BROOKLYN ACADEMY OF MUSIC

The Little Orchestra Society THOMAS SCHERMAN, Music Director VLADO HABUNEK, Stage Director

ANNUAL SUBSCRIPTION SERIES-SEASON 1967-68 Second Concert-Series B-Sunday Afternoon, December 10, 1967 at 2:30

HERBERT BARRETT, Manager

LEOS JANACEK THE MAKROPULOS CASE based on the drama by Karel Capek

Emilia Marty ...... N adezda Kniplova Albert Gregor ...... Ivo Zidek Vitek, A Solicitor ...... Nico Castel Christa, his daughter ...... Joan Lindstrom Jaroslav Prus ...... Chester Ludgin Janek, his son ...... Melvin Brown Lawyer Kolenaty ...... Emila Renan Hauk-Schendorf ...... Howard Fried Scrubwoman & Chamber-maid ...... Anne Graff Machinist ...... Raymond Murcell Men's Chorus

Act I The Lawyer's Office Act II An empty theater stage Act III A Hotel Room

There will be intermissions after Acts I and II

Baldwin Piano

JANACEK AND "THE MAKROPULOS CASE" By HAROLD ROSENTHAL

The Czech-born Leos Janacek, (1854-1928) was a prolific composer. Although his compositions include works for the piano, organ, chamber ensembles and full symphony orchestra, it was the human voice in all its aspects that most attracted him. His writing for the voice ranged from arrangements of Moravian folk songs to Church Music, from Cantatas to full-scale , from Song cycles to choral works for male and/ or female chorus. He studied deeply Czech folk-song and speech patterns, and this greatly influ­ enced his musical idiom.

For many years Janacek's operas, with the exception of Jenufa and Katya Kabanova, were rarely if ever performed outside Czechoslovakia. Unlike his compatriots Smetana and Dvorak, whose works possess an immediate and universal appeal, Janacek's operas were, and indeed still are, essentially Slavonic in style-and based as they are on Moravian rather than Bohemian culture, take a great deal of understanding by western audiences. Once we remember however Janacek's love of nature, his love and understanding of the human being, and his amazing sensitivity to speech sounds and rhythms, we are well on the road to an understanding of his music.

Unlike most of his contemporaries Janacek eschewed the Wagnerian approach to ; indeed his music has been called "non-developmental." Its power lies in its almost hypnotic and varied repetitions, and in the appearance, cheek by jowl, of sharply con­ trasted musical ideas, which rarely knit together in the traditional musical style. What results in his operas are a series of fast-moving and contrasted scenes, with little or no padding, and which often leave the listener breathless.

Janacek's first two stage-works, Sarka (1887-88, but not completed until 1924 and produced in Brno the following year) and his one-act Beginnings of a Romance (1891, produced 1894), were his only truly romantic and conventional operas. With J enufa ( 1894-1903, produced 1904 and subsequently much revised), The Excursions of Mr. Broucek (1908-17, produced 1920) and Katya Kabanova (1919-21, produced 1921), Janacek established himself as an individualist musically and dramatically.

Katya was followed by The Cunning Little Vixen, that wonderfully sympathetic study of man's relationship and attitude towards nature and the animal world; a work in which, to quote Wilfred Mellers, "Janacek deliberately gave nature priority over man, admitting that we must 'go back' in part surrendering consciousness if we are to learn to live with it." In The Makropulos Case, Janacek attempts to deal with this same theme from the opposite angle.

Janacek had already shown his fascination in the fantastic in both Mr. Broucek and The Cunning Little Vixen. In The Makropulos Case, based on Karel Capek's play about the 300-year-old Elina Makropulos, who continues to survive because she had drunk the elixir vitae discovered by her father, court physician and alchemist at the court of Emperor Rudolf II (1552-1612), Janacek had a fascinating subject. The Czech title of the opera Vee Makropulos, is literally The Makropulos Thing (in German it is Die Sache Makropulos). The word "Case" suggests a law-suit; and indeed the opera does deal with a law-suit that has been dragging on its weary length for nearly a hundred years-the case of Gregor versus Prus-the name Makropulos does not come up until the second a~t. The usual Engli sh translation of the title of Capek's play is The Makropulos Secret, which might be a far better title of the opera; for the "secret" of the "thing" is the long-lost piece of paper on which is written the prescription of the elixir.

Capek termed his play a comedy; its theme was that Man's fulfillment of life is far more important than the length of life; and by depicting the heroine, Emilia Marty, as a hard, cynical but beautiful creature, he shows us the spiritual and moral disintegration of a human being. Capek had a great admiration for Janacek as a composer, and readily agreed to his request that he be permitted to turn the play into an opera. It is true he had the usual fear of all writers that the composer would distort the meanin g of the play; but except for a few unimportant cuts, Janacek uses the play almost word for word as his libretto. He lets his heroine die at the end of the opera-indeed the listener probably feels more sympathy for Emilia Marty at the end of the opera than at the end of the play.

Karel Capek (1890-19 3 8) was possibly the first writer to put a robot on the stage, but he was not the first playwright to be intrigued with the subject of longevity, (it was his play R.U.R. that gave the word robot to the English language). Indeed while he was busy writing his play, The Makropulos Secret, George Bernard Shaw was busy writing his Back to Methuselah.

Janacek read Capek's play while he was on a mountain holiday and was immediately fascinated by the subject. What attracted him above everything else was the character of the heroine, the magnetic and irresistible Elina Makropulos; a creature as cold as ice, like Turandot, but doomed to live so long that she became lonely, cynical and horrifying, yet a figure that arouses pity. "A beauty 300 years old and eternally young, but with all feeling burned out of her! Brr-r! Cold as ice! I'm going to write an opera about such a woman," so wrote Janacek after reading the pl ay to Max Brod, who had translated a number of his operas for the German stage. During the period of his composition of the opera, Janacek wrote on several occasions to Kamila Stosslova, the wife of a Moravian merchant, who had become his inspiration, and with whom he had formed a deep emo­ tional relationship in 19 17-a relationship that was to last the rest of his life. She w:::ts one of his images for Emilia Marty : "Tam already making Miss Brr-r. But I am making her warmer, so that people can have sympathy with her. I'll fall in love with her yet" he wrote in a letter to her. Then, on a later occasion: "But what about my 300 year old! They all call her a liar, a fake, a hysterical woman-and in fact she's so unhappy! I wanted people to like her. With me it's no good without love ... They called her dreadful names, they wanted to throttle her and what was her fault?-thf'lt she lived too long. I felt dreadfully sorry for her!" These statements show just how in volved personally Janacek became in this opera. The more one reads about the play and the opera, the more oppor­ tunities that arise to hear and see Janacek's work on the stage, the more fascinating becomes this character of Elina Makropulos. Capek linked his play with Czech history by starting his story in 16th century Prague, at the time of the Hapsburg Emperor Rudolph II, who employed astrologers and alchem­ ists from all over Europe to discover the Philosopher's Stone, produce gold and the elixir of life. One of these alchemists was recreated by Capek as H ieronymus Makropulos, who succeeded in discovering the elixir of life. The Emperor made him try it 011t o,, his 16- year-old daughter, Elina. She has been alive for 300 years-in fact until the bcginnin..; of this century, the period in which both play and opera take place. Elina became a famous opera singer, appearing in opera houses all over the world, often changing her name, but always retaining the same initials-E.M.

In the earl y 19th century (when she had been alive for 200 years) she wac:; a star of the Vienna Opera, where she sang as Ellian MacGregor, a s i ng~r of Scoltish origin. Later she turned up as Eugenia Montez, whose fascinating gypsy-like character ensnared one Baron Hauk, a character who appears in the opera in his dotage. She has also been a Greek soprano, Ekaterina Myshkin, a German soprno, Elsa Muller; and nnally, in the opera, the Czech singer, Emilia Marty.

During her Vienna period as Ellian MacGregor, she had an affair with one Baron Pepi Prus; and an illegitimate son, Ferdinand, resulted from their union. The boy was known as Ferdinand Gregor Mach (a ruse employed to protect the name of hi mother), though the birth was actually entered in the parish register as Ferdinand Makropulcs. Ellian gave Pepi the formula for prolonging life, but instead of so doing, it poisoned hi·n. On his death-bed the Baron bequeathed the last estates of the Prus fa mily to his illegiti­ mate son; but as there was no written will , and as there was no record of a Gregor Mach, the estates went to a more distant, but legitimate branch of the Prus family.

The illegitimate branch of the family however (i.e. the descendants of Ferdinand Gregor) contested this, and there has been continuous litigation going on between the two branches of the family for nearly a century. Such is the situati on at the beginning of the opera.

The wonderful orchestral prelude to the opera with its off-stage fanfa res for brass and kettledrums, suggest the weird court of Rudolph II:

These fanfares contrast strangely with the lyrical passages which reflect the tragedy of Elina Makropulos and her series of love affairs throughout the centuries. The fanfare is heard again during the last act of the opera, when the whole story is finally narrated, and it accompanies E. M.'s death during the opera's closing moments.

As the curtain rises on the opera, we find ourselves in the office of Doctor Kolenaty, the lawyer (bass). We hear that at last the long-disputed case of Gregor versus Prus is fin ally to be settled that very day. Albert Gregor (tenor) the most recent descendant of the illegitimate line has found himself heavily in debt, and is worried in case the decision goes against him. When however, Emilia Marty (soprano) the famous opera singer arrives in the office and reveals that not only did Pepi Prus write a will, but also that she knows exactly where the will is hidden, he is overjoyed. She continues her revelations: the will is in fact in the Prus house, now owned by Jaroslav Prus (), their op­ ponent in the case. Emilia Marty of course hopes that once the will is found and Gregor wins the case, he will help her regain the formula of the elixir, and so renew yet again her long life, for a further period of 300 years.

The will is discovered and names Ferdinand as heir, but gives no surname. Prus de­ mands confirmation that this Ferdinand is the true son of Pepi and Ellian MacGregor. Emilia Marty agrees to provide this.

The second act of the opera takes place "back-stage" in the Prague opera house. Emilia Marty has provided, as she promised, a document (forged) confirming the facts about Ferdinand. But meanwhile, Prus has gone to the parish register and discovered that the correct surname of Ferdinand was Makropulos. Emilia Marty is now faced with the necessity of having to produce further documentary evidence, which will show this name, if she is to win the estate for Gregor. The document, of course, is the formula for the elixir. At first she thinks Gregor has it, but he denies all knowledge of it. It is then revealed that Prus has the formula, and he promises to return it to her if she agrees to spend the night with him. She agrees; but he finds the experience with this 300-year-old cold and unfeeling woman something of a disappointment. However, he respects his part of the bargain, and gives her the envelope containing the formula.

More speculation arises over the identity of Emilia Marty when the aged Hauk-Schen­ dorf, an ex-diplomat, arrives. He was the lover of Eugenia Montez, and now is quite senile. In the opera he talks in Spanish and Janacek gives him a quasi-exotic waltz-song. He recalls the love-affair of fifty years earlier and she, bored with her current admirers, embraces him.

In the third act, we are in a hotel bedroom, on the morning after the preceeding scene. Both Kolenaty and Gregor accuse Emilia Marty of fraud, and she is forced to reveal the story of her amazing life. Now that she has the formula she no longer wants to renew her life for a further period, for she has realized the futility of her existence. She offers J the formula to each in turn, and finally to a young singer, the Greek girl Kristina, telling her that if she takes it she could become famous and sing like Emilia Marty. She also refuses it and instead sets the paper alight; as it slowly burns, Elina Makropulos dies.

The original play ended with Marty being cynical to the end; as the paper burned she comments derisively "that's the end of immortality." But Janacek changed this mood, and in the finale, Emilia Marty's confession becomes both powerful and moving. "One tires of virtue, one tires of vice. One tires of the earth, tires of heaven."

The score that Janacek has provided to illuminate this strange, yet fascinating opera, is virtually a free fantasia on one theme, the theme of E.M., which takes on varying shapes and sounds as it refers to the various people who have been joined together through their contact with E .M. There are some forty or more transformations of the heroine's initial motive during the course of the opera: BASIC E.M. MOTIVE

, Janacek's working method is that of continual variation, a mode of working that has appealed to many 20th century composers. "Long melodies don't come to me as they did to Mozart. But what I do understand is how to turn a theme, paraphrase it, extract from it everything inside it, and I think today nobody can rival me at this." could well have been Janacek's text-it was in fact what Richard Strauss wrote in a letter to Stefan Zweig when they were working together on Die schweigsame Frau.

But there is more to Janacek's music than that; as I pointed out earlier, it was his treatment of speech rhythms that are so unique. He uses the high register of the male voice to suggest the weakness of Albert Gregor's character; the high tessitura of Prus' music suggests his scheming, nervous character; the music of the lawyer Kolenaty, is repetitive, fussy, conventional. But it is to E.M.'s music that we finaly return. Here Janacek's style finds its final consummation-Janacek's speech rhythms are transformed into something more. E.M.'s final monologue, with her death wish, becomes, to quote Wilfred Mellers, "a passionate affirmation of humanism-an inversion of Isolde's Liebestod." THOMAS SCHERMAN Thomas Scherman, founder and music director of the Little Orchestra Society, has been hailed repeatedly for his important contributions to the musical life of New York. His uncommon ingenuity in programming has given the concert audiences of New York invaluable musical opportunities to hear masterpieces never before presented in New ... York. During the past eighteen years, since the Little Orchestra was formed in 1947, Mr. Scherman has presented over one hundred neglected works of great musical value. These have included orchestral compositions, operas in concert form and oratorios. Of particular interest were the presentation of several Strauss operas with Die Frau Ohne Schatten leading in importance, and Berlioz' L'Enfance du Christ which has become an annual pre-Christmas musical offering. The Young People's Concerts, founded and con- ducted by Mr. Scherman, received the George Foster Peabody Award in 1957. Mr. Scherman has appeared as guest conductor with many leading orchestras in the United States and Europe and, under the auspices of the President's Special International Pro- gram for Cultural Presentations, conducted the Little Orchestra Society in an eight-week tour of the Far East. This past month he was decorated by both the French and Italian governments for his devotion to and performances of the music of their countries.

NADEZDA KNIPLOV A Nadezda Kniplova is the leading dramatic soprano of the Prague National Theatre. She has also been heard with the opera companies of Hamburg, Munich, Vienna, and Barcelona. H er first New York appearance was with the Hamburg State Opera Company last season, when her performance as "Kostelnicka" in Janacek's Jenufa was greeted with praise from both the public and the press. Miss Kniplova was born in Ostrau, Moravia, and made her debut while still a student at the Prague Music Academy. Her performances in the virtuoso role of "Emilia Marty" in The Makropulos Case at Festivals in Vienna, Barcelona and have secured her the reputation of being the definitive interpreter of this role. Miss Kniplova is the recipient of silver medals from both the Geneva and Vienna voice competitions. She was also awarded the Grand Prix at the famous Toulouse singers contest. She has recently starred in a complete Ring cycle ., (for RAI in Rome), alternated with Regine Crespin in the Karajan-Salzburg Ring, and performed the role of "Senta" (Flying Dutchman) with the Deutsche Opera Berlin-in Tokyo. ...

IVO ZIDEK Ivo Zidek, tonight's "Gregor," made his New York debut with The Little Orchestra Society last season. The work was Janacek's Jenufa. His European debut was in Massenet's Werther at the age of seventeen. Three years later he was engaged by the Prague National Theatre. In 1956 he was invited to sing D on Carlos with the Vienna State Opera, a role he learned in German in six days. He has since become a regular member of that company. He has also performed as a recitalist and is much admired for his interpreta­ tions of modern music. Mr. Zidek is a regular member of the Berlin State Opera and he has sung in Italy, Belgium, Poland, Rumania and the Soviet Union. His repertoire consists of all the leading tenor roles in the great Czech operas as well as the international operas of Verdi, Puccini, Bizet and Strauss. CHESTER LUDGIN

Tonight's "Prus," the brilliant American baritone star of the and continues to be one of the busiest on the operatic and concert scene. This fall, he was once again with the San Francisco Opera where he is .. a great favorite. Among other parts Mr. Ludgin sang the title role in Boris Godunov. In the spring, he will once again appear in New York City with the New York City Opera. Among the roles he will perform at that time will be Scarpia in , an impersonation for which he has been acclaimed everywhere. Mr. Ludgin's operatic appearances through­ out the United States and Canada include virtuaily every leading organization, such as Miami Opera Guild, Pittsburgh Opera, New Orleans Opera, , , Connecticut Grand Opera, Baltimore Civic Opera and Toledo Opera. Ludgin, who was born in Brooklyn and trained entirely in America, is this country's favorite argument against those who state that operatic eminence can be achieved only after European study.

EMILE RENAN

Emile Renan who is singing the role of "Kolenaty" in The Makropulos Case is a many-faceted artist. He is equally at home in opera and light opera. He is one of this country's most versatile singing actors and has appeared with the companies of St. Louis, New York City, Houston, San Antonio and Detroit. In recent years Mr. Renan has gained the reputation of being an outstanding stage director and teacher of both singing and acting. He is currently affiliated with the Union Theological Seminary and, as Guest Lecturer, with the Trenton State College. He has staged productions in Dallas, Kansas City and Washington and this past season his Tosca for the Lake George Opera Festival was received with singular acclaim. He has just recorded The Good Soldier Sclzweik for RCA Victor.

VLADO HABUNEK .. Mr. H abunek is from Zagreb, Yugoslavia. He first visited the United States several years ago to study and research the American Theatre. He returned, in 1966, at the invitation of the Little Orchestra Society, to stage Leos Janacek's Jenufa. His immediate success with audiences, the press and artists, prompted the Society to engage him for its 1967-68 season. In addition to Curlew River, he has staged Mr. Scherman's American premiere performance of Busoni's Turandot and will also serve as director for The Makropulos Case and Antigonae. Mr. Habunek formerly taught acting at the National Academy of Music in Zagreb and was the artistic director of the Dubrovnik Music Fes­ tival. His production of this past summer at that festival was an international success. His productions have been seen in London, Italy, France and Japan. He has worked with Tyrone Guthrie and Michel Saint-Denis and directed his own company-La Compagnie des Jeunes-in Paris. NEXT CONCERT IN THIS SERIES February 20, 1968-Dream of Gerontius Sir Edward Elgar

HERBERT BARRETT, Manager THOMAS MATTHEWS, Associate Manager MARKS LEVINE, Consultant JONATHAN DUDLEY, Choral Director RICHARD CASLER, Lighting The Little Orchestra Society 1860 Broadway New York, N.Y. 10023 PL 7-3460