles Licht: Alone within shines a bright light: Was ich gedacht, ich eil’ es zu vollbringen; What I intended, I hasten to fulfil; Des Herren Wort, es gibt allein Gewicht. The master’s word alone gives weight. Vom Lager auf, ihr Knechte! Mann für Mann! From your beds up, you people, man for man! Laßt glücklich schauen, was ich kühn ersann! Let happily appear what boldly I devised! Ergreift das Werkzeug! Schaufel rührt und Spaten! Take up your tools! Wield shovel and spade! Das Abgesteckte muß sogleich geraten. The work marked out must at once be achieved. Auf strenges Ordnen, raschen Fleiß On strict order, quick diligence Erfolgt der allerschönste Preis; Ensues the finest prize; Daß sich das größte Werk vollende That the greatest work be completed Genügt ein Geist für tausend Hände. Needs one spirit for a thousand hands.

FAUSTS TOD FAUST’S DEATH (Großer Vorhof des Palasts. Fackeln.) (The Great Outer Court of the Palace. Torches.)

Mephistopheles (Als Aufseher voran) Mephistopheles (leading, as an overseer) Herbei, herbei! Herein, herein! Come on, come on! Come on, come on! Ihr schlotternden Lemuren, You shambling Lemures, Aus Bändern, Sehnen und Gebein From ligaments, sinews and bones Geflickte Halbnaturen. Patched up semi-beings.

Lemuren (Im Chor) Lemures (In chorus) Wir treten dir sogleich zur Hand, We are at once at hand for you, Und wie wir halb vernommen, And as we half gathered, Es gilt wohl gar ein weites Land, It is a matter of a broad-spread land, Das sollen wir bekommen. That we should possess. Gespitzte Pfähle, die sind da, Pointed stakes are there, Die Kette lang zum Messen; Long chains for measuring; Warum an uns den Ruf geschah, Why we are called upon, Das haben wir vergessen. That we have forgotten.

Mephistopheles Mephistopheles Hier gilt kein künstlerisch’ Bemühn; Here is no matter of artistic endeavour; Verfahret nur nach eignen Maßen! Proceed only according to your own measuring! lso.co.uk Text 21

Der Längste lege längelang sich hin, The tallest lies stretched out, Ihr andern lüftet ringsumher den Rasen; You others raise the turf around him; Wie man’s für unsre Väter tat, As they used to do for our fathers, Vertieft ein längliches Quadrat! Dig out a long rectangle! Aus dem Palast ins enge Haus, From the palace into this narrow house So dumm läuft es am Ende doch hinaus. So sorry a thing does it amount to in the end.

Lemuren (Mit neckischen Gebärden grabend) Lemures (With mocking gestures, digging) Wie jung ich war und lebt’ und liebt’, How young I was and lived and loved, Mich deucht, das war wohl süße; It seemed to me very sweet; Wo’s fröhlich klang und lustig ging, Where music sounded cheerful and pleasant, Da rührten sich meine Füße. There I stirred my feet. Nun hat das tückische Alter mich Now has insidious age Mit seiner Krücke getroffen; With his crutch struck me; Ich stolpert’ über Grabes Tür, I stumbled over the grave’s door, Warum stand sie just offen! Wherefore it stood just now open!

Faust (Aus dem Palaste tretend, tastet an den Türpfosten) Faust (coming from the palace, feeling his way by the door-posts) Wie das Geklirr der Spaten mich ergötzt! How the noise of spades delights me! Es ist die Menge, die mir frönet, It is the people who serve me, Die Erde mit sich selbst versöhnet, The earth is reconciled with itself, Den Wellen ihre Grenze setzt, Setting a frontier for the waves, Das Meer mit strengem Band umzieht. The sea surrounded with strict borders.

Mephistopheles (beiseite) Mephistopheles (aside) Du bist doch nur für uns bemüht Yet you toil only for us Mit deinen Dämmen, deinen Buhnen; With your dams, your groynes; Denn du bereitest schon Neptunen, For you prepare for Neptune, Dem Wasserteufel, großen Schmaus. The water-devil, a great feast. In jeder Art seid ihr verloren; – In every way you are lost; – Die Elemente sind mit uns verschworen, The elements conspire with us, Und auf Vernichtung läuft’s hinaus. And it comes to annihilation.

Faust Faust Aufseher! Overseer!

Mephistopheles Mephistopheles Hier! Here! 22 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Faust Faust Wie es auch möglich sei, As much as possible, Arbeiter schaffe Meng’ auf Menge, Organise workers, in great numbers, Ermuntere durch Genuß und Strenge, Encourage them through enjoyment and discipline, Bezahle, locke, presse bei! Pay them, entice them, press them! Mit jedem Tage will ich Nachricht haben, With every day will I have a report, Wie sich verlängt der unternommene Graben. How the diggings undertaken are growing.

Mephistopheles (halblaut) Mephistopheles (in an undertone) Man spricht, wie man mir Nachricht gab, They speak, according to the report they gave me, Von keinem Graben, doch vom Grab. Of no digging but of the grave.

Faust Faust Ein Sumpf zieht am Gebirge hin, A swamp extends to the mountains, Verpestet alles schon Errungene; Infects all now achieved; Den faulen Pfuhl auch abzuziehn, To drain the noisome bog Das Letzte wär’ das Höchsterrungene. Would be the final great achievement. Eröffn’ ich Räume vielen Millionen, I open room for many millions, Nicht sicher zwar, doch tätig-frei zu wohnen. Not certain, to be sure, yet free and active to live. Grün das Gefilde, fruchtbar; Mensch und Herde Green the fields, fruitful; man and beast Behaglich auf der neusten Erde, At once in comfort on the newest earth, Gleich angesiedelt an des Hügels Kraft, Settled on the strong hillside, Den aufgewälzt kühn-emsige Völkerschaft. Built by brave, industrious people’s skill. Im Innern hier ein paradiesisch Land, Within, here, a land of paradise, Da rase draußen Flut bis auf zum Rand, Though the waters rage up to its borders, Und wie sie nascht, gewaltsam einzuschießen, And as it eats away, violently battering, Gemeindrang eilt, die Lücke zu verschließen. The people rush to close the breaches. Ja! diesem Sinne bin ich ganz ergeben, Yes! To this idea I devote myself entirely, Das ist der Weisheit letzter Schluß: That is the last end of wisdom: Nur der verdient sich Freiheit wie das Leben, Only he who deserves freedom as life, Der täglich sie erobern muß. Must daily conquer it. Und so verbringt, umrungen von Gefahr, And so passes, surrounded by danger, Hier Kindheit, Mann und Greis sein tüchtig Jahr. Childhood here, man and age, its fitting year. Solch ein Gewimmel möcht’ ich sehn, Such a throng I fain would see, Auf freiem Grund mit freiem Volke stehn. Standing on free ground with free people. Zum Augenblicke dürft’ ich sagen: To the moment I could say: Verweile doch, du bist so schön! Stay a while, you are so beautiful! Es kann die Spur von meinen Erdetagen The trace of my earthly days Nicht in Äonen untergehn. – Cannot perish in aeons. – lso.co.uk Text 23

Im Vorgefühl von solchem hohen Glück In foreknowledge of such great happiness Genieß’ ich jetzt den höchsten Augenblick. I already take pleasure in the highest moment. (Faust sinkt zurück, die Lemuren fassen ihn auf und legen ihn auf (Faust sinks back. The Lemures hold him and lay him on the ground.) den Boden)

Mephistopheles Mephistopheles Ihn sättigt keine Lust, ihm g’nügt kein Glück, No joy would sate him, no happiness enough, So buhlt er fort nach wechselnden Gestalten; So he courted changing fancies; Den letzten, schlechten, leeren Augenblick, The last, miserable, empty moment, Der Arme wünscht ihn festzuhalten. The poor man desired to hold fast. Der mir so kräftig widerstand, Of him who so strongly withstood me, Die Zeit wird Herr, der Greis hier liegt im Sand. Time has become the master, the old man lies here in the sand. Die Uhr steht still – The clock stands still –

Chor Choir Steht still! Sie schweigt wie Mitternacht. It stands still! It is as silent as midnight. Der Zeiger fällt. The finger falls.

Mephistopheles Mephistopheles Er fällt, es ist vollbracht. It falls, it is accomplished.

Chor Choir Es ist vorbei. It is over.

PART THREE

FAUSTS VERKLÄRUNG FAUST’S TRANSFIGURATION (Bergschluchten, Wald, Fels, Einöde, Heilige Anachoreten, gebirgauf (Mountain Gorges, Forest, Cliff, Desert, Holy Anchorites, scattered verteilt gelagert zwischen Klüften) up the mountain-side, Living in clefts of the rocks)

Chor und Echo Chorus and Echo Waldung, sie schwankt heran, Forest, that sways here, Felsen, sie lasten dran, Rocks that weigh down on it, Wurzeln, sie klammern an, Roots that cling, Stamm dicht an Stamm hinan. Trunks dense on trunks. Woge nach Woge spritzt, Wave sprays over wave, Höhle, die tiefste, schützt. The deepest cave shields us. Löwen, sie schleichen stumm Lions that creep silently Freundlich um uns herum, Tame about us, 24 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Ehren geweihten Ort, Honour the sacred place, Heiligen Liebeshort. The holy shrine of Love.

Pater ecstaticus (auf und abschwebend) Pater ecstaticus (floating above and below) Ewiger Wonnebrand, Eternal burning brand, Glühendes Liebesband, Glowing bond of Love, Siedender Schmerz der Brust, Seething pain of the breast, Schäumende Gotteslust. Foaming joy of God. Pfeile, durchdringet mich, Arrows, pierce me, Lanzen, bezwinget mich, Lances, subdue me, Keulen, zerschmettert mich, Maces, beat me down, Blitze, durchwettert mich! Lightning thunder through me! Daß ja das Nichtige That now the worthless Alles verflüchtige, Be cursed for ever Glänze der Dauerstern, Shine forth the enduring star, Ewiger Liebe Kern. Eternal Love’s centre.

Pater profundus (tiefe Region) Pater profundus (deep region) Wie Felsenabgrund mir zu Füßen As the rocky chasm at my feet Auf tiefem Abgrund lastend ruht, On the deep abyss weighs at rest, Wie tausend Bäche strahlend fließen As a thousand gleaming streams flow Zum grausen Sturz des Schaums der Flut, To the terrible plunge of the flood’s foam, Wie strack mit eignem kräftigen Triebe As with its own great strength Der Stamm sich in die Lüfte trägt – The trunk is born up into the air – So ist es die allmächt’ge Liebe, So is almighty Love Die alles bildet, alles hegt. That forms all, preserves all. Ist um mich her ein wildes Brausen, There is about me a wild rushing, Als wogte Wald und Felsengrund, As if forest and rocky ground shook, Und doch stürzt, liebevoll im Sausen, And yet there rose, in lovely sound, Die Wasserfülle sich zum Schlund, The waters to the abyss, Berufen, gleich das Tal zu wässern; Called as it were to water the valley; Der Blitz, der flammend niederschlug, The lightning that flaming struck Die Atmosphäre zu verbessern, To clear the atmosphere, Die Gift und Dunst im Busen trug – Took the poison and vapour in its bosom – Sind Liebesboten, sie verkünden, They are Love’s messengers, they tell Was ewig schaffend uns umwallt. What ever-creating surrounds us. Mein Inn’res mög’ es auch entzünden, My inner being it too must charm Wo sich der Geist, verworren, kalt, Where the spirit, confused, cold, Verquält in stumpfer Sinne Schranken, Tormented in the limits of dull senses, lso.co.uk Text 25

Scharf angeschloss’nem Kettenschmerz. Feels the sharp pain of chains. O Gott! Beschwichtige die Gedanken, O God! Quieten my thoughts, Erleuchte mein bedürftig Herz! Bring light to my needy heart!

Pater Seraphicus (mittlere Region) Pater Seraphicus (in middle region) Welch ein Morgenwölkchen schwebet What a morning cloud floats Durch der Tannen schwankend Haar! Through the swaying foliage of the pines! Ahn’ ich, was im Innern lebet? I foresee what inner life is. Es ist junge Geisterschar. It is the young spirit-band.

Chor seliger Knaben Chorus of the Blessed Boys Sag uns, Vater, wo wir wallen, Tell us, Father, where we wander, Sag uns, Guter, wer wir sind? Tell us, good man, who we are. Glücklich sind wir: Allen, Allen Happy we are; for all, all Ist das Dasein so gelind. Is Being so kind.

Pater Seraphicus Pater Seraphicus Knaben! Mitternachtsgebor’ne, Boys, midnight-born, Halb erschlossen Geist und Sinn, With spirit and sense half opened, Für die Eltern gleich Verlor’ne, For your parents lost, Für die Engel zum Gewinn. For the angels won. Daß ein Liebender zugegen, That a living one is present, Fühlt ihr wohl, so naht euch nur; Feel and so draw near; Doch von schroffen Erdewegen, Yet of earth’s harsh ways, Glückliche! habt ihr keine Spur. In happiness, you have no trace. Steigt herab in meiner Augen Descend, in my eyes Welt- und erdgemäß Organ, World and earth-bound organ, Könnt sie als die euren brauchen, Can you as with yours Schaut euch diese Gegend an! (Er nimmt sie in sich) See this land! (He takes them into himself) Das sind Bäume, das sind Felsen, Behold trees, rocks, Wasserstrom, der abestürzt Watercourse that plunges down Und mit ungeheurem Wälzen And with great movement Sich den steilen Weg verkürzt. Takes the shortest way.

Selige Knaben (von innen) Blessed Boys (within) Das ist mächtig anzuschauen, That is mighty to behold, Doch zu düster ist der Ort, Yet too dark is the place, Schüttelt uns mit Schreck und Grauen. It shakes us with terror and horror. Edler, Guter, laß uns fort! Noble good Father, let us go! 26 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Pater Seraphicus Pater Seraphicus Steigt hinan zu höherm Kreise, Rise up to the higher circle, Wachset immer unvermerkt, Grow, ever unnoticed, Wie, nach ewig reiner Weise, As, in pure eternal wise, Gottes Gegenwart verstärkt. God’s presence gives you strength. Denn das ist der Geister Nahrung, For that is the food of spirits Die im freisten Äther waltet: That rule in the freest upper air: Ewigen Liebens Offenbarung, Offering of eternal loving Die zur Seligkeit entfaltet. That develops into blessedness.

Chor seliger Knaben (um die höcsten Gipfel kreisend) Chorus of Blessed Boys (circling around the highest peaks) Hände verschlinget Join your hands Freudig zum Ringverein, Joyful in a ring, Regt euch und singet Up and sing Heil’ge Gefühle drein! Holy feelings! Göttlich belehret, Taught by God Dürft ihr vertrauen; You may trust; Den ihr verehret, The one whom you revere, Werdet ihr schauen. You shall see.

Engel Angels (schwebend in der höheren Atmosphäre, (hovering in the higher atmosphere, Faustens Unsterbliches tragend). bearing what is immortal of Faust) Gerettet ist das edle Glied Saved is the noble limb Der Geisterwelt vom Bösen: Of the spirits’ world from the wicked: ‘Wer immer strebend sich bemüht, ‘Who ever-striving takes pains, Den können wir erlösen.’ Him can we redeem.’ Und hat an ihm die Liebe gar And if Love from above Von oben teilgenommen, Was shared by him, Begegnet ihm die sel’ge Schar The blessed host meet him Mit herzlichem Willkommen. With heartfelt welcome.

Die jüngeren Engel The Younger Angels Jene Rosen aus den Händen Those roses from the hands Liebend-heiliger Büßerinnen Of loving holy penitents Halfen uns den Sieg gewinnen, Helped us to win victory, Uns das hohe Werk vollenden, To complete the holy work, Diesen Seelenschatz erbeuten. To take this soul’s treasure as prize. Böse wichen, als wir streuten, The evil drew back, as we strewed, lso.co.uk Text 27

Teufel flohen, als wir trafen. The Devil flew, when we smote. Statt gewohnter Höllenstrafen Instead of the wonted pangs of Hell Fühlten Liebesqual die Geister; The spirits felt the torment of Love; Selbst der alte Satansmeister The old Satan himself War von spitzer Pein durchdrungen. Was afflicted with sharp pain. Jauchzet auf! Es ist gelungen. Rejoice! We have succeeded.

Die vollendeteren Engel The More Perfect Angels Uns bleibt ein Erdenrest There stays for us earthly remains Zu tragen peinlich; To bear with difficulty; Und wär’ er von Asbest, And were he of matter indestructible Er ist nicht reinlich. He is not pure. Wenn starke Geisteskraft When the strong force of the Spirit Die Elemente The elements An sich herangerafft, Has snatched up to itself, Kein Engel trennte No angel could part Geeinte Zwienatur The united double nature Der innigen beiden, Of both soul and body, Die ewige Liebe nur Eternal Love only Vermag’s zu scheiden. May divide them.

Die jüngeren Engel The Younger Angels Nebelnd um Felsenhöh’ In the mist and rocky heights Spür’ ich soeben, I feel now Regend sich in der Näh’, Dwelling near Ein Geisterleben. A spirit of life. Die Wölkchen werden klar, The clouds become clear, Ich seh’ bewegte Schar I see a throng Seliger Knaben, Of blessed boys, Los von der Erde Druck, Free from earth’s pressure, Im Kreis gesellt, Gathered in a circle, Die sich erlaben Who rejoice Am neuen Lenz und Schmuck In the new spring and beauty Der Obern Welt. Of the upper world. Sei er zum Anbeginn, Let him begin here Steigendem Vollgewinn To win the fullness of life Diesen gesellt! As their companion. 28 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Die seligen Knaben The Blessed Boys Freudig empfangen wir Joyfully we take Diesen im Puppenstand; This man into the state of chrysalis; Also erlangen wir So we receive Englisches Unterpfand. The angels’ pledge. Löset die Flocken los, Set loose the flakes of earth Die ihn umgeben! That are about him! Schon ist er schön und groß Then he is fair and great Von heiligem Leben. From holy life.

Engel Angels Gerettet ist das edle Glied Saved is the noble limb Der Geisterwelt vom Bösen: Of the spirits’ world from the wicked: ‘Wer immer strebend sich bemüht, ‘Who ever-striving takes pains, Den können wir erlösen.’ Him can we redeem.’ Und hat an ihm die Liebe gar And if Love from above Von oben teilgenommen, Was shared by him, Begegnet ihm die sel’ge Schar The blessed host meet him Mit herzlichem Willkommen. With heartfelt welcome.

Doktor Marianus (in der höchsten, reinlichsten Zelle) Doctor Marianus (in the highest, purest cell) Hier ist die Aussicht frei, Here the view is free, Der Geist erhoben. The Spirit lifted up. Dort ziehen Frau’n vorbei, There pass women Schwebend nach oben. Ascending above. Die Herrliche mittenin The glorious one among them Im Sternenkranze, In crown of stars, Die Himmelskönigin, The Queen of Heaven Ich seh’s am Glanze. I see in splendour. Höchste Herrscherin der Welt! Highest Lady of the world! Lasse mich im blauen, Let me in the blue Ausgespannten Himmelszelt Extended tract of Heaven Dein Geheimnis schauen. See your mystery. Billige, was des Mannes Brust Approve what in man’s breast Ernst und zart beweget Grave and tender moves Und mit heiliger Liebeslust And with holy joy of Love Dir entgegenträget. Brings him to meet you. Unbezwinglich unser Mut, Unconquered our courage Wenn du hehr gebietest; When you, sublime, command; lso.co.uk Text 29

Plötzlich mildert sich die Glut, Suddenly wanes anger Wie du uns befriedest. If you grant us peace. Jungfrau rein im schönsten Sinn, Virgin, pure in fairest mind, Mutter, Ehren würdig, Mother, worthy of reverence, Uns erwählte Königin, Our chosen Queen, Göttern ebenbürtig. Equal to God. Um sie verschlingen About her entwine Sich leichte Wölkchen, Light clouds, Sind Büßerinnen, Penitents, Ein zartes Völkchen, A gentle crowd, Um ihre Knie About her knees Den Äther schlürfend, Tasting the upper air Gnade bedürfend. Needing her grace.

Doctor Marianus und Chor Doctor Marianus and Chorus Dir, der Unberührbaren, To you, the immaculate, Ist es nicht benommen, It is not denied Daß die leicht Verführbaren That the easily seduced Traulich zu dir kommen. May come to you in consolation. In die Schwachheit hingerafft, In weakness gathered in Sind sie schwer zu retten; They are hard to save; Wer zerreißt aus eigner Kraft Who tears apart through his own strength Der Gelüste Ketten? The chains of lust? Wie entgleitet schnell der Fuß How quickly does the foot slide Schiefem, glattem Boden? On the sloping, smooth ground? Wen betört nicht Blick und Gruß, Whom bewitched not look and greeting, Schmeichelhafter Odem? Flattering words?

Chor der Büßerinnen Chorus of Penitents Du schwebst zu Höhen You float up to the heights Der ewigen Reiche; Of the eternal kingdom; Vernimm das Flehen, Hear our pleading, Du Gnadenreiche! Full of grace! Du Ohnegleiche! Without peer!

Magna peccatrix Magna Peccatrix Bei der Liebe, die den Füßen By the love that at the feet Deines gottverklärten Sohnes Of your Son, enlightened by God, Tränen ließ zum Balsam fließen Let tears flow as balsam 30 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Trotz des Pharisäerhohnes; In spite of the scorn of the Pharisees; Beim Gefäße, das so reichlich By the box that so richly Tropfte Wohlgeruch hernieder; Dropped down fragrance; Bei den Locken, die so weichlich By the locks that so gently Trockneten die heil’gen Glieder – Dried the sacred limbs –

Mulier Samaritana Mulier Samaritana Bei dem Bronn, zu dem schon weiland By the well to which once Abram ließ die Herde führen; Abraham led the herds; Bei dem Eimer, der dem Heiland By the pitcher which coolly Kühl die Lippe durft’ berühren; Touched the Saviour’s lips; Bei der reinen, reichen Quelle, By the pure, rich source Die nun dorther sich ergießet, That now there gushes, Überflüssig, ewig helle Overflowing, ever clear Rings durch alle Welten fließet – About through all the world flows –

Maria Aegyptiaca (Acta Sanctorum) Maria Aegyptiaca (Acta Sanctorum) Bei dem hoch geweihten Orte, By the sacred place Wo den Herrn man niederließ; Where the Lord was laid; Bei dem Arm, der von der Pforte By the arm that from the entrance Warnend mich zurücke stieß; Warning pushed me back; Bei der vierzigjährigen Buße, By the forty-year penitence Der ich treu in Wüsten blieb; That I truly spent in the desert; Bei dem seligen Scheidegruße, By the holy words of parting Den im Sand ich niederschrieb – That in the sand I wrote –

Zu drei The Three Die du großen Sünderinnen You who from great sinning Deine Nähe nicht verweigerst Turn not your face away Und ein büßendes Gewinnen And a penitent winning In die Ewigkeiten steigerst, Raise into eternity, Gönn’ auch dieser guten Seele, Grant also this poor soul, Die sich einmal nur vergessen, Who only once forgot, Die nicht ahnte, daß sie fehlte, Who did not know that she erred, Dein Verzeihen angemessen! Your forgiveness! lso.co.uk Text 31

Chor Chorus Vernimm das Fleh’n, Hear the supplication, Vernimm unser Fleh’n. Hear our supplication.

Una Poenitentium (sonst Gretchen genannt. Sich anschmiegend) Una Poenitentium (once called Gretchen. Appproaching) Neige, neige, Turn, turn, Du Ohnegleiche, You matchless one, Du Strahlenreiche, Rich in glory, Dein Antlitz gnädig meinem Glück! Your face in grace on my happiness! Der früh Geliebte, The one I early loved, Nicht mehr Getrübte, No more troubled, Er kommt zurück. Comes back.

Selige Knaben (in Kreisbewegung sich nähernd) Blessed Boys (circling nearer) Er überwächst uns schon He grows the greater An mächtigen Gliedern, With his mighty limbs, Wird treuer Pflege Lohn Will true redemption Reichlich erwidern. Richly return. Wir wurden früh entfernt We were early distanced Von Lebechören; From the chorus of life; Doch dieser hat gelernt, Yet this man has learned, Er wird uns lehren. He will teach us.

Una Poenitentium (Gretchen) Una Poenitentium (Gretchen) Vom edlen Geisterchor umgeben, By the noble choir of spirits surrounded, Wird sich der Neue kaum gewahr, The newly born scarcely knows, Er ahnet kaum das frische Leben, He scarcely divines fresh life, So gleicht er schon der heiligen Schar. So he becomes like the holy host. Sieh! Wie er jedem Erdenbande See! How he from every bond of earth Der alten Hülle sich entrafft Tears aside the old veil Und aus ätherischem Gewande And from the clothing of the aether Hervortritt erste Jugendkraft! Comes forth his first youthful strength! Vergönne mir, ihn zu belehren, Grant me to teach him, Noch blendet ihn der neue Tag. He is still blinded by the new day.

Mater Gloriosa Mater Gloriosa Komm! Hebe dich zu höhern Sphären! Come, rise up to higher spheres! Wenn er dich ahnet, folgt er nach. If he is aware of you, he will follow. 32 Text 20 March 2016

Robert Schumann Scenes from Goethe’s ‘Faust’: Text continued

Doktor Marianus (auf dem Angesicht anbetend) Doctor Marianus (prostrate in prayer) Blicket auf zum Retterblick, Look up to the redeeming sight, Alle reuig Zarten, All you who repent, Euch zu seligem Geschick That tries to bring you Dankend umzuarten. To a blessed fate. Werde jeder bess’re Sinn That every better sense Dir zum Dienst erbötig; May serve you; Jungfrau, Mutter, Königin, Virgin, Mother, Queen, Göttin, bleibe gnädig! Goddess, be gracious to us!

Chorus mysticus Chorus Mysticus Alles Vergängliche All that passes away Ist nur ein Gleichnis; Is only a likeness; Das Unzulängliche, The inadequacy of earth Hier wird’s Ereignis; Here finds fulfilment; Das Unbeschreibliche, The ineffable Hier ist’s getan; Here is accomplished; Das Ewig-Weibliche The eternal feminine Zieht uns hinan. Leads us upwards.

English Translation © Keith Anderson lso.co.uk Artist Biographies 33

Daniel Harding Conductor

Born in Oxford, Daniel Harding began his career operatic experience also includes , assisting Sir Simon Rattle at the City of Birmingham and Le nozze di Figaro at the Salzburg Symphony Orchestra, with which he made his Festival with the , The Turn of professional debut in 1994. He went on to assist the Screw and at the , at the and made Covent Garden, Die Entführung aus dem Serail at the his debut with the orchestra at the 1996 Berlin Festival. Bayerische Staatsoper, Munich, Die Zauberflöte at the Wiener Festwochen and Wozzeck at the Theater an From September 2016 he will become the Music der Wien. Closely associated with the Aix-en-Provence Director of the Orchestre de Paris and will continue to Festival, he has conducted new productions there of carry out his roles as Music Director of the Swedish Così fan tutte, Don Giovanni, The Turn of the Screw, Radio Symphony Orchestra, Principal Guest Conductor La Traviata, Eugene Onegin and Le nozze di Figaro. In of the London Symphony Orchestra and Music Partner the 2012/13 season he returned to for of the New Japan Philharmonic. He is Artistic Director and made his debuts at both the Deutsche Staatsoper, of the Ohga Hall in Karuizawa, Japan and was recently Berlin and at the Wiener Staatsoper with Der Fliegende honoured with the lifetime title of Conductor Laureate Holländer. Recent and future guest engagements of the Mahler Chamber Orchestra. He is a regular visitor include the world premiere of Olga Neuwirth’s Masaot Principal Guest Conductor to the Vienna Philharmonic, Dresden Staatskapelle, ‘Clocks Without Hands’ with the Vienna Philharmonic London Symphony Orchestra Royal , the Berlin Philharmonic, the Orchestra in Vienna, Cologne and Luxembourg; Bavarian Radio, Leipzig Gewandhaus and the Orchestra a European tour with the Royal Concertgebouw Music Director Filarmonica della Scala. Other guest conducting Orchestra and a return to the US to conduct the Los Swedish Radio Symphony Orchestra engagements have included the Munich Philharmonic, Angeles Philharmonic. Orchestre National de Lyon, Oslo Philharmonic, London Music Partner Philharmonic, Royal Stockholm Philharmonic, Santa His recent recordings for , New Japan Philharmonic Cecilia Orchestra of Rome, Orchestra of the Age of Mahler Symphony No 10 with the Vienna Philharmonic Enlightenment, Rotterdam Philharmonic, Frankfurt Orchestra, and Orff’s with the Artistic Director Radio Orchestras and the Orchestre des Champs- Bavarian Radio Symphony Orchestra, have both won Ohga Hall Elysées. Among the American orchestras with whom widespread critical acclaim. For Virgin/EMI he has he has performed are the New York Philharmonic, recorded Mahler’s Symphony No 4 with the Mahler Conductor Laureate Philadelphia Orchestra, Boston Symphony Orchestra, Chamber Orchestra, Brahms’ Symphonies Nos 3 and Mahler Chamber Orchestra and Chicago Symphony 4 with the Deutsche Kammerphilharmonie Bremen; Orchestra. with the London Symphony Orchestra (winner of a Grammy Award for best opera recording), In 2005 he opened the season at La Scala, , Don Giovanni and The Turn of the Screw both with the conducting a new production of Idomeneo. He Mahler Chamber Orchestra. returned in 2007 for , in 2008 for a double bill of Bluebeard’s Castle and Il Prigioniero, and In 2002 he was awarded the title Chevalier de l’Ordre most recently in 2011 for Cavalleria Rusticana and des Arts et des Lettres by the French Government I Pagliacci, for which he was awarded the prestigious and in 2012 he was elected a member of The Royal Premio della Critica Musicale ‘Franco Abbiati’. His Swedish Academy of Music. 34 Artist Biographies 20 March 2016

Christian Gerhaher Christiane Karg Soprano

During his studies under Paul Kuen Christiane Karg was born in and Raimund Grumbach, German Feuchtwangen, Bavaria. She baritone Christian Gerhaher studied singing at the Salzburg attended the Opera School of the Mozarteum with Heiner Hopfner Academy of Music in Munich and, and Wolfgang Holzmair, where together with his regular piano she was awarded the Lilli partner , studied Lehmann Medal, and at the Music interpretation with Friedemann Conservatory in Verona. In 2009 Berger. While completing his she was named Young Performer medical studies Christian Gerhaher of the Year by Opernwelt perfected his vocal training in magazine, and the following year master-classes given by Dietrich was awarded the prestigious Echo Fischer-Dieskau, Elisabeth Klassik prize for her first Lied CD, Schwarzkopf and . Verwandlung – Lieder eines Jahres.

Besides his principal activity giving In concert, Christiane Karg has concerts and recitals, Christian Gerhaher is also a highly sought-after recently appeared with and Concentus Musicus performer on the opera stage and has received several prizes such Wien, Daniel Harding and the Dresden Staatskapelle on tour in the as the Laurence Olivier Award and the theatre prize known as Der US (Brahms ), in Tokyo with the Bayerischer Faust. Christian Gerhaher performs together with conductors such Rundfunk Orchestra (Beethoven 9), Christian Thielemann at the as Sir Simon Rattle, , , Mariss Jansons, Salzburg Easter Festival (Brahms Requiem), Yannick Nézet-Séguin at Daniel Harding, and Christian Thielemann in the world’s the Mostly Mozart Festival New York (Haydn Nelson Mass), Laurence major concert halls. Major orchestras which regularly invite Christian Equilbey at the (Mozart C Minor Mass), Yannick Gerhaher include the Vienna Philharmonic and the Berlin Philharmonic. Nézet-Séguin and the Rotterdam Philharmonic (Mahler 4), and Jonathan He also gives concerts with major orchestras outside Europe, for Nott and the Bamberg Symphony (Mahler 4). In the 2013/14 season instance with the NHK Symphony Orchestra, the Boston Symphony she made her debut with the Berlin Philharmonic and Philadelphia Orchestra and the Chicago Symphony Orchestra, as well as the San Symphony Orchestras with Yannick Nézet-Séguin (Mahler 4), the Czech Francisco Symphony Orchestra. Philharmonic with Manfred Honeck, and returned to the Salzburg Mozartwoche with Ivor Bolton. Christian Gerhaher and his wife live with their three children in Munich. At present Christian Gerhaher himself teaches in master-classes and This season includes performances with Andrés Orozco-Estrada is an honorary professor at the Academy of Music in Munich. He holds with the Accademia Santa Cecilia Orchestra, New Year’s concerts the Bavarian Maximilian Order for Science and Art. with the Orchestra and a return to the Berlin Philharmonic for Fauré Requiem with Christian Thielemann.

Her discography includes an album of Strauss Lieder with Malcolm Martineau; she has also recorded two solo recital CDs with Burkhard Kehring and Malcolm Martineau, and two CDs of arias with Jonathan Cohen and . lso.co.uk Artist Biographies 35

Alastair Miles Andrew Staples Bass Tenor

British bass Alastair Miles is one of Andrew Staples sang as a chorister the UK’s most well known singers, in St Paul’s Cathedral before winning returning regularly to the operatic a Choral Scholarship to King’s stages and concert platforms of College Cambridge, where he Europe, the US and the Far East. gained a degree in Music. Andrew His international career was was the first recipient of the RCM launched in 1986 when he won Peter Pears Scholarship, sponsored the Decca Kathleen Ferrier Prize by the Britten Pears Foundation, at . He is recognised at the Royal College of Music and for his stylistically wide repertoire, subsequently joined the Benjamin equally at home with music of the Britten International Opera Baroque period as he is with the School. His engagements include Romanticism of Verdi and Wagner. concerts with the Berlin and Vienna Philharmonic Orchestras, Alastair Miles appears regularly the Akademisten Berlin, the at the Royal Opera House, Covent Bavarian Radio Symphony, and Garden, where his roles have included Colline (La bohème), Rodolfo the Orchestra of the Age of Enlightenment and Sir Simon Rattle; the (La Sonnambula), Elmiro (Rossini’s ), Banquo (), Le Comte Swedish Radio and London Symphony Orchestra with Daniel Harding; des Grieux (Manon) and Poliferno (Steffani’s Niobe, Regina di Tebe). the Swedish Chamber Orchestra and Scottish Chamber Orchestra and For he has performed the title role in Boito’s Andrew Manze; the Gävle Symphony and Robin Ticciati; the Rotterdam Mefistofele, and Silva Ernani and Duke Alfonso (Lucrezia Borgia); Philharmonic Orchestra and the Philadelphia Orchestra and Yannick for , Mephistopheles (Faust), Fiesco (Simon Nézet-Séguin; and the Accademia Santa Cecilia with Semyon Bychkov. Boccanegra), Enrico (Anna Bolena), and Talbot (); for Opera North, Mephistopheles (), Philip II (Don He made his Royal Opera House debut as Jacquino (), returning Carlo); and for Glyndebourne Festival Opera, Pogner (Die Meistersinger for Flamand (Capriccio), Tamino (Die Zauberflöte), Artabenes (Arne’s von Nurnberg), Commendatore (Don Giovanni), Fiesco (Simon Artaxerxes) and Narraboth (Salome). He has also sung Ferrando for Boccanegra) and Speaker (Die Zauberflöte). He has also performed Opera Holland Park and Narraboth for the Hamburgische Staatsoper. Claudio () for Opéra de Dijon and Opéra de Lille, Daland He semi-staged and sang Tamino in Die Zauberflöte for the Lucerne (Der Fliegende Holländer) for Opéra Royal de Wallonie, Philip II (Don Festival and in Drottningholm with Daniel Harding conducting. Carlo) for the Deutsche Oper Berlin, and Bertram (Robert le Diable) and Nourabad (Les Pêcheurs de Perles) for the Salerno Festival. He will sing Kudrjas and Luzio (Das Liebesverbot) for both the Royal Opera House and the Teatro Real in Madrid, Froh () for Forthcoming engagements include Lodovico (Nardi Die Gezeichneten) the Royal Opera House and the Deutsche Staatsoper Berlin, and Tamino for Bayerische Staatsoper, Munich; Basilio and Claggart (Billy Budd) for in Chicago. In concert he appears with the Swedish Radio Orchestra, Opera North; Grand Inquisitor () for Grange Park Opera; and the Bavarian Radio Symphony and the Berlin Philharmonic Orchestra return concert engagements with the Vienna, Tokyo, and BBC, Royal with Daniel Harding and Simon Rattle, the BBC Symphony Orchestra Liverpool and Deutsche Radio Saarbrucken Philharmonics. and Semyon Bychkov, the London Symphony Orchestra and Daniel Harding, and returns to the Philadelphia Orchestra with Yannick Nézet-Séguin. 36 Artist Biographies 20 March 2016

Tara Erraught Olivia Vermeulen Mezzo-soprano Mezzo-soprano

Praised for her rich voice, The young mezzo-soprano Olivia expansive range and dynamic Vermeulen has established herself stage presence, Irish-born mezzo- as a versatile soloist on major soprano Tara Erraught has been international stages in recent called ‘a true rising star’ by the years. In 2016, she will make her press. Her international stature debut at the Berlin State Opera has continued to grow since she in the leading role of Turno in stepped in on five-days’ notice, Agostino Steffani’s Baroque opera learning the role of Romeo in Amor vien dal destino under Bellini’s I Capuleti e i Montecchi the baton of René Jacobs. Her at the Bayerische Staatsoper in debut at the Concertgebouw 2011, her performance winning in Amsterdam in 2012 with worldwide acclaim. the Radio Kamer Filharmonie under Michael Schønwandt was Recent opera performances received enthusiastically by critics include: a celebrated American and audiences alike. Another opera debut with the Washington National Opera as Angelina in successful debut followed in 2013 at the Dutch National Opera in ; role debuts as Kathy in a new production of Poul Amsterdam, as Smeraldina in Prokofiev’s The Love for Three Oranges, Rouders’ Selma Jezkova; Carlotta in Strauss’ Die Schweigsame Frau, conducted by Tomáš Netopil. Christa in Janácˇek’s The Makropulos Affair, Prince Orlovsky in Strauss’ , Cherubino in Mozart’s Le nozze di Figaro; Hänsel in Engagements in the 2014/15 and 2015/16 seasons include the Second Humperdinck’s Hänsel und Gretel and Sifare in Mozart’s Mitridate, re di Lady in Mozart’s under Iván Fischer at the Budapest Ponto with the Bayerische Staatsoper; Rosina in Rossini’s Il Barbiere di Festival, followed by a tour with appearances at the Concertgebouw Siviglia and Angelina in La Cenerentola with the Hamburg Staatsoper; in Amsterdam and Lincoln Center in New York; her role debut as creating the role of Kitty in the world premiere of Iain Bell’s A Harlot’s Annio in Mozart’s under Christopher Moulds in Progress at the . Moscow; a Japan tour of Bach’s St Matthew Passion under Masaaki Suzuki; a CD recording of Mozart’s Great Mass in C minor; her return Audiences and the press are not alone in taking notice of Tara Erraught’s to the Concertgebouw in Amsterdam in December 2014 for Bach’s talent: in spring 2013, the Bavarian government bestowed upon her with the Akademie für alte Musik Berlin and in the prestigious ‘Pro meritis scientiae et litterarum’ in recognition for May 2015 for a Lieder recital; Bach’s Christmas Oratorio in a concert outstanding contribution to the arts. In March 2010 Erraught was the series with , as well as with Enoch zu Guttenberg at the recipient of Dublin’s National Concert Hall’s Rising Star Award. Other Philharmonie of the Gasteig in Munich, in 2014 and 2015. honors include First Prize in the Jakub Pustina International Singing Competition in the Czech Republic, along with the Zdar nad Sazavou Olivia Vermeulen launched her operatic career as a member of the Audience Prize in 2008. In that same year she was awarded both the Studio of Berlin’s Komische Oper from 2008 to 2010, where she Houston Grand Opera Prize and the Washington National Opera Prize at appeared in such leading Mozart roles as Cherubino (directed by the International Hans Gabor Belvedere Singing Competition in Vienna. Barrie Kosky) and Zerlina. She sang the role of Daphnis in The Queen In 2007 Ms Erraught won the Dermott Troy Award for the Best Irish Singer. of Spades, Phénice in Gluck’s Armide (directed by Calixto Bieito) and Mastrilla in Offenbach’s La Périchole (3sat live TV broadcast). lso.co.uk Artist Biographies 37

Lucy Crowe Matthew Rose Soprano Bass

Born in Staffordshire, Lucy Crowe British bass Matthew Rose studied at the Royal Academy of studied at the Curtis Institute Music. She has established herself of Music before becoming a as one of the leading lyric sopranos member of the Young Artist of her generation. Her operatic Programme at the Royal Opera roles include Servilia (La Clemenza House, Covent Garden. di Tito) for the , New York; Eurydice (Gluck’s In 2006 he made an acclaimed Orphée et Eurydice), Adina (l’Elisir debut at the Glyndebourne d’Amore), Susanna (Le Nozze Festival as Bottom in A di Figaro), Gilda () and Midsummer Night’s Dream – Belinda (Dido and Aeneas) for for which he received the John the Royal Opera House, Covent Christie Award – and has since Garden. She made her US Opera sung the role at La Scala, Covent debut as Iole in Handel’s Hercules Garden, Opéra National de Lyon, for the Chicago Lyric Opera. Houston Grand Opera and at the Metropolitan Opera. He has sung Talbot (Maria Stuarda) and Colline (La In concert she has performed with many of the world’s finest bohème) for the Metropolitan Opera; Sparafucile (Rigoletto), Sarastro conductors and orchestras including the Accademia Santa Cecilia (Die Zauberflöte) and Talbot at Covent Garden; Leporello (Don Giovanni), Orchestra under Pappano; the Orchestre National de France under Nick Shadow (The Rake’s Progress), Callistene () and Collatinus Gatti; the Philharmonia under Salonen; Australian Chamber Orchestra () at Glyndebourne Festival; Claggart (Billy under Tognetti; the Philadelphia Orchestra under Nézet-Séguin; Budd) at English National Opera; Mozart’s Figaro for Welsh National the Boston Symphony Orchestra at the Tanglewood Festival under Opera, Opéra de Lille, and the Bayerische Staatsoper, Munich. Opera Denève; and the Monteverdi Orchestra under Gardiner. engagements this season include his debut as Baron Ochs for the Lyric Opera of Chicago, Raimondo () for the Royal Lucy has performed at the Aldeburgh Festival, the Edinburgh Opera House and King Marke (Tristan und Isolde) for ENO. International Festival, the Mostly Mozart Festival in New York, and at the Salzburg Festival. She is a regular recitalist at Wigmore Hall and Already a prolific recording artist his recordings include a critically made her US recital debut at Carnegie Hall in 2014. acclaimed with pianist Gary Matthewman and with Malcolm Martineau (Stone Records); Walter Operatic plans this season include Adele (Die Fledermaus) for the (Guillaume Tell) and Der Steuermann (Tristan und Isolde) with Pappano; Metropolitan Opera and Pamina (Die Zauberflöte) for the English Ratcliffe (Billy Budd) with Harding – Winner of a Grammy Award for National Opera. Concerts plans include Mozart Requiems with the LA Best Opera Recording; Bel Canto arias with Natalie Dessay and Evelino Philharmonic/Gustavo Dudamel and Boston Symphony Orchestra/ Pido; Handel’s Messiah with and the Choir of King’s Nelsons; Haydn’s Il ritorno di Tobia in Salzburg with Ivor Bolton; College, Cambridge (EMI); Tippett’s A Child of our Time and Berlioz’s Beethoven’s Missa Solemnis with the London Philharmonic/Elder; L’enfance du Christ with Sir (LSO Live); and Liszt Lieder and the St John Passion with Pappano in Rome. with Iain Burnside (Signum). His roles on DVD include Nick Shadow (The Rake’s Progress) and Mr Flint (Billy Budd) from Glyndebourne, and Lucy has recently been appointed a Fellow of the . Polyphemus (Acis and Galatea) from Covent Garden (Opus Arte). 38 Artist Biographies 20 March 2016

Simon Halsey Choir of Eltham College Choral Director Trebles

Simon Halsey is a sought-after conductor of choral repertoire at the very highest level and an ambassador for choral singing across the world. Halsey is the Chorus Director of the City of Birmingham Symphony Orchestra Choruses, and the Choral Director of the London Symphony Orchestra and Chorus. He is also Conductor Laureate of the Rundfunkchor Berlin, the permanent partner of the Berliner Philharmoniker, where he has been Principal Conductor for 14 years.

Since becoming Choral Director of the London Symphony Orchestra Eltham College Trebles consist of 36 boys aged 9–14. They have and Chorus in 2012, Halsey has been credited with bringing about a performed in prestigious venues over the years: at St Paul’s Cathedral ‘spectacular transformation’ (Evening Standard) of the LSC. 2015/16 with the London Symphony Orchestra, at the Royal Festival Hall in the highlights with the LSO included Debussy’s Pelléas et Mélisande as well world premiere of Chris Williams’ Songs of the Coromandel Coast, as Haydn’s with Sir Simon Rattle, Elgar’s The Dream of and at the Barbican with various orchestras and conductors including Gerontius with Sir Mark Elder, and Beethoven’s Ninth Symphony with Bach’s St Matthew Passion with the City of London Sinfonia. . Eltham College is a school with a strong musical heritage. Over half of Simon Halsey is Professor and Director of Choral Activities at the the pupils take individual music lessons, and more than 50 ensembles, University of Birmingham, where he directs a postgraduate course in bands, and orchestras meet every week to rehearse. The school Choral Conducting, in association with the CBSO. He is in great demand gives regular concerts at St John’s Smith Square, St Alfege Greenwich, as a teacher at other universities and has presented masterclasses Cadogan Hall and Ronnie Scott’s Jazz Club in addition to a wealth of at top universities such as Princeton and Yale. In 2011 Schott Music other performances, masterclasses and collaborations with renowned published his book and DVD on choral conducting, Chorleitung: Vom groups such as Southbank Sinfonia, the Symphonic Brass of London Konzept zum Konzert, as part of its ‘Master Class’ series. and the Riverdale Country School Jazz Band from the US.

Halsey was awarded The Queen’s Medal for Music 2014 for his influence The College Choir, which at its largest numbers 90, regularly performs on the musical life of the UK, and was also made Commander of major choral works such as Handel’s Dixit Dominus, Bernstein’s Order of the British Empire in The Queen’s Birthday Honours 2015. In Chichester Psalms, Fauré and Mozart Requiems and Poulenc’s Gloria. recognition of his outstanding contribution to choral music in Germany, A number of pupils go on to places at leading London colleges, and Halsey was also given the Officer’s Cross of the Order of Merit of the choral scholarships at Oxford and Cambridge. As well as performing Federal Republic of Germany in 2011. in and around London the choir tours frequently both in the UK and abroad, most recently to Croatia in 2015. lso.co.uk Artist Biographies 39

London Symphony Chorus On stage

The London Symphony Chorus was formed in 1966 to complement SOPRANOS ALTOS TENORS BASSES the work of the London Symphony Orchestra and this season marks Frankie Arnull Liz Boyden David Aldred Simon Backhouse* Heather Ashford Jo Buchan* Paul Allatt* Chris Bourne its 50th anniversary. The partnership between the LSC and LSO Faith Baxter Lizzy Campbell Michael Delany Gavin Buchan has continued to develop and was strengthened in 2012 with the Louisa Blankson Liz Cole John Farrington Steve Chevis appointment of Simon Halsey as joint Chorus Director of the LSC Evaleen Brinton Zoe Davis Matt Fernando James Chute Anna Byrne-Smith Maggie Donnelly Andrew Fuller Matt Clarke and Choral Director for the LSO. Carol Capper* Diane Dwyer Simon Goldman Thomas Fea* Laura Catala-Ubassy Lynn Eaton Euchar Gravina Ian Fletcher Emma Craven Linda Evans Warwick Hood Robert Garbolinski* The LSC has partnered many other major orchestras and has Rebecca Dent Tina Gibbs Matt Horne Gerald Goh performed nationally and internationally with the Berlin and Vienna Katarine Elliot Yoko Harada John Marks Owen Hanmer* Philharmonic Orchestras, and the Leipzig Gewandhaus Orchestra. Lucy Farrington Kate Harrison John Moses* Anthony Howick Lucy Feldman Amanda Holden Daniel Owers Alex Kidney Championing the musicians of tomorrow, it has also worked with Naomi Fletcher Jo Houston Chris Riley Thomas Kohut both the NYOGB and the EUYO. The chorus has toured extensively Joanna Gueritz Lis Iles Peter Sedgwick Gregor Kowalski throughout Europe and has also visited North America, Israel, Australia Emma Harry Ella Jackson Richard Street Isaac Leaverton Josefin Holmberg Christine Jasper Malcolm Taylor George Marshall and South East Asia. Kuan Hon Jill Jones Owen Toller Hugh Mcleod Claire Hussey* Vanessa Knapp James Warbis Alan Rochford Debbie Jones Gilly Lawson Robert Ward* Rod Stevens Highlights from last season include Haydn’s with Ruth Knowles-Clark Olivia Lawson Paul Williams-Burton Richard Tannenbaum Ed Gardner at the City of London Festival, Brahms’ Requiem with Luca Kocsmarszky Belinda Liao* Gordon Thomson Daniel Harding, and critically acclaimed performances with Sir Simon Mimi Kroll Anne Loveluck* Robin Thurston Junelle Kwon Liz McCaw Rattle of Schumann’s rarely performed Das Paradies und die Peri with Marylyn Lewin Aoife McInerney* * Denotes LSC council the LSO at the Barbican, and Mahler’s Second Symphony with the Jane Morley Jane Muir member Berlin Philharmonic and the CBSO Chorus at the Royal Festival Hall. Emily Norton Caroline Mustill Jessica Norton Dorothy Nesbit Maggie Owen Helen Palmer In the 2015/16 season the LSC celebrates its 50th anniversary with Isabel Paintin Lis Smith Andra Patterson Jane Steele a range of performances, including Rachmaninov’s All-Night Vigil in Carole Radford Claire Trocme Temple Church; Bernstein’s Chichester Psalms with James Gaffigan; Mikiko Ridd Kathryn Wells Haydn’s The Seasons with Rattle; Elgar’s The Dream of Gerontius Rebecca Vassallo Lizzie Webb with Sir Mark Elder; and the world premiere performance of a new opera by Sir Peter Maxwell Davies, The Hogboon. SING WITH THE LSC The LSC is always interested in recruiting new members, welcoming applications from singers of all backgrounds. Interested singers are always welcome to attend rehearsals before arranging an audition. For further President Sir Simon Rattle OM CBE information visit lsc.org.uk. President Emeritus André Previn KBE Vice President Michael Tilson Thomas The London Symphony Chorus is generously supported by: Patrons CBE and Howard Goodall CBE John S Cohen Foundation, The Helen Hamlyn Trust, The Revere Charitable Trust, Chorus Director Simon Halsey CBE The Welton Foundation, LSC Friends, Members of the LSC Assistant Directors Neil Ferris and Matthew Hamilton Chorus Accompanist Roger Sayer LSO Sing is generously supported by: Chairman Owen Hanmer Sir Siegmund Warburg’s Voluntary Settlement 40 The Orchestra 20 March 2016

London Symphony Orchestra Your views On stage Inbox

FIRST VIOLINS VIOLAS FLUTES TRUMPETS 9 MAR – THOMAS ADÉS AND ANNE-SOPHIE MUTTER Carmine Lauri Leader Edward Vanderspar Gareth Davies Philip Cobb Lennox Mackenzie Malcolm Johnston Julian Sperry Gerald Ruddock Clare Duckworth Lander Echevarria Hugh Warwick Dear @Thomas_ades & @londonsymphony Nigel Broadbent Anna Bastow PICCOLO TROMBONES thank you so much for tonight. Tevot is a wondrous thing. Ginette Decuyper Julia O’Riordan Sharon Williams Peter Moore Gerald Gregory Robert Turner James Maynard OBOES Jörg Hammann Jonathan Welch George Poles Wonderful evening of Adès and Brahms Olivier Stankiewicz BASS TROMBONE Maxine Kwok-Adams Ilona Bondar Rosie Jenkins Paul Milner @BarbicanCentre. @londonsymphony on cracking form. Claire Parfitt Elizabeth Butler Anne-Sophie Mutter just fabulous. Harriet Rayfield Nancy Johnson CLARINETS TUBA Colin Renwick Felicity Matthews Andrew Marriner Patrick Harrild Sylvain Vasseur Caroline O’Neill Chi-Yu Mo Kate Green Eagerly awaiting Adès, Adès and more Adès David Worswick TIMPANI Shlomy Dobrinsky CELLOS BASSOONS Nigel Thomas @BarbicanCentre with @LondonSymphony. Eleanor Fagg Tim Hugh Rachel Gough HARP Helena Smart Alastair Blayden Joost Bosdijk Jennifer Brown Bryn Lewis 13 MAR – LSO FUTURES WITH FRANÇOIS-XAVIER ROTH SECOND VIOLINS Noel Bradshaw HORNS Nicolas Fleury David Alberman Eve-Marie Caravassilis Liam Mattison The most wonderful, awe inspiring Thomas Norris Daniel Gardner Angela Barnes Sarah Quinn Hilary Jones Alexander Edmundson afternoon and evening with the @londonsymphony Miya Väisänen Amanda Truelove Michael Kidd Richard Blayden Miwa Rosso Jocelyn Lightfoot Matthew Gardner Hester Snell tnarik One last thing I ‘learned’ this week (reaffirmed my Julian Gil Rodriguez conviction of): how amazingly good the @londonsymphony DOUBLE BASSES Belinda McFarlane is. Each and everyone of them. William Melvin Colin Paris Philip Nolte Patrick Laurence Paul Robson Thomas Goodman Steve Clark Tonight’s performance of Berio’s Sinfonia Joe Melvin Ingrid Button by @londonsymphony had me grinning from ear to ear – Hazel Mulligan Jani Pensola Gabrielle Painter Emre Ersahin breathtakingly bonkers! Edward Francis-Smith Jeremy Watt

LSO STRING EXPERIENCE SCHEME

Established in 1992, the LSO String Experience The Scheme is supported by: London Symphony Orchestra Editor Scheme enables young string players at the Help Musicians UK Barbican Edward Appleyard start of their professional careers to gain The Lefever Award Silk Street [email protected] work experience by playing in rehearsals The Polonsky Foundation London and concerts with the LSO. The scheme The Barbara Whatmore Charitable Trust EC2Y 8DS Photography auditions students from the London music The Idlewild Trust Igor Emmerich, Kevin Leighton, conservatoires, and 15 students per year Registered charity in England No 232391 Bill Robinson, Alberto Venzago are selected to participate. The musicians Taking part in the rehearsals for this concert: Details in this publication were correct Print Cantate 020 3651 1690 are treated as professional ’extra’ players Alexandra Isted at time of going to press. (additional to LSO members) and receive fees Advertising Cabbell Ltd 020 3603 7937 for their work in line with LSO section players.