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CHAN 3033(2) MASSENET WERTHER

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Jules Massenet (1842–1912) Werther Lyric drama in four acts and five scenes after Goethe

AKG Libretto by Edouard Blau, Paul Milliet and Georges Hartmann English translation by Norman Tucker Recorded live by the BBC at the London Coliseum on 13 December 1977 Werther, a young poet...... John Brecknock tenor Albert, a young man ...... Patrick Wheatley baritone The Magistrate...... Harold Blackburn bass Charlotte, the Magistrate’s daughter...... Dame Janet Baker mezzo-soprano Sophie, her sister...... Joy Roberts soprano Johann, friend of the Magistrate ...... John Tomlinson bass Schmidt, friend of the Magistrate ...... Terry Jenkins tenor Brühlmann, a young man ...... Nigel Waugh baritone Käthchen, a young woman...... Janice Andrew mezzo-soprano The Magistrate’s other children: Hans ...... Fergus Reid Karl ...... David King-Lassman Max ...... Sam Monck Gretel ...... Jessica Morris Clara ...... Susan Busby Fritz...... Andrew Sheldon Jules Massenet, c. 1885 Extras: A young countryman, a servant, townspeople of Wetzlar, guests, village musicians English National Opera Orchestra and Chorus Peter Kay children’s adviser Sir Charles Mackerras

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COMPACT DISC ONE Time Page COMPACT DISC ONE Time Page 12 [Moonlight] 0:40 82 1 Prelude 4:27 74 13 ‘And so we two must part’ 3:58 82 Charlotte, Werther Act I 14 ‘But, you know nothing of me’ 0:43 83 2 ‘Enough! Enough!’ 1:49 74 Charlotte, Werther The Magistrate, the Children 15 ‘Alas, yes, they are mine’ 3:08 83 3 ‘Bravo, to all the choir!’ 5:23 75 Charlotte, Werther Johann, Schmidt, the Children, the Magistrate, Sophie 16 ‘Visions of rapture and joy!’ 1:45 83 4 ‘And so, is this the house where the Magistrate lives?’ 2:17 77 Werther, Charlotte Werther 17 ‘Charlotte! Charlotte! Albert has returned!’ 2:06 84 5 ‘O fair Nature, great is your bounty’ 3:27 77 The Magistrate, Charlotte, Werther Werther, the Children 6 ‘Charlotte! Charlotte!’ 2:56 78 Act II Hans, Karl, Max, Gretel, Clara, Fritz, Charlotte, the Magistrate 7 ‘Brühlmann, do come along!’ 1:57 79 18 [Prelude:] The Lindens 1:20 84 The Magistrate, Brühlmann, Käthchen, Charlotte, Werther, Sophie 8 ‘O sweet vision, ideal of love and of devotion’ 1:41 80 19 ‘Vivat Bacchus! Semper vivat! This is Sunday!’ 1:59 84 Werther, the Magistrate, Charlotte Johann, Schmidt 9 ‘Vivat Bacchus! Semper vivat!’ 1:29 80 20 ‘Come on, let’s sing the office’ 2:41 85 The Magistrate, Sophie Schmidt, Johann 10 ‘Sophie!’ ‘Albert! So you’ve returned?’ 2:35 81 21 ‘Three months!’ 2:31 85 Albert, Sophie Albert, Charlotte 11 ‘Feelings of deepest thankfulness and love’ 1:35 82 22 ‘Another! Another’s wife!’ 1:15 86 Albert Werther

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COMPACT DISC ONE Time Page COMPACT DISC TWO Time Page 23 ‘These arms would now be holding’ 1:41 86 Werther Act III 24 ‘Yes, Käthchen will come back, I am sure’ 1:45 86 Schmidt, Johann, Albert, Werther 1 [Prelude:] Charlotte and Werther 2:59 91 25 ‘But she to whom I now am married’ 2:49 87 2 ‘Werther!… Ah, Werther!’ 1:57 91 Albert, Werther Charlotte 26 ‘Brother, look here’ 3:14 87 3 ‘“Here in my room I’m writing you this letter”’ 1:37 92 Sophie, Werther, Albert Charlotte 27 ‘Was I not right?’ 1:58 88 4 ‘“The children’s happy cries”’ 3:36 92 Werther, Charlotte Charlotte 28 ‘Ah, how far off that day’ 1:38 88 5 ‘Charlotte, good-day’ 1:32 92 Werther, Charlotte Sophie, Charlotte 29 ‘Is there no other young girl in this place…?’ 3:36 89 6 ‘Ah! Yes, laughter’s a gift’ 1:57 93 Charlotte, Werther Sophie, Charlotte 30 ‘Yes, all that she commands me’ 1:51 89 7 ‘Ah! Now let my tears flow freely’ 2:19 93 Werther Charlotte 31 ‘When any son returns to his home’ 1:51 90 8 ‘Now, Charlotte, I’m sure, you should not be alone’ 2:09 93 Werther Sophie, Charlotte 32 ‘Do come along. The procession is starting’ 1:45 90 9 ‘Ah! I am losing all my courage!’ 1:52 94 Sophie, Werther, Charlotte, Albert Charlotte TT 73:56 000 10 ‘Werther! Ah!’ 5:36 94 Charlotte, Werther

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COMPACT DISC ONE Time Page 11 ‘“Why rouse me from my sleep…?”’ 2:04 96 Werther 12 ‘Do not go on!’ 2:47 96 Charlotte, Werther 13 ‘Ah! I! I! In his arm!’ 2:42 97 Charlotte, Werther Clive Barda Clive 14 ‘So Werther has returned…’ 3:15 98 Albert, Charlotte

Act IV

15 Scene 1: Christmas Eve 4:12 99

Scene 2: The Death of Werther

16 ‘Werther! Ah, Werther!’ 4:33 99 Charlotte, Werther 17 ‘In this last hour of life I am truly bless’d’ 4:40 101 Werther, Charlotte 18 ‘Noel! Noel! Noel! Noel! Noel! Noel! Noel!’ 1:40 101 The Children, Charlotte, Werther, Sophie 19 ‘Ah! His eyes are closing’ 0:59 102 Charlotte, Werther Sir Charles Mackerras 20 ‘…yes, but hear what I ask’ 3:38 103 Werther, Charlotte, the Children TT 56:04

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his powers. The improvement in his technique reflective outbursts. The romantic hero often Jules Massenet: Werther over Manon (1884), at one time more popular ‘speaks’ in metaphor, as in his impassioned than Werther but – rightly – now no longer so, paean to nature in Act I and his meditation on Massenet is still frowned on by ‘superior’ importance led him to litter his scores with is self-evident. The two works may have a suicide in Act II, or – as in the Ossian Song of persons: for instance, he has still not been expressive marks that are of the essence in superficial similarity in that both are Act III – allows his feelings to be shown accorded a volume in the ‘Master Musicians’ projecting the character and meaning of the concerned with loves that are doomed, but through the reading of another’s words. series, successive editors having failed to take vocal line. His interpreters ignore them at their Werther deals with the subject on a much Charlotte is even more interesting as a him seriously as a composer worthy of peril. Closely allied as these vocal parts are to deeper level, both musically and character. She is a complex woman torn considered comment. Whereas among French the French language, it is essential to psychologically. From the opening bars alone, between duty and inner passion: indeed it is composers Berlioz, who for all his revolutionary understand all the verbal and vocal detail if for example, we know that the hero’s obsessive surely Werther who arouses those inner, erotic notions had little idea how to shape an opera, is performing the piece for a British audience in infatuation with Charlotte will come to an feelings that so differ from the ones inspired lauded to the skies, his near-contemporary, who the vernacular is to serve its intended purpose. unhappy end. Massenet had also learnt to deal by the dry conformity of her husband Albert. was a genius of stagecraft and musical timing, is When the translation is as natural as the one in a much more sophisticated manner with Unlike Werther, she develops hugely through often treated as second-rate. In fact Massenet heard in this performance, that purpose is leading motives, which recur in different forms the course of the opera. The surface calm of was not only a theatre person to his fingertips, served beautifully. Given that the work is sung throughout a score seamlessly woven from the first two acts, where she is more mother he also knew about the human heart and in English, how vital it then is that the words beginning to end and, incidentally, full of than young woman (having to look after her understood as well as any opera composer the should be heard: as I recall in the theatre, a subtly orchestrated detail. widowed father’s younger children), is replaced psyche of women. Throughout his long career memory confirmed on hearing this recording, Massenet provides an arresting contrast in Act III, the opera’s most cogent, by the writing for the theatre, and nowhere more so the present cast – unlike some of its successors between the apparent contentment of bourgeois turmoil and anxiety caused by her feelings than with Charlotte in Werther, he created at the London Coliseum – enunciate the text life at the Magistrate’s house, its domestic towards Werther. These are further highlighted heroines with whom his audiences instinctively with clarity and gratifying awareness of its surroundings and moral certainties expressed by the reading of his letters, in which he empathise: Manon, Thaïs, Hérodiade, inflections. basically in diatonic and jaunty terms, and the touches on his longing and loneliness. Cendrillon, Sapho, Esclarmonde… That text is derived from Goethe’s ecstasy and agony of Werther’s love and Massenet perfectly adumbrates that scene in Where his music is concerned, the works he autobiographical novel Die Leiden des jungen Charlotte’s emotional turmoil, harmonically vocal and instrumental terms, then follows it composed for the Opéra-Comique evince a Werthers (The Sorrows of Young Werther) more complex. All Werther’s music is couched with the unleashing of all Charlotte’s scrupulously conversational style so that, in written in the form of letters. It was most in passionate terms, always expressive of his conflicting emotions in the succeeding ‘Air des spite of their inspired musical content, they can skilfully adapted for the stage by Massenet’s poetic sensibility and the wild emotions larmes’ (which one might translate as ‘The be considered plays set to music. His realisation librettists. By the time of its composition in tormenting him within. Massenet describes Tears’) and her Prayer. These are themselves that every nuance in a singer’s part was of 1886–7 Massenet was reaching the height of these in a series of impassioned and/or succeeded by Werther’s return on the dot of

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Christmas Eve, as predicated by Charlotte composer scored a success at Vienna’s Hofoper therefore as much hers as it is his and one with their parts, something the performance when she banished him in Act II. After the in 1890 with Manon, the management asked wonders afterwards what her remaining under consideration makes manifest. Ossian Song he forces her, not exactly against for another piece. Werther was then existence as a dutiful wife to Albert must have This live recording derives from the first her will, to confess her love. In the final scene, resuscitated and given its highly successful been like. revival of an exceedingly successful production after Werther has shot himself with one of the premiere on 16 February 1892. The Belgian Werther finally reached the Opéra-Comique at English National Opera in 1977. John pistols given him by Charlotte’s husband, the heroic tenor van Dyck took the title part and in 1893, but it was a revival ten years later Copley’s imaginative and evocative staging (so lovers recall the past, Charlotte now wholly Massenet added the Act II ‘Désolation’ that established its popularity in France. For superior to the one that, unhappily, replaced it part of his psyche, while the ordinary world (‘Another! Another’s wife!’), a forceful solo to the next half century it was sung by all the a decade or so later) was lavishly praised. That outside is depicted through the sound of suit him. Subsequently the opera made steady noted French artists of the era. The title part visual experience cannot be recalled in a happy Christmas songs. progress in German-speaking countries: has been taken by both lyric tenors such as recording, but Charles Mackerras’s gloriously Albert’s is a short part but a significant one. somewhat surprisingly, for Gounod’s Faust, Charles Friant, a great singing actor, and Tito idiomatic conducting is there to be enjoyed The simple, stodgy figure of Act I becomes the which there was always named Margarethe as if Schipa and by heavier tenors like Georges throughout, as is the convincing contribution worried husband of Act II and the embittered to indicate that it wasn’t really worthy of Thill, who can be heard on the first recording of the English National Opera Orchestra of man of Act III who orders his wife to hand Goethe’s masterpiece, had been treated rather of the work. In the last half of the twentieth the time. The shaping and timing of the score over the weapons that will become the vehicle cautiously. Not so Werther: it was considered century notable tenors such as Alfredo Kraus, is faultless from beginning to end. of her lover’s suicide. Even the comparatively reasonably faithful to the original, which had a lyric interpreter, and Placido Domingo, José With Janet Baker available for Charlotte, uncomplicated Sophie moves from the carefree been regarded as romanticism incarnate when Carreras and Roberto Alagna have assumed one of her most successful roles, the young girl of the first two acts to the worried it was published in 1774. The novel focuses the role. Similarly Charlotte has been performance could hardly go wrong. In teenager of Act III. The old Magistrate (Le almost exclusively on the hero of the title, with attempted by lyric sopranos such as Ninon pristine voice she conveys every aspect of the Bailli in the original French) serves his purpose Charlotte the remote object of his obsession. Vallin (also on that first recording) and complex character. Contained and sympathetic as the cosy, wordly-wise father-figure in Act I Massenet and his librettists realised that they Victoria de los Angeles and by dramatic as the seemingly conventional Charlotte of who epitomises bourgeois values. The cameo must bring her to the fore in order that there mezzos such as Dame Janet Baker here. Acts I and II she turns in a reading of tragic roles of Johann and Schmidt, friends of the be two almost equal principals. These could Massenet apparently wanted a soprano, Rose force in Act III where the Letters, Tears and Magistrate, add a further element of contrast then be given the extensive duets that lie at the Caron, as his first French Charlotte. However, Prayers are made part of a convincing whole, to the lovers. heart of the music drama. Charlotte’s common the role was eventually given to Marie Delna, and she catches all the despair of Act IV when The work did not have an easy start in life. sense is an appreciable foil to Werther’s poetic a mezzo, so from the beginning it has been Charlotte attempts to comfort the dying The Opéra-Comique turned it down in 1887 fancies and posturings; at least until eventually shared by two types of singers. Much more Werther. Throughout, as one would expect of as being too lugubrious. For four years it she has become a part of his life and – too late important than type of singer is the need for her, she conveys the English text with an remained in the composer’s drawer. When the – gives herself to him. The ensuing tragedy is each interpreter of the leading roles to identify unerring sense of its inner meaning,

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underlining words and lightening and delightfully fresh Sophie, singing both her Wetzlar, is preparing for a local dance that promised to Albert, and Werther, heartbroken, darkening her keen tone as the situation charming airs with right insouciance. Harold evening. Werther, a serious youth of whom the urges her not to break her word. demands. A fair example of her mastery comes Blackburn was an English National Opera Magistrate approves but whom the neighbours just after Werther returns on Christmas Eve in (formerly Sadler’s Wells) favourite for more find uncongenial, will escort her. The Act II Act III. The two of them contemplate the than twenty years. His Ochs in Der conversation turns to Albert who is due to A Sunday afternoon the following September. room in which they had conversed months ago Rosenkavalier was much admired around return soon to claim Charlotte as his bride as Outside the church and recall their happy times together. In a the time he presented this delightful cameo she promised her mother to marry him. Johann and Schmidt are drinking outside the phrase which each repeats, Charlotte points out of the contented Magistrate. The young Then the two friends invite the Magistrate to Inn, while the Pastor celebrates his Golden that ‘Ev’rything is still here in the place where John Tomlinson makes his mark as Johann. supper at the Inn and depart to build up an Wedding anniversary in the church. Albert, you knew it’. Janet Baker sings the phrase with Altogether this is as satisfying a souvenir appetite. now married to Charlotte, sings of his a gentle intimacy, a poised line that goes to the as one could wish for of the Werther arrives rhapsodising about the happiness: Werther, seeing them together, heart of the matter. A few minutes later Harewood/Mackerras era at the English beauty of the evening and watches, unseen, as despairs because she can never be his. Albert Werther succeeds in breaking down Charlotte’s National Opera. Charlotte cuts bread and butter for the tells him how sad he is that Werther’s affection reserve: Baker’s outpouring of passion is children’s supper. He is welcomed by the for his wife was aroused before he knew she spontaneous and emphatic, immediately © 2000 Alan Blyth Magistrate who explains that, since his wife was betrothed but Werther assures him that he followed by her horror at the realisation of died, Charlotte has been a second mother to now feels only friendship for them both; were what she has just done. That is only the climax Synopsis her young brothers and sisters. When the it otherwise, he would leave Wetzlar forever. of an interpretation of rare distinction, now The action takes place in Wetzlar, near Frankfurt, party for the ball has left, Sophie tells her Sophie gaily attempts to divert the pensive happily preserved for posterity. towards the end of the eighteenth century. father to join his friends at the Inn. Thus men and Albert suggests that Werther should John Brecknock is just as adept as his neither Charlotte nor her father is at home turn his attention to her. Werther confesses to partner in projecting his words so you hardly Act I when Albert unexpectedly returns. He tells himself that his suffering is not over. He begs need the libretto before you. Without ever A July evening. The garden of the Magistrate’s Sophie how he hoped to surprise them and Charlotte to remember the evening of the disturbing his keen line and secure phrasing he house about his love for Charlotte. He leaves dance but she refuses to admit her feelings for lets us hear all the desperation of Werther. He The Magistrate, a widower, is teaching his promising to return in the morning. him and, when he persists, orders him to leave rises to the challenge of the more impassioned children to sing a Christmas carol, and their The dancers return. Werther has fallen in the town and return only on Christmas Eve. moments but sings sweetly in the more progress is watched with amusement by two love with Charlotte but his declaration is cut Werther contemplates death as the solution to reflective ones. Patrick Wheatley’s firm, neighbours, Schmidt and Johann. They ask short by the Magistrate’s voice announcing his misery and tells Sophie that he is going rounded tone and line are just what the role of after Charlotte, the eldest daughter, and hear Albert’s return. Charlotte assures Werther that away forever. Albert realises that Werther is Albert calls for. Joy Roberts makes a that she, like the other young people of she had until that moment forgotten she was still in love with Charlotte.

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Act III Act IV (The Metropolitan Opera), New Orleans and and New Opera Company (Beggar in Martinu˚’s Christmas Eve: five o’clock. Albert’s house Later that night. Werther’s study Ottawa; Il barbiere di Siviglia in San Francisco, Julietta). In Albert’s absence, Charlotte re-reads Charlotte discovers Werther mortally Miami and Vienna; La Cenerentola in Paris (the Werther’s letters. Sophie arrives with an wounded. She declares her love and he begs Opéra), Buenos Aires and Cape Town; Werther Born in Hamilton, Scotland, Harold Blackburn invitation to visit her father and family, her forgiveness. He dies as the sound of in Rouen, Buenos Aires and San Diego; La studied privately in Glasgow and in 1948, after and she redoubles her entreaties when children’s voices singing the Christmas carol is traviata in Cape Town and Ottawa; Les Pêcheurs a season with the Carl Rosa Opera, became a Charlotte begins to weep at the mention heard in the distance. de perles in Rouen and Paris; as well as Le Comte member of the chorus of Sadler’s Wells (later of Werther’s name. Charlotte promises Ory in Ottawa, Rigoletto in Houston and English National) Opera where he soon made to come and then, alone once more, © English National Opera Falstaff in Miami. His recordings include his mark in small parts and later rose to the prays for strength to withstand her love Offenbach’s Robinson Crusoë for Opera Rara rank of principal bass. Equally adept at serious for a man who is not her husband. Werther Born near Nottingham, the tenor John and La traviata for Chandos/Peter Moores and comic roles, he was noted for his freshly appears at the door. Charlotte pretends Brecknock studied at the Birmingham School Foundation. conceived interpretations and keen to be merely glad at his return and asks of Music and with Denis Dowling. He joined concentration on the text. His numerous him to read his translation of Ossian as he Sadler’s Wells (later English National) Opera The baritone Patrick Wheatley took lessons successes included Don Pasquale, Mustafa used to do. Werther chooses the passage where his many roles have included Don with a local singing teacher in Leicestershire (The Italian Girl in Algiers), the mayor where the poet foresees his own death and Ottavio, Belmonte, Ferrando, Count Ory, before winning a Peter Stuyvesant Scholarship Gottardo (The Thieving Magpie), the Tutor Charlotte begs him to stop. He realises Almaviva (The Barber of Seville), Alfredo, des to the London Opera Centre. He joined (Le Comte Ory), Ferrando (Il trovatore), Colline that she loves him and embraces her. Grieux (Manon), Tamino, the Duke (Johann English National Opera in 1974 where he has (La bohème), Count des Grieux (Manon) and Horrified, she cries that they must never Strauss II’s A Night in Venice) and Werther in sung a variety of roles including Haly (The the Magistrate (Werther) as well as Osmin, meet again and Werther resolves to kill addition to appearances in The Italian Girl in Italian Girl in Algiers), Count des Grieux and Sarastro, Plunkett (Flotow’s Martha), Kecal himself. Albert enters, surprised to find Algiers, The Merry Widow and The Thieving de Brétigny (Manon), Schaunard (La bohème), (The Bartered Bride), Daland (The Flying Charlotte distraught. Werther’s servant brings Magpie. His roles for The Royal Opera, Covent Sharpless and Yamadori (Madam Butterfly), Dutchman), Fasolt (The Rhinegold), Hunding a message requesting the loan of Albert’s Garden have included Fenton (Falstaff), Germont (La traviata), Albert (Werther), (The Valkyrie) and Baron Ochs (Der pistols for he is ‘leaving on a far-off journey’. Rinuccio (Gianni Schicchi), Iopas (Les Troyens) Donner (The Rhinegold), Vladislav (Smetana’s Rosenkavalier). He tackled many contemporary From her reactions, Albert realises that and Gennaro (Lucrezia Borgia). He has also Dalibor), Goryanshikov (Janácˇek’s From the roles, among them Father Barré in The Devils of Charlotte returns Werther’s love: he makes sung with Welsh National Opera. Abroad his House of the Dead), Fabrizio (The Thieving Loudun (Penderecki), William Humpage in her hand over the pistols herself. Charlotte engagements have included Don Giovanni in Magpie) and John Sorel (Menotti’s The Consul). A Penny for a Song and Sherrin in The Mines of hurries after the servant, filled with anxiety New York (The Metropolitan Opera), Ottawa He has also performed with Opera North Sulphur (both by Sir Richard Rodney Bennett). and remorse. and Buenos Aires; Die Zauberflöte in New York (Manz in Delius’s A Village Romeo and Juliet) He made several guest appearances with

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Scottish Opera, Welsh Opera and the English Caesar and Marguerite in Berlioz’s The and the title role in Martinu˚’s Julietta. At Opera numerous sound and video recordings. His Opera Group with which he toured Canada, Damnation of Faust. Her last appearances with North she sang Thérèse (Poulenc’s Les Mamelles discography includes, for Opera Rara, Japan and Australia and where he is specially the company were in its production of de Tirésias), Adèle (Die Fledermaus) and Donizetti’s Gabriella di Vergy and, for Chandos, remembered for his Mr Peachum in The Donizetti’s Mary Stuart. Numerous honours Susanna (Le nozze di Figaro). Joy Roberts besides his Claggart in Britten’s Billy Budd Beggar’s Opera. Harold Blackburn died in 1981. have been awarded her, including the Hamburg broadcast on radio (Humperdinck’s Hänsel und under Richard Hickox, roles in Mary Stuart and Shakespeare Prize (1971) and honorary degrees Gretel) and her recordings include Christopher Julius Caesar as well as highlights from Boris Dame Janet Baker has appeared with the from the Universities of London, Birmingham Columbus for Opera Rara. Godunov and Der Rosenkavalier and a solo world’s most distinguished conductors and and Oxford. Janet Baker was made a CBE in recital of operatic arias (to be released in orchestras and has recorded for all the major 1970 and a DBE in 1976. She was created a John Tomlinson studied at the Royal autumn 2000), all recorded in association with record companies. She was born in Yorkshire Companion of Honour in 1994. Her many Manchester College of Music. He has sung the Peter Moores Foundation. John Tomlinson and began studying with Helene Isepp and later recordings include Handel’s Ariodante, Gluck’s regularly with English National Opera, with was awarded a CBE in the 1997 New Year’s Meriel St Clair. In 1956 she won second prize Orfeo ed Euridice, Mahler’s Das Lied von der The Royal Opera, Covent Garden and has Honours List. in the Kathleen Ferrier Award and since then Erde, numerous recital discs and, for appeared at the Bayreuth Festival every year she has achieved worldwide recognition as an Chandos/Peter Moores Foundation, Julius since 1988. His many Wagnerian roles include Tenor Terry Jenkins studied at the Guildhall artist of equal distinction in Lieder, opera and Caesar and Mary Stuart. Landgraf (Tannhäuser), Heinrich (Lohengrin), School of Music and Drama and at the London on the concert platform. Notable appearances Wotan/Wanderer, Hagen, King Marke, Hans Opera Centre before joining the Glyndebourne included Purcell’s Dido at Aldeburgh with the Joy Roberts, soprano, was born in Huddersfield Sachs, Titurel and Gurnemanz. In Great Britain Festival Chorus and also singing several English Opera Group in 1962, the title role in and after studies at the Royal Academy of he has also appeared with Opera North, principal roles both in Festivals and on tour. He Britten’s The Rape of Lucretia (1964 and 1970) Music became a member of the BBC Northern Scottish Opera, Glyndebourne Festival and has sung with numerous Irish and British and the role of Kate in Owen Wingrave (1971). Singers and then toured with Welsh National Touring Operas and Kent Opera. He has companies, including Dublin Grand Opera, For The Royal Opera, Covent Garden she Opera for All. She made many appearances performed on major opera stages across Europe D’Oyly Carte Opera Company and Garsington sang Vitellia (La clemenza di Tito) and Gluck’s with the Handel Opera Society and sang and North America in roles such as Baron Ochs Opera. With English National Opera, as a Alceste, for Glyndebourne Diana/Jupiter Cherubino at Glyndebourne Festival Opera. (Der Rosenkavalier), Moses (Moses und Aron), member from 1973 to 1994 and as a regular (Cavalli’s La Calisto) and Penelope She joined English National Opera in 1976 Rocco (Fidelio), Philip II (Don Carlos), Sarastro guest since then, he has sung over sixty roles, (Monteverdi’s Il ritorno d’Ulisse in patria), and where her roles included Sophie (Der (Die Zauberflöte), Lindorf, Coppelius, Dr including Eisenstein (Die Fledermaus), Vanja for Scottish Opera Dido (Berlioz’s Les Troyens). Rosenkavalier), Annina (Johann Strauss II’s Miracle and Dapertutto in Les Contes (Kát’a Kabanová), Orpheus (Orpheus in the For English National Opera she sang a A Night in Venice), Sophie (Werther), Papagena d’Hoffmann, Golaud (Pelléas et Mélisande) and Underworld), Pedrillo, Don Basilio (The repertory ranging from Monteverdi to (The Magic Flute), Cupid (Offenbach’s Orpheus the title roles in Boris Godunov and Verdi’s Marriage of Figaro), Spalanzani (The Tales of Massenet’s Werther, including Handel’s Julius in the Underworld), Lauretta (Gianni Schicchi) Oberto and Attila. John Tomlinson appears in Hoffmann), Jack (A Midsummer Marriage),

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Snout (A Midsummer Night’s Dream) and recording of the last, in Jonathan Miller’s by Sir Reginald Goodall, which is soon to Emeritus of Welsh National Opera, Principal Count Hauk Sendorfˇ (The Makropulos Affair). production conducted by Mark Elder, is soon appear on Chandos under the sponsorship of Guest Conductor of the San Francisco Opera, He made his debut at The Royal Opera, to appear on Chandos under the sponsorship of the Peter Moores Foundation, as is its recording and from the 1998/99 season he is Music Covent Garden in Henze’s We Come to the River the Peter Moores Foundation, as is their of Verdi’s Otello under Mark Elder. Other Director of the Orchestra of St Luke’s, New and returned for Salome. Abroad he has sung, recording of the celebrated ‘Ring Cycle’ recordings for Chandos/Peter Moores York. He has for many years been associated among other roles, Loge (Das Rheingold) at conducted by Sir Reginald Goodall. Other Foundation are Mary Stuart, Julius Caesar, with The Royal Opera, Covent Garden and Seattle Opera; Snout at the Aix-en-Provence Chandos/Peter Moores Foundation recordings Rigoletto (Jonathan Miller’s production) and conducts regularly at The Metropolitan Opera, Festival, the Opéra-Comique, Paris, and in are Mary Stuart, Julius Caesar, Rigoletto La traviata. New York. Lyon, Caen, Montpellier, Nimes, Bordeaux and (Jonathan Miller’s production) and La traviata. Sir Charles Mackerras has undertaken much Rome; and the Schoolteacher (The Greek Sir Charles Mackerras was born in 1925 of research into performance practice of the Passion by Martinu˚) at the Bregenz Festival. On Critically and publicly acclaimed, The Australian parents in the United States and eighteenth and nineteenth centuries, which Chandos/Peter Moores Foundation he appears Orchestra of English National Opera, Leader studied in Sydney and Prague. He made his has profoundly affected today’s interpretations. as Borsa in the recording of English National Barry Griffiths, has in recent years received debut as an opera conductor at Sadler’s Wells His vast discography includes an award- Opera’s production of Rigoletto directed by several prestigious awards, including the Royal Opera, where he was instrumental in winning cycle of Janácˇek operas with the Jonathan Miller. Philharmonic Society Music Award and an producing the sensational first British Vienna Philharmonic Orchestra, Britten’s Olivier Award for Outstanding Achievement in performance of Janácˇek’s Kát’a Kabanová, Gloriana and Dvoˇrák’s Rusalka (both of which The Chorus of English National Opera is one Opera. The Orchestra is at the heart of the which led to Janácˇek’s becoming standard won Gramophone awards), Beethoven, Brahms of the Company’s finest assets. In countless Company’s artistic life and as well as opera repertory in the UK. He was First Conductor and Mahler Symphonies, and with English English National Opera productions they have performances in the London Coliseum has also of the Hamburg Opera (1966–9) and Musical National Opera Handel’s Julius Caesar and thrilled audiences with the power of their been seen on the concert platform. In addition Director of both Sadler’s Wells (later English Donizetti’s Mary Stuart (for Chandos/Peter singing and the intensity of their acting. There many of the players participate in the work of National Opera) (1970–7), and of Welsh Moores Foundation). are sixty-eight choristers and the wide range of the Baylis Programme of the Company’s National Opera (1987–91), where his notable Sir Charles Mackerras received a CBE in skills and experience they bring to performances education and outreach department and with Janácˇek productions and many others won 1974 and was knighted for his services to distinguish any production in which they the English National Opera Studio in the great acclaim. The production and recording music in 1979. He has also received The appear. Particular triumphs for the Chorus have development of new operas, in particular of Osud were sponsored by the Peter Moores Medal of Merit from the Czech Republic, the been Prokofiev’s War and Peace, Shostakovich’s Mark-Anthony Turnage’s The Silver Tassie which Foundation. He is Conductor Laureate of the Chopin Prize and has been made a Lady Macbeth of Mtsensk, Britten’s Billy Budd had its world premiere in February 2000. The Scottish Chamber Orchestra, Conductor Companion of the Order of Australia. and Peter Grimes, Mussorgsky’s Boris Godunov, Orchestra appears in many recordings, Bizet’s Carmen and Verdi’s Otello. Their including the celebrated ‘Ring Cycle’ conducted

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The Magistrate, Sophie and the Children, Act I Charlotte with the Children, Act I

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

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und in erfreulichem Bewusstsein all seiner Massenet bietet uns einen faszinierenden Jules Massenet: Werther Nuancen. Kontrast: auf der einen Seite die anscheinende Dieser Text beruht auf Goethes Zufriedenheit des bürgerlichen Lebens im Über Massenet rümpfen manche Menschen ihres wundervollen musikalischen Gehalts als autobiographischem Roman Die Leiden des Hause des Amtmanns, dessen häusliche immer noch die Nase: So vermisst man ihn in vertonte Theaterstücke betrachtet werden jungen Werthers, der in Briefform geschrieben Atmosphäre und sicheren Moralbegriffe der Serie “Master Musicians”, weil ein können. Massenets Erkenntnis, dass jede ist. Das Werk wurde auf höchst gekonnte grundsätzlich in diatonischen, unbeschwerten Herausgeber nach dem anderen ihn eines Nuance einer Gesangspartie von Wichtigkeit Weise von Massenets Librettisten für die Fortschreitungen ausgedrückt werden – auf gelehrten Kommentars nicht für würdig war, veranlasste ihn dazu, seine Partituren mit Bühne bearbeitet. Zum Zeitpunkt der der anderen Seite die Ekstase und Agonie von befunden hat. Während sein Landsmann einer Fülle von Vortragszeichen zu versehen, Komposition (1886/87) stand Massenet auf Werthers Liebe und Charlottes gestörtem Berlioz, der trotz all seiner revolutionären die für die Darstellung des Charakters und die der Höhe seiner Schaffenskraft. Seine Gefühlsleben, harmonisch komplexer Ideen kaum Ahnung vom Aufbau einer Oper Bedeutung der Gesangslinie wesentlich waren. technischen Fortschritte gegenüber Manon dargestellt. Werthers Musik ist durchweg hatte, himmelhoch gelobt wird, behandelt Wer sich als Interpret darüber hinwegsetzt, tut (1884) – einer zeitweilig erfolgreicheren, aber leidenschaftlich und drückt stets seine man Massenet oft als zweitrangig, obwohl er dies auf eigene Gefahr. So eng diese heute zu Recht nicht mehr bevorzugten Oper dichterische Empfindsamkeit und die wilden ein Meister der Bühnenkunst und des Gesangspartien auch auf die französische – ist unverkennbar. Die Werke mögen sich Gefühle aus, von denen er gequält wird. musikalischen Timings war. Nicht nur lag Sprache abgestimmt sind, ist doch das insofern oberflächlich ähneln, als sie beide mit Massenet schildert dies durch eine Reihe ihm das Theater im Blut – er wusste auch viel eingehende Verständnis aller verbalen und unglücklichen Liebesaffairen befasst sind, doch feuriger und/oder besinnlicher Ausbrüche. Der über das menschliche Herz und stand mit vokalen Details unerlässlich, wenn das Werk wird dieses Thema im Werther sowohl in romantische Held dieser Oper drückt sich seinem Einblick in die weibliche Psyche vor einem britischen Publikum in dessen musikalischer als auch psychologischer zumeist in Metaphern aus, wie etwa in seinem anderen Opernkomponisten um nichts nach. Sprache seine beabsichtigte Wirkung erfüllen Hinsicht ungleich tiefschürfender behandelt. schwärmerischen Loblied an die Natur im Gerade die Charlotte im Werther beweist, soll. Ist die Übersetzung so natürlich gelungen Schon in den ersten Takten können wir I. oder seinen Selbstmordgedanken im II. Akt; dass Massenet während seiner langen wie in der vorliegenden Aufnahme, dann ist beispielsweise erkennen, dass die besessene manchmal – wie im Ossian-Lied des Musiktheaterkarriere immer wieder Heroinen dieser Zweck auf schönste Weise erreicht. Da Leidenschaft Werthers für Charlotte ein böses III. Akts – gibt er seinen Gefühlen durch die schuf, mit denen sein Publikum ganz die Oper in englischer Sprache gesungen wird, Ende nehmen wird. Massenet hatte auch Worte anderer Ausdruck. instinktiv sympathisiert: Manon, Thaïs, ist es ungemein wichtig, dass alle Worte zu gelernt, auf viel komplexere Weise mit seinen Der Charakter von Charlotte ist noch Hérodiade, Cendrillon, Sapho, verstehen sind: In meiner Erinnerung an die Leitmotiven umzugehen, und lässt sie in interessanter. Sie ist eine höchst komplexe Esclarmonde… Bühnenaufführung, bestätigt durch diese verschiedenen Formen durch eine von Anfang Frau, zerrissen vom Konflikt zwischen Pflicht Was seine Werke für die Opéra-Comique Aufnahme, artikuliert das Ensemble hier – im bis Ende nahtlos gewobene Partitur ziehen, die und innerer Leidenschaft. Es muss schon betrifft, so weisen sie alle einen gewissenhaften Gegensatz zu manchen seiner Nachfolger im überdies eine Fülle subtiler Orchesterdetails Werther sein, der in ihr diese tiefsten Konversationsstil auf, kraft dessen sie trotz Londoner Coliseum – den Text mit Klarheit enthält. erotischen Gefühle erweckt, denn dass ihr

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Gatte Albert mit seinem trockenen Charlotte ihn in der letzten Szene tödlich Massenets Schreibtisch liegen. Als dann der erkannt, dass sie Charlotte mehr in den Konformismus diesen Effekt haben sollte, verwundet auffindet, schwelgen beide in ihren Komponist 1890 einen großen Erfolg mit Vordergrund rücken mussten, um zwei nahezu kann man sich nicht recht vorstellen. Im Erinnerungen, und Charlotte geht ganz in Manon an der Wiener Hofoper feiern konnte, gleichwertige Hauptrollen zu schaffen; für Gegensatz zu Werther durchläuft Charlotte im Werthers Seele auf, während draussen der ersuchte ihn deren Leitung um ein weiteres diese konnten dann die ausgedehnten Duette Verlauf der Oper eine starke Charakter- Alltag mit seinen fröhlichen Werk. So wurde also der Werther wieder aus geschrieben werden, die das Herz dieses entwicklung. Die oberflächliche Ruhe der Weihnachtsliedern vergeht. der Versenkung geholt und erlebte am Musikdramas bilden. Charlottes gesunder beiden ersten Akte, in denen sie mehr Mutter Die Partie von Albert ist kurz, aber 16. Februar 1892 in deutscher Sprache seine Menschenverstand ist ein bemerkenswertes als junge Frau ist (sie sorgt für ihre jüngeren bedeutungsvoll. Die schlichte, hausbackene höchst erfolgreiche Uraufführung. Der Gegenstück zu Werthers poetischen Geschwister, die anderen Kinder des Gestalt aus dem I. Akt wird zu dem besorgten belgische Heldentenor van Dyck übernahm Phantasien und Posen – zumindest so lange, verwitweten Vaters), wird im III., dem Ehegatten des II. und zu dem verbitterten die Titelrolle, und Massenet fügte für ihn im bis sie schließlich Teil seines Lebens wird und überzeugendsten Akt durch den inneren Mann des III. Akts, der die von Werther II. Akt die Werther-Arie “Désolation” sich ihm schenkt – zu spät. Was dann folgt, ist Aufruhr und den Kummer abgelöst, den die erbetenen Pistolen durch seine Frau (Another! Another’s wife!/Ein andrer Mann ihr also ebenso ihre wie seine Tragödie, und man Gefühle für Werther in ihr bewirken. All dies aushändigen lässt – so dass sie ungewollt in Gatte!) hinzu, eine starke Solonummer für fragt sich danach, wie ihre weitere Existenz als wird noch verstärkt durch das Lesen seiner seinen Selbstmord verstrickt wird. Sogar die diesen Sänger. Nun verbreitete sich die Oper Alberts gehorsame Gattin wohl verlaufen mag. Briefe, in denen er sein Sehnen und seine vergleichsweise unkomplizierte Sophie rasch im deutschsprachigen Raum – zur An die Opéra-Comique kam der Werther Einsamkeit schildert. verwandelt sich von dem sorglosen Mädchen Verwunderung mancher, hatte doch dort dann schließlich 1893, aber erst zehn Jahre Massenet entwirft ein perfektes vokales und der beiden ersten Akte in die beunruhigte Gounods Faust (allgemein als Margarethe später begründete eine Neuinszenierung die instrumentales Bild dieser Szene, bevor er in junge Frau des III. Akts. Der alte Amtmann aufgeführt, wie um anzudeuten, dass dieses Popularität der Oper in Frankreich. Das dem anschließenden “Air des larmes” (wohl (Le Bailli in der Originalfassung) hat seine Werk nicht wirklich würdig war, den Titel von nächste halbe Jahrhundert hindurch wurde das am besten schlicht mit “Die Tränen” zu Daseinsberechtigung als gemütliche, weltkluge Goethes Meisterwerk zu tragen) eine recht Werk von allen namhaften französischen übersetzen) sowie in ihrem Gebet die Vaterfigur im I. Akt – der Inbegriff zögernde Aufnahme gefunden. Werther erging Künstlern jener Zeit gesungen. Die Titelpartie widerstreitenden Gefühle Charlottes zum gutbürgerlicher Werte. Auch die hübschen es anders. Man konzidierte dem Werk eine übernahmen sowohl lyrische Tenöre wie der Ausbruch kommen lässt. Nun kehrt Werther Nebenrollen der Kumpane Johann und annehmbare Treue zum Original, das bei große Sänger/Schauspieler Charles Friant und genau am Weihnachtsabend zurück – so lange Schmidt, Freunde des Amtmanns, fügen dem seiner eigenen Veröffentlichung 1774 als Tito Schipa, als auch dramatischere Sänger wie hatte Charlotte ihn im II. Akt ja fortgeschickt. unglücklichen Liebespaar ein Kontrastelement Inbegriff der Romantik gegolten hatte. Der Georges Thill, der in der allerersten Aufnahme Nach dem Ossian-Lied zwingt er Charlotte – hinzu. Roman konzentriert sich bekanntlich fast der Oper zu hören ist. In der zweiten Hälfte nicht gerade gegen ihren Willen – ihre Liebe Das Werk nahm keinen guten Anfang. Die ausschließlich auf den Titelhelden, mit “Lotte” des 20. Jahrhunderts haben große Sänger wie zu ihm zu gestehen. Nachdem Werther zu Opéra-Comique lehnte es 1887 als zu trist ab, als fernem Objekt seiner Leidenschaft. der lyrische Tenor Alfredo Kraus, Placido einer von Alberts Pistolen gegriffen hat und und der Werther blieb vier Jahre lang in Massenet und seine Librettisten hatten Domingo, José Carreras und Roberto Alagna

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den Werther gesungen. Die Partie der Stabführung von Charles Mackerras lässt sich und sie gedenken der zusammen verbrachten der richtigen Unbekümmertheit. Harold Charlotte hat ebenfalls große Interpretinnen voll genießen, ebenso wie die überzeugende schönen Stunden. In einem Satz, den beide Blackburn gehörte damals schon seit über gefunden: lyrische Soprane wie Ninon Vallin Leistung des damaligen English-National- wiederholen, sagt Charlotte: “Ev’rything is still 20 Jahren zu den beliebtesten Künstlern der (in der erwähnten ersten Aufnahme) und Opera-Orchesters. Gestaltung und Timing der here in the place where you knew it” (Es ist English National Opera (ehemals Sadler’s Victoria de los Angeles, aber auch dramatische Partitur sind vollendet von Anfang bis Ende. noch alles so hier, wie Sie es verließen). Janet Wells), und sein Ochs im Rosenkavalier hatte Mezzos wie Dame Janet Baker in der Mit Janet Baker als Charlotte in einer ihrer Baker singt diesen Gedanken mit einer sanften gerade große Bewunderung gefunden, als er vorliegenden Aufnahme. Massenet selbst hatte erfolgreichsten Rollen standen die Vorzeichen Intimität, mit einer schwebenden Linie, die hier die köstliche kleine Partie des sich anscheinend mit Rose Caron einen denkbar gut, und in makelloser Form gleich den Kern der Sache trifft. Wenige selbstzufriedenen Amtmanns lieferte. Ein junger Sopran für seine erste französische Charlotte vermittelt sie alle Aspekte dieses komplexen Minuten darauf gelingt es Werther, ihre John Tomlinson erregte Aufmerksamkeit als gewünscht, doch wurde die Rolle schließlich Charakters. Gemessen und sympathisch als die Zurückhaltung zu überwinden: Janet Bakers Johann. Alles in allem ist diese Aufnahme ein der Mezzosopranistin Marie Delna übergeben scheinbar konventionelle Charlotte im I. und leidenschaftlicher Ausbruch ist spontan und Andenken an die Harewood/Mackerras-Ära der – von Anfang an zog man für diese Partie also II. Akt, gibt sie uns eine Interpretation von eindringlich, sofort gefolgt von der entsetzten English National Opera, wie man es sich nicht unterschiedliche Stimmlagen in Betracht. Viel tragischer Kraft im III. Akt, wenn sie Briefe, Erkenntnis dessen, was sie eben getan hat – schöner wünschen könnte. wichtiger als dies ist aber die Grundforderung, Tränen und Gebete zu einer überzeugenden und das ist nur ein Höhepunkt in einer dass sich alle Hauptinterpreten mit ihren Einheit verbindet und dann die ganze Interpretation von seltener Größe, jetzt © 2000 Alan Blyth Rollen identifizieren müssen – was in der Verzweiflung des IV. Akts glaubhaft macht, als glücklicherweise für die Nachwelt erhalten. vorliegenden Aufnahme exemplarisch Charlotte versucht, dem sterbenden Werther John Brecknock vermag es ebenso gut wie Die Handlung verwirklicht ist. Trost zuzusprechen. Die ganze Oper hindurch seine Partnerin, den Text so klar zu projizieren, Schauplatz des Geschehens ist Wetzlar bei Diese Live-Darbietung geht auf die erste vermittelt Janet Baker – wie man es von ihr dass man kaum im Libretto mitlesen muss. Frankfurt, gegen Ende des 18. Jahrhunderts Wiederaufnahme einer außergewöhnlich stets erwartet – den englischen Text mit einem Ohne jemals von seiner guten Linie und seiner erfolgreichen Inszenierung von Werther an der unfehlbaren Gefühl für seine innere sicheren Phrasierung abzuweichen, lässt er uns I. Akt English National Opera im Jahre 1977 zurück. Bedeutung, betont bestimmte Worte und Werthers ganze Verzweiflung hören. Er An einem Juli-Abend im Garten des Amtmanns John Copleys einfallsreiche und aufrüttelnde macht ihre Stimme der jeweiligen Situation bewältigt sicher die leidenschaftlicheren Der verwitwete Amtmann probt mit seinen Inszenierung (so ungleich besser als jene, entsprechend heller und dunkler. Ein gutes Ausbrüche, singt aber wirklich lyrisch in den Kindern ein Weihnachtslied, amüsiert durch die sie leider ein Jahrzehnt später ersetzt Beispiel für ihre Meisterschaft ist der beschaulicheren Augenblicken. Der feste, beobachtet von Schmidt und Johann. Die wurde) erntete uneingeschränktes Lob. Das Augenblick, wenn Werther im III. Akt am abgerundete Klang der Stimme von Patrick beiden benachbarten Freunde der Familie rein visuelle Erlebnis der Aufführung kann in Weihnachtsabend zurückkehrt. Die Liebenden Wheatley ist genau das, was die Rolle des Albert erkundigen sich nach der ältesten Tochter einer Tonaufnahme nicht nachvollzogen sinnen gemeinsam über den Raum, in dem sie verlangt. Joy Roberts ist eine bezaubernd frische Charlotte und hören, dass sie sich, ebenso wie werden, aber die herrlich idiomatische vor Monaten miteinander gesprochen haben, Sophie und singt ihre beiden Airs mit gerade die anderen jungen Leute von Wetzlar, auf

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einen Ball vorbereitet. Ihr Begleiter an diesem Amtmanns unterbrochen, der die Heimkehr gefunden hat. Er bedrängt Charlotte, an den und nimmt sie in die Arme. Entsetzt erklärt Abend ist Werther, ein ernsthafter junger Alberts verkündet. Charlotte kehrt in die Ballabend zurückzudenken, doch mag sie ihre sie ihm, dass sie sich nie wieder begegnen Dichter, von dem wohl der Amtmann Wirklichlichkeit zurück und ernüchtert Gefühle nicht offenbaren und fordert ihn dürfen, und Werther beschließt, sich das eingenommen ist, nicht aber die Nachbarn, Werther mit der Erklärung, dass sie ihrer schließlich auf, die Stadt bis zum Leben zu nehmen. Bei seiner Heimkehr findet denen er unsympathisch ist. Der abwesende Mutter auf dem Sterbebett versprochen hat, Weihnachtsfest zu verlassen. Mit Albert seine Frau völlig aufgelöst vor. Ein Bote Albert, den Charlotte eigentlich heiraten soll, Albert zu heiraten; der unglückliche Verehrer Selbstmordgedanken im Sinn teilt Werther bringt einen Brief Werthers mit der Bitte an wird in Kürze von einer Reise zurückerwartet. mahnt sie, ihr Wort nicht zu brechen. Sophie mit, dass er für immer gehen wird. Albert, ihm Pistolen für eine weite Reise Nun laden die beiden Freunde den Amtmann Albert wird klar, dass Werther Charlotte auszuleihen. Der Reaktion Charlottes zum Essen in der Schenke ein und gehen, um II. Akt immer noch liebt. entnimmt Albert, dass sie Werthers Liebe sich vorher Appetit zu machen. An einem Sonntagnachmittag im September erwidert, und weist sie an, selbst die Pistolen Mit einem schwärmerischen Monolog über darauf, vor der Kirche III. Akt an den Boten zu übergeben. Von später Angst die Schönheit der Natur tritt Werther auf. Von Johann und Schmidt bechern vor der Schenke, Am Heiligen Abend, um fünf Uhr in Alberts und Reue getrieben, eilt Charlotte schließlich Charlotte unbemerkt beobachtet er sie bei der während in der Kirche die goldene Hochzeit Haus dem Boten nach. Zubereitung des Abendmahls für die jüngeren des Pastors gefeiert wird. Albert, der In Abwesenheit Alberts liest Charlotte wieder Geschwister. Der Amtmann heißt ihn inzwischen mit Charlotte verheiratet ist, singt Werthers Briefe. Sophie kommt mit einer IV. Akt willkommen und erklärt, dass Charlotte seit von seinem Glück. Werther wird beim Einladung zum Besuch der Familie im Später am selben Abend, in Werthers dem Tod seiner Frau die Mutterrolle für ihre Anblick dieser Vertrautheit niederschmetternd Elternhaus und erlebt, wie Charlotte schon bei Arbeitszimmer Brüder und Schwestern erfüllt. Nachdem die klar, dass Charlotte für ihn verloren ist. Albert der Erwähnung von Werthers Namen in Charlotte findet Werther tödlich verwundet beiden jungen Leute zum Ball gegangen sind, drückt ihm sein Bedauern daüber aus, dass Tränen ausbricht. Charlotte verspricht, der vor. Sie gesteht ihre Liebe und er bittet sie um erinnert Sophie ihren Vater an die Einladung in Werther seine Gefühle entfalten konnte, bevor Einladung zu folgen, und betet - wieder allein Vergebung. Während von fern der die Schenke. So sind weder Charlotte noch ihr er von der Verlobung wusste, doch versichert - um die innere Kraft zur Verleugnung ihrer Weihnachtsgesang der Kinder erklingt, stirbt Vater im Haus, als Albert früher als erwartet ihm dieser, dass er für beide nur noch Liebe für einen Mann, der nicht ihr Gatte ist. Werther in ihren Armen. zurückkehrt. Er hatte gehofft, sie freudig zu freundschaftliche Gefühle empfindet. Wenn Da steht Werther in der Tür. Charlotte gibt überraschen, und gesteht Sophie seine Liebe für dem nicht so wäre, würde er Wetzlar für vor, lediglich froh über seine Rückkehr zu © English National Opera Charlotte. Er geht mit dem Versprechen, sich immer verlassen. Sophie versucht, die sein, und bittet ihn, ihr so wie früher aus den Übersetzung: Andreas Klatt am Morgen wieder einzustellen. schwermütigen Männer aufzuheitern, und Dichtungen Ossians zu übersetzen. Werther Werther und Charlotte kommen vom Ball Albert legt Werther nahe, sich doch der wählt die Passage, in der Ossian seinen In der Nähe von Nottingham in England zurück. Er hat sich in sie verliebt, doch wird jüngeren Schwester Charlottes zuzuwenden. eigenen Tod voraussieht, doch das ist geboren, studierte John Brecknock an der sein Geständnis jäh von der Stimme des Werther weiß, dass sein Leid noch kein Ende Charlotte zu viel. Er erkennt, dass sie ihn liebt, Birmingham School of Music und bei Denis

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Dowling. Er trat der Sadler’s Wells Opera Chandos und die Peter Moores Foundation avancierte. Gleichermaßen im ernsten und Welt aufgetreten und hat mit allen (später: English National Opera) bei, wo er aufgenommen. komischen Fach bewandert, beruhte sein bedeutenden Operntruppen Aufzeichnungen unter anderem Don Ottavio, Belmonte, Ansehen auf unverbrauchten Interpretationen auf Tonträger vorgenommen. Sie wurde in der Ferrando, den Grafen Ory, Almaviva Der Bariton Patrick Wheatley hat bei einem in und seiner ausgeprägten Konzentration auf den englischen Grafschaft Yorkshire geboren und (Il barbiere di Siviglia), Alfredo, Des Grieux Leicestershire ansässigen Gesangslehrer studiert, Text. Zu seinen zahlreichen Erfolgen gehörten erst von Helene Isepp, dann von Meriel (Manon), Tamino, den Herzog (Eine Nacht ehe er ein Peter-Stuyvesant-Stipendium zur Don Pasquale, Mustafa (L’italiana in Algeri), der St Clair ausgebildet. 1956 gewann sie den in Venedig von Johann Strauß (Sohn)) und Ausbildung am London Opera Centre erhielt. Bürgermeister Gottardo Podestà (La gazza zweiten Preis beim Kathleen-Ferrier- Werther gegeben hat und in L’italiana in Der English National Opera trat er 1974 bei ladra), der Erzieher (Le Comte Ory), Ferrando Gesangswettbewerb, und seither hat sie es als Algeri, Die lustige Witwe und La gazza ladra und hat dort zahlreiche Rollen gesungen, (Il trovatore), Colline (La bohème), Des Grieux Künstlerin, die sich mit der Interpretation von aufgetreten ist. An der Royal Opera, Covent darunter Haly (L’italiana in Algeri), Des Grieux (Manon) und der Amtmann (Werther), Liedern ebenso hervortut wie in der Oper und Garden war er als Fenton (Falstaff ), Rinuccio und De Brétigny (Manon), Schaunard außerdem Osmin, Sarastro, Plunkett (Flotows auf dem Konzertpodium, zu weltweiter (Gianni Schicchi), Iopas (Les Troyens) und (La bohème), Sharpless und Yamadori (Madama Martha), Kecal (Die verkaufte Braut), Daland Anerkennung gebracht. Zu ihren Gennaro (Lucrezia Borgia) zu sehen. Darüber Butterfly), Germont (La traviata), Albert (Der fliegende Holländer), Fasolt (Das denkwürdigen Auftritten zählen Purcells Dido hinaus hat er an der Welsh National Opera (Werther), Donner (Das Rheingold), Vladislav Rheingold), Hunding (Die Walküre) und Baron 1962 in Aldeburgh mit der English Opera gesungen. Zu seinen Engagements außerhalb (in Smetanas Dalibor), Gorjantschikow Ochs (Der Rosenkavalier). Er nahm viele Group, die Titelrolle in Brittens The Rape of Großbritanniens zählen Don Giovanni in New (in Janácˇeks Aus einem Totenhaus), Fabrizio zeitgenössische Rollen in Angriff, darunter Vater Lucretia (1964 und 1970) und Kate in Owen York (Metropolitan Opera), Ottawa und (La gazza ladra) und John Sorel (in Menottis Barré in Pendereckis Die Teufel von Loudun, Wingrave (1971). Buenos Aires, Die Zauberflöte in New York The Consul ). Außerdem ist er an der Opera William Humpage in A Penny for a Song und Für die Royal Opera, Covent Garden hat sie (Metropolitan Opera), New Orleans und North aufgetreten (als Manz in Delius’ A Village Sherrin in The Mines of Sulphur (beide von die Vitellia (La clemenza di Tito) gesungen, Ottawa, Il barbiere di Siviglia in San Francisco, Romeo and Juliet) und mit der New Opera Sir Richard Rodney Bennett). Er gastierte und Glucks Alceste, für Glyndebourne Miami und Wien, La Cenerentola in Paris (an Company (als Bettler in Martinu˚s Julietta). mehrmals an der Scottish Opera, der Welsh Diana/Jupiter (Cavalli’s La Calisto) und der Opéra), Buenos Aires und Kapstadt, Opera und der English Opera Group, mit der Penelope (Monteverdis Il ritorno d’Ulisse in Werther in Rouen, Buenos Aires und San Der im schottischen Hamilton geborene er Kanada, Japan und Australien bereiste und patria), und für die Scottish Opera Dido Diego, La traviata in Kapstadt und Ottawa, Harold Blackburn wurde in Glasgow privat wo er besonders für seinen Mr. Peachum in (Berlioz’ Les Troyens). Für die English National Les Pêcheurs de perles in Rouen und Paris sowie ausgebildet und trat 1948 nach einer Spielzeit The Beggar’s Opera in Erinnerung ist. Harold Opera hat sie ein Repertoire gesungen, das von Le Comte Ory in Ottawa, Rigoletto in Houston an der Carl Rosa Opera dem Chor der Sadler’s Blackburn verstarb 1981. Monteverdi bis Massenets Werther reicht und und Falstaff in Miami. Auf Tonträger hat er Wells Opera (der späteren English National Händels Giulio Cesare sowie Marguerite in unter anderem Offenbachs Robinson Crusoë für Opera) bei, wo er sich bald in kleinen Rollen Dame Janet Baker ist zusammen mit den Berlioz’ La Damnation de Faust einschließt. Ihr die Reihe Opera Rara und La traviata für bewährte und später zum Ersten Baß namhaftesten Dirigenten und Orchestern der letztes Gastspiel bei der Truppe erfolgte in

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einer Inszenierung von Donizettis Maria von Offenbach), Lauretta (Gianni Schicchi) Lindorf, Coppelius, Le docteur Miracle und Company und der Garsington Opera. Als Stuarda. Janet Baker hat zahlreiche und die Titelrolle von Martinu˚s Julietta Dapertutto (alle in Les Contes d’Hoffmann), Ensemblemitglied der English National Opera Auszeichnungen erhalten, darunter den gesungen. An der Opera North war sie als Golaud (Pelléas et Mélisande), für die Titelrollen von 1973 bis 1994 und seither als regelmäßiger Hamburger Shakespeare-Preis (1971) und die Thérèse (Les Mamelles de Tirésias von in Boris Godunow sowie Verdis Oberto und Gast hat er über sechzig Partien gesungen, Ehrendoktorwürde der Universitäten von Poulenc), Adèle (Die Fledermaus) und Susanna Attila. John Tomlinson ist an zahlreichen Ton- darunter Eisenstein (Die Fledermaus), Wanja London, Birmingham und Oxford. Sie wurde (Le nozze di Figaro) zu sehen. Joy Roberts ist und Videoaufnahmen beteiligt gewesen. Seine (Katja Kabanowa), Orpheus (Orphée aux enfers), 1970 zum Commander, 1976 zum Dame of im Rundfunk aufgetreten (in Humperdincks Diskographie umfaßt bei Opera Rara Pedrillo, Don Basilio (Le nozze di Figaro), the British Empire und 1994 zum Companion Hänsel und Gretel ) und hat unter anderem Donizettis Gabriella di Vergy und bei Chandos, Spalanzani (Les Contes d’Hoffmann), Jack of Honour erhoben. Zu ihren Aufzeichnungen Christopher Columbus für die Reihe Opera außer seinem Claggart in Brittens Billy Budd (A Midsummer Marriage), Snout (A Midsummer auf Tonträger gehören Händels Ariodante, Rara auf Tonträger aufgenommen. unter der Leitung von Richard Hickox, Partien Night’s Dream) und Hauk-Schendorf (Die Sache Glucks Orfeo ed Euridice, Mahlers Das Lied in Maria Stuarda und Giulio Cesare ebenso wie Makropulos). Sein Debüt an der Royal Opera, von der Erde, zahlreiche Recitalprogramme Nach seinem Studium am Royal Manchester Auszüge aus Boris Godunow und dem Covent Garden gab er in Henzes We Come to und, für Chandos/Peter Moores Foundation, College of Music hat John Tomlinson Rosenkavalier sowie eine Soloaufnahme mit the River und war dort erneut in Salome zu Giulio Cesare und Maria Stuarda. regelmäßig an der English National Opera Opernarien (die im Herbst 2000 zur sehen. Außerhalb Großbritanniens hat er unter sowie an der Royal Opera, Covent Garden Veröffentlichung ansteht), eingespielt in anderem Loge (Das Rheingold ) an der Seattle Die Sopranistin Joy Roberts wurde in gesungen und ist seit 1988 jedes Jahr bei den Verbindung mit der Peter Moores Foundation. Opera gesungen, Snout bei den Festspielen in Huddersfield geboren. Im Anschluß an ihr Festspielen von Bayreuth aufgetreten. Zu seinen John Tomlinson wurde 1997 mit dem Orden Aix-en-Provence, an der Opéra-Comique in Studium an der Royal Academy of Music trat zahlreichen Wagner-Partien zählen Landgraf Commander of the British Empire Paris, in Lyon, Caen, Montpellier, Nimes, sie den BBC Northern Singers bei und ging (Tannhäuser), Heinrich (Lohengrin), Wotan/der ausgezeichnet. Bordeaux und Rom und den Lehrer dann mit der Welsh National Opera for All Wanderer, Hagen, König Marke, Hans Sachs, (Die griechische Passion von Martinu˚) bei den auf Tournee. Sie hat viele Male bei der Handel Titurel und Gurnemanz. In Großbritannien Der Tenor Terry Jenkins hat an der Guildhall Bregenzer Festspielen. Für Chandos/Peter Opera Society gastiert und mit der war er außerdem an der Opera North, der School of Music and Drama und am London Moores Foundation ist er als Borsa bei der Glyndebourne Festival Opera den Cherubino Scottish Opera, beim Glyndebourne Festival Opera Centre studiert, ehe er zum Rigoletto-Aufzeichnung der English National gesungen. Sie wurde 1976 Ensemblemitglied und dessen Touring Opera sowie an der Kent Glyndebourne Festival Chorus stieß und Opera unter der Inszenierung von Jonathan der English National Opera und hat dort Opera tätig. In ganz Europa und Nordamerika sowohl bei mehreren Festvials als auch auf Miller dabei. unter anderem Sophie (Der Rosenkavalier), haben ihn bedeutende Opernbühnen engagiert, Tournee diverse Hauptrollen übernahm. Er hat Annina (Eine Nacht in Venedig von Johann u.a. als Baron Ochs (Der Rosenkavalier), Moses an zahlreichen irischen und britischen Der Chor der English National Opera ist eine Strauß (Sohn)), Sophie (Werther), Papagena (Moses und Aron), Rocco (Fidelio), Philipp II. Opernhäusern gastiert, zum Beispiel an der Stütze der gesamten Truppe. In zahllosen (Die Zauberflöte), Cupid (Orphée aux enfers (Don Carlos), Sarastro (Die Zauberflöte), Dublin Grand Opera, der D’Oyly Carte Opera Produktionen der English National Opera hat

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er das Publikum mit der Kraft seines Gesangs Musikpreis der Royal Philharmonic Society und Sir Charles Mackerras wurde 1925 als Kind arbeitet seit vielen Jahren mit der Royal und der Intensität seiner Darstellung entzückt. einen Olivier Award für herausragende australischer Eltern in den USA geboren und Opera, Covent Garden zusammen und Der Chor besteht aus achtundsechzig Sängern, Leistungen im Bereich der Oper. Das studierte in Sydney und Prag. Sein Debüt dirigiert regelmäßig Aufführungen an der und die weit gefächerten Talente und Orchester ist von zentraler Bedeutung für das als Operndirigent feierte er in Sadler’s Wells Metropolitan Opera, New York. Erfahrungen, die sie in ihre Darbietungen künstlerische Leben der Truppe und war nicht Opera, wo er wesentlichen Anteil an der Sir Charles Mackerras hat sich intensiv mit einbringen, kennzeichnen jede Inszenierung, nur bei Opernvorstellungen im Londoner Produktion der sensationellen britischen der Aufführungspraxis des 18. und 19. an der sie mitwirken. Besondere Triumphe für Coliseum, sondern auch auf dem Erstaufführung von Janácˇeks Katja Kabanowa Jahrhunderts befaßt, was seine musikalischen den Chor waren Prokofjews Krieg und Frieden, Konzertpodium zu sehen. Zusätzlich sind hatte, die dazu führte, daß Janácˇeks Werke Interpretationen wesentlich beeinflußte. Seine Schostakowitschs Lady Macbeth von Mzensk, viele der Musiker am Baylis-Programm der ihren Weg ins britische Standardrepertoire beeindruckende Diskographie umfaßt den Brittens Billy Budd und Peter Grimes, für Schul- und Gemeindearbeit zuständigen fanden. Er war Chefdirigent an der preisgekrönten Zyklus der Opern Janácˇeks mit Mussorgskis Boris Godunow, Bizets Carmen Abteilung des Orchesters beteiligt und Hamburger Oper (1966–9) und den Wiener Philharmonikern, Brittens und Verdis Otello. Seine Aufnahme der arbeiten mit dem English National Opera Musikdirektor an der Oper von Sadler’s Wells, Gloriana und Dvoˇráks Rusalka (beide letztgenannten Oper in der von Mark Elder Studio an der Entwicklung neuer Opern, der nachmaligen English National Opera ausgezeichnet mit einem Gramophone award), geleiteten Inszenierung von Jonathan Miller speziell an Mark-Anthony Turnages The Silver (1970–7) sowie der Welsh National Opera die Sinfonien von Beethoven, Brahms und wird unter der Schirmherrschaft der Peter Tassie, das im Februar 2000 uraufgeführt (1987–91), wo unter anderem seine Mahler sowie Handels Giulio Cesare und Moores Foundation demnächst bei Chandos wurde. Das Orchester hat an vielen bemerkenswerten Janácˇek-Inszenierungen Donizetti’s Maria Stuarda mit der English erscheinen, ebenso seine Aufzeichnung des Einspielungen mitgewirkt, zum Beispiel am große Beachtung fanden. Die Inszenierung National Opera (für Chandos/Peter Moores gefeierten Ring-Zyklus unter der Leitung von gefeierten Ring-Zyklus unter der Leitung von und Einspielung von Osud wurden von der Foundation). Sir Reginald Goodall. Andere Aufnahmen des Sir Reginald Goodall, der demnächst bei Peter Moores Foundation gefördert. Sir Sir Charles Mackerras wurde 1974 mit dem Chors für Chandos und die Peter Moores Chandos herauskommen wird. Dies Charles Mackerras ist Ehrendirigent des CBE ausgezeichnet und 1979 für seine Foundation sind Maria Stuarda, Giulio Cesare, geschieht unter der Schirmherrschaft der Scottish Chamber Orchestra, Emeritus- Verdienste um die Musik geadelt. Außerdem Rigoletto (Regie: Jonathan Miller) und La Peter Moores Foundation, die sich auch Dirigent der Welsh National Opera, erster erhielt er die Verdienstmedaille der traviata. auf seine Einspielung von Verdis Otello Gastdirigent der San Francisco Opera und seit Tschechischen Republik, den Chopin-Preis unter Mark Elder erstreckt. Andere der Spielzeit 1998/99 Musikdirektor des und wurde zum Mitglied des Order of Das von der Kritik ebenso wie vom Publikum Aufnahmen des Orchesters für Chandos Orchestra of St Luke’s in New York. Er Australia ernannt. gefeierte Orchester der English National und die Peter Moores Foundation sind Maria Opera unter Konzertmeister Barry Griffiths Stuarda, Giulio Cesare, Rigoletto (in der hat in den letzten Jahren mehrere angesehene Inszenierung von Jonathan Miller) und Preise gewonnen, beispielsweise den La traviata.

38 39 CHAN 3033 BOOK.qxd 22/8/07 2:12 pm Page 40 Helen Wilson Helen Helen Wilson Helen

Charlotte, Werther, Act I Act I

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clarté, en prenant grand soin, et l’on s’en Massenet crée un saisissant contraste entre Jules Massenet: Werther réjouit, aux inflexions vocales. le contentement apparent qui caractérise la vie Le texte de l’opéra provient du roman bourgeoise dans la maison du Bailli – Massenet reste mésestimé par les experts: Massenet pour l’Opéra-Comique est autobiographique de Goethe Die Leiden des l’environnement domestique et les certitudes aucun volume, par exemple, ne lui a encore été essentiellement déclamatoire si bien qu’en jungen Werthers (Les souffrances du jeune morales sont reflétées par une écriture consacré dans la série “Master Musicians”, car dépit de leur contenu d’inspiration musicale, Werther) écrit sous forme de lettres. Il fut diatonique et enjouée – et l’extase et l’agonie plusieurs éditeurs, successivement, ont négligé elles peuvent être considérées comme des adapté pour la scène avec une extrême de l’amour de Werther, ainsi que l’émoi de de le prendre au sérieux et de le considérer pièces de théâtre mises en musique. Comme ingéniosité par les librettistes de Massenet. A Charlotte – rendus en un style comme un compositeur digne d’être Massenet savait que toute nuance dans le rôle l’époque de sa composition en 1886–1887, harmoniquement plus complexe. Toute la commenté dans des ouvrages spécialisés. d’un chanteur est importante, il joncha ses Massenet atteignait les sommets de son art. Le musique de Werther est formulée en termes Tandis que, parmi les compositeurs français, partitions d’annotations essentielles à perfectionnement de sa technique par rapport passionnés qui expriment toujours sa Berlioz est porté aux nues, alors qu’en dépit de l’expression du caractère et de la signification à Manon (1884), plus populaire à une certaine sensibilité poétique et les émotions violentes ses principes révolutionnaires, il n’avait que de la ligne vocale. Ses interprètes les ignorent à époque que Werther – mais qui, à juste titre, dont il est la proie. Massenet les décrit en une peu d’idées sur la manière de mettre en forme leurs risques et périls. Ces parties vocales ont ne l’est pas resté – est évident. Les deux série d’accès de passion et/ou de réflexion. Le un opéra, son contemporain qui était, lui, un un lien étroit avec la langue française et c’est œuvres paraissent quelque peu semblables, à héros romantique “s’exprime” souvent sous génie de la mise en scène et du rythme est pourquoi la compréhension de tous les détails première vue, en ce qu’elles traitent toutes forme de métaphores, comme dans son ode à souvent traité comme un compositeur de verbaux et vocaux est indispensable pour que deux d’amours vouées à l’échec. Mais Werther la nature, pleine d’exaltation, de l’acte I et second rang. En réalité, Massenet était homme l’interprétation de l’œuvre devant un auditoire aborde le sujet beaucoup plus en profondeur, à dans sa méditation sur le suicide de l’acte II, de théâtre jusqu’au bout des ongles, mais il anglais, dans la langue vernaculaire, produise la fois musicalement et psychologiquement. ou – comme dans le lied d’Ossian de l’acte III connaissait aussi l’âme humaine et comprenait l’effet voulu. Lorsque la traduction est aussi Déjà les mesures introductives, par exemple, – véhicule ses sentiments au travers les paroles comme tout compositeur d’opéra la fluide que celle que l’on entend dans cette suggèrent l’issue fatale de l’engouement d’un autre. psychologie féminine. Tout au long de sa interprétation, cet objectif est obsessionnel du héros pour Charlotte. Charlotte est un caractère plus intéressant longue carrière de dramaturge, et Charlotte merveilleusement atteint. Et puisque l’œuvre Massenet avait également appris à traiter les encore. C’est une femme complexe, déchirée dans Werther en est l’exemple par excellence, il est chantée en anglais, il est essentiel que les motifs principaux d’une manière beaucoup entre le devoir et la passion: en effet, c’est créa des héroïnes avec lesquelles son auditoire mots soient compris! Je me souviens, que lors plus sophistiquée: ceux-ci réapparaissent sous certainement Werther qui éveille en elle ces se sentait spontanément en empathie: Manon, de cette représentation – et l’audition de cet des formes diverses tout au long de la sentiments érotiques si différents de ceux que Thaïs, Hérodiade, Cendrillon, Sapho, enregistrement le confirme –, les chanteurs, partition, harmonieusement entrelacés et lui inspire la conformité rigide de son époux, Esclarmonde… contrairement à certains de leurs successeurs émaillés, incidemment, d’une multitude de Albert. Contrairement à Werther, Charlotte La musique des œuvres composées par au London Coliseum, énonçaient le texte avec détails subtilement orchestrés. évolue énormément au cours de l’action. Le

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calme apparent des deux premiers actes dans remettre à Werther les armes qui deviendront Goethe, avait été traité avec une certaine que par des ténors à la voix plus imposante, lesquels elle est plus mère que jeune femme l’instrument de son suicide. Même le prudence. Ce ne fut pas le cas de Werther, jugé comme Georges Thill que l’on entend dans le (devant s’occuper des plus jeunes enfants de personnage relativement peu compliqué de relativement fidèle à l’original, qui avait été premier enregistrement de l’œuvre. Au cours son père veuf) se métamorphose dans l’acte Sophie évolue: insouciante dans les deux considéré comme une émanation du de la seconde moitié du vingtième siècle, des III, le plus intense de l’opéra, en trouble et en premiers actes, elle devient inquiète dans l’acte romantisme lors de sa parution en 1774. Le ténors célèbres comme Alfredo Kraus, un anxiété sous l’effet de ses sentiments pour III. Le vieux Bailli remplit, dans l’acte I, son roman se focalise presque exclusivement sur le interprète lyrique, Placido Domingo, José Werther. Ceux-ci sont mis en évidence par la rôle de brave père, plein de sagesse, un père héros, Werther, Charlotte étant le lointain objet Carreras et Roberto Alagna ont chanté ce rôle. lecture de ses lettres dans lesquelles il fait qui incarne les valeurs bourgeoises. Les de son obsession. Massenet et ses librettistes Il en est de même pour le rôle de Charlotte: allusion à son amour et à sa solitude. personnages de Johann et de Schmidt, amis du prirent conscience de la nécessité de la mettre des sopranos lyriques telles Ninon Vallin C’est à la perfection que Massenet esquisse Bailli, ajoutent un élément de contraste par en valeur pour qu’il y ait deux protagonistes (également dans ce premier enregistrement) ou cette scène en termes vocaux et instrumentaux. rapport aux amants. d’importance presque identique. Ceux-ci Victoria de los Angeles, tout comme des Il poursuit par l’“Air des larmes” et la prière de Les débuts de l’œuvre ne furent guère faciles. pouvaient alors se voir confier les longs duos mezzos dramatiques telles Dame Janet Baker, Charlotte dans lequel elle donne libre cours à L’Opéra-Comique la refusa en 1887, la jugeant qui sont l’essence même du drame musical. Le ici, s’y sont essayées. Massenet voulait ses émotions contradictoires. Suit alors le trop lugubre. Pendant quatre ans, elle resta bon sens de Charlotte compense de manière apparemment que la soprano, Rose Caron, fût retour de Werther, la veille de Noël, comme dans les tiroirs du compositeur. Mais après le appréciable les caprices et le comportement de la première Charlotte française. Toutefois, le l’avait exigé Charlotte lorsqu’elle l’avait succès que lui valut Manon au Hofoper de poète de Werther, du moins jusqu’à ce qu’elle rôle fut finalement interprété par Marie Delna, repoussé dans l’acte II. Après le lied d’Ossian, Vienne en 1890, Massenet fut invité par la fasse enfin partie de sa vie et se donne à lui, une mezzo-soprano; donc, dès le début, deux Werther l’oblige à avouer son amour sans que direction à lui fournir une autre œuvre. Werther mais trop tard. La tragédie qui s’ensuit est aussi types de voix se sont partagées le rôle. Mais ce cela soit vraiment contre sa volonté. Dans la fut alors ressuscité et sa création eut lieu le vive pour elle que pour lui et on se demande, qui importe bien plus que le type de voix est la scène finale, après que Werther a dirigé vers lui 16 février 1892; l’opéra fut très applaudi. Le alors, comment se déroula l’existence de nécessité pour chaque interprète des rôles l’un des pistolets que lui a donnés l’époux de ténor héroïque belge van Dyck assuma le rôle Charlotte en tant qu’épouse soumise d’Albert. principaux de s’identifier à ceux-ci; l’exécution Charlotte, les amants évoquent leur passé et titre et Massenet ajouta à l’acte II “Désolation” Werther fut finalement interprété à l’Opéra- dont il est question ici en souligne l’évidence. Charlotte devient une partie de lui-même; le (Another! Another’s wife!/Un autre est son Comique en 1893, mais ce fut sa reprise, dix Cet enregistrement en direct provient de la cours ordinaire de la vie est suggéré par les époux!), solo plein d’effet à son intention. ans plus tard, qui établit sa popularité en première reprise d’une production du English chants de Noël qui résonnent joyeusement. Ensuite, l’opéra fit son chemin dans les pays de France. Pendant les cinq décennies suivantes, National Opera en 1977, qui fut un énorme Le rôle d’Albert est court mais essentiel. Le langue allemande, phénomène assez étonnant, tous les artistes français de renom le succès. La mise en scène imaginative et personnage simple et balourd de l’acte I car le Faust de Gounod qui y était toujours chantèrent. Le rôle titre fut interprété par des évocatrice de John Copley (tellement devient l’époux inquiet de l’acte II et l’homme intitulé Margarethe, comme pour indiquer qu’il ténors lyriques comme Charles Friant, grand supérieure à celle qui, malheureusement, la aigri de l’acte III, qui oblige sa femme à n’était pas vraiment digne du chef-d’œuvre de chanteur et comédien, par Tito Schipa, ainsi remplaça quelque dix ans plus tard) fut portée

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aux nues. L’expérience visuelle ne peut être retour de Werther à la veille de Noël dans l’acte fermes et élégants de Patrick Wheatley progrès. Ils demandent où est Charlotte, la suggérée par l’enregistrement, mais III. Charlotte contemple avec Werther la pièce correspondent exactement à ce qu’exige le rôle fille aînée du Bailli, et apprennent qu’elle se l’interprétation merveilleusement expressive dans laquelle ils se sont entretenus quelques d’Albert. Joy Roberts est une Sophie prépare, comme les autres jeunes de Wetzlar, à qu’en donna Charles Mackerras qui dirigeait mois auparavant et ils se souviennent des délicieusement fraîche, chantant ses deux airs aller au bal qui a lieu ce soir-là dans la localité. l’œuvre avec la contribution convaincante de moments heureux qu’ils ont vécus ensemble. avec une insouciance qui est tout à fait de mise. Werther, jeune homme sérieux que le Bailli l’orchestre de l’English National Opera de Dans une phrase que chacun répète, Charlotte Harold Blackburn fut un favori de l’English apprécie mais que les voisins trouvent l’époque nous réjouira tout au long de son rappelle que “Ev’rything is still here in the place National Opera (et auparavant du Sadler’s antipathique, l’escortera. Ils en viennent à audition. La mise en forme de la partition et le where you knew it” (Toute chose est encore à la Wells) pendant plus de vingt ans. Son Ochs parler d’Albert qui doit revenir bientôt pour rythme sont irréprochables du début jusqu’à la place connue). Janet Baker chante la phrase avec dans Der Rosenkavalier fut très admiré à demander la main de Charlotte qui a promis à fin de l’exécution. une délicate intimité d’expression: c’est un l’époque où il interpréta merveilleusement ce sa mère de l’épouser. Les deux amis invitent le Avec Janet Baker dans le rôle de Charlotte, passage harmonieux qui va au cœur même de la rôle du Bailli satisfait. Le jeune John Tomlinson Bailli à dîner à l’auberge et s’en vont pour se l’un de ses plus grands succès, l’exécution ne question. Quelques instants plus tard, Werther s’impose en tant que Johann. Dans son mettre en appétit. pouvait guère être un échec. Sa voix cristalline réussit à briser la réserve de Charlotte: l’effusion ensemble, c’est donc une interprétation qui Werther arrive en s’extasiant sur la beauté exprime tous les aspects de ce caractère de passion de Baker est spontané et pleine de laisse un souvenir digne de ce que l’on pouvait de la soirée. Sans être vu d’elle, il observe complexe. Réservée et bienveillante comme le vigueur, et cède immédiatement place à un espérer de l’époque Harewood/Mackerras à Charlotte qui coupe du pain puis le beurre, personnage apparemment conventionnel de sentiment d’horreur à la vue de ce qu’elle vient l’English National Opera. pour le souper des enfants. Il est accueilli par Charlotte dans les actes I et II, elle nous offre de faire. Il ne s’agit que de l’atmosphère d’une le Bailli qui explique que depuis le décès de une interprétation puissamment tragique dans interprétation d’une qualité rare, fort © 2000 Alan Blyth son épouse, Charlotte est devenue une seconde l’acte III lorsque les Lettres, les Larmes et les heureusement sauvegardée désormais pour la mère pour ses jeunes frères et sœurs. Quand Prières forment partie intégrante d’un ensemble postérité. Synopsis les jeunes sont partis au bal, Sophie dit à son convaincant, et elle s’imprègne de tout le John Brecknock réussit tout aussi bien que sa L’action se situe à Wetzlar, près de Francfort, vers père de rejoindre ses amis à l’auberge. Donc, désespoir de l’acte IV quand Charlotte tente de partenaire à formuler son discours, si bien qu’il la fin du dix-huitième siècle. ni Charlotte, ni son père, ne sont là quand réconforter Werther qui se meurt. Et, répondant n’est guère nécessaire d’avoir le livret devant soi. Albert revient, à l’improviste. Il dit à Sophie à notre attente, elle manie le texte anglais, tout Sans que jamais la délicatesse et la sûreté de son Acte I qu’il voulait leur faire une surprise et lui parle au long de l’opéra, avec un sens infaillible de sa expression en soient troublées, il nous transmet Un après-midi de juillet. Le jardin de la maison de son amour pour Charlotte. Puis, il part en signification intrinsèque, soulignant certains tout le désespoir de Werther. Il relève le défi qui du Bailli promettant de revenir le lendemain matin. termes et nuançant l’éclairage de sa délicate lui est lancé dans les moments les plus Le Bailli, qui est veuf, apprend à ses enfants un Les jeunes rentrent du bal. Werther est expression lorsque la situation l’exige. Un bel passionnés, mais chante avec douceur dans les chant de Noël, et deux voisins, Schmidt et tombé amoureux de Charlotte, mais la voix du exemple de sa maîtrise est l’épisode qui suit le épisodes plus méditatifs. Le ton et le discours Johann, contemplent avec amusement leurs Bailli qui annonce le retour d’Albert

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interrompt sa déclaration. Charlotte affirme à de ne rentrer qu’à la veille de Noël. Werther apporte un message dans lequel il demande s’il (Il barbiere di Siviglia), Alfredo, des Grieux Werther qu’elle avait oublié, jusqu’à ce entrevoit la mort comme seul remède à sa peut emprunter les pistolets d’Albert car il doit (Manon), Tamino, le Duc (Eine Nacht in moment précis, qu’elle était promise à Albert, tristesse et dit à Sophie qu’il disparaîtra à partir “pour un lointain voyage”. Albert se Venedig de Johann Strauss II) et Werther. Il se et Werther, le cœur brisé, la presse de ne pas jamais. Albert se rend compte que Werther est rend compte, en voyant les réactions de produisit également dans L’italiana in Algeri, enfreindre sa promesse. encore amoureux de Charlotte. Charlotte, que les sentiments que Werther lui Die lustige Witwe et La gazza ladra. Au Royal porte sont réciproques, et il lui demande de lui Opera de Covent Garden à Londres, il a Acte II Acte III remettre elle-même les pistolets. Puis Charlotte chanté Fenton (Falstaff ), Rinuccio (Gianni Un dimanche après-midi, au mois de septembre La veille de Noël à cinq heures du soir. La se lance à la poursuite de la servante, pleine Schicchi), Iopas (Les Troyens) et Gennaro suivant. Devant l’église maison d’Albert d’anxiété et de remords. (Lucrezia Borgia). Il s’est également produit au Johann et Schmidt boivent à l’extérieur de En l’absence d’Albert, Charlotte relit les lettres Welsh National Opera. A l’étranger, il a chanté l’auberge, tandis que, dans l’église, le pasteur de Werther. Sophie arrive et l’invite à rendre Acte IV dans Don Giovanni au Metropolitan Opera de célèbre ses noces d’or. Albert qui est visite à son père et à sa famille, et lorsque Plus tard dans la nuit. Le cabinet de travail de New York, Ottawa et Buenos Aires; dans Die maintenant l’époux de Charlotte chante son Charlotte se met à pleurer en entendant Werther Zauberflöte à New York (Metropolitan Opera), bonheur. Werther les voit ensemble et est au prononcer le nom de Werther, elle redouble Charlotte découvre Werther mortellement New Orleans et Ottawa; dans Il barbiere di désespoir parce qu’elle ne lui appartiendra d’insistance. Charlotte promet de venir, puis, blessé. Elle lui déclare son amour et Werther Siviglia à San Francisco, Miami et Vienne; jamais. Albert lui dit qu’il est triste qu’il n’ait seule une fois de plus, elle prie afin de trouver lui demande pardon. Il meurt tandis que dans La Cenerentola à l’Opéra de Paris, Buenos pas su que Charlotte était fiancée avant que la force de résister à l’amour qu’elle éprouve retentissent dans le lointain les voix des Aires et Cape Town; dans Werther à Rouen, naisse son amour pour elle, mais Werther lui pour un homme autre que son époux. Werther enfants chantant Noël. Buenos Aires et San Diego; dans La traviata à prétend qu’il n’éprouve maintenant pour eux apparaît à la porte. Charlotte se montre Cape Town et Ottawa; dans Les Pêcheurs de deux que de l’amitié. S’il en était autrement, modérément contente de son retour et lui © English National Opera perles à Rouen et Paris, et dans Le Comte Ory à dit-il, il quitterait Wetzlar pour toujours. demande de lire sa traduction du lied d’Ossian Traduction: Marie-Françoise de Meeûs Ottawa, Rigoletto à Houston et Falstaff à Sophie tente, avec enjouement, de divertir les comme il le faisait autrefois. Werther choisit le Miami. Parmi ses enregistrements, on citera hommes qui restent pensifs. Albert suggère à passage dans lequel le poète prédit sa propre Né près de Nottingham, le ténor John Robinson Crusoë d’Offenbach pour Opera Rara Werther de porter son attention sur elle. mort et Charlotte l’implore de s’arrêter. Il se Brecknock fit ses études à la Birmingham et La traviata pour Chandos et la Peter Werther s’avoue qu’il n’est pas guéri de sa rend compte qu’elle l’aime et l’étreint. School of Music et avec Denis Dowling. Il Moores Foundation. souffrance. Il implore Charlotte de se souvenir Horrifiée, Charlotte crie qu’ils ne doivent plus devint membre du Sadler’s Wells Opera (plus de la soirée du bal, mais elle refuse de jamais se revoir et Werther décide de se tard English National Opera) où il chanta de Le bariton Patrick Wheatley prit des leçons reconnaître ses sentiments pour lui et, lorsqu’il suicider. Albert entre, surpris de trouver nombreux rôles, notamment Don Ottavio, auprès d’un professeur de chant dans le persiste, elle lui ordonne de quitter la ville et Charlotte éperdue. La servante de Werther Belmonte, Ferrando, le Comte Ory, Almaviva Leicestershire avant de remporter la bourse

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d’études Peter Stuyvesant pour venir texte. Ses innombrables succès incluent Don Yorkshire, elle étudie le chant avec Helene honoris causa de l’université de Londres, de poursuivre sa formation au London Opera Pasquale, Mustafa (L’italiana in Algeri), le Isepp puis Meriel St Clair. En 1956 elle l’université de Birmingham et de celle Centre. Il devint membre de l’English maire Gottardo (La gazza ladra), le Tuteur remporte le deuxième prix du Kathleen Ferrier d’Oxford. Janet Baker est devenue National Opera en 1974 où il a chanté de (Le Comte Ory), Ferrando (Il trovatore), Award et dès lors s’impose sur la scène Commander of the British Empire (CBE) en nombreux rôles, notamment Haly (L’italiana Colline (La bohème), le Comte des Grieux internationale, où elle devient tout autant 1970, Dame of the British Empire (DBE) en in Algeri), le Comte des Grieux et Brétigny (Manon) et la Magistrat (Werther), mais réputée pour ses récitals de Lieder, ses rôles 1976 et Companion of Honour en 1994. Elle (Manon), Schaunard (La bohème), Sharpless et également Osmin, Sarastro, Plunkett (Martha lyriques que ses solos de concert. Elle se a fait de très nombreux enregistrements, Yamadori (Madama Butterfly), Germont de Flotow), Kecal (La Fiancée vendue), Daland fait remarquer entre autres dans Dido and gravant entre autres Ariodante de Handel, (La traviata), Albert (Werther), Donner (Der fliegende Holländer), Fasolt (Das Aeneas de Purcell à Aldeburgh avec l’English Orfeo ed Euridice de Gluck, Das Lied von der (Das Rheingold ), Vladislav (Dalibor de Rheingold), Hunding (Die Walküre) et le Baron Opera Group en 1962, dans le rôle-titre du Erde de Mahler, un grand nombre de récitals Smetana), Goryanshikov (De la maison des Ochs (Der Rosenkavalier). Il interpréta de Rape of Lucretia de Britten (en 1964 et 1970) et, pour Chandos/Peter Moores Foundation, morts de Janáˇcek), Fabrizio (La gazza ladra) et nombreux rôles contemporains, notamment et dans le rôle de Kate dans Owen Wingrave Giulio Cesare et Maria Stuarda. John Sorel (The Consul de Menotti). Il s’est ceux du Père Barré dans Die Teufel von Loudun (1971). également produit à l’Opera North (dans le (Penderecki), William Humpage dans A Penny Pour le Royal Opera de Covent Garden à La soprano Joy Roberts est née à rôle de Manz de A Village Romeo and Juliet de for a Song et Sherrin dans The Mines of Londres elle est Vitellia (La clemenza di Tito) Huddersfield, et après avoir étudié à la Royal Delius) et avec la New Opera Company (le Sulphur (deux opéras de Sir Richard Rodney et l’Alceste de Gluck, pour Glyndebourne elle Academy of Music de Londres, elle devint Mendiant dans Julietta de Martinu˚). Bennett). Il fut invité à chanter au Scottish interprète Diana/Jupiter (La Calisto de Cavalli) membre des BBC Northern Singers, et Opera, au Welsh Opera et à l’English Opera et Pénélope (Il ritorno d’Ulisse in patria de effectua des tournées avec le Welsh National Né à Hamilton en Ecosse, Harold Blackburn Group. Avec l’English Opera Group, il Monteverdi) et pour le Scottish Opera elle est Opera for All. Elle s’est fréquemment produite fit ses études en privé à Glasgow. En 1948, effectua des tournées au Canada, au Japon et Didon (Les Troyens de Berlioz). Pour l’English avec la Handel Opera Society, et a chanté le après une saison au Carl Rosa Opera, il devint en Australie, et laissa en particulier le souvenir National Opera elle chante un répertoire allant rôle de Cherubino au Glyndebourne Festival membre du chœur du Sadler’s Wells Opera de son interprétation de Mr Peachum dans de Monteverdi au Werther de Massenet, en Opera. Elle devint membre de l’English (plus tard English National Opera) où il The Beggar’s Opera. Harold Blackburn est mort passant par Giulio Cesare de Handel et La National Opera en 1976, et y a chanté les imposa rapidement sa marque dans des petits en 1981. Damnation de Faust de Berlioz (Marguerite). rôles de Sophie (Der Rosenkavalier), Annina rôles, et fut par la suite nommé basse C’est avec une production de Maria Stuarda (Eine Nacht in Venedig de Johann Strauss II), principale. A l’aise aussi bien dans les rôles Dame Janet Baker s’est produite avec les de Donizetti qu’elle fait ses adieux à l’English Sophie (Werther), Papagena (Die Zauberflöte), sérieux que dans les rôles comiques, il se fit orchestres et les maestros les plus illustres dans National Opera. Elle a reçu de nombreuses Cupidon (Orphée aux enfers d’Offenbach), remarquer pour son approche nouvelle de le monde et elle a enregistré avec toutes les distinctions, comme le Prix Shakespeare de Lauretta (Gianni Schicchi) et le rôle titre de l’interprétation et pour sa concentration sur le plus grandes troupes lyriques. Née dans le Hambourg en 1971 et le titre de docteur Julietta de Martinu˚. .A l’Opera North, elle a

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chanté Thérèse (Les Mamelles de Tirésias de de Verdi. John Tomlinson figure dans de Orphée (Orphée aux enfers), Pedrillo, Don toutes les représentations auxquelles ils Poulenc), Adèle (Die Fledermaus) et Susanna nombreux disques et vidéos. Sa discographie Basilio (Le nozze di Figaro), Spalanzani participent. Le Chœur a triomphé entre autres (Le nozze di Figaro). Joy Roberts se produit à comporte, pour Opera Rara, Gabriella di Vergy (Les Contes d’Hoffmann), Jack (A Midsummer dans Guerre et paix de Prokofiev, Lady Macbeth la radio (Hänsel und Gretel de Humperdinck), de Donizetti et pour Chandos, en plus de son Marriage), Snout (A Midsummer Night’s de Mtsensk de Chostakovitch, Billy Budd et et elle a notamment enregistré Christopher Claggart dans Billy Budd de Britten sous la Dream) et le Comte Hauk-Sendorf (L’Affaire Peter Grimes de Britten, Boris Godounov de Columbus pour Opera Rara. baguette de Richard Hickox, des rôles dans Makropoulos). Il fit ses débuts au Royal Opera Moussorgsky, Carmen de Bizet et Otello de Maria Stuarda et Giulio Cesare, des extraits de de Covent Garden à Londres dans We Come to Verdi. Leur enregistrement de ce dernier opéra, John Tomlinson fit ses études au Royal Boris Godounov et du Rosenkavalier, et un the River de Henze, et y chanta de nouveau dans une mise en scène de Jonathan Miller et Manchester College of Music. Il a chanté récital solo d’arias d’opéras (à paraître à dans Salome. A l’étranger, Terry Jenkins a sous la direction de Mark Elder, sortira régulièrement à l’English National Opera, au l’automne 2000), réalisé en association avec la chanté Loge (Das Rheingold ) à l’Opéra de prochainement chez Chandos grâce au Royal Opera, Covent Garden, et se produit Peter Moores Foundation. John Tomlinson a Seattle; Snout au Festival d’Aix-en-Provence, à financement de la Peter Moores Foundation, chaque année au Festival de Bayreuth depuis été fait Commander of the British Empire l’Opéra-Comique (Paris), et à Lyon, Caen, tout comme leur enregistrement combien 1988. Ses nombreux rôles wagnériens incluent (CBE) en 1997. Montpellier, Nimes, Bordeaux et Rome; le célèbre du cycle du Ring dirigé par Sir Reginald Landgraf (Tannhäuser), Heinrich (Lohengrin), Maître d’école (La Passion greque de Martinu˚.) Goodall. Ils ont aussi enregistré pour Chandos, Wotan/Wanderer, Hagen, le Roi Mark, Hans Le ténor Terry Jenkins fit ses études à la au Festival de Bregenz. Pour Chandos et la en collaboration avec la Peter Moores Sachs, Titurel et Gurnemanz. En Grande- Guildhall School of Music and Drama de Peter Moores Foundation, il a chanté le rôle de Foundation, Maria Stuarda, Giulio Cesare, Bretagne, il a également chanté à l’Opera Londres et au London Opera Centre, puis Borsa dans l’enregistrement de l’English Rigoletto (dans la mise en scène de Jonathan North, au Scottish Opera, au Festival de devint membre du Glyndebourne Festival National Opera de Rigoletto mis en scène par Miller) et La traviata. Glyndebourne, avec le Glyndebourne Touring Chorus, et chanta plusieurs rôles principaux Jonathan Miller. Opera et au Kent Opera. Il s’est produit sur les dans des festivals et en tournées. Il s’est Salué autant par la critique que par le public, grandes scènes lyriques d’Europe et produit avec de nombreuses compagnies Le Chœur de l’English National Opera est L’Orchestre de l’English National Opera, avec d’Amérique du Nord dans des rôles tels que irlandaises et britanniques, notamment au l’un des plus beaux atouts de cette compagnie Barry Griffiths comme premier violon, s’est vu celui du Baron Ochs (Der Rosenkavalier), Dublin Grand Opera, avec la D’Oyly Carte lyrique. Remarquable autant pour la puissance décerner ces dernières années plusieurs prix Moses (Moses und Aron), Rocco (Fidelio), Opera Company et au Garsington Opera. de son chant que l’intensité de son jeu, cet prestigieux comme le Prix de la Royal Philippe II (Don Carlos), Sarastro (Die A l’English National Opera, en qualité de ensemble a enthousiasmé le public dans Philharmonic Society et un Olivier Award pour Zauberflöte), Lindorf, Coppelius, Dr Miracle membre de 1973 à 1994, et depuis comme d’innombrables productions de l’English sa contribution exceptionnelle au monde et Dapertutto dans Les Contes d’Hoffmann, invité régulier, il a chanté plus de soixante National Opera. Ces soixante-huit choristes, lyrique. L’Orchestre est au cœur de la vie Golaud (Pelléas et Mélisande), et les rôles titres rôles parmi lesquels figurent Eisenstein riches d’une vaste expérience et d’une artistique de la Compagnie et outre les dans Boris Godounov et dans Oberto et Attila (Die Fledermaus), Vanja (Katya Kabanova), multitude de talents, marquent de leur sceau représentations lyriques au Coliseum à Londres,

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il se produit également en concert. De plus, de Chef d’orchestre principal de l’Opéra de National Opera Giulio Cesare de Handel et anobli en 1979 pour services rendus à la nombreux membres de l’Orchestre participent Hambourg (1966–1969) et directeur musical Maria Stuarda de Donizetti (pour musique. Il s’est vu également décerner la au Projet Baylis mis sur pied par la branche de du Sadler’s Wells Opera (qui deviendrait Chandos/Peter Moores Foundation). Médaille du mérite de la République tchèque, la Compagnie chargée de l’éducation ainsi l’English National Opera) entre 1970 et 1977 Sir Charles Mackerras est Commander of le Prix Chopin et le titre de Companion of the qu’au développement de nouveaux opéras avec et du Welsh National Opera entre 1987 et the British Empire (CBE) depuis 1974 et a été Order of Australia. l’English National Opera Studio, comme The 1991, où ses productions remarquables de Silver Tassie de Mark-Anthony Turnage dont la Janácˇek entre autres furent accueillies avec création mondiale eu lieu en février 2000. enthousiasme. La production et L’Orchestre a participé à de nombreux l’enregistrement d’Osud ont été financés par la enregistrements, comme le fameux cycle du Peter Moores Foundation. Il est Chef Ring dirigé par Sir Reginald Goodall qui doit d’orchestre honoraire du Scottish Chamber prochainement paraître chez Chandos grâce au Orchestra et du Welsh National Opera, l’un des financement de la Peter Moores Foundation, chefs réguliers de San Francisco Opera et, tout comme son enregistrement d’Otello de depuis la saison 1998–1999, directeur de Verdi sous la baguette de Mark Elder. Parmi ses l’Orchestra of St Luke’s à New York. Il est autres enregistrements pour Chandos, en associé depuis de nombreuses années avec le collaboration avec la Peter Moores Foundation, Royal Opera de Covent Garden à Londres, et notons Maria Stuarda, Giulio Cesare, Rigoletto dirige régulièrement au Metropolitan Opera (dans la mise en scène de Jonathan Miller) et de New York. La traviata. Sir Charles Mackerras a fait des recherches poussées sur l’interprétation aux dix-huitième Sir Charles Mackerras naquit en 1925 aux et dix-neuvième siècles qui ont profondément Etats-Unis de parents australiens et fit ses influencé la façon dont il aborde le répertoire études à Sydney et Prague. Il fit ses débuts de aujourd’hui. Sa vaste discographie comprend chef lyrique au Sadler’s Wells Opera, où il un cycle primé des opéras de Janácˇek avec la contribua à la première britannique de Katya Philharmonie de Vienne, Gloriana de Britten Kabanova de Janácˇek, une création et Rusalka de Dvoˇrák (primés tous les deux par sensationnelle qui assura à Janácˇek de figurer la revue Gramophone), des symphonies de au répertoire des troupes britanniques. Il fut Beethoven, Brahms et Mahler, et avec l’English

54 55 CHAN 3033 BOOK.qxd 22/8/07 2:12 pm Page 56 Helen Wilson Helen Wilson Helen

Werther and Charlotte, At the Inn, Act II Act I

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scena con la massima abilità dai librettisti di appassionati, sempre eloquenti nel descrivere la Jules Massenet: Werther Massenet. Al tempo in cui compose l’opera, nel sua sensibilità poetica e le violente emozioni che 1886–7, Massenet stava giungendo all’apice lo dilaniano. Massenet li dipinge in una serie Massenet è a tutt’oggi snobbato da persone drammi messi in musica. Rendendosi conto che delle sue forze creative. Il progresso nella sua d’impulsi volta a volta appassionati e riflessivi. superiori: per esempio, non gli è stato ancora ogni sfumatura nella parte vocale era di grande tecnica rispetto a Manon (1884) – un tempo L’eroe romantico spesso “parla” in metafore, concesso un volume nella serie di “Master importanza, Massenet disseminò notazioni più popolare del Werther, adesso, giustamente, come avviene nel suo appassionato inno alla Musicians” avendo successivi editori mancato di espressive in tutte le sue partiture: notazioni che non è più così – è evidente. Le due opere natura nell’Atto I, nelle sue meditazioni sul prenderlo sul serio quale compositore di sono essenziali nella proiezione del personaggio possono avere delle superficiali somiglianze, in suicidio nell’Atto II, oppure – come nella considerato commento. Mentre fra i e nel significato della linea vocale. Gli interpreti quanto che ambedue trattano il soggetto di Romanza di Ossian nell’Atto III – lascia che i compositori francesi Berlioz viene portato alle le ignorano a loro rischio. Per quanto siano amori senza scampo, ma Werther lo fa ad un suoi sentimenti si esternino tramite le parole stelle, pur avendo, malgrado tutte le sue idee queste parti vocali strettamente legate alla livello musicale e psicologico assai più altrui. rivoluzionarie, un limitato concetto di come lingua francese è essenziale capire tutti i dettagli approfondito. Già sin dalle prime battute, ad Charlotte è un personaggio ancor più plasmare un’opera, il suo quasi-coevo, che aveva vocali e verbali quando si esegue l’opera per un esempio, sappiamo che l’ossessiva infatuazione interessante. È una donna complessa, divisa fra il genio dell’arte scenica e del momento pubblico inglese affinché la traduzione possa dell’eroe in Charlotte finirà male. Massenet il dovere e l’interna passione. Senz’alcun musicale, è spesso trattato come un compositore assolvere il suo compito. Quando essa è così aveva inoltre imparato ad usare in maniera assai dubbio è proprio Werther che risveglia in lei di secondo rango. In effetti, Massenet non era naturale come quella che si ascolta nella più raffinata motivi primari che ricorrono in quei sentimenti erotici che tanto differiscono solo uomo di teatro al cento per cento, ma presente esecuzione, lo scopo viene raggiunto modi diversi per tutta una partitura, tessuta da quelli in lei ispirati dall’arido conformismo conosceva anche il cuore umano e capiva la alla perfezione. Visto che l’opera viene cantata ininterrottamente dal principio alla fine e del marito Albert. A differenza di Werther, psiche femminile al pari di qualsiasi operista. in inglese è più che mai vitale che si sentano le inoltre ricca di particolari strumentati con Charlotte si sviluppa immensamente nel corso Durante la sua lunga carriera di compositore parole: come ricordo dall’ascolto in teatro, sottile destrezza. dell’opera. La superficiale calma dei primi due per il teatro (e sopratutto nella Charlotte del memoria confermata da questa registrazione, i Massenet presenta un sorprendente contrasto atti, in cui Charlotte è più madre che giovane Werther) creò eroine con le quali il pubblico si presenti interpreti – a differenza di alcuni loro tra l’apparente felicità della vita borghese nella donna (essendosi trovata a dover badare ai figli trova istintivamente in simpatia: Manon, Thais, successori al London Coliseum – pronunciano casa del Magistrato, il suo ambiente domestico piccoli del padre vedovo) viene rimpiazzata Herodiade, Cendrillon, Sapho, Esclarmonde… il testo con chiarezza e ben gradita e le certezze morali espressi fondamentalmente nell’Atto III, il più impegnato dell’opera, dal Per quanto riguarda la sua musica, le opere consapevolezza delle sue inflessioni. in termini diatonici e baldanzosi, e l’estasi e tumulto e dall’ansietà che i suoi sentimenti composte per l’Opéra-Comique manifestano Il testo in questione proviene dal romanzo l’agonia dell’amore di Werther, il tumulto di verso Werther le causano: sentimenti che uno stile scrupolosamente di conversazione, di autobiografico di Goethe, Die Leiden des jungen emozioni nell’animo di Charlotte descritti in vengono rinfocolati dalla lettura delle lettere modo che – malgrado il loro ispirato contenuto Werthers (I dolori del giovane Werther), scritto una maniera armonicamente più complessa. nelle quali egli fa accenno ai suoi desideri e musicale – possono essere considerate come sotto forma di epistolario. Fu adattato per la Tutta la musica di Werther parla in termini alla sua solitudine.

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Massenet dipinge perfettamente quella serve al suo scopo di confortevole e paterno Romanticismo quando fu pubblicato nel 1774. Placido Domingo, José Carreras e Roberto scena in termini vocali e strumentali, facendole uomo d’esperienza dell’Atto I, epitome dei Il romanzo è quasi esclusivamente centrato Alagna hanno assunto il ruolo. Similmente, poi seguito con lo scatenarsi di tutte le valori borghesi. Le parti di Johann e Schmidt, sull’eroe del titolo, con Charlotte remoto Charlotte è stata cantata da soprani lirici come emozioni contrastanti di Charlotte nella amici del Magistrato, sono due cammei che oggetto della sua ossessione. Massenet e i suoi Ninon Vallin (pure in quel primo disco) e successiva “Air des larmes” (che si può aggiungono un ulteriore elemento di contrasto librettisti si resero conto che dovevano metterla Victoria de los Angeles, e da mezzosoprani solamente tradurre come “Le lacrime”) e dalla agli amanti. più in vista per poter creare due personaggi drammatici come Dame Janet Baker in questo sua Preghiera. Il tutto viene seguito dal L’opera non ebbe inizialmente vita facile. quasi egualmente principali. A questi sarebbero disco. A quanto pare Massenet voleva un puntuale ritorno di Werther la vigilia di L’Opéra-Comique la respinse nel 1887 quindi toccati gli estesi duetti che rappresentano soprano, Rose Caron, come la sua prima Natale, come Charlotte aveva voluto quando ritenendola troppo lugubre. Per quattro anni il fulcro del melodramma. Il buon senso di Charlotte francese. Comunque il ruolo venne lo aveva bandito nell’Atto II. Dopo la rimase nel cassetto del compositore. Quando Charlotte fa da giusto contrappeso agli infine dato a Marie Delna, mezzosoprano, Romanza di Ossian egli la costringe, non Massenet nel 1890 ebbe successo a Vienna, atteggiamenti e alle fantasie romantiche di cosicché fin dal principio è stato diviso fra due esattamente contro la sua volontà, a confessare all’Hofoper, con Manon la direzione del teatro Werther: almeno fin quando non diventa ella tipi di cantanti. Molto più importante che il il suo amore. Nell’ultima scena, dopo che richiese un altro pezzo. Werther venne stessa parte della sua vita e – troppo tardi – a lui tipo di cantante è la necessità che ogni Werther si è sparato con una delle pistole che resuscitata e fu rappresentata con grande si cede. La successiva tragedia finisce per interprete delle parti principali sappia il marito di Charlotte gli ha dato, gli amanti successo il 16 febbraio 1892. Il belga van coinvolgere lei quanto lui, e ci si domanda, identificarsi con esse, cosa che si manifesta ricordano il passato, Charlotte essendo ormai Dyck, tenore di forza, cantò la parte di dopo, come sarà poi stata la sua rimanente nell’esecuzione qui esaminata. interamente parte della sua psiche, mentre, al Werther e Massenet aggiunse l’aria esistenza di fedele moglie di Albert. Questa registrazione dal vivo deriva dalla di fuori, il mondo ordinario è ritratto nelle “Désolation” (Another! Another’s wife!/Un Werther finalmente arrivò all’Opéra- prima ripresa di una produzione estremamente gaie canzoncine natalizie. altro è suo marito!) all’Atto II: un’aria energica Comique nel 1893, ma fu una ripresa dieci felice dell’English National Opera nel 1977. Albert ha una parte breve ma significativa. Il ben adatta alla sua voce. In seguito l’opera fece anni dopo ad assicurare la sua popolarità in L’allestimento di John Copley, immaginoso ed personaggio semplice e tedioso dell’Atto I regolari progressi in paesi di lingua tedesca: Francia. Per il successivo mezzo secolo fu evocativo (tanto superiore a quello che diventa il marito ansioso dell’Atto II e l’uomo cosa piuttosto sorprendente visto che il Faust di cantata da tutti i noti artisti francesi purtroppo lo rimpiazzò circa una decade rancoroso dell’Atto III che ordina alla moglie Gounod, in quest’area sempre chiamata dell’epoca. La parte del protagonista è stata dopo) destò grande entusiasmo. di consegnare le armi che diventeranno lo Margarethe, ad indicare che non era proprio assunta sia da tenori lirici come Charles Friant, Quell’esperienza visiva non può essere strumento del suicidio dell’amante. Persino la all’altezza del capolavoro goethiano, era stata grande cantante-attore, e Tito Schipa, sia da riprodotta in una registrazione, ma la relativamente lineare Sophie evolve dalla trattata con una certa precauzione. Non fu così tenori più pesanti come Georges Thill, che magnificamente idiomatica direzione di ragazzina spensierata dei primi due atti per Werther: l’opera venne considerata appare nel primo disco dell’opera. Nella Charles Mackerras rimane un piacere all’adolescente inquieta dell’Atto III; il vecchio ragionevolmente fedele all’originale seconda metà del Novecento tenori di vaglia continuo, così come del tutto convincente è il Magistrato (Le Bailli nell’originale francese) che era stato stimato l’incarnazione del come Alfredo Kraus, interprete lirico, e contributo dell’orchestra di allora dell’English

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National Opera. La musica si snoda in perfetta Janet Baker canta la frase con una dolce soddisfatto Magistrato. Il giovane John due amici invitano il Magistrato a cena in forma e sincronia dal principio alla fine. intimità, una linea posata che immediatamente Tomlinson si distingue nel ruolo di Johann. trattoria ed escono per risvegliare l’appetito. Con Janet Baker a disposizione per coglie il segno. Pochi minuti dopo Werther Tutto sommato, questo disco è quanto di Werther arriva decantando la bellezza della Charlotte, uno dei suoi ruoli più felici, riesce ad infrangere la riservatezza di Charlotte: meglio si possa desiderare come souvenir sera ed osserva, non visto, Charlotte che affetta l’esecuzione non poteva fare una grinza. Con lo sfogo di passione di Baker è spontaneo ed dell’era Harewood/Mackerras all’English ed imburra il pane per la cena dei bambini. Il una voce fresca come una rosa Janet Baker enfatico, subito seguito dal suo orrore all’idea National Opera. Magistrato lo saluta e gli spiega che dalla comunica ogni aspetto del complesso carattere. di ciò che ha appena fatto. Questo è solo il morte della moglie Charlotte ha fatto da Contenuta e compassionevole punto culminante di un’interpretazione di rara © 2000 Alan Blyth seconda madre ai fratellini e sorelline. Quando nell’apparentemente convenzionale Charlotte distinzione ora felicemente conservata per i la comitiva si è avviata al ballo Sophie dice a del primo e secondo atto, la sua posteri. La trama suo padre di andare a raggiungere i suoi amici interpretazione si muta in una tragica forza John Brecknock è tanto abile quanto il suo L’azione si svolge a Wetzlar, nei pressi di in trattoria. Perciò né Charlotte né suo padre nell’Atto III quando le Lettere, Lacrime e partner nell’enunciare le sue parole tant’è vero Francoforte, verso la fine del Settecento. si trovano in casa quando inaspettatamente Preghiere divengono parte di un tutto che occorre appena avere davanti agli occhi il Albert ritorna. Egli dice a Sophie che aveva convincente, ed essa afferra tutta la libretto. Senza mai disturbare la chiarezza della Atto I sperato di far loro una sorpresa e le confessa il disperazione dell’Atto IV allorché Charlotte linea né il sicuro fraseggio ci lascia intravedere Una sera di luglio. Il giardino della casa del suo amore per Charlotte. Parte con la cerca di confortare Werther morente. Per tutto tutta la disperazione di Werther. Affronta Magistrato promessa di tornare l’indomani mattina. il tempo, come ci si può aspettare da lei, Janet valorosamente la sfida dei momenti più Il Magistrato, un vedovo, sta insegnando ai Tornano i ballerini. Werther si è innamorato Baker enuncia il testo inglese con un infallibile appassionati ma canta con squisita dolcezza in suoi bambini una canzoncina natalizia e i loro di Charlotte ma la sua dichiarazione viene senso del suo intimo significato, sottolineando quelli più teneri. Il timbro rotondo e solido progressi sono seguiti con divertimento da due troncata a metà dalla voce del Magistrato che le parole, schiarendo ed oscurando il suo fraseggio di Patrick Wheatley sono esattamente vicini, Johann e Schmidt. Essi chiedono dov’è annuncia il ritorno di Albert. Charlotte limpido tono così come esige la situazione. Un quel che ci vuole per la parte di Albert. Joy Charlotte, la figlia maggiore, e la risposta è che assicura Werther che lei aveva fino a quel chiaro esempio della sua maestria è dimostrato Roberts è una Sophie deliziosamente fresca che si sta preparando, come altre giovani di momento dimenticato di essersi promessa ad al ritorno di Werther la vigilia di Natale canta le sue due incantevoli arie con la giusta Wetzlar, al ballo pubblico che avrà luogo Albert, e Werther, col cuore infranto, la esorta nell’Atto III. La coppia contempla la stanza in spensieratezza. Harold Blackburn fu per oltre quella sera. Werther, uno studioso giovane che a non ritirare la parola. cui avevano conversato mesi prima e ricorda le ventanni un favorito della Sadler’s Wells Opera piace al Magistrato ma che i vicini trovano ore felici trascorse insieme. In una frase che prima e dell’English National Opera poi. Il suo poco congeniale, le farà da scorta. La Atto II ognuno dei due ripete Charlotte fa notare che Baron Ochs, in Der Rosenkavalier, era conversazione si volge su Albert che presto sarà Una domenica pomeriggio, il settembre “Ev’rything is still here in the place where you grandemente ammirato al tempo in cui di ritorno per chiedere la mano di Charlotte successivo. Fuori della chiesa knew it” (Tutto è qui, al posto che tu conosci). presentò questo delizioso cammeo del che ha promesso a sua madre di sposarlo. Poi i Johann e Schmidt stanno bevendo fuori della

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trattoria, mentre il Pastore celebra le sue nozze a far visita al padre e alla famiglia e raddoppia distanza le voci dei bambini che cantano le ne La Cenerentola a Parigi (Opéra), Buenos d’oro in chiesa. Albert, ormai sposato con la sua insistenza quando Charlotte comincia a canzoncine di Natale. Aires e Città del Capo; nel Werther a Rouen, Charlotte, canta la sua felicità: Werther, piangere quando viene menzionato il nome di Buenos Aires e San Diego; ne La traviata a vedendoli insieme, si dispera perché Charlotte Werther. Promette di venire e poi, di nuovo © English National Opera Città del Capo e Ottawa; in Les Pêcheurs de non sarà mai sua. Albert gli dice che gli sola, prega di avere la forza di resistere all’amore Traduzione: Marcella Barzetti perles a Rouen e Parigi; in Le Comte Ory a (In grateful memory) rincresce che l’affetto di Werther per sua per un uomo che non è suo marito. Werther Ottawa, nel Rigoletto a Houston e Falstaff a moglie sia stato risvegliato prima che egli fosse appare alla porta. Charlotte pretende di essere Nato nei pressi di Nottingham, il tenore John Miami. La sua discografia comprende Robinson al corrente del fidanzamento, ma Werther lo soltanto contenta che sia tornato e gli chiede di Brecknock ha studiato presso la Birmingham Crusoë di Offenbach per Opera Rara e assicura che ora sente solo amicizia per loro leggerle la sua traduzione di Ossian, come usava School of Music e con Denis Dowling. È La traviata per la Chandos/Peter Moores due; se non fosse così partirebbe da Wetzlar per fare. Werther sceglie il passaggio in cui il poeta entrato alla Sadler’s Wells Opera Foundation. sempre. Sophie allegramente cerca di svagare i prevede la sua morte e Charlotte lo prega di (successivamente divenuta English National pensosi uomini e Albert suggerisce a Werther smettere. Egli si accorge che Charlotte lo ama e Opera), dove ha interpretato numerosi ruoli, Dopo aver studiato privatamente con un di volgere la sua attenzione a Sophie. Werther l’abbraccia. Atterrita, Charlotte esclama che tra cui Don Ottavio, Belmonte, Ferrando, il insegnante di canto del Leicestershire, il riconosce che le sue pene non sono finite. non si devono incontrare mai più e Werther conte Ory, Almaviva (Il barbiere di Siviglia), baritono Patrick Wheatley vinceva una borsa Implora Charlotte di ricordare la sera del decide di suicidarsi. Albert entra, sorpreso di Alfredo, Des Grieux (Manon), Tamino, il di studio Peter Stuyvesant per il London ballo, ma lei rifiuta di ammettere i suoi trovare Charlotte disperata. Il servitore di Duca (Eine Nacht in Venedig di Johann Strauss Opera Centre. Entrava a far parte dell’English sentimenti verso di lui; quando lui insiste gli Werther porta un messaggio in cui chiede ad figlio) e Werther, oltre a comparire in National Opera nel 1974; qui ha interpretato ordina di lasciare la città e di tornare solo la Albert di prestargli le sue pistole perché “si L’italiana in Algeri, Die lustige Witwe e ruoli diversi, tra cui Haly (L’italiana in Algeri), vigilia di Natale. Werther contempla la morte accinge ad un lungo viaggio”. Dalle sue reazioni La gazza ladra. Alla Royal Opera del Covent i conti Des Grieux e de Brétigny (Manon), quale soluzione della sua infelicità e dice a Albert si accorge che Charlotte contraccambia Garden ha interpretato, tra l’altro, il ruolo di Schaunard (La bohème), Sharpless e Yamadori Sophie che parte per sempre. Albert si rende l’amore di Werther; la costringe a consegnare lei Fenton (Falstaff ), Rinuccio (Gianni Schicchi), (Madama Butterfly), Germont (La traviata), conto che Werther è tuttora innamorato di stessa le pistole. Charlotte si affretta dietro al Iopaas (Les Troyens) e Gennaro (Lucrezia Albert (Werther), Donner (Das Rheingold ), Charlotte. servitore, piena di ansietà e di rimorso. Borgia). Ha cantato anche con la Welsh Vladislav (Dalibor di Smetana), Goryanshikov National Opera. All’estero, è stato impegnato, (Da una casa di morti di Janácˇek), Fabrizio Atto III Atto IV tra l’altro, nel Don Giovanni a New York (La gazza ladra) e John Sorel (The Consul di La vigilia di Natale; le cinque del pomeriggio. In Più tardi, la stessa sera. Nello studio di Werther (Metropolitan Opera), Ottawa e Buenos Aires; Menotti). Inoltre si è esibito con Opera North casa di Albert Charlotte scopre Werther mortalmente ferito. in Die Zauberflöte a New York (Metropolitan (Manz in A Village Romeo and Juliet di Delius) Nell’assenza di Albert Charlotte rilegge le Gli dichiara il suo amore e lui le chiede di Opera), New Orleans e Ottawa; nel Barbiere e con la New Opera Company (mendicante lettere di Werther. Arriva Sophie con un invito perdonargli. Muore mentre si sentono a di Siviglia a San Francisco, Miami e Vienna; nella Julietta di Martinu˚).

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Scozzese, nato a Hamilton, Harold Blackburn Canada, Giappone e Australia e dove viene Handel e Marguerite ne La Damnation de Strauss figlio), Sophie (Werther), Papagena ha studiato privatamente a Glasgow. Nel 1948, ricordato particolarmente per la sua Faust di Berlioz. La sua ultima interpretazione (Die Zauberflöte), Cupido (Orphée aux enfers dopo una stagione con la Carl Rosa Opera, interpretazione di Peachum in The Beggar’s per questa compagnia è stata in di Offenbach), Lauretta (Gianni Schicchi) e il entrava a far parte del coro della Sadler’s Wells Opera. Harold Blackburn è morto nel 1981. un’allestimento di Maria Stuarda di Donizetti. ruolo di protagonista nella Julietta di Martinu˚. Opera (che avrebbe poi preso il nome di Ha ricevuto numerose onorificenze, fra le Con Opera North ha interpretato i ruoli di English National Opera). Ben presto si faceva Dame Janet Baker ha cantato con i più insigni quali il Premio Shakespeare di Amburgo nel Thérèse (Les Mamelles de Tirésias di Poulenc), notare interpretando alcune piccole parti e in direttori ed orchestre del mondo e inciso 1971 e lauree honoris causa dalle università di Adèle (Die Fledermaus) e Susanna (Le nozze di seguito diventava basso solista. A proprio agio dischi per tutte le principali compagnie. Nata Londra, Birmingham e Oxford. Nel 1970 ha Figaro). Joy Roberts canta per la radio (Hänsel nei ruoli seri e anche in quelli comici, si faceva nello Yorkshire ha iniziato i suoi studi con ricevuto il titolo di Commendatore (CBE), und Gretel di Humperdinck) e le sue notare per la novità delle sue interpretazioni e Helene Isepp e continuato poi con Meriel quello di Dame Janet Baker (DBE) nel 1976 e registrazioni comprendono Christopher l’attenta concentrazione sul testo. Tra i suoi St Clair. Nel 1956 vinse il secondo premio nel di Companion of Honour nel 1994. La sua Columbus per l’etichetta Opera Rara. numerosi ruoli di successo vanno ricordati concorso Kathleen Ferrier e da allora ha cospicua discografia comprende l’Ariodante di Don Pasquale, Mustafà (L’italiana in Algeri), acquistato fama internazionale di artista di pari Handel, Orfeo ed Euridice di Gluck, Das Lied John Tomlinson ha studiato al Royal Gottardo (La gazza ladra), il Tutore (Le Comte rango in campo lirico, oratoriale e liederistico. von der Erde di Mahler, numerosi dischi di Manchester College of Music. Ha cantato Ory), Ferrando (Il trovatore), Colline Fra le sue interpretazioni degne di nota si recitals e, per Chandos/Peter Moores regolarmente con le compagnie dell’English (La bohème), il conte Des Grieux (Manon) e il includono il ruolo di Didone di Purcell a Foundation, Giulio Cesare e Maria Stuarda. National Opera e della Royal Opera, Covent Magistrato (Werther) oltre ad Osmin, Sarastro, Aldeburgh con l’English Opera Group nel Garden, ed è apparso al festival di Bayreuth Plunkett (Martha di Flotow), Kezal (La sposa 1962, quello di protagonista ne The Rape of Joy Roberts, soprano, è nata a Huddersfield e ogni anno dal 1988. I suoi numerosi ruoli venduta), Daland (Der fliegende Holländer), Lucretia di Britten (1964 e 1970) e di Kate in ha studiato presso la Royal Academy of Music. wagneriani includono Landgraf (Tannhäuser), Fasolt (Das Rheingold ), Hunding (Die Owen Wingrave. Successivamente è entrata a far parte dei BBC Heinrich (Lohengrin), Wotan/Viandante, Walküre) e il barone Ochs (Der Rosenkavalier). Per la Royal Opera, Covent Garden ha Northern Singers e quindi ha svolto alcune Hagen, Re Marco, Hans Sachs, Titurel e Ha affrontato numerosi ruoli contemporanei, cantato Vitellia (La clemenza di Tito), e Alceste tournée con la Welsh National Opera for All. Gurnemanz. In Gran Bretagna ha cantato tra cui il padre Barré in Die Teufel von Loudun di Gluck; per Glyndebourne Diana/Jupiter Ha fatto numerose apparizioni con la Handel inoltre per Opera North, Scottish Opera, (Penderecki), William Humpage in A Penny (La Calisto di Cavalli), e Penelope (Il ritorno Opera Society e ha interpretato il ruolo di Glyndebourne Festival e Touring Opera e for a Song e Sherrin in The Mines of Sulphur d’Ulisse in patria di Monteverdi), e per la Cherubino alla Glyndebourne Festival Opera. Kent Opera. È apparso sulla scena dei (due opere di Sir Richard Rodney Bennett). Scottish Opera Didone (Les Troyens di Nel 1976 entrava a far parte della English maggiori teatri lirici in Europa e nel Nord È comparso diverse volte come ospite con la Berlioz). Per la English National Opera il suo National Opera, con cui ha interpretato, tra America in ruoli quali Baron Ochs (Der Scottish Opera, la Welsh Opera e l’English repertorio si è esteso da Monteverdi al Werther l’altro, i ruoli di Sophie (Der Rosenkavalier), Rosenkavalier), Mosè (Moses und Aron), Rocco Opera Group con cui ha svolto una tournée in di Massenet includendo il Giulio Cesare di Annina (Eine Nacht in Venedig di Johann (Fidelio), Filippo II (Don Carlos), Sarastro (Die

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Zauberflöte), Lindorf, Coppelius, Dr. Miracle e è stato suo ospite regolare, interpretando oltre ed esperienza che portano nelle esibizioni partecipano al lavoro del Baylis Programme del Dapertutto (Les Contes d’Hoffmann), Golaud sessanta ruoli, tra cui Eisenstein (Die costituiscono il tratto distintivo di ogni dipartimento di educazione e “outreach” (Pelléas et Mélisande); ha inoltre cantato le Fledermaus), Vanjia (Kát’a Kabanová), Orfeo produzione in cui appaiono. Particolari trionfi dell’Opera e con l’English National Opera parti di protagonista in Boris Godunov, (Orphée aux enfers), Pedrillo, Don Basilio per il Coro sono stati Guerra e pace di Studio allo sviluppo di nuove opere, in nell’Oberto e Attila di Verdi. John Tomlinson (Le nozze di Figaro), Spallanzani (Les Contes Prokofiev, Lady Macbeth dei macelli di particolare The Silver Tassie di Mark-Anthony appare in numerosi dischi e videoregistrazioni. d’Hoffmann), Jack (A Midsummer Marriage), Shostakovich, Billy Budd e Peter Grimes di Turnage che è uscita in prima mondiale nel La sua discografia include, per Opera Rara, Snout (A Midsummer Night’s Dream) e il conte Britten, Boris Godunov di Mussorgsky, la febbraio 2000. L’Orchestra appare in Gabriella di Vergy di Donizetti, e per la Hauk Sˇendorf (L’affare Makropulos). Ha Carmen di Bizet e l’Otello di Verdi. La loro numerose registrazioni, tra cui il famoso Chandos, a parte il suo Claggart nel Billy Budd esordito alla Royal Opera, Covent Garden, in ultima registrazione, nella produzione di “Ciclo del Ring” diretto da Sir Reginald di Britten sotto Richard Hickox, ruoli in We Come to the River di Henze e vi ha fatto Jonathan Miller diretta da Mark Elder, uscirà Goodall, che apparirà presto su Chandos con Maria Stuarda e Giulio Cesare, selezioni del ritorno per Salome. All’estero ha interpretato, presto per Chandos con il patrocinio della il patrocinio della Peter Moores Foundation, Boris Godunov e Der Rosenkavalier, ed un tra l’altro, il ruolo di Loge (Das Rheingold ) Peter Moores Foundation, come la loro come pure la sua registrazione dell’Otello di recital di arie operistiche che verrà lanciato all’opera di Seattle; quello di Snout al festival registrazione del famoso “Ciclo del Ring” Verdi diretto da Mark Elder. Altre registrazioni nell’autunno del 2000, incisi in collaborazione di Aix-en-Provence, all’Opéra-Comique di diretti da Sir Reginald Goodall. Altre per Chandos/ Peter Moores Foundation sono con la Peter Moores Foundation. Nel 1997, Parigi e a Lione, Caen, Montpellier, Nîmes, registrazioni Chandos/Peter Moores Maria Stuarda, Giulio Cesare, Rigoletto John Tomlinson ha ricevuto l’onorificenza Bordeaux e Roma; e il ruolo del maestro Foundation sono Maria Stuarda, Giulio Cesare, (produzione di Jonathan Miller) e La traviata. inglese Commendatore (CBE). (La Passione greca di Martinu˚) al festival di Rigoletto (produzione di Jonathan Miller) e Bregenz. Per la Chandos/Peter Moores La traviata. Sir Charles Mackerras è nato nel 1925 negli Il tenore Terry Jenkins ha studiato presso la Foundation compare nelle vesti di Borsa nella Stati Uniti da genitori australiani ed ha Guildhall School of Music and Drama e presso registrazione del Rigoletto rappresentato Acclamata dalla critica e dal pubblico, studiato a Sydney e a Praga. In opera ha il London Opera Centre prima di entrare a far dall’English National Opera per la regia di L’Orchestra di English National Opera, primo debuttato come direttore al Sadler’s Wells parte del Coro dell’opera di Glyndebourne e Jonathan Miller. violino Barry Griffiths, ha ricevuto negli Opera dove diresse la sensazionale prima ad interpretare diversi ruoli importanti sia ultimi anni diversi premi prestigiosi, tra cui il esecuzione britannica della Kát’a Kabanová di durante i festival sia in tournée. Ha cantato Il Coro di English National Opera è una delle Royal Philharmonic Society Music Award e un Janácˇek, rappresentazione che inserì Janácˇek con numerose compagnie irlandesi e migliori risorse dell’Opera. In innumerevoli Olivier Award for Outstanding Achievement in nel corrente repertorio britannico. È stato britanniche, tra cui la Dublin Grand Opera, la produzioni della English National Opera ha Opera. L’Orchestra è al centro della vita direttore stabile dell’opera di Amburgo dal D’Oyly Carte Opera Company e la entusiasmato le platee con il potere del canto e artistica dell’Opera e, oltre a esibizioni liriche 1966 al 1969 e direttore artistico del Sadler’s Garsington Opera. Ha fatto parte dell’English l’intensità della recitazione. Si tratta di al Coliseum di Londra è stata anche vista sul Wells (poi English National Opera) dal 1970 National Opera dal 1973 al 1994 e in seguito sessantotto coristi e l’ampia gamma di capacità palco in concerto. Inoltre molti dei musicisti al 1977 e della Welsh National Opera dal

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1987 al 1991 per la quale diresse, fra l’altro, di profonda influenza nell’interpretazione dei nuovo Janácˇek con grande successo. nostri giorni. La sua vasta discografia include L’allestimento e la registrazione di Osud un assai premiato ciclo di opere di Janácˇek con vennero sponsorizzati dalla Peter Moores l’Orchestra Filarmonica di Vienna, Gloriana di Wilson Helen Foundation. Sir Charles Mackerras è direttore Britten e Rusalka di Dvoˇrák (che hanno vinto i ad honoris della Scottish Chamber Orchestra, premi Gramophone) e con la English National direttore emeritus della Welsh National Opera, Opera il Giulio Cesare di Handel e Maria direttore principali della San Francisco Opera Stuarda di Donizetti (per la Chandos/Peter e dalla stagione 1998/99 direttore artistico Moores Foundation). dell’Orchestra of St Luke’s di New York. Da Sir Charles Mackerras ha ricevuto molti anni collabora con la Royal Opera, l’onorificenza di Commendatore (CBE) nel Covent Garden, e dirige regolarmente alla 1974 e il titolo di Sir per la sua attività di Metropolitan Opera di New York. musicista nel 1979. Gli è stata inoltre conferita Sir Charles Mackerras ha intrapreso estese la medaglia al merito della Repubblica Ceca, il ricerche nella pratica esecutiva della musica premio Chopin ed è stato nominato del Settecento e Ottocento esercitando “Companion of the Order of Australia”.

Werther and Charlotte, Act II

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Charlotte, Act III Werther, Albert and Sophie, Act II

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COMPACT DISC ONE The Magistrate The Magistrate Schmidt (to Sophie who has just entered) That will not do! Noel! That’s very good. Good-day, Sophie! 1 Prelude No, no! Eh! Eh! Charlotte is not at home. The Children and the Magistrate That will not do! Noel! Noel! Sophie (curtseying to him) Act I (severely) Yes she is, Mister Schmidt, you see we are in Can you really sing quite so badly, when your (Johann and Schmidt, who had stopped at the The Magistrate’s House (July 178…) charge, Charlotte and I, of all the household. own sister is indoors? garden gate to listen to the children’s chorus from To the left, the house, with large bay window, a Ev’ry note that you sing can be heard by behind the hedge, have entered the courtyard.) Johann (to the Magistrate) practicable terrace covered with foliage, a wooden Charlotte! Johann Well, such a lovely day! staircase in front. To the right, the garden. At the 3 Let’s go! (The children seem extremely moved by the name of Bravo, to all the choir! back, a small wicket-gate. In the distance, the town Charlotte: they resume the carol, now with houses and countryside. Downstage, a fountain. Schmidt The Magistrate (to Johann) seriousness.) As the curtain rises, the Magistrate is sitting on the Bravo to all the song! One moment, please. terrace, among his six children who are singing The Children The Children (running up joyously) Sophie (to Johann, continuing the conversation) under his instructions. Noel! Ah! Mister Johann! Mister Schmidt! My sister’s dressing for the ball. The curtain rises on a loud, prolonged outburst of laughter from the children. The Magistrate (with satisfaction) (Schmidt and Johann kiss the children and The Magistrate (turning round to Schmidt) That’s good! congratulate them.) Yes, the ball, for parents and her friends, to be The Magistrate (scolding them) held in the town. Someone’s taking Charlotte. The Children 2 Enough! Enough! Johann (to the Magistrate) All attend to me, just for once. Noel! But, what’s all this now, singing of Noel in July? Schmidt My friend, is not this rather early! So that is it! Begin again, begin again! The Magistrate Koffel’s got his very best frock-coat on, and This time not quite so loud, not quite so loud! That’s good! (The Magistrate has come down and shakes hands Steiner’s asked the brewer to lend him his horse, with his friends.) The Children (singing roughly and loudly, with no The Children and Hoffmann’s got his trap and Goulden his light and shade) Jesus Christ from Heaven, The Magistrate carriage. Noel! Noel! Noel! Unto us this day is given, You find that amusing, Johann! What’s more, why even Werther’s come back Jesus Christ from Heaven… Hear ye, men of Israel! But why? down to earth! Other people are not so quick as you at things. The Magistrate (growing angry) In the sky above The Magistrate (to his two friends) And you’ll find it’s no easy matter teaching No, no! Guardian angels earthward winging, Young Werther! I like him. Chant their hymn, bringing to all men children to sing, The Children Tidings of good will on earth. (emphatically) Johann Unto us this day is given… Noel! Noel! etc. to sing, when they’re so young and thoughtless! He has no int’rest in food, though…

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The Magistrate (insistently) The Magistrate Johann (gaily) 4 (The Magistrate seats himself in his leather, He is refined, and very well read. Always it’s food. Goodnight, boys and girls! adjustable-backed chair; the youngest children You’re both alike, then! crouch down on their knees and listen religiously to Schmidt (to the Magistrate, lowering his voice) Schmidt (in a lively tone of voice) (The two men make as if to leave.) the lesson he gives them. See you soon! But slightly melancholic. But why not wait, I’m sure Charlotte won’t be long? The glass bay-window is half-closed. Johann (alike) Werther, accompanied by a young countryman, Johann Schmidt (to Johann) See you soon! comes into the courtyard and looks curiously at the Yes, that’s it! Never smiles! We’ll see her at her ball. house.) We thought of going for a stroll down on the The Magistrate The Magistrate (pursuing his idea) town. I hear the Prince has promised him some foreign Yes! Werther (to the countryman) posting. For he holds him in great regard. The Magistrate (smiling, to Johann) Sophie, the Magistrate, Schmidt, Johann and And so, is this the house where the Magistrate Working up an appetite? the Children lives? Johann (scornfully) Goodnight! Goodnight! (dismissing his guide) A diplomat! Him! Bah! Johann (a bit peevishly, to Schmidt) Thank you. But he’s no good at eating! He thinks the worst as usual! Sophie and the Children (Alone, Werther comes further down into the Let’s be off, we are late! Goodnight! Goodnight! Goodnight! courtyard and stops in front of the fountain.) Schmidt (alike) I know not if I’m waking or if I still am dreaming. Wouldn’t know a wine glass if he saw one! Schmidt (coming back to the Magistrate) Johann (at the top of his voice) I see in all around me a paradise on earth, By the way! Vivat Bacchus! Semper vivat! Johann (to the Magistrate, holding out his hands to Is Albert due back soon? the breezes fill the wood like a harp with their him) Schmidt (alike) music. The Magistrate (simply) Well, see you soon, down at the Inn. Vivat Bacchus! Semper vivat! Before my wond’ring eyes a new world is revealed! I can’t tell you, he has not sent me any word yet, 5 O fair Nature, great is your bounty, Schmidt (alike) but I have heard that all his plans are going well. (They are now out of sight.) Queen of all time and all existence. Yes, and it’s your turn to treat us. Take to your heart this man who passes and Schmidt The Magistrate (to the children) gives you greeting, humble is he! The Magistrate (exclaiming) I’m glad! Go in! O strange mysterious silence! O calm solemnity! Again! Oh, Albert is a good and steady fellow, he’ll make And we will sing our carol through once more I am under a spell! This wall, this quiet corner a model husband for your Charlotte, and we, we before our meal, quaver by quaver! and that clear, flowing brook, the coolness of the Johann (turning back) old ones, we will dance until we’re all out of (The Magistrate has gone back up the staircase and shadows. Ev’ry field, ev’ry hedgerow, ev’ry plant, Yes, sir! breath at the wedding! once inside the house:) ev’ry tree is in leaf and in flower, and caressed by And besides, today’s the day for lobsters! (the two men going off arm in arm) Sophie, please go and see what Charlotte is doing. Fat and round as your arm, (gaily) the breeze! old Grechen has promised us. Well, goodnight, boys and girls! (Sophie goes off.) O fair Nature, come, make me drunk with your

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airs, thou who art forever youthful, you so pure Hans and Karl (Charlotte goes to the sideboard to get a large, My daughter, who has charge of all this and lovely! O fair Nature! And you, O Sun, Charlotte! Charlotte! round loaf which she starts cutting into slices and household and of these naughty children too, shine and engulf me in your rays! handing round to the children. who are her care since the day when their Max, Gretel, Clara and Fritz The sound of sleighbells and the noise of a carriage mother died. The Children (inside the house) Charlotte! Charlotte! are heard in the distance.) Jesus Christ from Heaven, Charlotte (simply) Unto us this day is given, Charlotte (to the Magistrate) The Magistrate You must excuse me, sir, if I have kept you Hear ye, men of Israel! And so, father, did they sing it well? Hurry up, that’s the sound of the carriage. waiting, but I am, as you see, a mother to these children, and they don’t like it if their bread is Werther (listening) The Magistrate (The children crowd around Charlotte, stretching cut by any other hand than mine. Happy children! They did, I’m pleased. out their hands towards her. Werther, who has gone Surprising as it seems! up the staircase, stops and, staying out of sight, 7 (The guests come into the courtyard; the Magistrate The Children surveys the scene for a moment. goes to meet them; Sophie too, who comes back In the sky above The Children (surrounding Charlotte) The children, as they receive their portion, go away laughing.) Guardian angels earthward winging, Yes, papa’s very pleased, very pleased, very pleased! jumping up and down.) Chant their hymn, bringing to all men… The Magistrate The Magistrate (embracing his daughter and Hans and Gretel Brühlmann, do come along! Werther (to himself ) admiring her costume) Thank you. Thank you. Thank you, dear sister. Charlotte is ready. There is nothing so dear as a child! You’re looking very lovely, Charlotte! So are they all. Karl and Clara The Children The Children Thank you. Thank you. Thank you, dear sister. (Brühlmann walks side by side with Käthchen; they Tidings of good will on earth. Noel! Yes, yes, she is! go, looking into each other’s eyes, and pay no Noel! Noel! Noel! Max attention at all to the Magistrate who follows them The Magistrate (taking Charlotte's hands and Thank you. Werther inspecting her afresh) laughing.) Happy children! Come here, my fine young lady, where we can Fritz Brühlmann (with a sigh of ecstasy) For us, all existence is bitter – see you. Thank you. Goethe! for them, their days are full of faith, We shall have some jealous friends. their spirits filled with God’s own radiance! The Magistrate (seeing Werther and going up to Käthchen (quite carried away) Ah, how much better they than I! Charlotte (smiling) him) Goethe’s divine! Our jealous friends will never learn to be on Ah! Why, Mister Werther! (The children laugh.) 6 (Werther goes up to the fountain and stays a time… You have come to inspect my poor, humble moment in calm contemplation. They will be late, you may be certain. While I retreat here – no, my poor, humble kingdom. The Magistrate (to Brühlmann) Charlotte enters: the children leave the Magistrate's am waiting I might just as well give the children I am proud of my home. Enough! arms and jump up and down in front of her.) their supper. (introducing Charlotte to him) You tell her the rest at the party.

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If you talk quite so much, you won’t get there at Werther (in ecstasy, while Charlotte kisses the (The Magistrate, humming the while, goes to look (turning back, to Sophie) all! children) for his long porcelain pipe which he has taken After all… must keep my promise! 8 O sweet vision, ideal of love and of devotion, down from the pipe-rack.) (Sophie accompanies the Magistrate and shuts the (Werther has remained silent and disconcerted, that binds my eyes and heart, both alike, in a Vivat Bacchus! Semper vivat! street-door after him. looking at Charlotte, and when the young girl turns spell. (Still humming and looking a little embarrassed, he Night falls slowly. to the mirror to put on her shawl, he takes hold of Would heaven but grant me to live my whole seats himself in his armchair and sets about Albert appears; he comes from the garden, a cloak the youngest child and kisses him. existence awakened by her glance and cradled by smoking.) on his arm; he has entered quietly and inspects the The child is frightened by this outburst of her voice! Vivat Bacchus! Semper vivat! tenderness.) house; he draws near and sees Sophie coming (Most of the guests have already left by now; (Sophie has come back and smiles, seeing the down.) Charlotte (to the child whom Werther has taken Brühlmann and Käthchen are still there, near the Magistrate; she has quite quietly taken from the Albert up in his arms) fountain, silent and absorbed. Charlotte, now corner of the room the Magistrate’s stick and hat 10 Sophie! Come, give your cousin a kiss. ready, comes down into the courtyard. Werther goes and presents them to him prettily.) to meet her. Sophie and the children form a group Sophie (turning and recognising Albert) Werther (getting up, surprised) Sophie on the terrace and send kisses to their elder sister.) Albert! So you’ve returned? Cousin? And who was it who said he’d meet them at the Am I then worthy of the name? The Magistrate (greeting Werther) Inn? Albert Mister Werther! Yes, I’m back, and how are you, my dear? Charlotte (playfully) The Magistrate (embarrassed) Of course. Cousin! Charlotte Who? I? And you alone here? (He kisses her.) That is an honoured title. But we have so many Goodbye, father. that we should be grieved if you were not the Sophie Sophie very best of all! The Magistrate (to Charlotte) Why not? Your Charlotte will be so happy to see you back. (Werther moves away, looking at Charlotte.) Goodbye, my own darling. (Charlotte and Werther go off followed by a group The Magistrate (humming through his teeth) Albert (to Sophie, with authority, but not severely, La la la la la la la la la la! No! Is she not here? pointing to the children) of guests. Brühlmann and Käthchen are the last to Tonight you are in charge, Sophie. go, without having said a word.) Sophie (gravely) Sophie I know they are safe in your care. (good-humouredly, watching them and smiling) Do not argue! No, not tonight. (to the children) There go two who have all they want. Johann and Schmidt will wonder where you are. She, who hardly ever is absent. Will you be good while I am away? Goethe! Goethe’s divine! And so, so why did you not let us know? This ecstasy that binds them! The Magistrate (allowing himself to be won over Sophie It’s quite beyond my comprehension! and taking the hat and stick from Sophie’s hands) Albert (simply) Yes, but they would be better pleased if it were (Sophie has taken the children back into the house.) I’ll just look in perhaps. I had meant to surprise you. you! 9 Vivat Bacchus! Semper vivat! (He goes off.) Tell me of her, at least.

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I’m impatient to know if I’m remembered here Albert (alone) not if it’s day, I know not if it’s night. My being while to see if I keep all the vows made in the or not. Six months away can seem a lifetime. Yes, she loves me. is dead for evermore to all that is not you. hour she left us. And she thinks of me. (with deep emotion) Sophie (with simplicity) Charlotte (smiling) 11 Feelings of deepest thankfulness and love fill my Dearest, dearest mama, if only you could see us! With us, absent friends are remembered. 14 But, you know nothing of me. heart with a joy beyond all expression. And besides, is she not to be your wife? Werther How strange it is when we return, the things, Werther (earnestly) Oh Charlotte! Angel pure and good. May Albert (joyfully) great and small, that can move us, My soul has spoken unto yours, Charlotte, I heaven’s blessing give you strength to bear your My dearest child! how ev’rything around us has charms that pierce have seen and know you are all that I look for in sorrow! And what has happened here? the soul! a woman. Ah, how I wish in this hour Charlotte might Charlotte Sophie Charlotte (smiling) recall all the thoughts I left with her, If only you had known her! Ah! What could be Here? How can you be sure? my hopes, my dreams, my love so true and more cruel than losing in this way those we love We have been at work preparing for your wedding. tender. Werther (gravely and tenderly) best of all… Albert The sweetness of their lives, the bitterness of loss! (He goes off slowly. I know you are the best as you are the loveliest Preparing for our wedding. of living creatures! Is all that we love doomed to perish? 12 It is now night; the moon gradually lights up the And the children have felt all this as much as I. Sophie house. Charlotte (in confusion) For they still come and ask, and I cannot console There has to be a dance? Yes? 13 Charlotte and Werther appear at the garden gate; No! them: Why did those men in black take our they come on slowly, arm in arm, only stopping at Albert mama away? the bottom of the steps where they both stay in Werther Of course, dancing and feasting. silence for a moment.) Must I ask what the children think, those whom Werther (with warmth) you speak of as yours? 16 Visions of rapture and joy! Yes, I want all my friends to be happy that day. Charlotte (simply) My life I would surrender to possess evermore I’ve such happiness myself. Charlotte (pensively, and approaching Werther) And so we two must part. We’re home, home those eyes, that lovely brow, those two lips that I (leading Sophie back to the steps) 15 Alas, yes, they are mine. once again and I must go to bed. worship, so enchanted, so enraptured, and to call Now, go in. What you say is true. them my own, evermore, mine alone! For fear they should call you and so find out that Werther (with more emphasis) Here in the heart of ev’ryone our dear mother’s Smile from Heaven above me. I am back. Not a word. I will come and see her Ah, if only these eyes would never close in sleep, memory lives on. And I also seem to see her Oh! Charlotte! How I love you, how I love you, as soon as it is light. these eyes, circling my world, these sweet eyes, smiling as she watches while I am caring for her love you and adore you! my one hope, my one and only joy. children, who now are mine. Sophie (going in) What care I for sleep or for rest? (tenderly) Charlotte (recovering herself, quickly goes up the So till then, my brother to be. Though the stars above and the sun in their Ah, what would I not give if here within this steps) (She closes the glass door.) regular course reappear in the heavens, I know dwelling she would return and stay for just a We are both mad, please go.

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Werther (in a changed tone of voice, and holding Act II Schmidt But I, I never could have borne it, no, not half her back) This is Sunday! the time! But, we shall meet again? 18 The Lindens 20 (organ in the chapel) (Charlotte and Albert appear. Johann gets up, The Magistrate (returning, calls loudly inside the In Wetzlar. September, the same year looking at them, and leans towards Schmidt.) house) Schmidt (in a bantering tone) The square. At the back, the Protestant chapel. To Johann 17 Charlotte! Charlotte! Albert has returned! Come on, let’s sing the office while the organ is the left, the parsonage. To the right, the Inn playing. And yet, you know, there are some who appear Charlotte (faltering) surrounded by hops. In front of the chapel, clipped (gaily and frankly) undaunted by a happiness such as his. Albert? linden-trees through which the door can be seen. A Let all men praise the Lord and each man in his (pointing them out) bench under the trees, near the chapel entrance. Look! Those two, for example. Werther (questioning Charlotte) way! I thank Him for His gifts and praise Him Schmidt and Johann are sitting at a table outside ev’ry day. Albert? the Inn. Back, right, the road and countryside. Schmidt (getting up) Glory to Him who provides us with such good Ah, well! Let’s have another glass and toast their Charlotte (in a low voice and sadly to Werther) Beautiful weather. Sunday afternoon. wine… happy future. Yes, the man whom my mother in her last hour Johann (glass in hand) Johann (alike) made me promise to wed. 19 Vivat Bacchus! Semper vivat! This is Sunday! (They go back into the Inn.) (still with lowered voice, and as if accusing herself ) Let all men praise the Lord, and each one in his 21 (Charlotte and Albert are now under the lindens: God is my witness, that here, close to you, far Schmidt (alike) way! I thank Him for His gifts, and praise Him they sit on the bench.) from all my thoughts was the vow I now Vivat Bacchus! Semper vivat! This is Sunday! ev’ry day. remember. Johann and Schmidt Schmidt Albert (tenderly) Three months! (Werther hides his face in his hands as if he were Vivat Bacchus! Semper vivat! …and has made our lives here so pleasant. It is three months since the day that we wed. sobbing.) (A waitress comes out of the bar and refills the Johann and Schmidt They have gone by so quickly, yet, you know, Werther (with an effort) glasses of the two friends.) So let us praise the Lord! that it seems as if we had spent our lives always A solemn vow. You cannot break it. I, I shall die! Johann Johann (looking) together. Charlotte! Ah! What a beautiful day! More people and still more people. Charlotte (softly) (Charlotte goes back for the last time.) On sunny days like this I feel my soul uplifted. They come from all around. My dear! (alone, in despair, when Charlotte is out of sight) Schmidt To help the Pastor celebrate his fifty years of Another! Another’s wife! Albert happy marriage. Life indeed is sweet when the breezes are so mild, If I could say all I feel in my heart! (Curtain) the sky so blue, the wine so clear. Schmidt (still more tenderly) Johann It’s one thing for the Pastor, fifty years of But you, who were so young a girl and so quiet This is Sunday! marriage, God gives him strength! and always smiling with your dear ones around

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you, can you say that you’re happy and have no It’s I, it’s I, I that she could have loved. etc. hand on Werther’s shoulder, who trembles and and that alone, and this will be my joy, my one regrets? All my body is trembling, and all my being… moves as if to get away from Albert.) joy, for ever. (in heart-rending tones) Charlotte (getting up, simply) Albert (to Werther) 26 (Sophie runs in, flowers in her hands.) …cries aloud in torment. When a young girl has beside her in marriage With a joy filling my whole being, my friend, at Sophie (to Albert, gaily) one whose spirit is true, whose soul is without (Werther, greatly agitated, makes as if to go away, times I still feel a sense of remorse. Brother, look here. Look here, see my bouquet. equal, how could she have any regret? but he falls overcome on the bench, his head in his Werther (surprised) In honour of the Pastor I’ve been robbing the hands. Albert (moved) Of remorse? garden. Schmidt and Johann reappear on the threshold of Ah, that sweet word of comfort! When you And then, we are to dance. the Inn. Albert (frankly) speak to me so, I’m the proudest of men and (to Werther) Schmidt offers his arm to Brühlmann, who is I know well your true and loyal heart. your captive for ever. For the first minuet I shall count upon you, sir. woebegone and silent.) 25 But she to whom I now am married, she crossed (looking at Werther and scolding gently) (Charlotte, accompanied by Albert, moves towards your path one day and you thought she was free, Schmidt (entering, to Brühlmann) Oh, but why look so gloomy? the chapel; then Albert exchanges a few words with and perhaps being near her you may have seen a 24 Yes, Käthchen will come back, I am sure. (simply and artlessly) people going to the service. vision that has faded away? Not on this day, this happy day. 22 Werther is seen at the top of the road. He comes Johann (to Brühlmann, as they walk) When I see her beauty and sweetness, I know so All the world should rejoice. down and observes from afar the intimacy of the At what hour, on what day she may come back well the worth of all that now is mine that I can There is joy in the air. married couple, himself obviously in torment.) again, no matter. For she will surely come. understand that losing her is cruel! Look at the sun brightly shining. (taking his hand affectionately) Werther (to himself, sadly) (gesture of denial from Brühlmann) Not a cloud is in the sky. And understanding this, how can I not forgive? Another! Another’s wife! The golden warmth we feel on our faces warms Schmidt Bountiful God, if on my way through life you our hearts too. For she will surely come. Werther had given me leave to have this angel by my side, You said to me: My heart is sincere and is loyal. All the world should rejoice. my whole existence then would have been Johann (with difficulty restraining his emotion) There is joy in the air. evermore one long prayer of devotion. A seven years’ engagement, that could not be If I thought of the past with too bitter a pain, I And the bird that soars aloft on the sighing of Yet, as I speak, sometimes I fear lest I blaspheme. forgotten so quickly! would take back this hand from this hand it is the breezes brings to us all God's own message: It’s I! I! I that she could have loved! clasping and would go far away never more to let all the world now rejoice. Schmidt (pulling Brühlmann along) 23 These arms would now be holding the most return. All the world should rejoice. etc. Do hurry up! That’s the bell for the dance. divine, the loveliest of all created beings, formed But, as when storms are over, the sea once more If we are too late for church, at least we will start Werther (aside, more sadly) for man by God himself. It’s I, it’s I, I that she is tranquil, my heart forgets the pain of a dream the ball! Rejoice! How could I any longer! could have loved. that is past. I saw heav’n open wide in all its glory and close (They go out stumbling. And the man who could read my innermost Albert (to Sophie) once again as I gazed. Albert has come down out of the chapel. He puts his emotions… he would discover there friendship, Don’t be late for the dance.

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Go and present your flowers, I won’t be long. or live a life that’s false! Werther (bursting out) Charlotte (still more gently) (Sophie goes a few steps back.) That is too shameful, that is weakness. I must, Of course, he loves you! Who could help loving But why forget? (to Werther) will go away. you? My friend, think instead of Charlotte, of her and Werther! (Charlotte appears on the threshold of the chapel of her peace. Be strong, be kind. Charlotte (more gently) We were speaking of joy. and moves towards the parsonage. Werther! Werther (gradually calming down) You may search far and wide, you may call it and Werther sees her and, very moved, changes his tone.) 29 Is there no other young girl in this place worthy Yes, I want nothing more if only you are happy. entreat it. (aside) to have your love, free to accept your love? I am (in tears, but calm) (meaningfully) Away? No, my desire is only to be near her. no longer free, why do you then love me? But to see you no more, cannot ask that! No! Yet, perhaps, it is there all the time, right in your Charlotte (without noticing Werther) path. Werther How divine when we pray a new strength to Charlotte (with great gentleness) With a smile on her lips and with flowers in her Why? sustain us! My friend, I could not ask you to make such a hands. Ask a madman what has robbed him of his promise; this would not be for ever I send you (Werther remains silent.) Werther (at a distance) power of reason! away. Charlotte! (controlling herself ) Sophie (on the threshold of the chapel, to Albert) Charlotte (resolutely) And so… since it is fate that divides us forever, You shall come back quite soon, but wait till Oh brother, come along now. Charlotte (turning towards him) Christmas Eve. (to Werther) Ah, and will you come to greet our Pastor? please go away! And Mister Werther, don’t forget, you are my Please, go! Please, go! (She goes.) partner in the first minuet. Werther (approaching, sadly) What’s the use? I should only see you with another. Werther Werther (beseeching) (approaching and retiring bit by bit) Can you mean what you have said? Charlotte!… Look at the sun brightly shining. etc. (coming nearer to Charlotte who stays motionless) 28 Ah, how far off that day, that sweet day that we Charlotte (gravely) (disappearing) Charlotte (turns back and then goes off) shared. I say what must be said and you must hear me. Till Christmas Eve! (Albert has overtaken Sophie and has gone with her When you and I first gazed on one another, that Werther (violently) into the parsonage.) time when first we met. (Werther wants to call her back; but he retraces his When we stood, side by side, you and I, for so And what then will compel me? steps, discouraged and disheartened.) Werther (alone) long, so close, and without speaking. Charlotte (musing and looking at the path by which 27 Was I not right? While the rays of the setting sun, which were Your duty! Charlotte has disappeared ) My love for Charlotte, is it not the most pure shining so bright, seemed to promise a blessing and the most sacred love? Was there ever an (more gently) Werther (after a moment of despondency, resolutely) on all our thoughts we could not speak. Sometimes to go away makes a sorrow less bitter. unworthy desire within this soul of mine? 30 Yes, all that she commands me, for her own (breaking out) Charlotte (coldly) Werther (sadly) peace, that I will do. Yes, it is false, it is false! O God, to suffer always Albert loves me and I am his wife! If I should go away, I still could not forget. And if my strength of mind deserts me, then it’s

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I, evermore, I who will be at peace. Speak to my heart! (The Jubilee procession is seen; people come from COMPACT DISC TWO (musing) different directions.) 32 (Werther is about to go off when Sophie appears on Why be afraid when faced with death? Act III the threshold of the parsonage.) Charlotte (seeing Sophie and running up to her) Faced with one’s own death? Ah, what is this? You are crying. Sophie!… 1 Charlotte and Werther (24 December 178…) (feverishly) Sophie (gaily) The veil is drawn aside… Do come along. The procession is starting. I Sophie (falling into Charlotte’s arms) 24 December, 5 o’clock in the evening (mysteriously) don’t wish to reproach you but it’s you who are Ah, sister, Mister Werther has left… In Albert’s house. The drawing-room. Back right, …and we pass to what lies there beyond. late. Albert (startled) deeply recessed, folding doors. Left, in the same And that is the meaning of death. Werther (abruptly) Left… corner, a large green earthenware stove. At the (still musing) I won’t be there. I’m leaving. back, the harpsichord, with keyboard in view; Do we break faith with heav’n if we rest from our Sophie nearby, a window. Right, door of Albert’s room. pain? Sophie (choking) And won’t come back! He told me so this Left, door of Charlotte’s room. In the foreground, (simply) You are leaving! moment, and then… left, a writing desk; nearer the middle, a work 31 When any son returns to his home unexpected, (sobbing) Werther (embarrassed) table and chair. Further to the right, still in the he hears no word of blame, he sees no angry …he ran away as if mad! Now at once. foreground, a sofa. A lighted lamp, with shade, on look. At the sound of his footsteps all the house Sophie (repeating his words, very moved) Charlotte (to herself, deeply wounded) the table. is alive and his father embraces him so joyously. Not come back! O God, you who have made me, would you be Now at once… Oh, but surely you will come Charlotte (alone, sitting near the table, musing) less kind? back? Tomorrow? Quite soon? Albert (sombrely, watching Charlotte) 2 Werther!… Ah, Werther! No, I will not believe you would turn from your Werther (violently and with deep emotion) He loves her! Could anyone have told me the place he’d hold threshold and cast back to the night your own No! No more! Farewell! (The Jubilee procession crosses the square. Cheers in my heart to this time? wandering son. and huzzas) Yet since he went away, I am weary of life. (sadly) (He runs off.) (She lets her work fall.) Your son! Sophie (very moved, calling him) (Curtain) And my soul lives only for him. (tenderly) Mister Werther! (Slowly, she gets up as if drawn towards the writing He would know from your smile as it shone (She runs after him as far as the road.) desk, which she opens.) through the starlight that he’s returned to you, (anxious and troubled ) These letters, these letters! Ah, how often I have his sins forgiven him. Father, father, father He is there at the corner, he’s out of sight, he’s read them. How they enthrall me and yet fill me whom I can never know yet whom alone I trust, gone! with such sadness! I know I should destroy speak to my heart, Oh call to me! (bursting into tears) them. But I cannot. Speak to my heart! (She comes back down.) (She has come back, near the table, her eyes fixed (tonelessly, almost spoken) Oh dear, and just when I was so very happy. on the letter she is reading.)

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(reading) (repeating in terror, afraid of understanding) (looking at her straight in the eyes) so long and gloomy… 3 ‘Here in my room I’m writing you this letter. ‘…then do not condemn, but forgive.’ …and your eyes too are red. (hesitating) Overhead the skies of December, heavy and grey, (continuing her reading) Yes, I can tell. …ever since Werther ran away. hang like a shroud. And I’m alone. All, all alone.’ ‘When with those eyes that so enchant me you (Charlotte trembles.) Charlotte (turning away in embarrassment) Ah, alone and no one near! read my letters once again, then your tears will But could he not have sent some message… No, no it’s nothing… (moved ) fall and bedew them. (lowering her eyes) (recovering herself ) No companion to share his lonely life or speak a Oh Charlotte, then you’ll be afraid!’ …to those who have remained so loyal? At times perhaps I feel out of spirits, rather kindly word. (repeating the words, without reading) lonely, and if at times my soul has felt a strange Charlotte (disengaging herself from the arms of God, how could I have found the desperate You’ll be afraid! You’ll be afraid! disquiet, Sophie, gets up) courage to decree such an exile far from all his (weeps) (in a lively but constrained tone of voice) All, even this dear child, even she speaks of friends? well, that’s all over now, and, as you see, I’m him. 4 (After a time she has taken another letter and opens Sophie (coming in quickly and stopping at the smiling again. it.) door; she is carrying in her arms toys for the Sophie (coming back to Charlotte) (reading) evening party) Sophie (coaxing her) You’re crying? Please, forgive me, I entreat you. ‘The children’s happy cries float through my 5 Charlotte, good-day. Yes, that’s right, let’s laugh, laugh again as in Yes, I should not have mentioned it at all. garret window. Such happy cries! And I think of (Charlotte, surprised, hastily hides on her person the other times! Charlotte (holding herself in no longer) those joyous times when round us in your home letters she had in her hand.) 7 Ah! Now let my tears flow freely. the children played and sang. What have you to tell me? Charlotte (aside, meaningfully) (affectionately) Perhaps they will forget me?’ (Sophie comes forward gaily and puts the things Other times… This will do me good, my own darling. (stopping reading) down on a piece of furniture.) Sophie (gaily) The bitter tears we cannot shed seem to sink No, ah no, you will always have your own Since Albert has left, we see you no more and 6 Ah! Yes, laughter’s a gift, so quick, so light, so back again within us, and there, relentless and special place in their hearts, and when at last you father is very displeased. joyous! unceasing, they pound on the sick, weary heart. come… yes, but ought you to come? Charlotte (still preoccupied) It flies aloft, it is like a bird, just like a bird of Its strength exhausted, it fights no longer. The (fearfully) My dear! the morning. heart grows weak, its beat grows faint. So great a Ah, this last letter chills my heart with fateful Just like a bird! wound cannot be healed, so great a sorrow soon terror! Sophie (who has caught Charlotte by the waist) It is the heart’s clear light, flowing in liquid rays. will break it, soon will break it! (reading) But, you are ill? Ah, yes laughter’s a gift, etc. ‘Wait till Christmas: you said, and I cried out: Sophie (frightened) Charlotte (freeing herself from Sophie’s arms) (Sophie leads Charlotte to the chair and slips down no more! We both will know quite soon now 8 Now, Charlotte, I’m sure, you should not be Why, what should make you think so? on her knees.) who was right, you or I. And if on the day that Now listen. alone. Come to us. We will show you how to you spoke of I do not come back again, then do Sophie (who has kept hold of her hand) I am old enough to know when people hide forget all your cares. not condemn, but forgive.’ See, your hand is so icy… their feelings. Yes, all the faces here have grown (playfully changing her tone of voice)

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Father spends his time teaching the children how Sophie (goes away slowly, watching her sister with Werther (in broken tones, hardly looking at Werther (glancing round about him) to sing their very best for Christmas Day. tenderness) Charlotte) Yes, I see, that here nothing is changed… You will come? Yes, it is I… I am back… yet I vow while away I (sadly) (Sophie goes to pick up the toys which she laid had never let a day go by or an hour without …but the hearts. Ev’rything is still here in the down when she came in.) (Charlotte, with a sudden gesture, calls her back and kisses her effusively.) saying that I rather would die than… place where I knew it. Charlotte (aside, greatly troubled) (violently) Charlotte (tenderly and simply) Oh, Christmas! Ah, that last letter! Charlotte (in an outburst) …go to her. Ah, come back, and give me one more kiss. Ev’rything is still here in the place where you (repeating in sombre tones) When at last it arrived, the day that you had set knew it. ‘And if on the day that you spoke of I do not (Sophie goes off. for my return I had to come! Even then on the 9 come back again, then do not condemn, but Charlotte, alone, comes slowly back towards the table.) threshold I fought against it still. I turned away! Werther (goes through the room) forgive, but forgive.’ (in despair, spontaneously and as if despite herself ) (tonelessly) Here is my well-loved friend who would sing of Ah! I am losing all my courage! But what does all that matter now? my joys and would weep and sigh for my Sophie (turning again towards Charlotte) O Lord! O Lord! (overcome) sorrows, all those hours when your voice would And so, it is agreed. You will come? (in an outburst of fervent entreaty) I am here. accompany my voice! Hear my prayer, O Lord. I have kept your law. I Charlotte (without conviction) Charlotte (moved) have and I want to do all that is right. You alone Charlotte (very moved, trying to control herself Yes, perhaps. All those hours when your voice would can help me. Stern and hard is the trial, frail and and appear indifferent) accompany mine! Sophie (with affectionate impatience) weak is my heart. But why speak bitter words of greeting? No! No! Say that you will. O Lord God, O Lord God, O God! Why, and why turn away? When we all have Werther (coming near the table) looked for your return, my father, all your These books too, the ones that so often we read Charlotte (trying to smile) You can read within me all, alas, that wounds friends? side by side, our heads so nearly touching. Well, then I will. me. Alas, all that wounds and fills me with terror. Show your pity to me, sustain me in Werther (approaching with a pressing curiosity) (going to the writing desk on which is set the case of Sophie (insisting) weakness, O God. And you? pistols) You’re sure? Come unto my aid. Hear me when I call you. You as well? And these pistols. One day I held them in my Mighty God, O God, mighty God! hands, Charlotte (reassuring her) Charlotte (cutting short the words which she senses You alone can help me. O Lord God! O Lord (in a hollow voice) Yes, I’m sure. are on Werther’s lips and without answering him) God! already then I could not wait for that repose for I give you my word, my darling. You see that the house has remained the same (The door at the back opens and Werther appears.) just as on the day you left it. which I hunger. Sophie (wheedling her) (quickly) And when you see it so, (Charlotte, not seeing this last movement, has gone You will come? 10 Werther! Ah! (tenderly) back up towards the harpsichord from which she Charlotte (Werther is standing near the door, pale, almost can you doubt that the household would give has taken a manuscript; then she comes back Yes, I will. fainting, leaning against the wall.) you a welcome? towards Werther.)

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Charlotte All this despair, this grief, it would seem just as if… Werther (throwing himself at her feet) Against myself. Protect me now, O Lord, against And Ossian, open here still; these many poems You love me, you love me, you love me! him, against myself! Werther that you were translating. Heav’n, can it be true? Charlotte (pushing him away) Werther Werther (taking the manuscript) Can it be true? No. Can we forget the barrier that must part us Come! I love you. Farewell to all remorse. These poems… Ah, many times my dreams have (panting) forever? In love alone is life, for that is God’s own decree! soared aloft upon this winged verse, and it’s you, This voice I hear that trembles, these eyes I see I love you. Werther (insistant) dear companion, and yours the words that spoke that fill with tears, is it not a confession I read? Charlotte all that I could not. You love me. Charlotte (trembling) No more! (with an inspired melancholy) Ah, don’t ask. Charlotte (resisting all the time) Werther All of my soul is here. No more! 11 ‘Why rouse me from my sleep, Werther (in ever-mounting excitement) I love you. O voices of the spring, But why try to deceive each other any longer? Werther Charlotte Why rouse me from my sleep? Farewell to all remorse… No more! On my brow I feel your caresses, Charlotte (pleading) Charlotte yet I know the time is at hand Werther, have pity! Werther No! I love you! of the storm clouds and deepest anguish. Werther (ardently) (despairingly) No, let us lie no more nor evermore pretend that Werther Charlotte (in Werther’s arms) Why rouse me from my sleep, we can fight the love that’s afire in our hearts. …farewell to all our pain! Ah! O voices of the spring? (drawing herself up, frantic.) Charlotte Charlotte Tomorrow through the vale 13 Ah! Werther! No, Werther! a man will make his way (in bewilderment) and will remember the fame that was mine. Werther (panting with ecstasy) Werther I! I! He will search all in vain for my splendours of old Ah, the first kiss of love for which I thirst and Outside us there is nothing, all else on earth is (getting away from him) and all that he will find is grief and desolation. hunger, the joy so long desired which I glimpse dead. In his arm! Alas! now this day! It burns upon my lips still Charlotte Werther (suddenly, recovering himself, pleading (despairingly) unquenched by your own lips. This first kiss, I Ah! O Lord, protect me now. with Charlotte) Why rouse me from my sleep, implore you to grant me the first kiss of love. Forgive me! O voices of the spring?’ Werther (in ecstasy) Charlotte (near exhaustion, falls distracted on the Charlotte (resolutely, at last in command of In love alone is life, for that is God’s decree. Charlotte (in great distress) sofa) herself ) 12 Do not go on! Ah!… Charlotte (distracted) No! Alas! I have lost my reason… Protect me now, O Lord, protect me now! We must not meet again!

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Werther Albert (entering, preoccupied and gloomy, harshly) Charlotte (stammering) (Charlotte, as if fascinated by her husband’s look, Charlotte!… 14 So Werther has returned… Here? moves mechanically towards the writing desk on (as he lays his cloak on a piece of furniture) which the case of pistols is lying.) Charlotte (with a heart-rending reproach) Albert (sombrely) He was seen in the town. And you, you, wretched soul, from whom I part Who was here? Charlotte (aside) (changing his tone, in astonishment) forever! (A servant has come in bringing a letter. Albert How he stares! Nobody here? The window open to the roadway. Depart from here, now and for ever more! notices his presence and turns abruptly towards him.) (Albert moves towards his room on the right and, (He looks for a moment from the side of the A message? before going in, looks again at Charlotte who, (Charlotte runs off and closes the door of the room window, as if he saw someone going away. Then, (Albert recognises the writing and looks fixedly at hardly able to support herself, goes up towards the behind her. with darkened face, he moves to the side of Charlotte.) servant to whom she hands the case. The servant Werther rushes after her.) Charlotte’s room.) From Werther! goes out. What’s the meaning of this? Werther (horror-stricken) Albert crumples up the letter which he has been (spoken, calling) Charlotte (unable to hold back a cry of surprise) But no, you cannot leave me. Hear what I say. holding, throws it away with an angry gesture and Charlotte!… God! Oh, hear when I call you. goes quickly into his room. (louder, persistently) (panting) Now alone, Charlotte takes stock of the situation, Charlotte! Albert (gravely and without letting Charlotte out Come back. of his sight, reading) seems to recover herself and runs to get a cloak I vow to hold you sacred. Charlotte (appearing and terrified at the sight of ‘I’m leaving on a far-off journey. As a favour, my which is lying on one of the chairs.) Come back! Come back! her husband) friend, lend me your pistols.’ (with resolution) (almost silent) God, grant me this last prayer: let me reach him Ah! Charlotte (aside, feeling faint) No! in time! He’s leaving! Not one word. Albert (brusquely) (She runs off, in despair.) She does not hear. What is wrong? Albert (continuing) (resolutely) ‘May the Lord keep you both.’ Charlotte (in ever greater distress) So, then farewell! Charlotte condemns me to Act IV Why, nothing. Charlotte (terrified) death! Ah! This fatal foreboding! 15 Scene 1: Christmas Eve (going up towards the door at the back) Albert (insistently) (with breadth) But you seem upset and worried. Albert (to Charlotte, coldly) 16 Scene 2: The Death of Werther (Werther’s Don your veil, O fair nature, fair nature. Your Give them to him. Study) son you loved so well, your own lover must die. Charlotte (trying vainly to compose herself) Charlotte (drawing back in dismay) A three-branched candlestick, with a reflector And must bear to the grave his eternal torment. Yes, I was startled. Who? I? attached, gives a poor light to the table, loaded with O grave, now open wide! Albert (suspicious, almost violent) Albert (unconcerned and staring at her) books and papers, on which it stands. At the back, (He runs off.) Well then, who has been here? Who else? a little to the left, a large octagonal window,

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through which can be seen the village square and Charlotte 17 In this last hour of life I am truly bless’d. I die in Werther and Charlotte the snow-covered houses. One of the houses, the I forgive you! telling you that I adore you. Let us forget… Magistrate’s, is lit up. Back, right, a door. When it’s I who have killed you, when the blood (almost a sigh) Charlotte (with passionate tenderness) Moonlight fills the room. Werther, mortally that is flowing fast from your wound by me, by …All! All! And I, ah Werther… and I, wounded, is lying near the table. me was shed. (in a transport ) (the children’s voices, far off, in the Magistrate’s The door opens suddenly. Charlotte enters. Werther (who has raised himself up a little) I love you. house) At once coming to a stop and leaning against the No, all you have done has been right, has been (very moved ) frame of the door, as if her courage had suddenly The Children good. Yes, since the day when I first saw you face to deserted her. 18 Noel! Noel! Noel! Noel! Noel! Noel! Noel! (with an effort which exhausts him at once) face, I have found that a bond that no power Charlotte (with an anguished call) My soul will bless you always for this death could break was uniting us both. But I held to Charlotte (listening, sadly) Werther! Ah, Werther! which has saved you from sinning and has my vow, choosing instead to hurt you, and so, to God! These cries of joy, this laughter in this (She moves forward, anxiously.) spared me remorse. save myself, alas, solemn hour. Nothing! (He weakens.) (sobbing) (Going and looking behind the table, she discovers I ruined you. (Charlotte has gone up towards the window, but the lifeless body of Werther. She throws herself on it.) Charlotte (distracted and turning towards the door) she comes down at once to Werther.) But I must find you help, you need help. Ah!… Werther (crying out and shrinking back suddenly, Speak, my dearest, speak again, I implore you. The Children terrified) (Werther restrains her.) Jesus Christ from Heaven, God! Ah! It’s blood! Charlotte (continuing despite the deepest emotion) Unto us this day is given, Werther (raising himself on one knee) (She comes back to him. On her knees, she takes But, if the end approaches, before death takes Hear ye, men of Israel. him in her arms.) No, call no one, I beg you. I am now past all help. you from me, (in a stifled voice) (leaning on Charlotte and rising) (carried away) Werther (raising himself a little, in a kind of No, no, I won’t believe it. No, it cannot be true. Let me hold your hand in mine. a first embrace, hallucination) Ah, Werther! Ah, Werther! (smiling) (tenderly) Ah, the children… or angels… There! All the help I need is what your hand can a first kiss, ah yes, that shall at least be yours. Ah! Open your eyes, and speak! And speak! The Children give me. Let your soul in my soul deeper and deeper Ah! This is horror! Noel! Noel! Noel! Noel! (He falls back to a sitting position. mingle till in this kiss it forgets evermore all the Werther (at last opening his eyes) Then, his forehead on Charlotte’s hand, and in a grief, all the tears; all the pain that is past. Werther Who’s speaking? very quiet, almost wheedling tone of voice:) Werther Yes, Noel! (recognising Charlotte) Besides, it is not right that anyone should come It’s the song of mankind’s redemption. Charlotte! Ah! It’s you. between us now. All, let us forget. (tonelessly) With you I feel at ease. Charlotte The Children You must forgive me. (taking her hand ) All, let us forget. Noel! Noel! Noel! Noel! Noel!

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Werther Sophie (Charlotte tries to protest. Werther, with a gesture of (His voice stops. He makes some attempts to Once more the children sing the hymn of man’s There is joy in the air. resignation:) breathe. Then his arms, at first stretched out, fall 20 forgiveness. The Children yes, but… and his head drops. He dies.) (calmly and gravely) The Children Noel! Noel! Noel! Noel! Charlotte (terrified ) …hear what I ask. Noel! Noel! Noel! Noel! Noel! Noel! Ah!… Sophie Down there, beside the churchyard wall, where (laughter) God’s own message is joy. two tall lindens grow, it’s there for evermore I (Unable to believe what she sees, she takes Werther’s would fain lie at rest. head in her hands.) Charlotte (coming near, frightened by this onset of (Werther, who has listened standing, trembling, his delirium) eyes wide open, leans suddenly on the chair and Charlotte (choking) The Children (far off) Ah, Werther! falls down on it with a groan.) No more, no more! Jesus Christ from Heaven, Unto us this day is given, Werther (more and more in a state of hallucination) Charlotte (looking at him, in anguish) 19 Werther Hear ye, men of Israel! Why are you weeping? Do you think that in this Ah! His eyes are closing, (strongly declaimed ) But if this request be refused, if a burial in hour my life comes to its end? Charlotte (calling him desperately) his hand is icy. Christian ground must be denied wretches like (in ecstasy, rising right up) Ah! Werther! (frightened ) me, then, near the road or deep in some vale, far It is beginning once again! (growing weak) He will die, will die. Ah, dear God, pity. from all men, there let me rest for ever. The priest Ah! Sophie (far off, in the Magistrate’s house) (sobbing) will pass me by and turn away his eyes! (At last understanding the truth, she faints and Noel! It must not be, it must not be. Ah! Werther! Charlotte falls lifeless on the ground in front of the chair.) Werther! Oh, speak! The Children Werther! No more! The end is come! (heart-rendingly) Noel! Oh, speak! Werther (continuing) The Children Sophie Speak, if you still can hear me. But, under the cloak of darkness, there a woman Noel! Noel! Noel! Noel! etc. God’s own message is joy. (quietly and tenderly, pressing Werther against her) will come to the outcast’s retreat and, as a kindly (noisy laughter, clink of glasses, cries of joy) There is joy in the air. Enfolded in my arms, death shall not take you tear falls on his shade in remembrance, the dead, from me! the wretched dead will know that he is blest. (Curtain) The Children (with the deepest emotion) Noel! You shall live, you shall live. English translation by Norman Tucker Sophie (in a murmur) Reproduced by permission of All the world should rejoice. See, I have lost all fear! United Music Publishers Ltd The Children Werther (in the chair, in a faint voice) Noel! No, Charlotte!… I’m dying,

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Sophie and Charlotte Charlotte, Helen Wilson Helen and Werther, Wilson Helen Act III Act III

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Charlotte You can now purchase Chandos CDs directly from us. For further details please and Werther, telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. Act IV Chandos Records Ltd, Chandos House, Commerce Way, Colchester, Essex CO2 8HQ, UK E-mail: [email protected] website: www.chandos.net Any requests to license tracks from this or any other Chandos disc should be made directly to the Copyright Administrator, Chandos Records Ltd, at the above address. Original stage production: Producer: John Copley Designer: Stefanos Lazaridis Costume designer: Michael Stennett Lighting: Robert Bryan Staff producer: Steven Pimlott

All photographs from the 1977 English National Opera production by Reg Wilson

Recording producer Elaine Padmore (BBC) Recording venue London Coliseum; 13 December 1977 Front cover Photograph of Dame Janet Baker by Zoë Dominic/Dominic Photography Back cover Photograph of Sir Charles Mackerras by Zoë Dominic/Dominic Photography Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Finn S. Gundersen Copyright Editions Heugel, Paris/United Music Publishers, London p 1977 BBC A BBC Worldwide Music Production c 2000 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

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Acts I &Acts II M N E R P I Acts III &Acts IV CHAN 3033(2) COMPACT DISC ONE COMPACT COMPACT DISC TWO COMPACT BBC 1996 c 2-disc set 2000 Chandos Records Ltd Printed in the EU 1977 BBC A BBC Worldwide Music Production Music Production 1977 BBC A BBC Worldwide c bass bass tenor tenor ADD soprano baritone mezzo-soprano p DIGITAL CHANDOS (1842–1912) children’s adviser children’s

Sir Charles Mackerras Sir Jules Massenet Jules Werther drama in four acts and five scenes after Goethe Lyric Paul Milliet and Georges Hartmann Libretto by Edouard Blau, Tucker English translation by Norman at the London Coliseum on 13 December 1977 Recorded live by the BBC and Chorus Orchestra Opera National English Kay Peter Werther, a young poet a young Werther, Brecknock ...... John Albert, man a young Wheatley ...... Patrick The Magistrate...... Harold Blackburn daughter Baker Charlotte, the Magistrate’s Janet ...... Dame her sisterSophie, Roberts ...... Joy friend of the MagistrateJohann, Tomlinson ...... John Jenkins Schmidt, friend of the Magistrate...... Terry bit 24 digitally re-mastered The BBC wordmark and logo are trademarks of the British Broadcasting Corporation and are used under licence. BBC Logo The BBC wordmark and logo are trademarks of the British Broadcasting CHANDOS RECORDS LTD Colchester . Essex . England

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