105 CHAN 10449(3) R U S A L K A Cheryl Barker Opera Australia Richard Hickox Dvorˇák CHAN 10449(3) Booklet.indd 104-105CHAN 10449(3) Booklet.indd 104-105 20/11/07 17:01:5820/11/07 17:01:58 3 Antonín Dvořák (1841–1904) R U S A L K A An opera in three acts Libretto by Jaroslav Kvapil, after Undine by Friedrich Heinrich de la Motte Fouqué A production by Opera Australia recorded live at the Sydney Opera House in March 2007 Wood Nymphs Sarah Crane soprano Taryn Fiebig soprano Dominica Matthews mezzo-soprano Water Sprite Bruce Martin bass Rusalka Cheryl Barker soprano Ježibaba Anne-Marie Owens mezzo-soprano Prince Rosario La Spina tenor Gamekeeper/Huntsman Barry Ryan baritone Kitchen Boy Sian Pendry soprano Foreign Princess Elizabeth Whitehouse soprano Wedding Guests; Water Nymphs Opera Australia Chorus Michael Black chorus master Kate Golla assistant chorus master Australian Opera and Ballet Orchestra Richard Hickox Stephen Mould assistant conductor Aubrey Murphy concertmaster LebrechtMusic&ArtsPhotoLibrary Antonín Dvořák CHAN 10449(3) Booklet.indd 2-3CHAN 10449(3) Booklet.indd 2-3 20/11/07 17:01:0120/11/07 17:01:01 4 5 Australian Opera and Ballet Orchestra Opera Australia Chorus cello Zoltan Szabo Eszter Mikes-Liu* Henry Urbanavicius** Margaret Iddison Pierre Emery Victoria Parkin Peter Rees bass Brett Berthold Andrew Meisel* Edmund Bastian David Cooper Walter Sutcliffe Dorit Herskovitz flute Elizabeth Pring Alistair Howlett piccolo Diane Berger oboe Conall McClure Mark Bruwel cor anglais Andrew Malec clarinet Peter Jenkin Richard Rourke* bass clarinet Euan Huggett bassoon Douglas Eyre Gillian Hansen horn Michelle Perry Anton Schroeder Saul Lewis Victoria Chatterley Lisa Wynne-Allen Francesco Lo Surdo trumpet Bruce Hellmers Brian Evans Peter Wiseman trombone Gregory van der Struik William Farmer Nigel Crocker bass trombone Brett Page tuba Matthew Walmsley timpani David Clarence percussion Bruce Cotterill Darryl Turner* Allan Watson* Timothy Paillas Bree Van Reyk Jeremy Barnett harp Jane Rosenson soprano Chloris Bath Helen Borthwick Annabelle Chaffey Angela Brewer Lisa Cooper Elizabeth Ellis Marjory McKay Julia Malczewski Jane Parkin Katrina Sheppeard mezzo Caroline Clack Jane Dunstan Vanessa Lewis Ke-Lu Ma Lynette Murray Sandra Oldis Margaret Plummer Caroline Vercoe tenor Dean Bassett David Corcoran Warren Fisher David Lewis Kent McIntosh Thomas Moran bass Luke Gabbedy Tom Hamilton Andrew Jones Charlie Kedmenec Andrew Moran Italics denotes Principal * denotes Associate Principal ** denotes Deputy Principal/Section Soloist violin Aubrey Murphy Sun Yi Huy-Nguyen Bui Adrian Keating Tony Gault Rebecca Irwin Marek Kruszynski Rachel Westwood Patrick Wong Airena Nakamura Stephanie Zarka Kiyondo Ishizaka Virginia Blunt Rachel Easton Samuel Podjarski Daniel Rosenbaum Robert Sek Jaroslaw Talar Ursula Nelius Jennifer Taylor Robin Wilson Belinda Jezek Doreen Cumming Jane Stanley viola Amanda Murphy* David Wicks David Dixon Magda Kruszynska Marilyn Wilson Gregory Ford Vera Marcu Lucie Miller Concertmaster: Aubrey Murphy Associate Concertmaster: Sun Yi Deputy Concertmaster: Huy-Nguyen Bui CHAN 10449(3) Booklet.indd 4-5CHAN 10449(3) Booklet.indd 4-5 20/11/07 17:01:1420/11/07 17:01:14 6 7 Time Page 11 ‘A young Huntsman was once out riding’ 4:53 p. 64 Huntsman 12 ‘Divine vision, sweetest being’ 4:31 p. 65 Prince 13 ‘I know you’re nothing but magic’ 2:06 p. 67 Prince TT 54:04 COMPACT DISC TWO Act II A park surrounding the Prince’s palace. 1 ‘Tell me all, dear boy’ 4:07 p. 67 Gamekeeper 2 ‘Our forest is haunted’ 3:48 p. 69 Gamekeeper 3 ‘You have now been with me for a week’ 5:07 p. 71 Prince 4 ‘Ah, this reproach comes not before time’ 3:46 p. 72 Prince 5 Ballet. Andante – Moderato maestoso 6:51 p. 73 COMPACT DISC ONE Time Page Act I A forest glade at the edge of a lake. A moonlit night. 1 Prelude 4:24 p. 52 2 Allegro molto. ‘Ho, ho, ho’ 4:28 p. 52 Wood Nymphs 3 ‘You are most welcome here in the lake’ 3:24 p. 53 Water Sprite 4 ‘Father Water Sprite!’ 4:17 p. 55 Rusalka 5 ‘He often comes here’ 4:31 p. 56 Rusalka 6 ‘O moon in the velvet heavens’ 4:50 p. 57 Rusalka 7 ‘The water feels cold!’ 3:19 p. 58 Rusalka 8 ‘With your ancient wisdom, you know everything’ 3:02 p. 59 Rusalka 9 ‘I know that, I know that’ 6:24 p. 60 Ježibaba 10 ‘Abracadabra’ 3:50 p. 62 Ježibaba CHAN 10449(3) Booklet.indd 6-7CHAN 10449(3) Booklet.indd 6-7 20/11/07 17:01:1520/11/07 17:01:15 8 9 Time Page 4 ‘You must wash away Nature’s curse’ 5:08 p. 81 Ježibaba 5 ‘I am torn from life’ 4:01 p. 82 Rusalka 6 ‘Are you afraid?’ 3:55 p. 83 Gamekeeper 7 ‘Our prince has Fallen dangerously ill’ 4:07 p. 86 Kitchen Boy 8 ‘I have golden tresses’ 7:45 p. 87 First Wood Nymph 9 ‘My white doe!’ 4:47 p. 89 Prince 10 ‘Beloved, do you recognise me?’ 2:21 p. 90 Rusalka 11 ‘Why did you enfold me in your arms…?’ 5:23 p. 91 Rusalka 12 ‘Kiss me, kiss me, give me peace’ 5:57 p. 91 Prince TT 54:53 Time Page 6 ‘No-one in the world can give you…’ 4:09 p. 73 Water Sprite 7 ‘White blossoms along the road’ 5:58 p. 74 Wedding Guests 8 ‘Oh, it’s all in vain!’ 2:54 p. 76 Rusalka 9 ‘Do you see them?’ 3:19 p. 76 Rusalka 10 ‘But when my fire has burnt you out’ 3:36 p. 77 Foreign Princess TT 43:40 COMPACT DISC THREE Act III The lakeside glade. Night is drawing on. 1 ‘Unfeeling watery power’ 4:00 p. 79 Rusalka 2 ‘Deprived of my youth’ 4:18 p. 79 Rusalka 3 ‘Aha! Are you back already?’ 3:06 p. 80 Ježibaba CHAN 10449(3) Booklet.indd 8-9CHAN 10449(3) Booklet.indd 8-9 20/11/07 17:01:1620/11/07 17:01:16 10 11 completion in 1888 of The Jacobin (Jakobín), Dvořák’s semi-comic masterpiece, a richly textured and gloriously lyrical celebration of the reconciliation between a father and a prodigal son, and the Czech love of music. Dvořák’s two serious operas from the 1870s and 1880s, the grand operas Vanda and Dimitrij, stood aside from the Modernist tendencies of Smetana’s tragic Dalibor and his festival opera, Libuše, and the more Wagnerian paths being explored by Zdeněk Fibich in his music drama, The Bride of Messina (Nevěsta Messinská). In neither work did Dvořák set out to be experimental and perhaps because of this Dimitrij in particular produced an enthusiastic response from Czech audiences through the 1880s (unlike Fibich’s Bride which inexorably emptied the opera house). Dvořák’s post-American operatic career was rather different. Disillusioned with the symphony and abstract music in general, he turned to Czech folklore for inspiration. A programmatic tendency was beginning to emerge strongly in his works from the late 1880s, notably in the ‘Triple overture’, Nature, Life and Love, to the extent that the critic of the Musical Times set a rumour running at the English premiere of the Eighth Symphony in 1890 that its slow movement was based on a legend, though if this was so, Dvořák never let posterity know what it was. In his next symphony, the celebrated ‘New World’, Longfellow’s Song of Hiawatha was a major influence. During his stay in the United States, between 1892 and 1895, Dvořák did not write the great American opera for which his employer at the National Conservatory of Music in New York, Mrs Thurber, had hoped, although this did not prevent the Musical Times stating that his operatic treatment of Uncle Tom’s Cabin was eagerly awaited. Instead, Dvořák devoted himself in this period to a root and branch revision of his grand opera, Dimitrij, taking it a considerable way toward Wagnerian music drama, and two years after he returned to Prague he made extensive changes to The Jacobin. Dvořák and Kvapil’s ‘Rusalka’ In his later years Dvořák was much preoccupied with the folk-inspired ballads of Karel Jaromir Erben. A popular poet and translator, notably of Goethe, Erben also provided Bohemia with a comprehensive collection of ‘Czech folksongs and nursery rhymes’. The melodies for the verse were published separately from the texts which were issued in 1864; Dvořák frequently had recourse to the latter in his art song settings. Erben’s most popular collection was Given its subject matter, the hugely successful premiere of Dvořák’s Rusalka on 31 March 1900 was one of the more unexpected triumphs in Czech opera at the turn of the century. The prevailing preoccupation of Dvořák’s (mostly younger) operatic contemporaries was that sensational novelty of the 1890s, verismo. The Prague premiere of Mascagni’s Cavalleria rusticana in 1891 precipitated widespread enthusiasm among both audiences and composers. Even the old hands of the Czech national revival, such as Karel Bendl and Richard Rozkošný, threw themselves into the new realism with enthusiasm, although neither managed to provide the Czechs with a local equivalent to ‘Cav and Pag’. The younger generation was also drawn to realist subject matter: Foerster’s Eva had a reasonable success; but the greatest work of this new trend was Janáček’s Jenůfa. Composed at more or less the same time, Rusalka inhabits a moonlit world far removed from the aggravated emotions of Czech realism, yet, bucking the trend, it proved his greatest operatic triumph and today, along with Smetana’s Bartered Bride, the opera remains very much at the heart of the Czech repertoire. Dvořák: Rusalka Dvořák and opera By the time Dvořák came to write Rusalka, he was a seasoned opera composer with nine works to his credit. His first two operas, the Wagnerian Alfred – to a German text – and the startlingly experimental comedy The King and the Charcoal-Burner (Král a uhlíř), were out of tune with Czech operatic tastes in the 1870s (neither reached the stage in Dvořák’s lifetime). However, he soon knuckled down to producing a series of comedies in the mould pioneered by Smetana and his librettist Sabina in The Bartered Bride, one clearly favoured by Prague audiences. A remarkable part of Dvořák’s journey toward greater orthodoxy was his resetting of The King and the Charcoal-Burner to completely new music much more akin to the manner of Smetana; it proved a moderate success during its first run and was followed by two more comedies during the 1870s: a one-acter, The Stubborn Lovers (Tvrdé palice), and The Cunning Peasant (Šelma sedlák). Both contain some of the most charming music Dvořák wrote in this period. The climax of this particular strand of operatic writing came ten years later with the CHAN 10449(3) Booklet.indd 10-11CHAN 10449(3) Booklet.indd 10-11 20/11/07 17:01:1620/11/07 17:01:16 12 13 in Vienna who, their employers having taken advantage of them, were often turned out of the house pregnant; the result was often a life of prostitution and eventually disease. In Rusalka the opposition between rural and urban life can be seen in the difference between Rusalka’s forest and the Prince’s castle; likewise Rusalka’s lack of guile contrasts starkly with the calculating sophistication of the Foreign Princess. And then there is the price for Rusalka’s mortality – namely that she is mute; the very image of a tongue-tied Czech maid in Vienna, whose German is perhaps inadequate, unable to resist eloquent seduction at the hands of her betters. Even Rusalka’s ultimate fate of being shunned by her former playmates mirrors the revulsion shown to many of the former maids, returning degraded and diseased to their rural home. While this dimension of human misery may have added to the depth of the drama for Kvapil, Dvořák’s response was rather to the tragic beauty of this ‘lyric fairy-tale’, as it was rendered in the subtitle. Always inclined toward lyricism in opera, Dvořák reaches unmatched heights of melodic eloquence in this his loveliest operatic score. If Wagner is a presence in the use of certain leitmotifs and some of the harmonic fabric, as indeed he is in Humperdinck’s slightly earlier fairy-tale opera, Hansel and Gretel, he is certainly a beneficial one. Rusalka is also the most consciously ‘through-composed’ of Dvořák’s operas, although this does not prevent Czech opera’s most famous ‘bleeding chunk’, Rusalka’s ineffably beautiful ‘Song to the Moon’, being frequently extracted from the score. But a complete hearing of the work shows the listener that this is only one of the heroine’s many glorious arias: among them is Rusalka’s extraordinarily moving first-act plea, ‘With your ancient wisdom, you know everything’ (Staletá moudrost tvá všechno ví), made to the witch Ježibaba who, Rusalka hopes, can make her human, and her desolate lament ‘Deprived of my youth’ (Mladostí své pozbavená) at the beginning of the third act. Dvořák also ingeniously overcomes the problem of Rusalka’s muteness in the first act when she is unable to profess her love for the Prince in what might be expected to be a climactic duet; instead, he effectively creates a dialogue for a single person in the repeated rising phrases for the Prince which form the passionately ecstatic conclusion of the act. Needless to say, when Rusalka’s speech is restored her exchanges with the ill and haunted Prince at the end of the opera are among its most affecting moments; his final words, ‘I die happy in your embrace’, are handled with exquisite restraint. The final pages in which Rusalka, now alone, rejected both by A Garland of National Tales (Kytice z povestí národních) published in 1853. Dvořák had turned to this resource when commissioned to write a cantata for the Birmingham Choral Festival of 1885. The result was The Spectre’s Bride (Svatební košile), a distinctly ghoulish tale of a bride lured to a charnel house by her ghostly lover, but one which appealed hugely to Victorian audiences. On returning to Bohemia from America, Dvořák turned once again to Erben’s Garland for the programmes of four brilliantly coloured symphonic poems. Having relocated himself firmly within the world of Bohemian folklore, it is no surprise to find him making use of it as the subjectmatter for opera. His first fairy-tale opera, The Devil and Kate (Čert a Káča), was based on a story from a collection by the great author Božena Němcová. After the work’s successful premiere in 1899, when Dvořák was casting around for another libretto, František Šubert, the director of the National Theatre, drew his attention to Jaroslav Kvapil’s Rusalka. Having failed to attract the interest of a number of younger composers, including Dvořák’s son-in-law, Josef Suk, Kvapil’s libretto was nevertheless seized on with eagerness by Dvořák who completed the entire score in a little over six months in the middle part of 1900. Kvapil based the story on De la Motte Fouqué’s Undine with, on his own admission, a certain amount of borrowing from Andersen’s Little Mermaid and Gerhart Hauptmann’s Sunken Bell. For all its eclectic nature, the libretto acquires its strong sense of unity from the atmosphere which Kvapil acknowledged derived in large part from Erben’s Garland. Indeed, Kvapil further speculated in his introduction to the libretto that the Erbenesque folkloric element was what had drawn Dvořák to the story in the first place. An element of which Dvořák may not have been aware, but which adds poignant depth to Kvapil’s libretto, was the author’s profound awareness of the often abusive fate of women in contemporary society. Two of his plays, Willow-the-Wisp and Princess Dandelion, explore in an allegorical manner the vicissitudes of the female situation: the first concerning tacit assumptions about virginity, and the lack of it, the second the sad fate of a royal princess married to a country lad; unable to cope with such a life, the princess sinks into a deep melancholy, ultimately to be wafted away, like a dandelion seed, on a cold wind. If Rusalka is submitted to an allegorical reading – and most fairy-tales are fair game for such treatment – the fate of the eponymous heroine might be read in similar ways. At the time there was much concern at the plight of Czech country girls in service CHAN 10449(3) Booklet.indd 12-13CHAN 10449(3) Booklet.indd 12-13 20/11/07 17:01:1720/11/07 17:01:17 14 15 illuminates the water nymph Rusalka, who tells the Water Sprite that she has fallen in love with a human Prince and wishes to become mortal in order to experience physical love. Beset with anxiety that she might lose her immortal life and learn the meaning of human sin, the Water Sprite nonetheless tells Rusalka to ask the witch Ježibaba for assistance in fulfilling her desire. Before tackling the terrifying Ježibaba, Rusalka calls on the moon to send news of her love to the Prince. In mocking tones, Ježibaba tells Rusalka that she can make her human, but that she will remain mute; worse still, if she is rejected, she will become a willow-the-wisp, neither immortal nor human, doomed to wander forever entrapping the unwary in the depths of the forest lake, and the Prince will die. Rusalka’s all-consuming love compels her to consent and she is transformed as the dawn breaks and the Prince arrives during a hunt in the forest. Enchanted by the now silent, human Rusalka, the Prince sweeps her away to his castle. Act 2 A Gamekeeper and Kitchen Boy gossip about the strange girl the Prince has found in the terrifying forest and the preparations for their wedding. They rush away as the Prince approaches with Rusalka; he is perplexed, completely failing to understand her silence and lack of response. The appearance of a sophisticated Foreign Princess calls him away from his puzzled reverie, and a ballet signals the preliminaries of the wedding. The Water Sprite appears in the castle’s lake and laments Rusalka’s fate. The Prince and Foreign Princess, now amorously entangled, appear, and Rusalka begs to be accepted by the Prince, but now is rejected. The Water Sprite rises up and curses the Prince as the Princess sweeps haughtily away. Act 3 Rusalka waits by the lake lamenting her fate. Ježibaba tells her that if she were to kill the Prince, she would be saved; Rusalka rejects this solution, casting the proffered knife into the lake. The Gamekeeper and Kitchen Boy arrive and, terrified, beg for help for their ailing Prince; the Water Sprite erupts from the lake and announces that the Prince is damned for rejecting Rusalka. The Wood Nymphs, celebrating their beauty, are downcast to hear of Rusalka’s fate. The Prince, now deranged, appears in search of his lost love. In affecting exchanges, he consents to perish in Rusalka’s arms. As he dies, Rusalka forgives him and accepts her desolate fate. © 2008 Jan Smaczny humanity and her sister nymphs, pronounces an affectionate benediction over the body of the erring Prince, are truly unforgettable. Part of the secret of the score’s magic is in the instrumental colouring. Dvořák was always inspired in his handling of the orchestra, but in Rusalka he reaches new heights of expressive scene painting. To take but one example, the evocation of the moon shining above the Prince’s palace just before the second act’s central ballet has an almost Impressionist delicacy. As important is Dvořák’s control of the symphonic argument: rather like the Mass settings of Haydn’s later maturity, where symphony and liturgical text achieve a supremely convincing unity, Dvořák’s symphonic instincts are co-ordinated unerringly with the lyrical impulse, delivering, among much else, extraordinarily powerful climaxes to all three acts. Dvořák’s characterisation is also beautifully observed in all cases. His experience in writing the symphonic poems based on Erben’s poetry, not to mention a creative life often focused on operatic composition, undoubtedly contributed greatly to the marvellously pungent realisation of the Water Sprite, the witch Ježibaba, and the trio of Wood Nymphs. Equally deft is his handling of the more overtly comic roles of the Gamekeeper and Kitchen Boy, notably when they are caught gossiping in lively fashion to the strains of an imitation bagpipe melody at the start of the second act. Interestingly, when Dvořák was negotiating a premiere in Vienna for the opera, Mahler expressed a desire to cut this piquant comic relief; this was one of the reasons, ultimately, that the proposed Austrian debut did not take place. The fact is that everything in this remarkable score seems absolutely right; even the ballet for the wedding guests in the second act, a sumptuous polonaise with a meltingly beautiful trio, fits dramatically in emphasising Rusalka’s inability to be part of the humans’ celebrations. But all would be as nothing were it not for Dvořák’s portrayal of the title role: Rusalka’s barely suppressed passion in the first act, her desperation at rejection in the second and her desolation and resignation in the last are captured flawlessly. When turning down the libretto of Rusalka, the composer Josef Bohuslav Foerster opined that Dvořák was the perfect person to set the text. Indeed, the match of composer with story has rarely been more complete than in Rusalka. Synopsis Act 1 In a moonlit glade by a lake, Wood Nymphs frolic with a Water Sprite. A shaft of moonlight CHAN 10449(3) Booklet.indd 14-15CHAN 10449(3) Booklet.indd 14-15 20/11/07 17:01:1720/11/07 17:01:17 16 17 Feldmarschallin (Der Rosenkavalier) in Palermo, Melbourne and at La Scala, Tosca in San Francisco, Colorado, Tokyo, Frankfurt and Sydney Olympic Arts Festival, Ariadne auf Naxos at La Fenice, and a concert performance of Act Two of Fedora with Plácido Domingo in San Francisco. Elizabeth Whitehouse is also much in demand for her concert repertoire, including Gurrelieder, Wesendonck Lieder and Zemlinsky’s Lyrische Symphonie. Recent international engagements have taken her to Florence, Venice, Munich, Slovenia, Madrid, and the Edinburgh Festival. She made her Australian debut with Opera Australia in 1996 as Senta in Der fliegende Holländer, and since then has returned to Australia regularly. Recent roles in Australia include Fata Morgana in The Love for Three Oranges (CHAN 10347) and Kostelnicka in Jenůfa. Lyric mezzo-soprano Sian Pendry completed a Bachelor of Music Performance in Voice (Hons) at the Victorian College of the Arts, Melbourne, and subsequently completed a Graduate Diploma of Music (Opera), at the Queensland Conservatorium, Griffith University. During this time she performed Cherubino in Le nozze de Figaro, Hänsel in Hänsel und Gretel, Dorabella in Cosí fan tutte, La Zelatrice in Suor Angelica, Cupid in Venus and Adonis, and The Shining One, Cup Bearer and Angel of the Lord in The Pilgrim’s Progress, Mozart’s Grand Mass in C minor and Coronation Mass, and Händel’s Judas Maccabaeus. In 2003 Sian Pendry was a Developing Artist with Opera Queensland and since joining Opera Australia and the Moffatt Oxenbould Young Artist Program her roles have included Hänsel in Hänsel und Gretel, Stephano in Romeo and Juliet, Annio in La clemenza di Tito, the Kitchen Boy in Rusalka, and the title role in Carmen for OzOpera. Taryn Fiebig graduated from both the University of Western Australia and the Australian Opera Studio. As a soloist, she has performed with the Australian Brandenburg Orchestra, the West Australian Symphony Australianborn Cheryl Barker studied in Melbourne with Dame Joan Hammond and in London with David Harper. In Australia, she appears regularly with Opera Australia, where her roles have included Nedda (I pagliacci), the Countess (The Marriage of Figaro), Mimì (La bohème), Violetta (La traviata), Donna Elvira (Don Giovanni), Tatyana (Eugene Onegin) and the title roles in both Madama Butterfly and Tosca. She has also sung the roles of Mimì, Antonia (Les Contes d’Hoffmann) and Tatyana for the Victoria State Opera; Tatyana and Violetta for Opera Queensland; and Madama Butterfly and Violetta for New Zealand Opera. Internationally, Cheryl Barker is particularly noted for her performances of Madama Butterfly, singing this role for English National Opera, Houston Grand Opera, De Vlaamse Opera, Hamburg State Opera, Deutsche Oper, Berlin and most recently for The Netherlands Opera. Other international appearances include Jenifer (A Midsummer Marriage) for the Royal Opera, Covent Garden; Tatyana and Adina (L’elisir d’amore) for Scottish Opera; Oksana (Rimsky-Korsakov’s Christmas Eve), The Governess (The Turn of the Screw), Musetta (La bohème), and Donna Elvira for English National Opera; the title role in Maria Stuarda for the Nationale Reisoper in the Netherlands; Violetta for Hamburg State Opera and the Deutsche Oper; the title role in Katya Kabanova in Geneva and for Welsh National Opera; and for De Vlaamse Opera the title roles in Suor Angelica and The Merry Widow, Mimì, Desdemona (Otello) and Liù (Turandot). She appears regularly on the recital and concert platform and her many recordings include Emilia Marty (The Makropulos Case) and Madam Butterfly as part of Chandos’ Opera in English Series, Dyson’s Quo Vadis for Chandos, and a solo CD featuring Puccini Arias. Elizabeth Whitehouse, one of Australia’s most renowned sopranos, lives in Germany with her career focused primarily in Europe. Operatic appearances include Ellen Orford (Peter Grimes) in Genoa and at La Scala, Leonore (Fidelio) at La Scala, Amelia (Un ballo in maschera) at the Deutsche Oper and Bregenz Festival, Elsa (Lohengrin) in Turin, Lady Macbeth of Mtsensk in Sydney, KeithSaunders CHAN 10449(3) Booklet.indd 16-17CHAN 10449(3) Booklet.indd 16-17 20/11/07 17:01:1820/11/07 17:01:18 18 19 Opéra de Lausanne, New York City Opera, Santa Fe Opera, Lyric Opera of Chicago, the Komische Oper, Berlin, Bayerische Staatsoper, Opera Australia and at the Hong Kong and Saito Kinen Festivals. With a vast operatic repertoire that includes Brangäne (Tristan und Isolde), Amneris (Aida), Azucena (Il trovatore), Venus (Tannhäuser), Herodias (Salome) and Santuzza (Cavalleria rusticana), she has also recently performed as Morozova in Tchaikovsky’s Oprichnik in Cagliari, Ragonde (Le Comte Ory) for Garsington Opera, Witch (Hänsel und Gretel) and Mrs Grose (Turn of the Screw) for Glyndebourne. Anne-Marie Owens is also in much demand on the concert platform where she regularly performs the works of Mahler, Vaughan Williams, Elgar and the choral works of Verdi, Handel, Mozart and Beethoven with such orchestras as the London Symphony Orchestra, BBC Symphony Orchestra, Royal Scottish National Orchestra and Detroit Symphony Orchestra. Dominica Matthews is a graduate of the Sydney Conservatorium of Music and the RNCM. She has also been a Peter Moores Foundation Scholar. She has performed as soloist in operas, oratorios and recitals with a number of orchestras and ensembles in venues throughout the UK and Australia. Principal operatic roles include the title role in La cenerentola, La Principessa (Suor Angelica), Suzuki (Madama Butterfly), Baba the Turk (The Rake’s Progress) and The First Prioress (Dialogue of the Carmelites). In 2006 she returned to Australia to become a Young Artist with Opera Australia. She has since appeared as Third Lady in The Magic Flute, Countess Ceprano in Rigoletto and Edith in The Pirates of Penzance. Her association with the national company continued in 2007 when she sang Nicklausse in The Tales of Hoffmann, Flora in La traviata and Eunice Hubble in A Streetcar Named Desire. In 2008, she will perform the title roles in both La cenerentola and Orlando. Orchestra, Ensemble Archangelo, Collegium Musicum, Perth Oratorio Choir, the English Chamber Orchestra in St John’s Smith Square, London, and on BBC Radio 3 and Radio 4. In 2005, Taryn Fiebig joined Opera Australia. Her principal roles with this company included Zerlina in Don Giovanni, The Plaintiff in Trial by Jury, Papagena in The Magic Flute, Rose in Lakmé, Servilia in La clemenza di Tito, Karolka in Jenůfa, Mabel in The Pirates of Penzance and Tessa in The Gondoliers. In 2007, Taryn sang Mabel and principal roles in Rusalka and Il Trittico for Opera Australia and appeared in concert as Belinda in Dido and Aeneas. In 2008, she performs Clorinda in La cenerentola, Musetta in La bohème and the leading role of Eliza Doolittle in My Fair Lady. Australian soprano Sarah Crane is a graduate of the Queensland Conservatorium of Music and the winner of the German Operatic Award and the Australian regional finals of the Metropolitan Opera Award. Her subsequent move to Europe led to appearances with Cologne Opera, Opéra National du Rhin in Strasbourg and Freiburg Opera, in roles such as Pamina in Die Zauberflöte, Marzelline in Fidelio and Gretel in Hänsel und Gretel. In 2006 she took the soprano solos in The Queensland Orchestra’s performance of Mozart’s Requiem, sang Juliette in Opera Queensland’s production of Romeo et Juliette and performed First Lady in The Magic Flute for Opera Australia. In 2007, she sang First Wood Sprite in Rusalka and Oberto in Alcina for Opera Australia, Anna in Nabucco for Opera Queensland, and performed as soloist with the Queensland Music Festival and The Queensland Orchestra. In 2008, she sings Micaela in Carmen for Opera Australia and Pamina for Opera Queensland. As one of Britain’s leading mezzo-sopranos, Anne-Marie Owens has performed for many of the world’s great opera companies, including the Royal Opera, Covent Garden, Scottish Opera, Welsh National Opera, Opera North, Opéra National de Paris, CHAN 10449(3) Booklet.indd 18-19CHAN 10449(3) Booklet.indd 18-19 20/11/07 17:01:1920/11/07 17:01:19 20 21 A graduate of the University of Western Australia and former university lecturer, Bruce Martin began his singing career performing in oratorio and lieder. He now performs mainly with Opera Australia, his roles with that company including the great Wagnerian roles such as Fasolt in Das Rheingold, Wotan in Die Walkure and Das Rheingold, Hagen in Götterdämmerung, King Marke in Tristan und Isolde, and Hans Sachs in Die Meistersinger von Nürnberg. Other roles with Opera Australia have included Zaccaria (Nabucco), Padre Guardiano (La forza del destino), Assur (Semiramide), Sarastro (The Magic Flute), Escamillo (Carmen) and the title role in Don Giovanni. In the past few years he has performed the central role of Pelseart in Batavia, the four villains in The Tales of Hoffmann, Mephistopheles in Faust, King Henry in Lohengrin, Boris in Lady Macbeth of Mtsensk, Raimondo in Lucia di Lammermoor, Hans Sachs, Jokanaan in Salome, Oreveso in Norma, Nilakantha in Lakmé, and Scarpia in Tosca. He has appeared in numerous concerts with the major Australian orchestras, performing in such diverse works as Handel’s Messiah, Beethoven’s Ninth Symphony, Belioz’ Damnation of Faust, Verdi’s Requiem, Mussorgsky’s Songs and Dances of Death and Bartok’s Bluebeard’s Castle. Opera Australia is the vibrant identity for Australia’s national opera company, created through the merger of The Australian Opera and Victoria State Opera. In 2006, the company gave 225 performances in its subscription seasons in the State Theatre of the Victorian Arts Centre and the Sydney Opera House Opera Theatre, attended by more than 305, 000 people. A further 17, 240 people attended the production of Carmen presented in Victoria, New South Wales and South Australia by OzOpera, Opera Australia’s education, access and development arm, while OzOpera’s Schools Company performed to over 77, 800 primary age children in more than 437 performances in urban and regional New South Wales and Victoria. Opera Australia performs at the Sydney Opera House for seven months of each year, encompassing the Sydney summer and winter seasons. The company is resident at the Arts Centre, Melbourne, for an autumn season in April and May and a spring season from November to December. Most of the company’s income is earned from box Australian-born Rosario La Spina trained at the Queensland Conservatorium of Music and RNCM and then embarked on the two-year Young Singer’s Course at La Scala, Milan. In 2002 Rosario won first prize in the Mario Del Monaco International Opera Competition and made his principal role debut at La Scala as Riccardo in Verdi’s Oberto. Since that time he has performed in opera and concert throughout the world: Italy, Switzerland, Egypt, Taiwan, the USA, Indonesia, Japan, Australia and New Zealand. He has taken the leading tenor roles in La traviata, La bohème, I pagliacci, Ernani, The Love for Three Oranges, I Lombardi, Rigoletto and Tosca. In 2007 he sang Alfredo in La traviata, The Prince in Rusalka and the title role in The Tales of Hoffmann for Opera Australia, and made his debut at Seattle Opera as Rodolfo in La bohème. 2008 sees performances as Pinkerton in Madama Butterfly and Don José in Carmen for Opera Australia and Radames in Aida for Seattle Opera. Australian baritone Barry Ryan graduated with Honours from the Sydney Conservatorium of Music. He has performed with Europe’s leading opera companies including the Royal Opera, Covent Garden, La Scala Milan, Opera Comique in Paris, Paris Opera Bastille, Deutsche Oper am Rhein, Düsseldorf, Flemish Opera Antwerp, Komische Oper Berlin, Basel Opera and the Otono Festival Opera Madrid. He was a principal artist with the Cologne Opera from 1988 to 1992. Barry has performed in concert throughout Europe, Australia and Asia and has been seen in televised performances of opera in Germany, Belgium, the Netherlands, France and Australia. He has performed on radio for the BBC, ABC in Australia, WDR in Germany, Norwegian Radio and Radio Tokyo. Barry is also a lecturer in Voice and Opera at the Sydney Conservatorium of Music. Recent roles for Opera Australia include Count di Luna in Il trovatore, Wiebbe Hayes in Batavia and Peter in Hansel and Gretel. In 2008 he sings Marcello in La bohème and Sharpless in Madama Butterfly. CHAN 10449(3) Booklet.indd 20-21CHAN 10449(3) Booklet.indd 20-21 20/11/07 17:01:2120/11/07 17:01:21 22 23 directed by John Cox, Wozzeck directed by Barry Kosky, and Billy Budd directed by Neil Armfield. In addition to its full schedule of operatic performances, the Opera Australia Chorus has appeared in recent concert performances of Carmina Burana and the Chichester Psalms (conducted by Richard Hickox) and has collaborated with the Sydney Symphony for a performance of Rossini’s Stabat Mater. Other noteworthy concerts include Verdi’s Requiem (conducted by Simone Young), Brahms Ein deutsches Requiem and Mozart’s Requiem (conducted by Richard Hickox), and Beethoven’s Ninth Symphony with the Tasmanian Symphony Orchestra. Michael Black has degrees in Education, Performance and Musicology from the Sydney Conservatorium of Music and University of New South Wales. He has been Chorus Master for Opera Australia since 2001 and has prepared more than eighty operas as well as choral works such was Verdi’s Requiem, Mozart’s Requiem, Brahms’ Ein deutsches Requiem, Beethoven’s Ninth Symphony, Carmina Burana, Chichester Psalms, The Planets and Rimsky-Korsakov’s Polovtsian Dances. He was Chorus Master for the Chandos recording The Love for Three Oranges (CHAN 10347), and has been Guest Chorus Master for Opera Holland Park (UK), Sydney Philharmonia Choir, Cantillation and Sydney Motet Choir. Also considered one of Australia’s finest accompanists, he regularly performs with singers in recital and for broadcasts and recordings. He has appeared at all the major Australian festivals including the Perth International Arts Festival, Wigmore Hall Touring Chamber Music, Sydney and Melbourne Festivals and the Brisbane Bienniale as well as regularly recording and broadcasting for ABC. As an educator Michael Black lectured for many years at the Sydney Conservatorium of Music, has been an adjudicator for numerous competitions and has given vocal master classes at the Victoria College of the Arts and Sydney Conservatorium of Music. The members of the Australian Opera and Ballet Orchestra form one of the busiest and most versatile orchestras in the country. From its famous home in the Sydney Opera House, the principal role of the AOBO is to be the office and corporate sponsorship, and the company welcomes the ongoing support and endorsement of government and corporate Australia in realising its primary aim: to present great opera for everyone. Stephen Mould was born in Sydney and studied piano and composition at the New South Wales Conservatorium of Music. He began his professional career in Brisbane before spending several years in Europe where he worked as a conductor in a number of houses in Germany, Belgium and Norway. In 1992 he was appointed to the music staff of Opera Frankfurt as assistant to the Music Director. During this time in Europe, he also took part in several summer festivals and was associated with the music conservatoriums in Würzburg and Frankfurt. In 1996 he returned to Australia and joined the staff of Opera Australia where he is currently Head of Music. Since his return he has undertaken engagements for Sydney Festival, Melbourne Festival, Symphony Australia and Sydney Philharmonia Choirs. He has previously conducted the Sydney Symphony and, for Opera Australia, has conducted seasons of La bohème, The Marriage of Figaro, Simon Boccanegra, Die Zauberflöte, Rusalka, La Voix Humaine, Signor Bruschino and The Gondoliers. He recently conducted Cavalleria rusticana and I pagliacci for the Macau International Music Festival, and will conduct Madama Butterfly in Baltimore in 2008 as well as Carmen and The Makropulos Secret for Opera Australia. The Opera Australia Chorus currently comprises forty-eight full-time members, with an additional 200 singers employed on a casual basis. Noted for its versatility, the Chorus was awarded a special Green Room Award in 2005 for Consistent Excellence. Notable performances have included the Australian premiere of War and Peace for the opening of the Sydney Opera House, the bicentennial performances of Die Meistersinger von Nürnberg and world premieres of Australian works such as Richard Meale’s Voss, The Eighth Wonder by Dennis Watkins and Alan Johns, and Batavia by Richard Mills and Peter Goldsworthy. Recent critically acclaimed productions include Sweeney Todd directed by Gale Edwards, Lady Macbeth of Mtsensk and The Love for Three Oranges directed by Francesca Zambello, Otello directed by Harry Kupfer, The Rake’s Progress CHAN 10449(3) Booklet.indd 22-23CHAN 10449(3) Booklet.indd 22-23 20/11/07 17:01:2220/11/07 17:01:22 BBC Proms and at the Aldeburgh, Bath and Cheltenham festivals among others. With the London Symphony Orchestra at the Barbican Centre he has conducted a number of semi-staged operas, including Billy Budd, Hänsel und Gretel and Salome. With the Bournemouth Symphony Orchestra he gave the first ever complete cycle of Vaughan Williams’s symphonies in London. In the course of an ongoing relationship with the Philharmonia Orchestra he has conducted Elgar, Walton and Britten festivals at the South Bank and a semi-staged performance of Gloriana at the Aldeburgh Festival. Apart from his activities with Opera Australia he has enjoyed recent engagements with The Royal Opera, Covent Garden, English National Opera, Vienna State Opera and Washington Opera among others. He has guest conducted such world-renowned orchestras as the Pittsburgh Symphony Orchestra, Orchestre de Paris, Bavarian Radio Symphony Orchestra and New York Philharmonic. His phenomenal success in the recording studio has resulted in more than 280 recordings, including most recently cycles of orchestral works by Sir Lennox and Michael Berkeley and Frank Bridge with the BBC National Orchestra of Wales, the symphonies by Vaughan Williams with the London Symphony Orchestra, and a series of operas by Britten with the City of London Sinfonia. He has received a Grammy (for Peter Grimes) and five Gramophone Awards. Richard Hickox was awarded a CBE in the Queen’s Jubilee Honours List in 2002, and has received many other awards, including two Royal Philharmonic Society Music Awards, the first ever Sir Charles Groves Award, the Evening Standard Opera Award, and the Association of British Orchestras Award. indispensable orchestral partner of Australia’s two premiere performing arts companies, Opera Australia and The Australian Ballet. In a typical year in Sydney the Orchestra will give some 175 performances of more than a dozen operas and more than eighty performances of four ballets. The Orchestra will work with perhaps a dozen different conductors, mastering performing traditions and repertoire ranging from Monteverdi to Berg, and will perform several Gala Concerts. Dublin born violinist Aubrey Murphy was the first Irish student to enter the Yehudi Menuhin School at the age of ten. In 1983 he began his studies at Indiana University, Bloomington, under Franco Gulli and Henryk Kowalski. He has been guest leader with Scottish Chamber Orchestra and BBC Ulster Orchestra. He spent eight years as Principal Violinist and regular Guest Leader with the Orchestra of the Royal Opera House, Covent Garden, working under conductors such as Bernard Haitink, Richard Hickox, Sir George Solti, Sir Charles Mackerras and Sir Colin Davis. In 2001 he was appointed Concertmaster of the Australian Opera and Ballet Orchestra for Opera Australia and The Australian Ballet at the Sydney Opera House. He is a prolific chamber music player, regularly leading the Sydney Soloists, and founded The Utzon Ensemble in 2004. He was awarded the Centenary Medal for services to music in Australia, and performs on a rare 1853 Giuseppe Rocca violin. One of Britain’s most gifted and versatile conductors, Richard Hickox CBE is Music Director of Opera Australia, and was Principal Conductor of the BBC National Orchestra of Wales from 2000 until 2006 when he became Conductor Emeritus. He founded the City of London Sinfonia, of which he is Music Director, in 1971. He is also Associate Guest Conductor of the London Symphony Orchestra, Conductor Emeritus of the Northern Sinfonia, and co-founder of Collegium Musicum 90. He regularly conducts the major orchestras in the UK and has appeared many times at the 24 25 GregBarrett CHAN 10449(3) Booklet.indd 24-25CHAN 10449(3) Booklet.indd 24-25 20/11/07 17:01:2320/11/07 17:01:23 Cheryl Barker as Rusalka CHAN 10449(3) Booklet.indd 26-27CHAN 10449(3) Booklet.indd 26-27 20/11/07 17:01:2420/11/07 17:01:24 28 29 Entwicklung zu größerer Orthodoxie war seine völlige Neuvertonung von Der König und der Köhler, die sich diesmal eher an Smetanas Idiom anlehnte; das Werk war in seiner ersten Spielzeit ein moderater Erfolg, und es folgten in den 1870er Jahren noch zwei weitere Komödien – der Einakter Die Dickschädel (Trvdé palice) und Der Bauer ein Schelm (Šelma sedlák). Beide Werke enthalten einige der bezauberndsten musikalischen Passagen, die Dvořák in dieser Zeit geschrieben hat. Der Höhepunkt dieses besonderen Operntyps kam zehn Jahre später, als der Komponist im Jahr 1888 sein semi-komisches Meisterwerk Der Jakobiner (Jakobín) vollendete, ein facettenreiches und wunderbar lyrisches Stück, das die Versöhnung zwischen einem Vater und seinem verlorenen Sohn und zugleich die Liebe der Tschechen zur Musik zum Thema hat. Dvořáks zwei ernste Opern aus den 1870er und 1880er Jahren, die großen Opern Vanda und Dimitrij, enthielten sich der modernistischen Tendenzen von Smetanas tragischem Werk Dalibor und seiner FestivalOper Libuše, wie auch der eher wagnerischen Pfade, denen ein Zdeněk Fibich in seinem Musikdrama Die Braut von Messina (Nevěsta Messinská) folgte. Dvořák gab sich in keinem der beiden Werke experimentell und vielleicht deshalb löste besonders Dimitrij während der gesamten 1880er Jahre bei seinem tschechischen Publikum begeisterte Reaktionen aus (während Fibichs Braut unweigerlichen vor leeren Rängen spielte). Dvořáks post-amerikanische Opernlaufbahn gestaltete sich recht anders. Desillusioniert von der Gattung der Sinfonie und der abstrakten Musik im Allgemeinen suchte er nun Inspiration in der tschechischen Folklore. In seinen Kompositionen der späten 1880er Jahre begannen sich starke programmatische Tendenzen abzuzeichnen, die vor allem in dem Ouvertüren-Zyklus Natur, Leben und Liebe zu spüren sind; dieser Trend war so prominent, daß der Kritiker der Musical Times anläßlich der englischen Uraufführung der Achten Sinfonie im Jahr 1890 das Gerücht verbreitete, ihr langsamer Satz basiere auf einer Legende (sollte dies tatsächlich der Fall sein, so hat Dvořák der Nachwelt allerdings nie mitgeteilt, um was es sich dabei handelte). Sein nächstes Werk in dieser Gattung, die gefeierte Sinfonie “Aus der Neuen Welt”, war wesentlich von Longfellows The Song of Hiawatha beeinflußt. Während seines Aufenthaltes in den USA in den Jahren 1892 bis 1895 gelang es Dvořák nicht, die große amerikanische Oper zu schreiben, auf die seine Dienstherrin am National Conservatory of Music in New York, Mrs. Thurber, gehofft hatte; dies hielt jedoch die Musical Times nicht davon ab zu Dvořák: Rusalka Realismus angesiedelt; doch obwohl das Werk sich dem allgemeinen Trend widersetzt, wurde es zu Dvořáks größtem Operntriumph – bis in die Gegenwart nimmt Rusalka neben Smetanas Die verkaufte Braut einen festen Platz im Herzen des tschechischen Repertoires ein. Dvořák und die Oper Als Dvořák die Arbeit an Rusalka aufnahm, war er bereits ein erfahrener Opernkomponist, der auf neun vollendete Werke in dieser Gattung zurückblicken konnte. Seine beiden ersten Opern – das dem Stil Wagners verpflichtete Musikdrama Alfred (auf einen deutschen Text) und die überraschend experimentelle Komödie Der König und der Köhler (Král a uhlíř) – entsprachen in den 1870er Jahren nicht dem vorherrschenden tschechischen Operngeschmack und wurden zu Dvořáks Lebzeiten nie aufgeführt. Doch schon bald machte er sich an die Produktion einer Reihe von Komödien in der von Smetana und dessen Librettisten Sabina zuerst in der Verkauften Braut erprobten Methode, die beim Prager Publikum offensichtlich sehr beliebt war. Eine bemerkenswerte Etappe in Dvořáks Angesichts des Stoffes, den diese Oper behandelt, war die überaus erfolgreiche Premiere von Dvořáks Rusalka am 31. März 1900 ein eher unerwarteter Triumph der tschechischen Oper um die Jahrhundertwende. Dvořáks meist jüngere opernschaffende Zeitgenossen wandten sich zu dieser Zeit vor allem dem in den 1890er Jahren neu entwickelten Verismo zu. Die Prager Uraufführung von Mascagnis Cavalleria rusticana im Jahr 1891 löste beim Publikum ebenso wie bei den Komponisten große Begeisterung aus. Selbst Veteranen der nationalen tschechischen Erneuerungsbewegung wie Karel Bendl und Richard Rozkošný begeisterten sich für den neuen Realismus, obwohl es keinem von ihnen gelang, ihren Landsleuten ein tschechisches Äquivalent zu “Cav und Pag” zu liefern. Auch die jüngere Generation wandte sich realistischen Themenkreisen zu: Foersters Eva war angemessener Erfolg beschieden, doch die größte Oper, die diesem neuen Trend folgte, war Janáčeks Jenůfa. Rusalka entstand etwa zur selben Zeit und ist in einer mondbeschienenen Welt fern der überhitzten Emotionen des tschechischen CHAN 10449(3) Booklet.indd 28-29CHAN 10449(3) Booklet.indd 28-29 20/11/07 17:01:2620/11/07 17:01:26 30 31 der Autor selbst eingesteht – einigen Entlehnungen aus Andersens Die kleine Meerjungfrau und Gerhart Hauptmanns Die versunkene Glocke. Trotz seiner eklektischen Natur vermittelt das Libretto dank der Atmosphäre, die laut Kvapil vor allem aus Erbens Blumenstrauß stammte, ein starkes Gefühl von Einheitlichkeit. Kvapil ging in seiner Einleitung zu dem Libretto sogar so weit zu spekulieren, daß das von Erben vermittelte folkloristische Element Dvořák an der Geschichte wohl am meisten angezogen haben dürfte. Ein Aspekt der Geschichte, dessen Dvořák sich vielleicht gar nicht bewußt war, der Kvapils Libretto aber eine anrührende Tiefe verleiht, ist der Umstand, daß der Autor ein tiefes Empfinden für den in der zeitgenössischen Gesellschaft weit verbreitenden Mißbrauch von Frauen entwickelt hatte. Zwei seiner Schauspiele, Das Irrlicht und Prinzessin Löwenzahn, erkunden allegorisch das wechselvolle Schicksal der Frauen: Das erste betrifft die stillschweigende Haltung zur Jungfräulichkeit wie auch deren Fehlen, das zweite schildert das traurige Schicksal einer königlichen Prinzessin, die mit einem einfachen Jungen vom Lande verheiratet ist und, da sie mit dem ihr beschiedenen Leben nicht fertig wird, in tiefe Melancholie versinkt, bis sie schließlich wie der Samen einer Löwenzahnblüte von einem kalten Wind fortgeweht wird. Wenn man Rusalka einer allegorischen Interpretation unterzieht – und die meisten Märchen eignen sich für eine solche Behandlung – könnte man das Schicksal der Titelheldin in ähnlicher Weise verstehen. Zu der Zeit gab es große Besorgnis über das Schicksal zahlreicher auf dem Land aufgewachsener tschechischer Mädchen, die sich in Wien als Dienstmägde verdingten und, von ihren Dienstherren mißbraucht, oft schwanger aus ihrem Arbeitsverhältnis entlassen wurden; diesen Mädchen blieb oft nur ein Leben in der Prostitution, das häufig in Krankheit endete. In Rusalka ist der Gegensatz zwischen dem ländlichen und dem Stadtleben durch den Unterschied zwischen Rusalkas Wald und dem Schloß des Prinzen dargestellt; in ähnlicher Weise bildet Rusalkas Arglosigkeit einen krassen Kontrast zu der berechnenden Weltgewandtheit der fremdländischen Prinzessin. Und dann gibt es da noch den Preis für Rusalkas Sterblichkeit – ihre Stummheit, das genaue Abbild einer der Sprache nicht mächtigen Magd in Wien, deren Deutschkenntnisse vielleicht unzureichend sind und die sich nicht in der Lage sieht, der eloquenten Verführung durch ihre Dienstherren zu widerstehen. Selbst das Schicksal, das Rusalka schließlich behaupten, seine Vertonung von Onkel Toms Hütte werde ungeduldig erwartet. Stattdessen widmete sich Dvořák in dieser Zeit einer grundlegenden Überarbeitung seiner Großen Oper Dimitrij, die er wesentlich dem Wagnerischen Musikdrama annäherte, und zwei Jahre nach seiner Rückkehr nach Prag nahm er tiefgreifende Änderungen am Jakobiner vor. Dvořák und Kvapils “Rusalka” In seinen späteren Jahren beschäftigte sich Dvořák intensiv mit den folkloristisch inspirierten Balladen von Karel Jaromir Erben. Dieser populäre Dichter und Übersetzer vor allem auch der Werke Goethes lieferte seinen böhmischen Landsleuten eine umfassende Sammlung von “Tschechischen Volksliedern und Kinderreimen”. Während die Reime 1864 erschienen, wurden die zugehörigen Melodien gesondert veröffentlicht; Dvořák konsultierte diese Sammlung häufig für seine Kunstliedvertonungen. Erbens beliebteste Sammlung war der 1853 veröffentlichte Blumenstrauß nationaler Sagen (Kytice z povestí národních). Dvořák benutzte das Werk, als er den Auftrag erhielt, für das Birmingham Festival von 1885 eine Kantate zu schreiben. Das Ergebnis war Die Geisterbraut (Svatební košile), die ausgesprochen gruselige, bei viktorianischen Zuhörern jedoch überaus beliebte Geschichte einer Braut, die von ihrem gespenstischen Liebhaber in ein Leichenhaus gelockt wird. Nachdem er aus Amerika nach Böhmen zurückgekehrt war, wandte sich Dvořák für die Programme von vier brillanten Sinfonischen Dichtungen erneut Erbens Sammlung Blumenstrauß zu. Nachdem er sich so wieder fest in der Welt der böhmischen Folklore etabliert hatte, verwundert es kaum, daß er diesen Themenkreis auch für die Oper verwendete. Seine erste Märchenoper, Der Teufel und die Käthe (Čert a Káča), basiert auf einer Geschichte aus einer Sammlung des großen Schriftstellers Božena Němcová. Nachdem das Werk 1899 mit großem Erfolg uraufgeführt worden war und Dvořák sich nach einem weiteren Libretto umschaute, machte ihn der Direktor des Nationaltheaters František Šubert auf Jaroslav Kvapils Rusalka aufmerksam. Obwohl Kvapils Libretto bereits das Interesse einer Reihe von jüngeren Komponisten – darunter auch Dvořáks Schwiegersohn Josef Suk – nicht hatte wecken können, griff Dvořák es eifrig auf und vollendete die Partitur innerhalb von etwas mehr als sechs Monaten, so daß sie Mitte des Jahres 1900 vorlag. Kvapils Geschichte basiert auf De la Motte Fouqués Undine mit – wie CHAN 10449(3) Booklet.indd 30-31CHAN 10449(3) Booklet.indd 30-31 20/11/07 17:01:2720/11/07 17:01:27 32 33 Ein Teil des Erfolgs dieser magischen Musik liegt in den verwendeten Orchesterfarben. Dvořák war schon immer besonders geschickt in seiner Behandlung des Orchesters, doch in Rusalka erreichte er neue Höhen der expressiven Szenenmalerei. Um nur ein Beispiel zu nennen: Die Anrufung des über dem Palast des Prinzen scheinenden Mondes unmittelbar vor dem in der Mitte des zweiten Aktes präsentierten Ballett ist von fast impressionistischer Zartheit. Ebenso wichtig ist Dvořáks Beherrschung der sinfonischen Ausdruckspalette: Ähnlich wie die Messvertonungen des reifen Haydn, wo Sinfonie und liturgischer Text eine höchst überzeugende Einheit bilden, ist Dvořáks sinfonischer Spürsinn stets mit dem lyrischen Impuls gepaart, und dies führt unter anderem zu außergewöhnlich kraftvollen Höhepunkten in allen drei Akten. Auch Dvořáks Charakterdarstellung basiert in allen Fällen auf genauer Beobachtung. Zweifellos trug seine Erfahrung beim Schreiben der Sinfonischen Dichtungen nach Erbens Vorlagen wie auch seine große Erfahrung im Komponieren von Opern wesentlich zu der wundervoll präzisen Realisierung des Wasserkobolds, der Hexe Ježibaba und des Dreiergespanns von Waldnymphen bei. Ähnlich geschickt ist seine Behandlung der offensichtlicher komischen Rollen des Wildhüters und des Küchenjungen, besonders wenn die beiden zu Beginn des zweiten Akts dabei überrascht werden, wie sie, untermalt von den Klängen einer imitierten Dudelsackmelodie, lebhaft miteinander schwatzen. Ein interessantes Detail: Als Dvořák über eine Uraufführung der Oper in Wien verhandelte, wünschte Mahler, daß diese überaus komische Szene gestrichen werde; dies war einer der Gründe, warum es nicht zu dem geplanten österreichischen Debüt kam. In der Tat scheint in dieser bemerkenswerten Oper alles genau zu stimmen; sogar das Ballett für die Hochzeitsgäste im zweiten Akt, eine prächtige Polonaise mit schmelzend schönem Trio, erfüllt geschickt die dramatische Aufgabe, Rusalkas Unfähigkeit herauszuarbeiten, gemeinsam mit den Menschen zu feiern. Doch all dies wäre nichtig, gäbe es nicht Dvořáks Darstellung der Titelrolle – Rusalkas kaum unterdrückte Leidenschaft im ersten Akt, ihre Verzweiflung über die Zurückweisung im zweiten und ihre Trostlosigkeit und Resignation im letzten sind perfekt eingefangen. Als er selbst das Libretto zu Rusalka ablehnte, äußerte der Komponist Josef Bohuslav Foerster die Meinung, daß Dvořák die geeignetste Person sei, den Text zu vertonen. Und in der Tat war die Verbindung von Komponist und Libretto selten vollkommener als im Fall von Rusalka. ereilt – daß ihre früheren Spielgefährten sie meiden – spiegelt die Abscheu, mit der viele der früheren Dienstmägde behandelt wurden, die schließlich erniedrigt und krank in ihre lämdliche Heimat zurückkehrten. Während dieser Aspekt des menschlichen Elends Kvapils Drama noch vertieft haben mag, reagierte Dvořák wohl eher auf die tragische Schönheit dieses “lyrischen Märchens”, wie es im Untertitel heißt. Schon immer hatte Dvořák das Lyrische und Gefühlsbetonte in der Oper bevorzugt, und in dieser, seiner lieblichsten Opernvertonung erreichte er ungeahnte Höhen der melodischen Eloquenz. Von positiver Wirkung ist Wagners Einfluß in der Verwendung gewisser Leitmotive und einigen harmonischen Strukturen – ähnlich wie in Humperdincks etwas früher entstandener Märchenoper Hänsel und Gretel. Rusalka ist zudem die am bewußtesten “durchkomponierte” von Dvořáks Opern, wobei dies nicht verhindert, daß das berühmteste “Schmalzstück” der tschechischen Oper, Rusalkas unbeschreiblich schönes “Lied an den Mond”, häufig separat aufgeführt wird. Doch wenn man einmal die vollständige Oper anhört, wird man feststellen, daß der Titelheldin noch ein ganze Reihe weiterer wunderschöner Arien zufallen, so etwa die zutiefst anrührende Nummer im ersten Akt, in der Rusalka die Hexe Ježibaba anfleht, “In deiner uralten Weisheit weißt du alles” (Staletá moudrost tvá všechno ví), in der Hoffnung, diese könne sie in einen Menschen verwandeln, oder ihre verzweifelte Klage “Meiner Jugend beraubt” (Mladostí své pozbavená) zu Beginn des dritten Akts. Dvořák löst auch in genialer Weise das Problem von Rusalkas Stummheit im ersten Akt, wo man ein entscheidendes Duett erwartet, in dem sie ihre Unfähigkeit eingesteht, ihrer Liebe für den Prinzen Ausdruck zu verleihen; stattdessen schuf er in den wiederholten aufsteigenden Phrasen für den Prinzen einen sehr wirkungsvollen Dialog für eine einzelne Person, der den leidenschaftlich verzückten Abschluß des ersten Aktes bildet. Es erübrigt sich zu sagen, daß, als Rusalka ihre Stimme wiederfindet, die Worte, die sie am Schluß der Oper mit dem kranken und verhexten Prinzen wechselt, zu den anrührendsten Momenten des gesamten Werks gehören; seine letzten Worte, “In deinen Armen sterbe ich glücklich”, werden mit überaus passender Zurückhaltung umgesetzt. Und die letzten Augenblicke, in denen Rusalka – allein und von den Menschen wie auch von ihren schwesterlichen Nymphen verstoßen – über den Körper des irregeleiteten Prinzen einen liebevollen Segen spricht, sind wahrhaft unvergeßlich. CHAN 10449(3) Booklet.indd 32-33CHAN 10449(3) Booklet.indd 32-33 20/11/07 17:01:2820/11/07 17:01:28 34 35 Prinzen töten müßte, um gerettet zu werden; doch Rusalka lehnt dies ab und wirft das ihr dargebotene Messer in den See. Der Wildhüter und der Küchenjunge erscheinen und bitten verschreckt um Hilfe für ihren dahinsiechenden Prinzen; der Wasserkobold taucht plötzlich aus dem See auf und verkündet, daß der Prinz wegen seiner Zurückweisung Rusalkas verdammt sei. Die Waldnymphen stellen ihre Schönheit zur Schau und hören betrübt von Rusalkas Schicksal. Der Prinz, der inzwischen seinen Verstand verloren hat, erscheint auf der Suche nach seiner verlorenen Liebe. In einem zu Herzen gehenden Dialog akzeptiert er, daß er in Rusalkas Armen sein Leben lassen wird. Als er stirbt, vergibt Rusalka ihm und überläßt sich ihrem hoffnungslosen Schicksal. © 2008 Jan Smaczny Übersetzung: Stephanie Wollny Opera Australia ist die offizielle Bezeichung der australischen Nationaloper, die aus dem Zusammenschluss der Australian Opera und der Victoria State Opera hervorgegangen ist. Im Jahr 2004 gab das Ensemble 226 Aufführungen im Rahmen ihrer Abonnementsreihen am State Theatre des Victorian Arts Centre und am Sydney Opera House Opera Theatre, zu denen mehr als 294.000 Zuschauer erschienen. Weitere 13.350 Zuschauer besuchten die von OzOpera, dem Bildungszweig von Opera Australia, inszenierten Aufführungen von La bohème in Victoria, Northern Territory und Western Australia, während das Schulensemble von OzOpera vor über 63.500 Grundschülern in mehr als 360 Aufführungen in den städtischen und ländlichen Gebieten von New South Wales und Victoria auftrat. Sieben Monate lang steht Opera Australia jedes Jahr auf dem Programm der Sommerund Winterspielzeiten am Sydney Opera House. Das Ensemble gastiert am Arts Centre Melbourne im Herbst (April und Mai) und Frühjahr (November und Dezember). Das Ensemble finanziert sich vor allem durch Kartenverkäufe und Firmenunterstützung und begrüßt die fortwährende Förderung durch die Regierung und die Wirtschaft Australiens bei der Verfolgung seines Hauptziels, die große Oper jedermann zugänglich zu machen. Zum Opera Australia Chorus gehören derzeit 48 hauptamtliche Mitglieder und noch weitere 200 Sänger, die bei Bedarf herangezogen werden können. Der für seine Vielseitigkeit bekannte Chor wurde im Synopsis Erster Akt Auf einer monderhellten Lichtung an einem See vergnügen sich Waldnymphen mit einem Wasserkobold. Ein Mondstrahl beleuchtet die Wassernymphe Rusalka, die dem Wasserkobold erzählt, daß sie sich in einen menschlichen Prinzen verliebt hat und nun auch sterblich werden möchte, um die körperliche Liebe erfahren zu können. Voller Angst, daß sie ihr unsterbliches Dasein aufgeben und die Bedeutung menschlicher Sünde kennenlernen könnte, rät der Wasserkobold Rusalka dennoch, sie möge die Hexe Ježibaba um Unterstützung bei der Erfüllung ihres Wunsches bitten. Bevor sie sich an die furchterregende Ježibaba wendet, bittet Rusalka den Mond, dem Prinzen ihre Liebe zu übermitteln. Ježibaba teilt Rusalka in spöttischem Ton mit, sie könne sie zwar in einen Menschen verwandeln, Rusalka werde dann aber stumm sein; und schlimmer noch, sollte sie zurückgewiesen werden, so werde sie zu einem Irrlicht, weder unsterblich noch menschlich und dazu verdammt, ewig herumzuwandern und arglose Seelen in die Tiefe des Waldsees zu locken, während der Prinz sterben müsse. Rusalkas verzehrende Liebe zwingt sie, zuzustimmen, und als die Morgendämmerung anbricht und der Prinz auf der Jagd den Wald erreicht, wird sie verwandelt. Von der nun schweigenden, menschlichen Rusalka bezaubert, ergreift er sie und nimmt sie mit sich auf sein Schloß. Zweiter Akt Ein Wildhüter unterhält sich mit einem Küchenjungen über das seltsame Mädchen, das der Prinz in dem furchterregenden Wald gefunden hat, und über die Hochzeitsvorbereitungen. Sie eilen fort, als der Prinz mit Rusalka auftaucht; dieser ist verwirrt und kann ihr Schweigen und ihre scheinbar unbeteiligte Kälte überhaupt nicht verstehen. Das Auftauchen einer weltgewandten fremdländischen Prinzessin weckt ihn aus seiner verwirrten Träumerei, und ein Ballett kündigt sodann die Hochzeitsvorbereitungen an. Der Wasserkobold taucht im Schloßteich auf und beklagt Rusalkas Schicksal. Der Prinz und die fremdländische Prinzessin erscheinen; sie sind inzwischen eine Liebesbeziehung eingegangen. Rusalka fleht den Prinzen an, er möge sich ihr zuwenden, doch nun wird sie zurückgewiesen. Der Wasserkobold erhebt sich aus dem Wasser und verflucht den Prinzen, während die Prinzessin hochmütig davoneilt. Dritter Akt Rusalka wartet am See und beklagt ihr Schicksal. Ježibaba teilt ihr mit, daß sie den CHAN 10449(3) Booklet.indd 34-35CHAN 10449(3) Booklet.indd 34-35 20/11/07 17:01:2820/11/07 17:01:28 36 37 Dirigenten. 1971 gründete er die City of London Sinfonia, deren künstlerischer Leiter er ist. Ferner ist er Assoziierter Gastdirigent des London Symphony Orchestra, Emeritierter Dirigent der Northern Sinfonia und Mitbegründer des Collegium Musicum 90. Er dirigiert regelmäßig die großen Orchester des Landes und ist häufig auf den BBCPromenadenkonzerten und den Festivals von Aldeburgh, Bath und Cheltenham aufgetreten. Mit dem London Symphony Orchestra hat er im Barbican Centre eine Reihe von halbszenischen Opern aufgeführt, darunter Billy Budd, Hänsel und Gretel und Salome. Mit dem Bournemouth Symphony Orchestra präsentierte er in London erstmalig den vollständigen Zyklus von Vaughan Williams’ Sinfonien. Im Zuge seiner langjährigen Verbindung mit dem Philharmonia Orchestra hat er an der South Bank Elgar-, Walton- und Britten-Festivals sowie auf dem AldeburghFestival eine halbszenische Aufführung von Gloriana dirigiert. Neben seiner Tätigkeit an der Oper von Sydney haben Engagements ihn in jüngerer Zeit unter anderem an die Royal Opera Covent Garden, die English National Opera, die Wiener Staatsoper und die Washington Opera geführt. Als Gastdirigent hat er solch weltberühmte Klangkörper wie das Pittsburgh Symphony Orchestra, das Orchestre de Paris, das Bayerische Radio-Sinfonieorchester und das New York Philharmonic dirigiert. Sein phänomenaler Erfolg in den Aufnahmestudios resultierte in mehr als 280 Einspielungen, darunter jüngst Zyklen der Orchesterwerke von Sir Lennox und Michael Berkeley und Frank Bridge mit dem BBC National Orchestra of Wales, die Sinfonien von Vaughan Williams mit dem London Symphony Orchestra und eine Reihe von Brittens Opern mit der City of London Sinfonia. Er wurde mit einem Grammy (für Peter Grimes) und fünf Gramophone Awards ausgezeichnet. Richard Hickox wurde im Jahr 2002 im Rahmen der Jubilee Honours List der Königin mit einem CBE (Commander of the Order of the British Empire) geehrt und hat außerdem zahlreiche andere Auszeichnungen erhalten, darunter zwei Royal Philharmonic Society Music Awards, den ersten Sir Charles Groves Award, den Evening Standard Opera Award und den Association of British Orchestras Award. Jahr 2005 mit einem “Green Room Award for Consistent Excellence” ausgezeichnet. Zu seinen gefeierten Auftritten zählen die australische Erstaufführung von War and Peace zur Eröffnung des Opernhauses von Sydney, die Aufführungen der Meistersinger von Nürnberg anläßlich der ZweihundertjahrFeier des Staates sowie Weltpremieren australischer Kompositionen wie Richard Meales Voss, The Eighth Wonder von Dennis Watkins und Alan Johns sowie schließlich Batavia von Richard Mills und Peter Goldsworthy. Bemerkenswerte Inszenierungen in jüngerer Zeit umfassen Sweeney Todd unter der Leitung von Gale Edwards, Lady Macbeth of Mtsensk und The Love for Three Oranges unter Francesca Zambello, Otello unter der Leitung von Harry Kupfer, The Rake’s Progress unter John Cox, Wozzeck unter Barry Kosky und Billy Budd unter der Leitung von Neil Armfield. Neben seinem vollen Opernprogramm ist der Opera Australia Chorus in jüngerer Zeit auch in Konzertaufführungen von Carmina Burana und den Chichester Psalms (unter der Leitung von Richard Hickox) aufgetreten und hat für eine Aufführung von Rossinis Stabat Mater mit dem Sydney Symphony Orchestra zusammmengearbeitet. Weitere beachtete Konzerte, an denen der Chor mitgewirkt hat, umfassen Verdis Requiem (dirigiert von Simone Young), Brahms’ Ein deutsches Requiem, Mozarts Requiem (unter der Leitung von Richard Hickox) und Beethovens Neunte Sinfonie mit dem Tasmanian Symphony Orchestra. Das Australian Opera and Ballet Orchestra ist eines der meistbeschäftigten und vielseitigsten Orchester Australiens. Es ist im berühmten Sydney Opera House beheimatet und fungiert als fester Orchesterpartner der beiden führenden Ensembles im Lande, Opera Australia und The Australian Ballet. In einem typischen Jahr in Sydney spielt das Orchester bei etwa 175 Aufführungen von mehr als einem Dutzend Opern und über 80 Darbietungen von vier Balletten. Es arbeitet mit etwa einem Dutzend verschiedener Dirigenten zusammen und beherrscht die Aufführungstraditionen eines Repertoires, das von Monteverdi bis Berg reicht. Das Orchester ist auch in Galakonzerten zu erleben. Richard Hickox CBE, einer der begabtesten und vielseitigsten Dirigenten Großbritanniens, ist Musikdirektor der Opera Australia und war für den Zeitraum 2000–2006 zum Chefdirigenten des BBC National Orchestra of Wales berufen; danach wechselte er auf die Position eines Emeritierten Das Libretto ist in deutscher Übersetzung verfügbar. Näheres erfahren Sie von Chandos (Anschrift auf Seite 103) oder über die Website. CHAN 10449(3) Booklet.indd 36-37CHAN 10449(3) Booklet.indd 36-37 20/11/07 17:01:2920/11/07 17:01:29 Barry Ryan as the Gamekeeper and Sian Pendry as the Kitchen BoyDominica Matthews, Taryn Fiebig and Sarah Crane as the Wood Nymphs CHAN 10449(3) Booklet.indd 38-39CHAN 10449(3) Booklet.indd 38-39 20/11/07 17:01:2920/11/07 17:01:29 40 41 version remaniée ne connut qu’un succès modéré lors de ses premières représentations. Deux comédies lui succédèrent encore pendant les années 1870: une comédie en un acte, Les Amoureux têtus (Tvrdé palice) et Le Paysan rusé (Šelma sedlák). Il y a dans ces deux œuvres quelques uns des épisodes musicaux les plus charmants que Dvořák ait écrits au cours de cette période. Le climax de ce courant particulier d’écriture opératique se profila dix ans plus tard avec l’achèvement en 1888 de Le Jacobin (Jakobín), le chef-d’œuvre semi-comique de Dvořák, une célébration merveilleusement lyrique, à la texture riche, de la réconciliation entre un père et son fils prodigue, et l’amour de la musique du peuple tchèque. Les deux grands opéras sérieux que composa Dvořák dans les années 1870 et 1880, Vanda et Dimitri, se trouvaient en marge des tendances modernistes du tragique Dalibor de Smetana et de son opéra de fête, Libuše, ainsi que des sentiers plus wagnériens qu’explorait Zdeněk Fibich dans le drame musical, La Fiancée de Messine (Nevěsta Messinská). Dvořák ne se montra expérimental dans aucune des deux œuvres et c’est pour cette raison peut-être que Dimitri, surtout, fut accueilli avec enthousiasme par le public tchèque dans les années 1880 (contrairement à La Fiancée de Messine qui vida inexorablement l’opéra). La phase post-américaine de la carrière de Dvořák fut assez différente. Déçu par la symphonie et la musique abstraite en général, le compositeur se tourna vers le folklore tchèque pour y puiser de l’inspiration. Depuis la fin des années 1880, une tendance programmatique se dessinait de plus en plus dans ses œuvres, notamment dans la “Triple ouverture”, Nature, Vie et Amour, au point que le critique du Musical Times fit courir la rumeur, lors de la création en Angleterre de la Huitième symphonie en 1890, que son mouvement lent était inspiré d’une légende; si ce fut le cas, Dvořák n’en fit jamais rien savoir à la postérité. Dans la symphonie suivante, la célèbre Symphonie du Nouveau Monde, l’œuvre de Longfellow, The Song of Hiawatha eut une influence majeure. Pendant son séjour aux États-Unis, entre 1892 et 1895, Dvořák ne composa pas le grand opéra américain qu’espérait Mrs Thurber, son employeur au National Conservatory of Music à New York. Mais ceci n’empêcha pas le Musical Times d’écrire que la version opératique de Dvořák de La Case de l’oncle Tom était attendue avec impatience. Au cours de cette période le compositeur se consacra plutôt à un remaniement radical de son grand opéra, Dimitri, une révision qui le rapprocha considérablement du drame musical wagnérien; et, deux ans après son retour à Le succès de la création de Roussalka le 31 mars 1900, fut, compte tenu de son sujet, l’un des plus inattendus dans l’opéra tchèque au tournant du siècle. La principale préoccupation des contemporains de Dvořák (surtout des plus jeunes) en matière d’opéra fut cette sensationnelle innovation des années 1890, le verismo. La première représentation à Prague de Cavalleria rusticana de Mascagni, en 1891, précipita l’extension de cet engouement parmi le public et les compositeurs. Même les anciens artisans du renouveau national tchèque, comme Karel Bendl et Richard Rozkošný, se lancèrent dans le nouveau réalisme avec enthousiasme, mais aucun des deux ne réussit cependant à offrir aux Tchèques un équivalent local de “Cav and Pag” (Cavalleria rusticana et Paillasse). La jeune génération fut également attirée par des sujets réalistes et, si Eva de Foerster connut un succès raisonnable, l’œuvre majeure de ce courant nouveau fut Jenufa de Janáček. Composé environ à la même époque que Jenufa, Roussalka se déroule dans un univers éclairé par la lune, très éloigné des sombres émotions du réalisme tchèque et, cependant, bien qu’allant à l’encontre du courant, ce fut le plus grand triomphe opératique de Dvořák. Avec La Fiancée vendue de Smetana, Roussalka est ancré aujourd’hui au cœur même du répertoire tchèque. Dvořák et l’opéra À l’époque où il se mit à écrire Roussalka, Dvořák était un compositeur chevronné avec neuf opéras à son actif. Les deux premiers, l’opéra wagnérien Alfred – d’après un texte allemand – et la comédie étonnamment expérimentale Le Roi et le charbonnier (Král a uhlíř) n’étaient plus en harmonie avec les goûts opératiques tchèques des années 1870 (aucun des deux ne fut porté à la scène du vivant du compositeur). Mais Dvořák se mit bientôt à produire une série de comédies coulées dans le même moule que La Fiancée vendue, un genre dont Smetana et son librettiste Sabina furent les pionniers et qui avait manifestement la faveur du public praguois. Une étape remarquable du voyage de Dvořák vers une plus grande orthodoxie fut la nouvelle mise en musique qu’il fit de l’opéra Le Roi et le charbonnier qui acquit ainsi un style entièrement nouveau, beaucoup plus proche de la manière de Smetana. Cette Dvořák: Roussalka CHAN 10449(3) Booklet.indd 40-41CHAN 10449(3) Booklet.indd 40-41 20/11/07 17:01:3220/11/07 17:01:32 42 43 Un élément dont Dvořák n’a peut-être pas été conscient, mais qui donne au livret de Kvapil une profondeur poignante, est le sentiment aigu qu’avait son auteur de la condition souvent trop pénible de la femme dans la société de son temps. Deux de ses pièces, Feu follet et La Princesse Dent-delion explorent sous forme d’allégorie les vicissitudes de la condition féminine. La première a trait aux suppositions tacites quant à la virginité, et à son absence, tandis que la seconde évoque le triste destin d’une princesse royale mariée à un homme de la campagne qui, incapable de faire face à sa nouvelle vie, sombre dans une mélancolie profonde, puis est emportée enfin par un vent froid comme une semence de dent-de-lion. Si l’on soumet Roussalka à une lecture allégorique – et la plupart des contes de fées s’y prêtent bien –, le destin de l’héroïne éponyme peut être interprété de manière similaire. À l’époque on se souciait beaucoup de la situation critique des jeunes filles tchèques de la campagne en service à Vienne, car leurs employeurs abusaient d’elles et les renvoyaient bien souvent lorsqu’elles étaient enceintes, les vouant à une vie de prostitution et de maladie. Dans Roussalka, l’antinomie entre la vie rurale et urbaine apparaît dans le contraste entre la forêt de Roussalka et le château du Prince; de même l’absence de ruse de Roussalka s’oppose fortement à la sophistication calculatrice de la Princesse étrangère. Il y a ensuite le prix à payer par Roussalka pour son statut de mortelle: elle est muette. Ceci est l’image même d’une servante tchèque à Vienne condamnée au silence, car elle ne parle guère l’allemand peut-être, ne pouvant résister à l’éloquente séduction de ses supérieurs. Même le destin ultime de Roussalka que fuient ses anciennes compagnes de jeux reflète la répugnance témoignée à de nombreuses anciennes servantes rentrant chez elle à la campagne, avilies et malades. S’il est vrai que cette dimension de misère humaine a donné plus de profondeur au drame de Kvapil, c’est plutôt à la beauté tragique de ce “conte de fées lyrique” – soustitre de l’œuvre – que Dvořák fit écho. Toujours porté vers le lyrisme dans l’opéra, Dvořák est d’une éloquence mélodique sans pareille dans cette partition, la plus belle qu’il ait écrite. Si la présence de Wagner est perceptible dans certains leitmotive et parfois dans le tissu harmonique, comme elle l’est aussi dans l’opéra-conte de fées de Humperdinck, Hansel et Gretel, qui lui est légèrement antérieur, elle le fut certes tout à son avantage. Roussalka est aussi l’opéra que Dvořák a conçu le plus délibérément en “mélodie continue”, bien que ceci Prague, Dvořák apporta des changements importants à son opéra, Le Jacobin. Dvořák et le “Roussalka” de Kvapil Plus tard au cours de sa carrière professionnelle, Dvořák s’intéressa de près aux ballades d’inspiration folklorique de Karel Jaromir Erben. Erben, qui était bien connu comme poète et traducteur – de Goethe notamment –, avait compilé pour la Bohême un recueil complet de “Chansons populaires et comptines tchèques”. Les mélodies des couplets furent publiées indépendamment des textes qui parurent en 1864. Dvořák eut souvent recours à ces derniers dans ses mises en musique de mélodies. Le recueil le plus populaire de Erben était Le Bouquet de légendes nationales (Kytice z povestí národních) publié en 1853. Dvořák s’orienta vers cette source d’inspiration lorsqu’on lui commanda une cantate pour le Birmingham Choral Festival de 1885. Le résultat fut La Fiancée du spectre (Svatební košile), l’histoire particulièrement macabre d’une jeune femme attirée dans un charnier par son fiancé fantomatique; l’œuvre plut immensément au public victorien. À son retour en Bohême après son séjour en Amérique, Dvořák se tourna une fois encore vers Le Bouquet de Erben pour les programmes de quatre poèmes symphoniques aux coloris brillants. Comme il s’était fermement resitué dans l’univers du folklore de Bohême, il n’est pas surprenant de constater qu’il y eut recours pour des thèmes d’opéra. Son premier opéra-conte de fées, Le Diable et Catherine (Čert a Káča) s’inspire d’une histoire provenant d’un recueil du célèbre auteur Božena Němcová. Après le succès de la création de l’œuvre en 1899, alors que Dvořák était à la recherche d’un nouveau livret, František Šubert, le directeur du Théâtre national, attira son attention sur Roussalka de Jaroslav Kvapil. Le livret de Kvapil n’avait pas réussi à éveiller l’intérêt d’un certain nombre de jeunes compositeurs dont Josef Suk, le gendre de Dvořák, mais c’est avec une impatiente ardeur que Dvořák lui-même s’en empara, et il acheva la partition en un peu plus de six mois, au milieu de l’année 1900. Kvapil s’était inspiré de Undine de De la Motte Fouqué tout en empruntant – il l’admettait – un certain nombre d’éléments à la Petite sirène d’Andersen et à La Cloche engloutie de Gerhart Hauptmann. Malgré son éclectisme, le livret a beaucoup d’homogénéité par son atmosphère qui, comme en convient Kvapil, lui vient en grande partie du Bouquet de Erben. D’ailleurs Kvapil s’interrogea, dans son introduction au livret, sur la possibilité que Dvořák ait été charmé en premier lieu par cette source d’inspiration folklorique. CHAN 10449(3) Booklet.indd 42-43CHAN 10449(3) Booklet.indd 42-43 20/11/07 17:01:3320/11/07 17:01:33 44 45 merveilleusement expressive à Ondin, à la sorcière Jezibaba et au trio de nymphes. La manière dont il traite les rôles plus ouvertement comiques du garde-chasse et du tournebroche est tout aussi ingénieuse, notamment quand on les trouve occupés à cancaner avec animation aux accents d’une imitation d’un air de cornemuse au début du deuxième acte. Il est intéressant de noter que lorsque Dvořák négociait la création à Vienne de l’opéra, Mahler exprima le souhait de supprimer cette touche de comique piquant; ce fut une des raisons, finalement, pour lesquelles cette première en Autriche n’eut pas lieu. Le fait est que tout, dans cette remarquable partition, semble d’une absolue perfection. Même le ballet des invités à la noce dans le deuxième acte, une polonaise somptueuse avec un trio d’une attendrissante beauté, souligne dramatiquement l’incapacité de Roussalka à participer aux célébrations des humains. Mais tout cela ne serait rien sans le portrait fait par Dvořák du rôle titre: la passion à peine contenue de Roussalka dans le premier acte, son désespoir lorsque le Prince la rejette dans le deuxième et sa désolation résignée dans le dernier sont parfaitement rendus. Quand il refusa le livret de Roussalka, le compositeur Josef Bohuslav Foerster dit qu’à son avis Dvořák était la personne la plus parfaitement apte à mettre le texte en musique. En effet, compositeur et récit ont rarement été en harmonie aussi intime que dans Roussalka. Synopsis Acte I Par une nuit de lune, dans une clairière longeant un lac, des nymphes folâtrent en compagnie d’un ondin. Un rayon de lune illumine la nymphe des eaux, Roussalka, qui raconte à l’ondin qu’elle est tombée amoureuse d’un prince humain et souhaite devenir mortelle pour vivre un amour charnel. L’ondin, très anxieux à l’idée de la voir perdre son immortalité et découvrir le péché humain, dit néanmoins à Roussalka de demander l’aide de la sorcière Jezibaba pour accéder à son désir. Avant d’aborder la terrifiante Jezibaba, Roussalka demande à la lune de parler au prince de son amour. Sur le ton du sarcasme, Jezibaba explique à Roussalka qu’elle peut lui donner forme humaine, mais qu’elle sera muette, et pire encore, si le prince la rejette, elle deviendra un feu follet, ni immortelle ni humaine, mais condamnée à errer, prenant au piège les imprudents dans les profondeurs du lac; et enfin, le prince mourra. N’écoutant que sa passion dévorante, Roussalka accepte ce destin et elle subit la métamorphose, tandis n’empêche pas le grand air le plus célèbre de l’opéra tchèque, le “Chant à la lune” de Roussalka, qui est d’une indicible beauté, d’être souvent extrait de la partition. Mais l’auditeur s’apercevra, en écoutant l’œuvre dans son intégralité, qu’il ne s’agit que d’une des merveilleuses arias de l’héroïne éponyme: parmi elles, il y a aussi les paroles extraordinairement émouvantes de Roussalka dans le premier acte, “Ton éternelle sagesse te fait connaître toutes choses” (Staletá moudrost tvá všechno ví), à l’adresse de la sorcière Jezibaba qui, comme l’espère Roussalka, pourra lui donner un corps de femme, et sa lamentation, “Privée de ma jeunesse” (Mladostí své pozbavená), au début du troisième acte. Dvořák trouve aussi une solution ingénieuse quand Roussalka, muette dans le premier acte, ne peut déclarer son amour au Prince. Au lieu du duo paroxystique auquel on pourrait s’attendre, il imagine une sorte de dialogue dans lequel le Prince chante seul des phrases dont l’intensité s’amplifie, et qui clôturent l’acte dans une extase passionnée. Il va sans dire que lorsque Roussalka a retrouvé la faculté de parler, ses échanges avec le Prince égaré et malade à la fin de l’opéra forment l’un des épisodes les plus touchants de l’œuvre. Ses dernières paroles, “Je meurs heureux dans tes bras”, sont traitées avec une délicieuse retenue. Les pages finales dans lesquelles Roussalka, maintenant seule, rejetée par les hommes et par ses sœurs – les nymphes –, bénit avec affection la dépouille du Prince fautif sont véritablement inoubliables. La coloration instrumentale de Roussalka est l’un des secrets de sa magie. Dvořák a toujours été inspiré dans le traitement de l’orchestre, mais ici il atteint de nouveaux sommets d’expressivité. Pour ne prendre qu’un seul exemple, c’est presqu’avec une délicatesse impressionniste qu’il dépeint le clair de lune dans lequel baigne le palais du Prince peu avant le ballet central du deuxième acte. La maîtrise qu’a Dvořák du discours symphonique est tout aussi remarquable: un peu à l’image des Messes de la maturité tardive de Haydn où la fusion des éléments symphonique et liturgique est extrêmement convaincante, l’instinct symphonique de Dvořák s’harmonise parfaitement avec l’impulsion lyrique. De ce fait, chacun des trois actes est pourvu de moments d’apothéose d’une force extraordinaire. Les différents caractères sont merveilleusement observés. Il est évident que l’expérience acquise par l’écriture de poèmes symphoniques inspirés de la poésie de Erben et toute une vie de création souvent orientée sur la composition d’opéras aidèrent largement Dvořák à donner cette coloration CHAN 10449(3) Booklet.indd 44-45CHAN 10449(3) Booklet.indd 44-45 20/11/07 17:01:3320/11/07 17:01:33 46 la branche d’Opera Australia consacrée à l’éducation et au développement, tandis qu’OzOpera’s Schools Company se produisit devant plus de 63,500 élèves d’âge primaire dans le cadre de 360 représentations dans les villes et les campagnes de New South Wales et de Victoria. Opera Australia élit domicile à l’Opéra de Sydney sept mois par an, pour ses saisons d’été et d’hiver. La compagnie est ensemble en résidence à l’Arts Centre de Melbourne pour une saison au printemps, de novembre à décembre, et une saison à l’automne, en avril et en mai. La compagnie vit essentiellement de la recette des spectacles et de l’aide financière de sociétés, et elle accueille à bras ouverts le soutien que lui offrent à présent le gouvernement et les sociétés australiennes pour atteindre le but qu’elle s’est fixée: offrir du grand opéra à tout le monde. L’Opera Australia Chorus compte actuellement quarante-huit membres travaillant à temps plein; deux cents chanteurs supplémentaires sont employés temporairement selon les nécessités. Renommé pour la variété de ses talents, le Chœur se vit décerner en 2005 un Green Room Award spécial avec la mention “Consistent Excellence”. Parmi ses exécutions majeures, mentionnons la création en Australie de Guerre et Paix pour l’inauguration du Sydney Opera House, les exécutions de Die Meistersinger von Nürnberg pour marquer le bicentenaire de l’Australie et les créations mondiales d’œuvres australiennes comme Voss de Richard Meale, The Eighth Wonder de Dennis Watkins et Alan Johns, et Batavia de Richard Mills et Peter Goldsworthy. Citons parmi ses productions récentes acclamées par la critique: Sweeney Todd dirigé par Gale Edwards, Lady Macbeth de Mtsensk et L’Amour des trois oranges dirigés par Francesca Zambello, Otello dirigé par Harry Kupfer, Le Libertin dirigé par John Cox, Wozzeck dirigé par Barry Kosky et Billy Budd dirigé par Neil Armfield. En plus de son programme complet de productions opératiques, l’Opera Australia Chorus a participé à de récentes productions en concert de Carmina Burana et des Chichester Psalms (sous la direction de Richard Hickox) et a collaboré avec le Sydney Symphony Orchestra à une exécution du Stabat Mater de Rossini. Citons parmi d’autres concerts remarquables, le Requiem de Verdi (sous la direction de Simone Young), Ein deutsches Requiem de Brahms et le Requiem de Mozart (sous la direction de Richard Hickox), et la Neuvième symphonie de Beethoven avec le Tasmanian Symphony Orchestra. 47 que point le jour et que le prince arrive dans la forêt au cours d’une partie de chasse. Ébloui par le charme de Roussalka, devenue femme, mais à présent silencieuse, le prince l’entraîne dans son palais. Acte II Un garde-chasse et un tournebroche cancanent au sujet le la jeune fille étrange trouvée par le prince dans la terrifiante forêt et des préparatifs de la noce. Ils s’enfuient lorsque le prince s’approche avec Roussalka. Le prince est embarrassé, absolument incapable de comprendre le silence de sa dulcinée et l’absence de toute réponse de sa part. L’apparition d’une princesse étrangère pleine de raffinement l’arrache à sa rêverie perplexe, et un ballet marque les préliminaires de la noce. L’ondin surgit dans l’étang du château et pleure le destin de Roussalka. Le prince et la princesse étrangère apparaissent amoureusement enlacés et Roussalka tente de se faire accepter par le prince, qui la rejette. L’ondin se dresse et maudit le prince tandis que la princesse s’éloigne rapidement, avec arrogance. Acte III Roussalka attend au bord du lac et pleure son destin. Jezibaba lui dit qu’elle pourrait être sauvée si elle tuait le prince; Roussalka rejette cette offre et lance le couteau que lui tend la sorcière dans le lac. Le garde-chasse et le tournebroche arrivent et, terrifiés, implorent de l’aide pour leur prince malade. L’ondin surgit dans le lac et annonce que le prince est damné parce qu’il a repoussé Roussalka. Les nymphes des bois, en train de chanter leur beauté, sont abattues en entendant le sort réservé à Roussalka. Le prince apparaît, comme fou, cherchant son amour perdu. Dans un échange émouvant avec Roussalka, il consent à périr dans ses bras. Alors qu’il pousse son dernier soupir, Roussalka lui pardonne et accepte sa sombre destinée. © 2008 Jan Smaczny Traduction française: Marie-Françoise de Meeûs Opera Australia est le nom de la compagnie lyrique nationale d’Australie, un ensemble plein de vitalité né de la fusion de The Australian Opera et du Victoria State Opera. En 2004, la compagnie donna 226 représentations dans le cadre de ses saisons pour abonnés au State Theatre of the Victorian Arts Centre et au Sydney Opera House Opera Theatre, devant plus de 294,000 spectateurs. En plus, 13,350 mélomanes virent La bohème mis en scène dans les provinces de Victoria, Northern Territory et Western Australia par OzOpera, CHAN 10449(3) Booklet.indd 46-47CHAN 10449(3) Booklet.indd 46-47 20/11/07 17:01:3420/11/07 17:01:34 48 49 et de Frank Bridge avec le BBC National Orchestra of Wales, les symphonies de Vaughan Williams avec le London Symphony Orchestra ainsi qu’une série d’opéras de Britten avec le City of London Sinfonia. Il a reçu un Grammy (pour Peter Grimes) et cinq Gramophone Awards. Richard Hickox s’est vu décerner le titre de Commander of the Order of the British Empire (CBE) par la Reine en 2002 et a reçu de nombreuses autres prix, dont deux Music Awards de la Royal Philharmonic Society, le tout premier Sir Charles Groves Award, l’Evening Standard Opera Award et l’Association of British Orchestras Award. Les membres de l’Australian Opera and Ballet Orchestra forment l’un des orchestres les plus actifs du pays, dans les styles musicaux les plus variés. Basé dans le célèbre Sydney Opera House, le rôle principal de l’orchestre est d’être le partenaire indispensable des deux plus grandes compagnies artistiques d’Australie, Opera Australia et The Australian Ballet. Au cours d’une année typique, l’Orchestre donnera quelques 175 représentations de plus de douze opéras et plus de 80 représentations de quatre ballets. L’ensemble travaillera avec une douzaine de chefs différents, maîtrisant les traditions d’interprétations et un répertoire allant de Monteverdi à Berg, et participera également à plusieurs Concerts de Gala. L’un des chefs d’orchestre les plus doués et les plus complets de Grande-Bretagne, Richard Hickox CBE est directeur musical d’Opera Australia. Il fut chef principal du BBC National Orchestra of Wales entre 2000 et 2006 quand il est devenu chef honoraire. Il est directeur musical du City of London Sinfonia qu’il fonda en 1971. Il est également chef invité associé du London Symphony Orchestra, chef honoraire du Northern Sinfonia et co-fondateur de Collegium Musicum 90. Il dirige régulièrement les plus grands orchestres du Royaume-Uni et a souvent participé aux Proms de la BBC ainsi qu’aux festivals d’Aldeburgh, de Bath et de Cheltenham entre autres. Avec le London Symphony Orchestra, il a dirigé au Barbican Centre à Londres plusieurs mises en scène partielles d’opéras dont Billy Budd, Hänsel und Gretel et Salome. À la tête du Bournemouth Symphony Orchestra, il a donné la première intégrale des symphonies de Vaughan Williams à Londres. Dans le cadre de son association avec le Philharmonia Orchestra, il a dirigé des festivals d’Elgar, de Walton et de Britten dans des salles du South Bank à Londres et une mise en scène partielle de Gloriana au Festival d’Aldeburgh. Outre ses activités avec l’Opéra de Sydney, il a récemment travaillé entre autres avec le Royal Opera de Covent Garden, l’English National Opera, l’Opéra d’état de Vienne et le Washington Opera. Il a été invité à diriger des orchestres de renom mondial tels le Pittsburgh Symphony Orchestra, l’Orchestre de Paris, l’Orchestre symphonique de la Radio bavaroise et le New York Philharmonic. Connaissant un succès phénoménal en studio, il a réalisé plus de 280 enregistrements, dont dernièrement des cycles d’œuvres orchestrales de Sir Lennox et Michael Berkeley Une version française du livret est disponible aux intéressés. Veuillez s’adresser à Chandos à l’adresse indiquée sur la page 103, ou suivre le lien sur le site Web de Chandos. CHAN 10449(3) Booklet.indd 48-49CHAN 10449(3) Booklet.indd 48-49 20/11/07 17:01:3420/11/07 17:01:34 Bruce Martin as the Water Sprite and Cheryl Barker as Rusalka Rosario La Spina as the Prince and Cheryl Barker as Rusalka CHAN 10449(3) Booklet.indd 50-51CHAN 10449(3) Booklet.indd 50-51 20/11/07 17:01:3520/11/07 17:01:35 52 53 (Tancˇí.) Hou, hou, hou, meˇsíc bloudí nad vodou! Echo …nad vodou! Lesní žínky Po jezerˇe tancˇí vánek, probudil se hastrmánek, hastrmánek tatrmánek, hou, hou, hou, bublinky už ze dna jdou. Hou, hou, hou, hastrmánek nad vodou! (Vodník se vynorˇí, mne si ocˇi a divá se na tancˇící.) Hastrmánek chce se ženit, která z vás chce vodu peˇnit, deˇdka cˇesat, lože zmeˇnit, hou, hou, hou, s babkou hastrmanovou? (Skotacˇí kolem vodníka, který z vody nemu˚že a jen po pás vycˇnívá nad hladinu.) Hou, hou, hou! Vodník (dobromyslneˇ a jakoby žertem) 3 I peˇkneˇ vítám, peˇkneˇ vítám z lesa k jezeru! jakž, je tam smutno bujným slecˇinkám? Mám dole na dneˇ samu nádheru a zlatých rybek na pytle tam mám – (They dance.) Ho, ho, ho, the moon is wandering over the lake! Echo …over the lake! Wood Nymphs A little breeze is dancing over the lake, the Water Sprite has woken up, Water Sprite, water clown, ho, ho, ho, bubbles are rising from the depths. Ho, ho, ho, the Water Sprite is coming to the surface! (The Water Sprite emerges from the water, rubs his eyes and looks at the dancing Wood Nymphs.) Water Sprite wants to get married, which of us will make the water foam, comb the old one’s tangled locks, take the place – ho, ho, ho – of Grandma Water Sprite? (They skip around the Water Sprite, who cannot leave the water and remains submerged up to his waist.) Ho, ho, ho! Water Sprite (jokingly) You are most welcome here in the lake, you denizens of sylvan glades! Why, have your high spirits been dampened by the forest gloom? I have some wonderful things to show you down on the bottom: goldfish by the sackful – COMPACT DISC ONE 1. Jednání Prˇedehra 1 Palouk na pokraji jezera. Kolkolem lesy, v nich na brˇehu jezera chalupa Ježibaby. Meˇsíc svítí. (Na staré vrbeˇ, jeež se sklání k jezeru, sedí Rusalka, smutneˇ zamysˇlena. Trˇi lesní žínky, držíce se za ruce, lehkým tanecˇním krokem v poprˇedí jevisˇteˇ se pohybují.) Lesní žínky 2 Hou, hou, hou, stojí meˇsíc nad vodou! Echo …stojí meˇsíc nad vodou! Lesní žínky Zveˇdaveˇ se v hloubku dívá, po kameni ke dnu splývá, hastrmánek hlavou kývá, hou, hou, hou, starou hlavou zelenou. (Tancˇí.) Hou, hou, hou, kdo to chodí noci tou? Hou, hou, hou! Hastrmánku, meˇsíc stoupá, už se tobeˇ v okneˇ stoupá, za chvíli se k tobeˇ vloupá, hou, hou, hou, hou, ve tvou sínˇku strˇíbrnou! Act I Prelude A forest glade at the edge of a lake, on the shore of which stands Ježibaba’s cottage. It is a moonlit night. (Rusalka, in pensive mood, is sitting in the branches of an old willow tree overhanging the lake. Three Wood Nymphs are holding hands and skipping around at the front of the stage.) Wood Nymphs Ho, ho, ho, the moon hangs above the lake! Echo …the moon hangs above the lake! Wood Nymphs Curious, the moon peers into the depths, sending her beams to the bottom of the lake, where a Water Sprite shakes his head. Ho, ho, ho, his old green head. (They dance.) Ho, ho, ho, who goes there through this night? Ho, ho, ho, Water Sprite, the moon is rising, she is peeping through your window and in a moment will steal in, ho, ho, ho, ho, into your silvery hall! CHAN 10449(3) Booklet.indd 52-53CHAN 10449(3) Booklet.indd 52-53 20/11/07 17:01:3820/11/07 17:01:38 54 55 Rusalka 4 Hastrmánku, tatícˇku! Vodník (jenž ji drˇíve nevideˇl, obrátí se prˇekvapen a ptá se vesele) Kýho sˇlaka, díteˇ – snad mi tady v meˇsícˇku nesusˇísˇ mé síteˇ? Rusalka Hastrmánku, tatícˇku, než se vody zpeˇní, secˇkej se mnou chvilicˇku, at mi smutno není! Vodník I vida, smutno! Rusalka Vsˇechno rˇeknu ti! Vodník A dole taky? Rusalka Smutno k zalknutí! Vodník Dole, kde je samý rej? Není možná! Povídej! Rusalka Chteˇla bych od vás, hlubin teˇch se zbýti, cˇlověkem být Rusalka Father Water Sprite! Water Sprite (Noticing her, he turns round in surprise and addresses her good-humouredly.) How you startled me, my child! I hope you’re not using moonbeams to dry out my fishing nets? Rusalka Father Water Sprite, before the foaming waters reclaim me, stay with me a while and chase sorrow away! Water Sprite What do you mean, sorrow? Rusalka I’ll tell you all about it! Water Sprite Are you sad down below the water? Rusalka So sad, I could die! Water Sprite Down below, where it’s all fun and games? It’s not possible! Explain yourself! Rusalka I would like to leave here, to escape from the watery depths, to become human (Lapá rukou po žínkách, které mu pokaždé uklouznou.) rákosím se kmitnu, ruku svou jen napnu, po slecˇince chnˇapnu, za nožky ji chytnu, stáhnu si ji k nám! (Lapá nemotorneˇ po žínkách.) Lesní žínky Hastrmánku, heja hej, tedy si nás nachytej! Hou, hou, hou! (Lesní žínky prˇi tomto zpeˇvu couvají ode jezera stále poskakujíce a dovádeˇjíce.) Kterou chytísˇ, mužícˇku, dá ti peˇknou hubicˇku! Ale žena, ha ha ha, za usˇi ti vytahá! Ha ha, ha ha, za usˇi ti vytahá! Heja, hej! Tedy si nás nachytej! (Rozutekou se.) Vodník Ulicˇnická haveˇt’! Kterak zbrkle pádí! Horem, dolem, dolem polem – inu, mládí, mládí! (Rusalka, která již od pocˇátku sedí na vrbeˇ nad jezerem, zavolá teskneˇ na vodníka.) (He makes a grab at the Wood Nymphs, who slip from his grasp.) I’ll flit through the reeds and stretch out my hand to grab one of these luscious young things; I’ll catch hold of her foot and drag her down to the depths! (He lunges ineptly at the Wood Nymphs.) Wood Nymphs Water Sprite, hey, hey, try and catch us if you can! Ho, ho, ho! (Still skipping and frolicking, the Wood Nymphs beat a retreat from the lake.) Whichever one you catch, dear man, will give you a nice kiss! But your wife, ha ha ha, will pull your ears for you! Ha ha, ha ha, she’ll pull your ears for you! Hey, hey! Try and catch us if you can! (They run away.) Water Sprite What a pack of guttersnipes! And they can certainly run! Uphill, down dale, across the fields – well, they’re young, after all! (Rusalka, still sitting in the willow tree overhanging the lake, calls sadly to the Water Sprite.) CHAN 10449(3) Booklet.indd 54-55CHAN 10449(3) Booklet.indd 54-55 20/11/07 17:01:3820/11/07 17:01:38 56 57 he doesn’t even know that I exist. I know that I must myself become human, so that – just as I embrace him and hold him in my arms – he too will embrace me and kiss me passionately! Water Sprite My child, my child, night after night your sisters will weep over you, there’s no hope for you once you’ve been seduced by a human being! Rusalka Water Sprite dearest, he must be able to see me! Tell me, father dear, what am I to do? Water Sprite You are doomed, lost for eternity, if you give yourself to a man! It’s pointless to ask you to join in the fun down below. You’d better summon the witch Ježibaba, my poor, wan Rusalka! (He begins to sink.) Woe! Woe! Woe! (He disappears below the water.) Rusalka (singing to the moon, whose beams now light up the entire landscape. It is a beautiful summer’s night.) O moon in the velvet heavens, your light shines far, mou bytost nesmí zrˇít. Ó vím, že cˇloveˇkem drˇív musila bych býti, jak já jej objímám a vinu já jej v ruce, by on mne objal sám a zulíbal mne prudce! Vodník Díteˇ, diteˇ, z noci do noci tvoje sestry budou pro teˇ plakat, už ti není, není pomoci, cˇloveˇk-li teˇ v svou moc doved’ zlákat! Rusalka Hastrmánku, mužícˇku, on mne musí zocˇit, poveˇz, poveˇz, tatícˇku, co mám, smutná, pocˇít? Vodník Ztracena, ztracena do veˇku˚, prodána, prodána cˇloveˇku! Marno je lákat teˇ dolu˚ v rej – Ježibabu si zavolej, ubohá Rusalko bledá! (Potápí se.) Beˇda! Beˇda! Beˇda! (Zmizí pod vodou.) Rusalka (zpívá, hledíc k meˇsíci, jenž zatím ozárˇil celou krajinu. Je krásná letní noc.) 6 Meˇsícˇku na nebi hlubokém, sveˇtlo tvé daleko vidí, and live in the golden sunshine! I would like to leave here, to escape from the watery depths. Water Sprite Can I believe my ears? You want to become human? To become a mortal being? Rusalka You yourself used to tell me strange tales of how they have souls – unlike us – and of how these souls ascend to heaven once the human dies and vanishes from the earth! Water Sprite For as long as these waves cradle you, do not wish for a soul, for souls are full of sin. Rusalka And full of love! Water Sprite Ye ancient waters! My child, you are surely not in love with a human being? Rusalka He often comes here and submits to my embrace. Leaving his clothes on the shore, he plunges into my arms. But because I’m only a wave, a v zlatém slunci žíti! Chtěla bych od vás, hlubin těch se zbýti. Vodník Mohu-liž věriˇt vlastním usˇím svým? Cˇloveˇkem býti? Cˇloveˇkem býti? Tvorem smrtelným? Rusalka Sám vyprávěls ty zveˇsti neznámé, že mají dusˇi, které nemáme, a dusˇe lidí že jde nebi vstrˇíc, když cˇloveˇk zhyne a když znikne v nic! Vodník Dokud rodná kolébá teˇ vlna, nechteˇj dusˇi, ne, ta je hrˇíchu plna. Rusalka A plna lásky! Vodník Vodo praveˇká – snad nemilujesˇ, díteˇ, cˇloveˇka? Rusalka 5 Sem cˇasto prˇichází a v objetí mé stoupá, sˇat shodí na hrázi a v loktech mých se koupá. Lecˇ pouhou vlnou jsem, CHAN 10449(3) Booklet.indd 56-57CHAN 10449(3) Booklet.indd 56-57 20/11/07 17:01:3920/11/07 17:01:39 58 59 Ježibaba Slysˇím cosi, cˇichám cosi, ozvi se a poveˇz, kdo jsi! Rusalka Rusalka jsem, vodní vila, dej mi léku, tetko milá! Ježibaba Jsi-li víla, zjev se hbiteˇ, ukaž se mi, krásné díteˇ! Rusalka Vlnami jsem upoutána, do leknínu˚ zamotána. Ježibaba Vytrhni se, cupy hupy, pospeˇsˇ ke mneˇ do chalupy, pust˙ ji, vlnko, pust˙ ji ke mneˇ, až se nožky dotknou zemeˇ! (Rusalka se snese s vrby a namáhaveˇ tápe k Ježibabeˇ.) Ježibaba (jakoby cˇarovala) Nožicˇky, neste ji, nožicˇky, držte ji, vida, jak nožicˇky chodit už umeˇjí! Rusalka (klesne k nohám Ježibaby) Ježibabo! Ježibabo! Pomoz, pomoz, pomoz! 8 Staletá moudrost tvá vsˇechno ví, proniklas prˇírody tajemství, Ježibaba Fee, fie, fo, fum, what’s this I hear? Speak up, and tell me who you are! Rusalka My name is Rusalka, and I am a water nymph. Please give me a potion, auntie dear! Ježibaba Reveal yourself, if you are a nymph. I must see you, you lovely child! Rusalka I am held down by the waves and tethered to the waterlilies. Ježibaba Tear yourself away if you can and hasten to my cottage. Release her, waves, set her free, let her feet touch the ground! (Rusalka climbs down from the willow tree and stumbles towards Ježibaba.) Ježibaba (as if casting a spell) Little feet, carry her, little feet, support her – see how her feet are already learning to walk! Rusalka (falling at Ježibaba’s feet) Ježibaba! Ježibaba! Help me, help me! With your ancient wisdom, you know everything, you have discovered nature’s secrets, po sveˇteˇ bloudisˇ sˇirokém, dívásˇ se v prˇíbytky lidí. Meˇsícˇku, postu˚j chvíli, rˇekni mi, kde je mu˚j milý! Rˇekni mu, strˇíbrný meˇsícˇku, mé že jej objímá rámeˇ, aby se alesponˇ chvilicˇku vzpomenul ve sneˇní na mneˇ. Zasveˇt’ mu do daleka, rˇekni mu kdo tu nanˇ cˇeká! O mneˇ-1i, dusˇe lidská sní, at’ se tou vzpomínkou vzbudí, meˇsícˇku, nezhasni, nezhasni! (Meˇsíc zmizí v mracích.) 7 Ta voda studí, studí! (Zachveˇje se úzkostí.) Ježibabo! Ježibabo! (V chateˇ Ježibaby vzplane ohenˇ.) Vodník (hluboko pod vodou) Ubohá Rusalko bledá! Beˇda! Beˇda! Beˇda! Rusalka (úpeˇnliveˇ) Ježibabo! Ježibabo! Ježibaba (vyjde z chalupy a rozhlíží se) Lkáním, sˇtkáním, narˇíkáním kdo mne budí prˇed svítáním? Rusalka Ježibabo, léku dej mi, vodní kouzlo se mne sejmi! you roam throughout the whole world, gazing into human dwellings. O moon, stay a while, tell me where my beloved is! O tell him, silver moon, that my arms enfold him, in the hope that for at least a moment he will dream of me. Shine on him, wherever he may be, and tell him of the one who awaits him here! If a human soul should dream of me, may he still remember me on awaking; o moon, do not fade away! (The moon disappears behind the clouds.) The water feels cold! (She trembles with anxiety.) Ježibaba! Ježibaba! (A fire glows in Ježibaba’s cottage.) Water Sprite (from the depths of the lake) My poor, wan Rusalka! Woe! Woe! Woe! Rusalka (urgently) Ježibaba! Ježibaba! Ježibaba (coming out of her cottage and looking round) What’s all this weeping and wailing? Who dares to wake me before sunrise? Rusalka Ježibaba, you must give me a potion to set me free from this watery realm! CHAN 10449(3) Booklet.indd 58-59CHAN 10449(3) Booklet.indd 58-59 20/11/07 17:01:3920/11/07 17:01:39 60 61 Ježibaba A nic víc? Pranic víc? A nic víc? Proto prˇišlas úpeˇjíc? (s humorem, ale stále jízliveˇji) Voda teˇ už omrzela, lidského jsi lacˇna teˇla, milování lasˇkování, hubicˇek a cukrování, to já znám, to já znám, s takovou se chodí k nám! Rusalka Tvoje moudrost vsˇechno tusˇí, dej mi lidské teˇlo, lidskou dusˇi! Ježibaba Dám ti, dám, veˇz to rarach sám! Ale ty mi musísˇ dát pru˚svitný svu˚j vodní sˇát – a když lásky neokusísˇ na sveˇteˇ, zavržena žíti musísˇ v hlubinách zas prokleteˇ. Ztratísˇ-li tu lásku, po niž cit tvu˚j prahne, kletba vodních mocí zas teˇ v hloubku stáhne, a než nabudesˇ jí, trpeˇt budesˇ též, pro vsˇechen lidský sluch neˇma zu˚stanesˇ. Chcesˇ být neˇma, chcesˇ, pro toho, jejž milujesˇ? Ježibaba Is that all? Nothing more? Is that all you want? You came here crying for that? (jokingly, but with increasing malice) You are tired of living in the water and you yearn to have a human body so that you can love and be loved, exchange kisses, bill and coo: I know all about that – that’s what everyone wants! Rusalka In your wisdom you know everything: give me a human body, a human soul! Ježibaba I’ll give you one, the devil I will! But in return you must give me your clear water veil – and if by chance you fail to find love on earth, you will be condemned to a life of rejection, cursed in the depths of the lake. If you lose this love for which you now pine, the curse of the watery powers will drag you down to the depths again, and even before you find it you’ll still have to suffer, for to all human beings you will remain mute. Is that what you want, to be mute to the one you love? za nocí hlubokých o lidech snísˇ, odveˇkým živlu˚m rozumísˇ, pozemské jedy, paprsky meˇsíce dovedesˇ svarˇit na léku˚ tisíce, dovedesˇ spojit, dovedesˇ borˇit, dovedesˇ usmrtit, dovedesˇ stvorˇit, cˇloveˇka v prˇísˇeru, prˇísˇeru v cˇloveˇka dovede promeˇnit moudrost tvá odveˇká. Rusalky za nocí hrozbou svou strasˇísˇ, pro lidské strasti divné léky snásˇísˇ, pro nás i pro lidi ve sveˇteˇ dalekém sama jsi živlem, sama jsi cˇloveˇkem, se smrtí veˇcˇnost je veˇno tvé, pomoz mi, pomoz mi, zázracˇná ženo! Pomoz mi! Ježibaba (s d˙ábelským smíchem) 9 To ja znám, to já znám, s takovou se chodí k nám! Ale slysˇ, pilneˇ slysˇ, nežli léku okusísˇ: perly másˇ, krásu másˇ, pomohu-li, co mi dásˇ? Rusalka Vsˇe, co mám, si vem, ale udeˇlej mne cˇloveˇkem! in the depths of the night you dream of people, and you understand the eternal elements, you know how to combine earthly poisons and moonbeams into thousands of remedies, you know how to build up, how to break down, how to destroy, how to create, you can turn a man into a monster and back again, and all by means of your eternal wisdom. At night, nymphs tremble at the thought of you, you prepare miraculous remedies to cure people’s ailments, for us and for humans throughout the world you are both an elemental and a human being, both mortality and immortality are your portion, help me, help me, wondrous woman! Help me! Ježibaba (with a diabolical laugh) I know that, I know that, people are always telling me that! Now listen carefully before you try this potion: you have pearls and beauty; but what will I get for helping you? Rusalka Take everything I have, but make me into a human being! CHAN 10449(3) Booklet.indd 60-61CHAN 10449(3) Booklet.indd 60-61 20/11/07 17:01:4020/11/07 17:01:40 62 63 (Lesní žínky slysˇíce to vybíhají z lesa a postrasˇeneˇ nahlížejí okénkem do chalupy.) Kapka krve dracˇí, deset kapek žlucˇe, teplé srdce ptacˇí, pokud jesˇteˇ tlucˇe! Skocˇ, mu˚j mourku, skocˇ a skocˇ, varem v kotli pozatocˇ! Cˇury mury fuk, cˇury mury fuk, nelekej se veˇtsˇích muk! Tot˙ tvé lidské veˇno, a to musísˇ píti, tím, co uvarˇeno, jazyk zdrˇeveˇní ti. Skocˇ, mu˚j mourku, hola hej, v hrdlo jí tu št , ávu vlej! Cˇury mury fuk, cˇury mury fuk – ale ted’ už ani muk! (Divoký sykot v chalupeˇ zvolna slábne. Lesní žínky se rozprchly. Obloha se jasní, z daleka zneˇjí lovecké rohy. Nad jezerem, rdí se jitrˇní zárˇe.) Vodník (hluboko pod vodou) Ubohá Rusalko bledá! Beˇda! Beˇda! Beˇda! (Lovecké rohy zneˇjí stále zrˇetelneˇji, lovci se blíží. Je slysˇet princova lovce, an zpívá.) (The Wood Nymphs come running out of the forest and fearfully peep through the window of the cottage.) A drop of dragon’s blood, ten drops of bile, the warm heart of a bird, still beating! Jump, my tom-cat, jump, jump, give it all a good stir! Abracadabra, abracadabra, no torture can ever be as bad as this! This is your lot as a human and you must drink it; once you’ve tasted this brew, your tongue will feel as if turned to wood. Jump, my tom-cat, hola, hey, pour this potion down her throat! Abracadabra, abracadabra – and from now on not a word out of you! (The manic hissing sound coming from the cottage gradually dies down. The Wood Nymphs disperse. The sky clears, and hunting horns can be heard in the distance. The first light of dawn spreads over the lake.) Water Sprite (from the depths of the lake) My poor, wan Rusalka! Woe! Woe! Woe! (The hunting calls become more distinct as the hunters approach. The song of a hunter can be heard.) Rusalka Jeho-li lásku poznat smím, ráda, veˇrˇ, ráda pro neˇj oneˇmím! Ježibaba Strˇez si ho, strˇez, a veˇz to, veˇz: prokleta-li se vrátísˇ ve vodníkovu rˇísˇ, milácˇka svého také zahubísˇ, stane se navždy obeˇtí veˇcˇného, vkného tvého prokletí! Rusalka Cˇistou dusˇí, cˇistou lidskou dusˇí moje láska vsˇechna kouzla zrusˇí! Ježibaba Tedy pojd’, honem pojd’, do chaty mne vyprovod’! V krbu jedy uvaříme, Rusalku tím napojíme – ale potom ani muk, cˇury mury fuk! (Vejdou do chalupy, v jejímž okénku zaplane cˇervená žárˇe. Proud jisker vyrazí komínem. Za chvíli lze slysˇet sykot v kotli. Do toho se mísí zaklínání Ježibaby.) Ježibaba 10 Cˇury mury fuk, cˇury mury fuk, bílá pára vstává z luk! Rusalka If only I can know his love, I’ll gladly remain mute for him! Ježibaba Make sure you watch over him, and know this: if you should return accursed to the realm of the Water Sprite, your lover will also meet his end there! He will be forced to share your fate: eternal damnation! Rusalka Armed with a pure human soul, my love will defeat all such spells! Ježibaba Come quickly, then, to my cottage! We’ll brew some poisons on the stove, give them to Rusalka to drink – and then there won’t be another word out of her! Abracadabra! (They enter the cottage, from which a red glow can be seen through the window. The chimney emits a stream of sparks. Soon the hissing of a kettle can be heard, mingled with Ježibaba’s incantations.) Ježibaba Abracadabra! Abracadabra, the mist is rising from the meadows! CHAN 10449(3) Booklet.indd 62-63CHAN 10449(3) Booklet.indd 62-63 20/11/07 17:01:4120/11/07 17:01:41 64 65 Lovec (nablízku) Lanˇ nebyla to, lovcˇe, stu˚j, Bu˚h tvoji dusˇi opatruj! Srdce tvé smutno je zcela! Koho ti stihla tvá strˇela? (Neˇkolik lovcu˚ vyjde z lesa.) Princ Ustanˇte v lovu, na hrad vrat’te se, podivné cˇáry bloudí po lese, divneˇjší cˇáry v dusˇí mám; domu˚ vrat’te se, chci býti sám! (Lovci odcházejí. Princ usedne na brˇehu jezera, ale když vzhlédne, spatrˇí Rusalku, ana prˇed ním stojí. Rusalka vyšla z chalupy. Je bosa, v popelavých sˇatech nuzného díteˇte. Krásné její zlaté vlasy hluboko splývají Je neˇma.) (Princ vyskocˇí) 12 Vidino divná, prˇesladká, jsi-li ty cˇloveˇk nebo pohádka? Prˇisˇla jsi chránit vzácné zveˇrˇi, kterou jsem zahléd’ v lesa sˇerˇi? Prˇisˇla-lis prosit za ni, sestrˇicˇko bílých laní? Anebo sama, jak vstrˇíc mi jdesˇ, korˇistí lovcovou býti chcesˇ? (Rusalka vztáhne k neˇmu své ruce, nemohouc promluvit.) Svírá ti ústa tajemství, cˇi navždy jazyk tvu˚j ztich’? Huntsman (getting closer) That was no doe – stop, Huntsman! God protect your immortal soul! Your heart is numb with sorrow! Who was it that your arrow pierced? (Several huntsmen emerge from the forest.) Prince The hunt is over, it’s time to return to the castle. This forest is bewitched, and an even more mysterious magic has entered my soul; go back home, I want to be alone! (The huntsmen depart. The Prince sits down on the shore of the lake, and when he looks up he sees Rusalka standing in front of him. She has left the cottage in the meantime and is barefooted and dressed in the drab clothes of a poverty-stricken child. Her beautiful golden hair cascades down over her shoulders. She cannot speak.) (The Prince leaps to his feet.) Divine vision, sweetest being, are you a real woman or something from a fairytale? Have you come to protect that rare creature I have just glimpsed in the forest gloom? Have you come to intercede on her behalf, sister of the white doe? Or, by coming to meet me, do you wish to offer yourself as prey? (Instead of speaking, Rusalka stretches out her arms to him.) What secret has sealed your lips, or has your tongue always been silent? Lovec (z daleka) 11 Jel mladý lovec, jel a jel, lanˇ bílou v lese uvideˇl. Hluboké ocˇi ta meˇla. – Zda-li ji stihne má strˇela? Ó mladý lovcˇe, dále speˇj, tu bílou lanˇku nestrˇílej! Varuj se jejího teˇla! – Zda-li ji stihne má strˇela? (Lovecké rohy znovu zneˇjí Princ s kusˇí v ruce vybeˇhne z lesa a rozhlíží se.) Princ Zde mihla se a zase zmizela! Horem a dolem, lesem a polem podivná zveˇrˇ ta míhá se kolem, a tady stopa znikla docela! A tajemným vlneˇním potají ty vody mne v lokty své lákají, jak bych meˇl divoký lovu cit v objetí jejich zas ochladit. Krok vázne mi, stesk cítím neznámý, zbranˇ z unavené ruky padá mi, sotva lov zacˇal, unavil mne vráz, divné to kouzlo zajalo mne zas! Huntsman (in the distance) A young Huntsman was once out riding, when he saw a white doe in the forest, a white doe with soulful eyes. – Will my arrow strike her down? Oh, young Huntsman, hurry on, do not take aim at that white doe! Keep away from her body! – Will my arrow strike her down? (The hunting horns sound again. The Prince runs out of the woods with a bow in his hand and looks around.) Prince She came this way and then disappeared! Up hill and down dale, through woods and fields, that wondrous creature has been leading me a merry dance, but here the trail vanishes completely! These mysterious ripples lure me on, enticing me into the lake, as if inviting me to quench my thirst for hunting in the water’s cool embrace. My steps falter, I feel a strange longing, my weapon falls from my weary hand. The hunt has hardly begun, yet already I am tired, once more I am overcome by a strange enchantment! CHAN 10449(3) Booklet.indd 64-65CHAN 10449(3) Booklet.indd 64-65 20/11/07 17:01:4220/11/07 17:01:42 66 67 Princ 13 Vím, že jsi kouzlo, které mine a rozplyne se v mlžný rej, lecˇ dokud cˇas násˇ neuplyne ó pohádko má, neprchej! Mu˚j skoncˇen lov, nacˇ myslit nanˇ? Tys nejvzácneˇjsˇí moje lanˇ, tys hveˇzdicˇka zlatá v noc temnou – pohádko má, pojd’ se mnou! Pojd’ se mnou, pohádko, má! (Princ zahaliv zatím Rusalku ve svu˚j plásˇt’ odvádí ji do lesa.) COMPACT DISC TWO 2. Jednání Sad na zámku princoveˇ. V pozadí slouporˇadí a slavnostní sínˇ hodovní. V poprˇedí pod starými stromy rybník. Odpoledne, chýlí se zrovna k vecˇeru a pak noc. (Hajný prˇichází s kuchtíkem.) Hajný 1 Járˇku, járˇku, kloucˇe milé, dopoveˇz, dopoveˇz, dopoveˇz, jaká že to kratochvíle na zámku se strojí dnes? Prince I know you’re nothing but magic, and will fade away and be dispersed in the rolling mists – but while there is still time left to us, do not flee, my fairytale! I’ve done with hunting, what point is there in it now? For me, you are the most precious doe, you are a golden star shining in the night – my fairytale, come with me! Come with me, my fairytale! (The Prince wraps Rusalka up in his cloak and leads her away through the forest.) Act II A park surrounding the Prince’s palace. In the background there is a gallery and a banqueting hall, in the foreground is a pond under some old trees. It is late afternoon, fading into evening and then night. (The Gamekeeper enters with the Kitchen Boy.) Gamekeeper Tell me all, dear boy, don’t stint on the details, what are all these festivities in aid of that are taking place in the palace today? Neˇma-li ústa tvá, Bu˚h to ví, vylíbám odpoveˇd’s nich! Odpoveˇd’ záhadám, jež mne sem lákaly, jež mne sem volaly prˇes trní, prˇes skály, abych tu konecˇneˇ v blažený dnesˇní den, díteˇ, tvým pohledem náhle byl okouzlen! Co v srdci tvém je ukryto, másˇ-li mne ráda, zjev mi to! (Rusalka mu padne do nárucˇí.) Rusalky (pod vodou) Sestry, sestry, sestry, jedna schází z nás! (Rusalka polekána se vzchopí a naslouchá.) Sestrˇicˇko, sestrˇicˇko, kam odesˇlas? (Rusalka se chveˇje nerozhodností a bázní.) Vodník (pod vodou) Prˇes hory, doly a lesy! Rusalky Sestrˇicˇko, sestrˇicˇko, kde jsi? (Rusalka se stulí v svrchované úzkosti v nárucˇ princovu.) But even if you cannot speak, I swear to God, my kiss will wring an answer from them! An answer to the mystery which brought me here, which lured me over thorns and rocks, until finally, on this day of bliss, I find myself basking in the enchantment of your gaze, you lovely child! What is concealed in your heart? If you love me, give me some sign! (Rusalka throws herself into his arms.) Water Nymphs (from under the water) Sisters, sisters, sisters, one of our number is missing! (Rusalka raises her head fearfully and listens.) Sister dear, sister dear, where have you gone? (Rusalka trembles with uncertainty and apprehension.) Water Sprite (from under the water) Up hill and down dale, through the woods! Water Nymphs Sister dear, sister dear, where are you? (Overcome with anguish, Rusalka clings to the Prince.) CHAN 10449(3) Booklet.indd 66-67CHAN 10449(3) Booklet.indd 66-67 20/11/07 17:01:4320/11/07 17:01:43 68 69 2 U nás v lese strasˇí sˇlakovité moci, lesem divní brasˇi chodí o pu˚lnoci. Je-li v teˇle dusˇe slabá uhrane ji Ježibaba, pode hrází tuze snadno hastrman teˇ stáhne na dno. A kdo vidí Lesní žínky bez kosˇilky, bez sukýnky, omámí ho lásky chtícˇ, Pánbu˚h s námi a zlé prycˇ! Kuchtík (s úzkostí) Strýcˇku, strýcˇku, já se bojím! Hajný Inu, není div, Pánbu˚h hrˇichu˚m tvojím budiž milostiv! Kuchtík Násˇ princ vždy tak sˇvarný byl, kterak se ted’ promeˇnil! Není, jaký býval, není, bloudí jako omámen, stará Háta na modlení dává za neˇj den co den. A pan farárˇ, jak to, slysˇel, varovat ti prince prˇisˇel, ale princ ne a ne, holka prý tu zu˚stane! Our forest is haunted by some sinister power, strange creatures wander about the woods at night. Those who are weak in mind and body risk falling under the spell of the witch Ježibaba, and the Water Sprite lies in wait by the dam, looking for a chance to drag you down. And he who sees the Wood Nymphs, prancing around with not a stitch on, is in danger of losing his head completely – the Lord save us and deliver us from evil! Kitchen Boy (nervously) I’m scared, Uncle! Gamekeeper And no wonder, may the Lord have mercy on your sinful soul! Kitchen Boy Our Prince always used to be so dashing, but now he’s completely changed! He’s no longer the man he was, but wanders around as if in a daze. Old Auntie Háta is so worried about him, she has prayers said for him every day. And when the priest heard about it, he came to warn the Prince, but our Prince wouldn’t hear a word of it, and insisted that the girl would stay! To je hostí na sini, to je práce v kuchyni, na stolích a na policích podivného nácˇiní! Kuchtík (s naivním úsmeˇvem) Máme ti ted’ shánˇku, milý strýcˇe Vanˇku, do vecˇera od svítání neustanem v práci ani! Pomysli si, pomysli si, zdas to, strýcˇku, slysˇel kdysi? Princ ti nasˇel v lese divné stvorˇení, a s ním, podivme se, snad se ožení! Nasˇel prý ji v lesích tvých, ve tvých lesích hlubokých, ale at’ ji vzal, kde vzal, já bych se jí, strýcˇku, bál! Holka je ti neˇmá, kapky krve nemá, chodí jako vyjevená, to by byla cˇistá žena! Hajný Je to, pravda vskutku, co se mluví vsˇude? Mu˚j ty milý smutku, už to takhle bude! At’ nás Pánbu˚h chrání, myslivec jsem starý, že v tom milování veˇzí divné cˇáry! The hall is full of guests and you are busy in the kitchen, with all sorts of exotic utensils set out on the tables and shelves! Kitchen Boy (with a simple smile) We’re on the go the whole day, dear Uncle Vaněk, from dawn to dusk there’s no time to rest! Just think, just think, have you ever heard such a thing? The Prince found in the forest a mysterious being, and now, would you believe it, the chances are he could marry her! They say he found her in your forest, in the deepest part of the forest, but be that as it may, I find her a bit creepy, Uncle! She cannot speak, there is no human blood in her veins, she goes around as if in a trance – a fine wife she’d make! Gamekeeper Can it really be true, what everyone’s saying? Dear me, it seems that it is! May the Lord preserve us! As an old Huntsman, I feel some magic spell lies behind this lovematch! CHAN 10449(3) Booklet.indd 68-69CHAN 10449(3) Booklet.indd 68-69 20/11/07 17:01:4320/11/07 17:01:43 70 71 (Princ prˇichází s Rusalkou. Rusalka krásneˇ odeˇna, ale stále smutná a bledá.) Princ 3 Již týden dlísˇ mi po boku, jak z báje zjev dlísˇ prˇede mnou, a marneˇ v ocˇí hluboku tvou bytost hledám tajemnou! Má snˇatek dát mi teprve, co láska dávno chteˇla, by rozhorˇela jsi do krve a byla ženou mou zcela? (Kneˇžna vyjde pozadím a s hneˇvivou zásˇtí pozoruje prince.) Procˇ chladí tvoje objetí, vzplát vásˇní procˇ se bojí? Procˇ úzkostí jen zachveˇti mám v nárucˇi se tvojí? A marneˇ, marneˇ dusím smutný cit, z nárucˇe tvé se nelze vyprostit, byt’ stokrát bylas chladná, nesmeˇlá, mít musím tebe, musím tebe mít docela! Kneˇžna Ne, není to láska, hneˇvivý je to cit, že jiná dlí, kde já jsem chteˇla být, a že jsem jeho míti nemeˇla, at’ sˇteˇstí obou zhyne docela! Princ Mít musím tebe, tebe mít docela, (The Prince enters with Rusalka. She is beautifully dressed, but still looks sad and pale.) Prince You have now been with me for a week, and you still seem like some fairytale creature. In vain do I attempt to fathom your secret by gazing deeply into your eyes! When we are married, will I then experience that which my love longs to know? Will you then be consumed with ardour and be a real wife to me? (The Foreign Princess appears in the background and looks angrily at the Prince.) Why is your embrace so cold, why are you afraid to surrender to passion? Why am I seized with anguish when I hold you in my arms? I try in vain to put aside my melancholy mood, I cannot free myself from your embrace, and no matter how cold and diffident you are, I have to make you mine! Princess (in the background) No, it is not love I feel, but anger, that another takes what should be my place, but if I can’t have him myself, then I don’t want them to be happy either! Prince I have to make you mine, completely mine, Hajný Proto jsou tu hosté již! Proto se tak prázdní spíž! Proto jsem honem vlek’ plno zveˇrˇe na zámek! Kuchtík Na sˇteˇstí, jak zdá se nemeˇlo to, být, vsˇecko mu˚že zase, zase jiná pokazit! Stará Háta vypráví, jak prý je princ vrtkavý, už prý jeho láska mizí, jinou prý zas v mysli má, po jakési kneˇžneˇ cizí hází prý už ocˇima! Hajný Pánbu˚h dej, Pánbu˚h dej, ve zdraví ho zachovej! Já být princem, bez okolku˚ vyhnal bych tu cizí holku, než mne v peklo zamotá: at’ se klidí, žebrota! Kuchtík (náhle) Hu, tam si vede princ tu obludu! (Utecˇe.) Hajný Já na ni také cˇekat nebudu! (Utecˇe jinudy.) Gamekeeper So that’s why there are so many guests here! That’s why the cupboards are almost bare! That’s why I was ordered to bag so much game and bring it to the palace at the double! Kitchen Boy Fortunately, it seems that help may be at hand. Another woman could well restore him to his senses! Auntie Háta says that the Prince is fickle, and that his love is already fading. It’s said his thoughts are turning to another – some Foreign Princess has now caught his eye! Gamekeeper Praise to the Lord for preserving him from evil! If I were the Prince, I would chase out that strange girl without further ado, before she drags me down into hell; send that good-for-nothing on her way! Kitchen Boy (abruptly) Look out, here comes the Prince with the monster herself! (He runs away.) Gamekeeper I’ve no intention of hanging around here either! (He runs off in the opposite direction.) CHAN 10449(3) Booklet.indd 70-71CHAN 10449(3) Booklet.indd 70-71 20/11/07 17:01:4420/11/07 17:01:44 72 73 (Podává kneˇžne ruku. Rusalka pokrocˇí a krˇecˇoviteˇ se chytne ruky princovy.) Nacˇ rozpaky tvoje, a procˇ se tolik chveˇjesˇ? V svou komnatu pospeˇsˇ a stroj se k plesu již! Kneˇžna (k Rusalce, s víteˇzným úsmeˇsˇkem) Ó, vystrojte se v sˇaty prˇebohaté, mám dvornost jeho, vy vsˇak srdce máte! (Princ odvádí kneˇžnu. Rusalka ztrnule hledí za nimi, jako by pohledem chteˇla prince zadržet, ale pak smutna a zlomena odchází sama slouporˇadím. Zatím se stále sˇerˇí, vecˇer hasne a pozdeˇji zasvitne meˇsíc.) 5 Balet (V síni zazní slavnostní hudba a zaplanou sveˇtla. Je videˇt v pozadí slavnostní ruch, hosté se scházejí a tvorˇí skupiny. Pozdeˇji zpeˇv a tanec.) (Vodník se vynorˇí rybníka a dívá se do síneˇ, kde vírˇí veselí.) Vodník Beˇda! Beˇda! Ubohá Rusalko bledá, v nádheru sveˇta zakletá! Beˇda! 6 Celý sveˇt nedá ti, nedá, vodní cˇím rˇísˇe rozkvétá! Stokrát bys byla cˇloveˇkem, ve jhu jsi spjatá odveˇkém. (He offers the Princess his hand. Rusalka steps forward and boldly takes hold of it.) What’s the matter? Why are you trembling? Go now to your room and prepare for the ball! Princess (to Rusalka, with a condescending sneer) Dress yourself in your finest clothes; I have his gallantry, though you may still have his heart! (The Prince leads the Princess away. Rusalka watches them intently, as if hoping to hold the Prince back with her gaze, but then, sad and broken-hearted, she herself leaves through the gallery. Night is falling and presently the moon appears.) Ballet (Festive music can be heard from the hall, where lights are now blazing. Guests are milling around in the background, greeting each other and forming small groups. Later there is singing and dancing.) (The Water Sprite emerges from the pond and looks into the hall, where the festivities are now in full swing.) Water Sprite Woe! Woe! Poor, wan Rusalka, caught up in this dazzling world! Woe! No-one in the world can give you that which the watery realm abounds in! For no matter how long you are human, you can’t escape the bonds that tie you. byt’ stokrát bylas chladná, nesmeˇlá, mít musím tebe docela! Kneˇžna (jde ve poprˇedí) Zda na chvíli princ vzpomene si prˇec, že hostitelem též je milenec? (svu˚dneˇ) Má na to sˇteˇstí, jímž vás blaží sveˇt, též cizí host jen neˇmeˇ pohlížet? (Stane mezi princem a Rusalkou.) Princ (vzrusˇí se, sotvaže spatrˇil kneˇžnu) 4 Ach, výcˇitka to veˇru vcˇasná a s vasˇich rtíku˚ rád ji snásˇím: i ženich veˇru, kneˇžno krásná, je prˇedevsˇím jen sluhou vasˇím! Kneˇžna (jízliveˇ, pohlédnouc na Rusalku) A vasˇe kráska, citu˚ vasˇich paní, vás nepokárá za to slovem ani? (Rusalka na ni pohlédne s hneˇvnou bolestí.) Cˇi v pohledu svém tolik neˇhy má, že mluví s vámi pouze ocˇima? Princ (v rozpacích) Lecˇ ocˇi její rˇíci zapomneˇly, že hostitel se nepozorným stal. Necht’ nahradí ted’ rychle, svolíte-li, co roztržit jen chvíli zanedbal. no matter how cold and diffident you are, I have to make you mine! Princess (coming forward) It seems that the joy of being a lover is causing you to neglect your duties as a host! (seductively) Must a foreign guest observe in silence the happiness with which you have been blessed? (She interposes herself between the Prince and Rusalka.) Prince (becoming agitated as soon as he notices the Princess) Ah, this reproach comes not before time, and I am glad to hear it from your lips; even a bridegroom, fair Princess, is, above all, only your servant! Princess (spitefully, looking at Rusalka) And this beauty, the lady of your heart – does she never utter a single word of reproach? (Rusalka looks at her with a pained expression.) Or is there so much tenderness in her glance that her eyes say more than words can utter? Prince (embarrassed) Her eyes have omitted to tell me that I have become a careless host. So now, allow me straightaway to make amends and to carry out the duties I neglected. CHAN 10449(3) Booklet.indd 72-73CHAN 10449(3) Booklet.indd 72-73 20/11/07 17:01:4420/11/07 17:01:44 74 75 Vodník Ubohá Rusalko bledá, v nádheru sveˇta zakletá! Beˇda! Beˇda! Na vodách bílý leknín sní smutným ti druhem bude – pro tvoje lože svatební nekvetou ru˚že rudé! Hosté Kveˇtiny bílé po cesteˇ atd. (Rusalka vybeˇhne zoufalá ze síneˇ do sadu a zmatena, neveˇdouc kudy kam, rozbeˇhne se k vodeˇ.) Vodník Rusalko, znásˇ mne, znásˇ? Rusalka (zprvu jako by nemohla, ale pak se z ní vyderou slova a náhle vykrˇikne) Vodníku, tatícˇku drahý! Vodníku, tatícˇku drahý! Vodník Proto jsem prˇisˇel v zámek vásˇ, bych zrˇel teˇ truchlit tak záhy? Rusalka Tatícˇku, vodnícˇku, spas mne, spas, úzkost mne pojala hrozná! Beˇda, že chteˇ1a jsem zradit vás, beˇda, kdo cˇ1oveˇka pozná! Beˇda, beˇda! Jiná jej krásou jala vráz, divokou lidskou krásou, Water Sprite Poor, wan Rusalka, caught up in this dazzling world! Woe! Woe! White waterlilies dreaming on the water will be your sad companions – no red roses will ever adorn your bridal bed! Guests White blossoms along the road, etc. (In despair, Rusalka runs out of the hall into the garden and in a distracted state approaches the pond.) Water Sprite Rusalka, do you not recognise me? Rusalka (at first unable to speak, but then suddenly managing to tear the words out of herself) Water Sprite, father dear! Water Sprite, father dear! Water Sprite Is that why I came to this palace of yours – to find you weeping already? Rusalka Dear father Water Sprite, save me, save me, I am overcome with a terrible anguish! Woe on me for having betrayed you, woe on him who knows a human being! Woe, woe! Another has ensnared him with her beauty, with her fierce human beauty. Byt’ meˇl teˇ cˇloveˇk stokrát rád, navždy ho nemu˚žesˇ upoutat! (V loggii mihnou se tancˇící párý a zase zaniknou v síni.) Ubohá Rusalko bledá, zajatá v kouzlo lidských pout! Voda tvá vsˇude teˇ hledá, nadarmo chce teˇ obejmout! Až se zas vrátísˇ k družkám svým, budesˇ jen živlem smrtícím, vrátísˇ se žitím uvadlá, prokletí živlu˚ jsi propadla! Ubohá Rusalko bledá, v nádheru sveˇta zakletá! Hosté (zpeˇv v síni) 7 Kveˇtiny bílé po cesteˇ, po cesteˇ vsˇude kvetly, hoch jel a jel k své neveˇsteˇ a den se smál tak sveˇtlý. Kveˇtiny bílé po cesteˇ atd. Nemesˇkej, hochu, k milé speˇsˇ, dorostesˇ záhy v muže, zpátky až tudy pojedesˇ, pokvetou rudé ru˚že. Kveˇtiny bílé nejdrˇíve úpalem slunce zasˇly, ale ty ru˚že ohniveˇ svatební lože krásˇlí. Kveˇtiny bílé po cesteˇ, atd. (Princ se objeví chvílemi v slavnostním ruchu, jenž vírˇí sálem, a dvorˇí se okázale cizí kneˇžneˇ, nevsˇímaje si Rusalky.) And no matter how much you are loved by a man, you can’t bind him to you for ever! (Dancing couples come out onto the balcony and then disappear back into the hall.) Poor, wan Rusalka, ensnared in the magic of human ties! The underwater world longs for you, in vain your sisters try to embrace you! But when you return to them, you will be a mere mortal, you will come back worn out by life, with a curse hanging over your head! Poor, wan Rusalka, caught up in this dazzling world! Guests (singing in the hall) White blossoms along the road, flowering everywhere, a lad was riding to see his lass, and the day smiled so brightly. White blossoms along the road, etc. Do not tarry, young lad, hasten to your beloved, soon you will reach man’s estate, and when you come back this way, red roses will be blooming. The white blossoms were the first to be scorched by the sun, but these fiery roses adorn the bridal bed. White blossoms along the road, etc. (From time to time the Prince emerges from the dancers, ostentatiously courting the Foreign Princess and ignoring Rusalka.) CHAN 10449(3) Booklet.indd 74-75CHAN 10449(3) Booklet.indd 74-75 20/11/07 17:01:4520/11/07 17:01:45 76 77 Kneˇžna (princem provázena) Vám v ocˇích divný žár se zracˇí a naslouchám vám zmámena. Jste stále vrˇelejsˇí a sladsˇí, ó princi, co to znamená? Kam prchla vasˇe vyvolená, ta bez rˇecˇi a beze jména, kam prchla, aby videˇla, že princ je zmeˇneˇn docela? Princ Kam prchla? Milý Bu˚h to ví! Lecˇ zmeˇnou mou jste sama vinna. A letní noc to nepoví, že zajala mne kouzla jiná! Ó, nazvete to rozmarem, že miloval jsem jinou chvíli, a bud’te žhavým požárem, kde dosud luny svit plál bílý! Kneˇžna 10 Až požár mu˚j vás popálí a vsˇechny vasˇe vásˇneˇ zdeˇsí, až odejdu vám do dáli, co s leskem luny pocˇnete si? Až obejmou vás lokty slicˇné té neˇmé krásky námeˇsícˇné, cˇim k vásˇni hrˇát se budete? Ó, sˇkoda, sˇkoda vásˇneˇ‚ té! Princ A kdyby celý sveˇt chteˇl klnout mojí touze, vy jste ten žhavý kveˇt, byt’ kvetl chvíli pouze! Princess (accompanied by the Prince) A strange fire burns in your eyes, and I am enchanted by what you say. You are becoming more ardent and more considerate; what does this mean, my Prince? Where has your chosen one disappeared to – the mute girl, without a name? Where has she gone? She should be here to see how her Prince is changed! Prince Where has she gone? God only knows! But you alone have brought about this change. And this summer’s night will not reveal that I have been ensnared by another’s charms. Call it a whim if you like, that for a while I loved another, but from now on a blazing fire will replace the pale moonlight that held my heart! Princess But when my fire has burnt you out and has put all your passion to fright, when I am far away from you, what will you do with your moonlight then? When you are embraced by the lovely arms of that mute sleepwalker of yours – who will inflame your passions then? Oh, how I pity you in your passion! Prince Even if the whole world were to condemn my desire – you are my blazing flower, even if you bloom for but a moment! a mne už nezná, nezná zas, Rusalku prostovlasou! Vodník On že teˇ zavrh’, jenž meˇ1 teˇ rád? Musísˇ ted’, musísˇ vytrvat! Rusalka 8 Ó marno, ó marno! Ó marno to je a prázdnota je v srdci mém, jsou marny vsˇechny vdeˇky moje, když zpola jsem jen cˇ1oveˇkem! Ó marno to je, mne už nezná zas, Rusalku prostovlasou. Ó marno to je, jsou marny vsˇechny vdeˇky moje! Jí horˇí v ocˇích vásˇneˇ síla, té lidské vásˇneˇ prokleté, mne voda chladná porodila a nemám, nemám vásˇneˇ té! Ó marno, ó marno… Prokleta vámi, pro neˇj ztracena, odveˇkých živlu˚ hluchá ozveˇna. Ženou ni vílou nemohu být nemohu zemrˇít, nemohu žít! (Kleká k rybníku. Princ prˇichází s kneˇžnou z hodovní síneˇ do sadu.) 9 Vidísˇ je, vidísˇ? Jsou tu zas, tatícˇku, tatícˇku! Spas mne, spas! He no longer wants to know me, his simple Rusalka! Water Sprite So he has already rejected you, he who loved you so? Surely you’re not going to give up so easily? Rusalka Oh, it’s all in vain! There’s no point in going on, and my heart is now empty of feeling. All my charms are in vain, as I am still only half human! It’s all in vain, he no longer wants to know me, his simple Rusalka! It’s all in vain, all my charms are in vain! Her eyes burn with passion, that accursed human passion, whereas I was born of cool water and such passion is alien to me! Oh, it’s all in vain!… I am cursed by you, lost to him, a faint echo of the elemental world. I am neither a woman nor a nymph, I can neither live nor die! (She kneels down by the pond. The Prince and Princess come out of the banqueting hall into the garden.) Do you see them? Here they are again – Father, father! Save me, save me! CHAN 10449(3) Booklet.indd 76-77CHAN 10449(3) Booklet.indd 76-77 20/11/07 17:01:4520/11/07 17:01:45 78 79 (Vrhá se kneˇžneˇ k nohám a klesne na zemi omrácˇen.) Kneˇžna (s divokým smíchem) V hlubinu pekla bezejmennou pospeˇsˇte za svou vyvolenou! (Odchází.) COMPACT DISC THREE 3. Jednání 1 Palouk na pokraji jezera, jako poprvé. Chýlí se k vecˇeru, obloha je pod mrakem, ale pozdeˇji zaplanou cˇervánky, a konecˇneˇ nastane meˇsícˇná noc. (Rusalka sedí nad jezerem, kde prve sedeˇla. Vsˇecka je bílá a bledá. Vlas její zpopelaveˇl, ocˇi pohasly.) Rusalka Necitelná vodní moci, stáhlas mne zas v hlubinu, procˇ v tom chladu, bez pomoci nezhynu, ach, nezhynu? Procˇ nezhynu, ach, procˇ nezhynu? 2 Mladosti své pozbavena, bez radosti sester svých, pro svou lásku odsouzena teskním v proudech studených. Ztrativsˇi svu˚j pu˚vab sladký, milácˇkem svým prokleta, marneˇ toužím k sestrám zpátky, (He falls at the Princess’s feet and prostrates himself before her.) Princess (with a wild laugh) Into the nameless abyss of hell hasten after your chosen one! (She leaves.) Act III The same lakeside glade as in Act I. Night is drawing on and the sky is overcast, though it gradually becomes suffused with an evening glow and eventually the moon appears. (Rusalka is sitting suspended over the lake, just as she was in Act I. However, now she is drained of colour, her hair has turned grey and her eyes are dull.) Rusalka Unfeeling watery power, you have dragged me back down to the depths; why can’t I, poor helpless one, expire in your cold embrace? Why can’t I die, ah, why can’t I die? Deprived of my youth, of the company of my sisters, I am condemned by my love to pine among these cold currents. I have lost my charms, I am cursed by my beloved, in vain I seek to rejoin my sisters, Ted’ teprve to vím, cˇím mrˇelo moje teˇlo, když lásky tajemstvím se uzdraviti chteˇlo! (náhle obejme kneˇžnu) Co z lásky oné zbude, jíž v osidla jsem pad’? Rád strhám vsˇecky svazky, bych vás moh’ milovat! Kneˇžna Ó, teprve ted’ poznávám, že námluvy mi náhle kynou, pan ženich, zdá se, neví sám zda namlouvá si mne cˇi jinou! (Rusalka náhle se vytrhne vodníkovi, zoufale vybeˇhne a vrhne se v nárucˇ princovu.) Princ (na smrt podeˇsˇen) Mrazí mne tvoje ramena, bílá ty kráso studená! (Odstrcˇí Rusalku.) Vodník (zjeví se v plném sveˇtle meˇsícˇním nad rybníkem) V jinou speˇsˇ nárucˇ, speˇsˇ a speˇsˇ, objetí jejímu neujdesˇ! (Strhne Rusalku do rybníka.) Princ (omrácˇen a nic nechápaje) Z objetí moci tajemné spaste mne, spaste mne, spaste mne! It’s only now I know why my body was ailing, when with love’s secret it sought to be revived! (suddenly embracing the Princess) What will remain of that love in whose snares I became entangled? I would gladly tear myself free of its bonds, if only I can love you! Princess (aside) Only now it dawns on me that suddenly it’s me he’s wooing – it seems that even the bridegroom himself can’t decide whom to court! (Rusalka suddenly tears herself away from the Water Sprite, rushes towards the Prince in despair and throws herself into his arms.) Prince (terrified) Your shoulders are as cold as ice, you cold, white beauty! (He pushes her away.) Water Sprite (the full moonlight revealing him on the surface of the pond) You may hasten into another’s arms, but you will never escape Rusalka’s embrace! (He drags Rusalka down into the pond.) Prince (thunderstruck) From the clasp of this mysterious power, save me, save me, save me! CHAN 10449(3) Booklet.indd 78-79CHAN 10449(3) Booklet.indd 78-79 20/11/07 17:01:4620/11/07 17:01:46 80 81 Rusalka Tetko má moudrá, tetko, rci, není mi, není pomoci? Ježibaba Milácˇek teˇ zavrh’, prˇestal tě mít rád, a ted’ Ježibaba má zas pomáhat? Po záletech sveˇtských, dcerko rozmilá, bys ted’ k sestrám ráda se zas vrátila? Inu, mám já radu, dobrou radu mám, ale poslechnesˇ-li, ví to rarach sám, ví to rarach sám! 4 Lidskou krví musísˇ smýti živlu˚ prokletí za lásku, již chteˇlas míti v lidském objetí. Budesˇ zas, cˇíms byla prve, než teˇ zklamal sveˇt, ale horkem lidské krve lze jen ozdraveˇt. Opustí teˇ vsˇechna muka, budesˇ sˇt’astna, budesˇ hned, zahubí-li tvoje ruka toho, jenž teˇ oklamal, zahubí-li tvoje ruka toho, jenž teˇ sved’! Rusalka (udeˇsˇeneˇ) Ježibabo, beˇda, co to chcesˇ? Ježibaba (podává jí nu˚ž ze zánˇadrˇí) Ten vezmi nu˚ž a slib, že poslechnesˇ! Rusalka Dear, wise Auntie, tell me please, is there no hope for me? Ježibaba Your lover has rejected you, ceased to love you, and now you want Ježibaba to help you again? After your worldly adventures, my dear girl, you now want to return to your sisters? Well, I have some good advice to offer you, but whether or not you will take it, that’s quite another matter! You must wash away Nature’s curse with human blood, you must purge yourself of the love you sought in a man’s embrace! Only then will you be as you were before the world deceived you, only hot, human blood can restore you to health. You will be free of all torment, your happiness will be restored, if your hand slays the one who seduced you, if your hand slays the one who seduced you! Rusalka (aghast) Ježibaba, what are you saying? Ježibaba (extracting a knife and handing it to Rusalka) Take this knife and swear that you will do as I say! marneˇ toužím do sveˇta. Kde jste, kouzla letních nocí nad kalichy leknínu˚? Procˇ v tom chladu bez pomoci nezhynu, ach, nezhynu? Ach, necitelná vodní moci, stáhlas mne zas v hlubinu, atd. Ježibaba (vyjde z chalupy) 3 Aj, aj? Už jsi se navrátila? No, tos tam dlouho nepobyla! A jak másˇ bledé tvárˇicˇky, a jak tu truchlísˇ o samoteˇ! Což nechutnaly hubicˇky a lidské lože nehrˇálo teˇ? Rusalka Ach, beˇda, beˇda, tetko rozmilá, vsˇe zradilo mne, vsˇe jsem ztratila! Ježibaba Krátké bylo milováni, dlouhé bude narˇíkání, po hubicˇkách mužských úst nekonecˇný, veˇcˇný pu˚st! Cˇloveˇk je cˇloveˇk, živlu˚ vyvrhel, ž korˇenu˚ zemeˇ dávno vyvrácen, beˇda kdo jeho lásku poznat chteˇl, jeho kdo zradou je ted’ zatracen! in vain I long for the world of men. What has become of those magic charms of summer nights where the waterlilies bloomed? Why can’t I, poor helpless one, expire in your cold embrace? Ah, unfeeling watery power, you have dragged me back down to the depths, etc. Ježibaba (coming out of her cottage) Aha! Are you back already? Well, you didn’t stay there too long! How pale your cheeks are, and now you’re mourning your lonely state! Did kisses not suit you, and a human bed fail to give you warmth? Rusalka Ah, woe is me, dear Auntie, I am betrayed, I have lost everything! Ježibaba Your love lasted but a moment, now you may repent at leisure, the price you pay for human kisses is everlasting abstention! Man is an abomination of nature, who has turned his back on Mother Earth; woe to the one who seeks to know a man’s love, who is now cursed by man’s betrayal! CHAN 10449(3) Booklet.indd 80-81CHAN 10449(3) Booklet.indd 80-81 20/11/07 17:01:4620/11/07 17:01:46 82 83 Rusalky (pod vodou) Odesˇla jsi do sveˇta, uprchla jsi nasiˇm hrám, sestrˇicˇko ty prokletá, nesestupuj k nám! V nasˇe tance nesmí sem, koho cˇloveˇk objal již, rozprchnem se, rozprchnem, jak se prˇiblížísˇ! Z tvého smutku vane strach v radostný násˇ hravý rej, s bludicˇkami v bažinách za nocí si hrej! Lákej lidi svitem svým, na rozcestích teˇkej ted’, sveˇtýlkem svým modravým do hrobu jim sveˇt’! Na hrobech a rozcestích jiných sester najdesˇ rej, v reje vodních sester svých už se nevracej! (Ticho. Na západě rudnou cˇervánky. Hajný prˇivádí kuchtíka.) Hajný 6 Že se bojísˇ? Trˇesky, plesky, vsˇak tu jiní bývávali! Zaklepej a poveˇz hezky, co ti doma prˇikázali! Princ že nosí teˇžkou dumu, že se poplet’ na rozumu, jakás pekla stvu˚ra klatá že k nám prˇisˇla do hradu, Water Nymphs (under the water) You went away into the world, and fled from our games, accursed sister, don’t come near us! She who has been embraced by man can never join in our dancing, we’ll run away if you come anywhere near us! Fear emanates from your sadness, disturbing our fun and games, you belong with the will-o’-the-wisps who haunt the moors by night! You entice people with your light, leading them astray, and with your pale bluish glow you lure them into the grave! In the graveyard, at the crossroads, you will find your new companions; but no more will you join in the games of your sisters, the water nymphs! (There is silence. A reddish evening glow can be seen in the west. The Gamekeeper enters, dragging the unwilling Kitchen Boy with him.) Gamekeeper Are you afraid? Pull yourself together, other people have been here before! All you have to do is knock on the door and say what you’ve been told to say: that our Prince is sick at heart, that his senses have deserted him, that some accursed creature from hell came to his castle Rusalka Jde z tebe hru˚za, nech mne, nech! (zahodí nu˚ž do jezera) Chci veˇcˇneˇ trpeˇt v úzkostech, chci veˇcˇneˇ cítit kletbu svou, svou celou lásku zhrzenou, svou beznadeˇj chci vsˇechnu zrˇít, lecˇ on, on musí sˇt’asten být! Ježibaba (rozchechtá se) V lidský život potmeˇsˇilý touha tvá teˇ vábila, a ted’ nemásˇ tolik síly bys krev lidskou prolila? Cˇloveˇk je cˇloveˇkem teprve, v cizí krev ruku když stopil, zbrocen když vásˇní do krve bližního krví se opil. A ty žes chteˇla cˇloveˇkem být a cˇloveˇka vášní ornámit? Prázdná ty vodní bublinecˇko, meˇsícˇní bledá zahalecˇko, jdi, trp, trp si z veˇku˚ do veˇku˚ – a seschni touhou po svém cˇloveˇku! (Odbelhá se do chatupy.) Rusalka 5 Vyrvána životu v hlubokou samotu bez družek, bez sester mám se brát; milácˇku, vím to, vím, nikdy víc teˇ nespatrˇím, ó beˇda, ó beˇda nastokrát! (Ponorˇí se do jezera.) Rusalka You horrify me, let me be! (throwing the knife into the lake) I would rather suffer agonies for all eternity, and languish for ever under this curse brought on by my unrequited love, I would rather live a life of despair, if only he can be happy! Ježibaba (with a mocking laugh) Into the deceitful human world your longing has led you astray – do you really not have the strength to spill a drop of human blood? A man becomes a man only when he has bathed in the blood of another, when, goaded on by passion, he has become drunk on the blood of another. And you were the one who wanted to become human, to intoxicate a man with passion? You are nothing but an empty bubble of water, a pale lunar good-for-nothing! Go, then, and suffer for all eternity – and shrivel up with longing for this man! (She hobbles back to her cottage.) Rusalka I am torn from life, plunged into the depths of solitude, without even my sisters to comfort me; my darling, I know that never again will I see you, oh, woe is me a hundred times! (She plunges into the lake.) CHAN 10449(3) Booklet.indd 82-83CHAN 10449(3) Booklet.indd 82-83 20/11/07 17:01:4720/11/07 17:01:47 84 85 Hajný Stydeˇl bych se, stydeˇl být já otcem tvým! Ale abys videˇl, že se nebojím! Ježibabo, Ježibabo, hola, hola, hola! (Ježibaba vyjde z chalupy.) Ježibaba Kdo to hlucˇí? Kdo to volá? (Kuchtík se skrývá za hajného.) Hajný Stará Háta k tobeˇ posílá, abys, Ježibabo, radila! Ježibaba Za tu radu, za rozumu sˇpetku tohle vyžle posílá mi k sneˇdku? (Sáhne na kuchtíka.) Jen co vykrmí se, chudinka, bude z neˇho peˇkná pecˇínka! Kuchtík (zoufale se brání) Pust’ mne! Pust’ mne! Pust’ mne z teˇchto míst! Strýcˇku, strýcˇku, ona mne chce sníst! Ježibaba (chechtá se) Ha, ha, ha, ha! 1 ty malý zmetku, Gamekeeper I’d die of shame if you were my son! But just to show you that I’m not afraid: Ježibaba, Ježibaba, hola, hola, hola! (Ježibaba comes out of her cottage.) Ježibaba Who’s that shouting? What’s all this noise? (The Kitchen Boy hides behind the Gamekeeper.) Gamekeeper Old Auntie Háta sent us here to ask your advice, Ježibaba! Ježibaba And in return for my advice, a piece of my mind, she sends me this puny thing for breakfast? (She touches the Kitchen Boy.) He’ll need to be fattened up a bit, if I’m going to make a decent roast out of him! Kitchen Boy (desperately trying to escape) Leave me alone! Leave me alone! I’ve got to get away from here! Uncle, Uncle, she wants to eat me! Ježibaba (laughing) Ha, ha, ha, ha! You pathetic freak of nature, a že prosí stará Háta Ježibabu o radu! Kuchtík (se vzpouzí) Mneˇ už chromne noha, vlcˇí mlhu mám, pro živého Boha, strýcˇku, jdi tam sám! Hajný Kolikrát jsem tudy sˇel, temno leckdy bývalo již, tys mi cˇistý strasˇpytel, že se staré babky bojísˇ! Kuchtík Ondy, když jsi u nás byl, sáms mne, strýcˇku, postrasˇil, nediv se ted’, milý brachu, že mám v lese, plno strachu; nediv se, nediv se, nediv se! Hajný Rˇecˇi sem, rˇecˇi tam, to tak neˇkdy prˇidávám! Ale ted’ honem hled’ vyzveˇdeˇti odpoveˇd’! Vzmuž se, hej, zaklepej, na radu se babky ptej! Kuchtík Já bych jisteˇ breptal, jakou úzkost mám, abys tedy zeptal se jí na to, sám! and that Auntie Háta now seeks Ježibaba’s advice! Kitchen Boy (struggling to escape) My legs have gone numb, a mist hangs before my eyes, for God’s sake, Uncle, why don’t you go there yourself? Gamekeeper I’ve been here plenty of times even at dead of night, you’re a real lily-livered coward if you’re afraid of an old woman! Kitchen Boy But the last time that you visited us, you scared the life out of me with your stories, so you shouldn’t be surprised, dear Uncle, that I’m now rigid with fright in the forest, you shouldn’t be surprised! Gamekeeper I do sometimes exaggerate, I must admit! But now, jump to it and get an answer from the witch! Pluck up your courage, knock at her door, and ask the old woman’s advice! Kitchen Boy I can hardly speak, I’m so terrified; you should be the one to ask her! CHAN 10449(3) Booklet.indd 84-85CHAN 10449(3) Booklet.indd 84-85 20/11/07 17:01:4720/11/07 17:01:47 86 87 Hajný (o prˇekot utíká) Hastrman! Hastrman! Kuchtík (utíká za ním) Strýcˇku! Strýcˇku! Pro Boha, strýcˇku! Vodník Pomstím se, pomstím, kam rˇísˇ má dosahá! (Ponorˇí se.) Ježibaba Ha, ha, ha, ha! (Odbelhá se do chalupy.) (Zatím zhasly již cˇervánky na západeˇ, setmeˇlo se a záhy vyjde meˇsíc. Na polouku sbíhají se Lesní žínky.) První lesní žínka (tancˇíc) 8 Mám, zlaté vlásky mám, svatojanské musˇky slétají se k nim, ruka moje bílá vlásky rozpustila, meˇsícˇek je cˇesˇe svitem strˇíbrným. Mám, zlaté vlásky mám! Druhý žínka (tancˇíc) Mám, bílé nožky mám, probeˇhla jsem palouk celicˇký, probeˇhla jsem bosa, umyla je rosa, meˇsícˇek je obul v zlaté strˇevícˇky. Gamekeeper (taking to his heels) It’s the Water Sprite! Kitchen Boy (running after him) Uncle! Uncle! For God’s sake, Uncle! Water Sprite I will be avenged wherever my power holds sway! (He sinks below the water.) Ježibaba Ha, ha, ha, ha! (She hobbles back to her cottage.) (Meanwhile, the reddish glow of the setting sun has faded, night has fallen and the moon has come out. The Wood Nymphs gather in the forest glade.) First Wood Nymph (dancing) I have golden tresses, to which glow-worms are drawn; my pale, white hand has now untied the tresses and the moon is combing them with its silver beams. I have golden tresses! Second Wood Nymph (dancing) I have feet of alabaster, on which I skip around the glade, I go barefoot and they are bathed in dew, and the moon has shod them in golden slippers. hloupé stvorˇení, to bych meˇla k sneˇdku cˇistou pecˇeni! Pro peklo, at’ roste prokletý rod vásˇ! A ted’ poveˇz honem, co mi rˇíci másˇ? Kuchtík (s úzkostí) 7 Násˇ princ teˇžce stu˚neˇ, prˇevelice, uhranula srdce jeho jakás kouzelnice! Prˇived’ si ji na hrad, vsˇe jí dal, jako vlastní život sám ji miloval. Jeho ženou byla by se stala, ale krásná kouzelnice svatby nedocˇkala. Prince když už zmátla docela, neveˇrná ta kouzelnice zmizela. Celý hrad je kouzlem zmámen podnes, d’ábel sám tu kouzelnici do pekla si odnes’! (Vodník vynorˇí se rázem z jézera.) Vodník Kdo že ji odnes’? Koho že zradila? Prokleté plémeˇ, jež vás sem posílá, tvorové bídní, on sám ji zradil, uvrh’ji v prokletí! you foolish creature, there’s not much meat on your bones! Your accursed race is only fit for hell! And now tell me quickly, what do you have to say? Kitchen Boy (anxiously) Our Prince has fallen dangerously ill, a sorceress has cast a spell on him! He brought her to the castle, lavished favours on her, and loved her like his own life. He would have taken her as his wife, but the fair sorceress didn’t stay for the wedding. As soon as she had woven her spell over him, the faithless enchantress vanished. The entire castle now languishes under her spell – the devil himself must have carried her off to hell! (The Water Sprite suddenly emerges from the lake.) Water Sprite Who has carried her off? Whom has she betrayed? Accursed is the one who sent you here, you wretched creatures, he is the one who betrayed her, who laid a curse on her! CHAN 10449(3) Booklet.indd 86-87CHAN 10449(3) Booklet.indd 86-87 20/11/07 17:01:4820/11/07 17:01:48 88 89 rodná voda nasˇe lidským rmutem zkalila se. Lesní žínky Cože nám rusˇí veselý rej? Povídej, mužícˇku, povidej! Vodník Hluboko na dneˇ sténá, sestrami zavržená, ubohá Rusalka bledá! Beˇda! Ó beˇda! Ó beˇda! (Ponorˇí se do jezera. Meˇsíc zajde v mraky.) První žínka Cítím slzu ve zraku, chlad mne náhle ovál. Druhý žínka Do sˇedivých oblaku˚ meˇsícˇek se schoval. Trˇetí žínka Tma se tiskne v skráneˇ mé, sestry, sestry, prchneˇme! (Rozprchnou se. Princ vybeˇhne pomaten z lesa.) Princ 9 Bílá moje lani! Bílá moje lani! Pohádko! Neˇmý prˇelude! our watery home has been sullied by human corruption. Wood Nymphs What is it that spoils our merry games? Tell us, dear man, tell us! Water Sprite Far down below is lamenting, rejected by her sisters, poor, wan Rusalka! Woe! Oh woe! Oh woe! (He sinks below the surface of the lake. The moon is obscured by clouds.) First Wood Nymph Tears are rising to my eyes, a sudden chill has seized me. Second Wood Nymph Behind threatening clouds the moon is concealed. Third Wood Nymph A dark mood oppresses me. Sisters, sisters, let us flee! (They run off in all directions. The Prince rushes in like a man possessed.) Prince My white doe! My white doe! My fairytale! Mute vision! První žínka Mám, zlaté vlásky mám atd. Druhý žínka Mám, bílé nožky mám atd. Tretí žínka Mám, krásné tílko mám, na palouku v noci svítí jeho vdeˇk, kudy beˇžím, vsˇudy moje bílé údy do strˇíbra a zlata sˇatí meˇsícˇek. Mám, krásné tílko mám! Lesní žínky Do kola, sestrˇicˇky, do kola, v lehounký nocˇní vánek, za chvíli z rákosí zavolá zelený hastrmánek! (vidouce Vodníka) Už tu je, už tu je, už si síteˇ spravuje! (tancˇíce kolem neˇho) Hastrmánku, heja hej, honem si nas nachytej, kterou chytísˇ, mužícˇku, dá ti peˇknou hubicˇku. Ale žena, hahaha, hastrmánku, hahaha, za usˇi ty vytahá! Hastrmánku, heja hej, honem si nás nachytej! Vodník Nelasˇkujte plasˇe, deˇti zlatovlasé, First Wood Nymph I have golden tresses, etc. Second Wood Nymph I have feet of alabaster, etc. Third Wood Nymph I have a beautiful, white body, all loveliness, it glows in the forest at night, wherever I go, my pale, white limbs are clothed in silver and gold by the moon. I have a beautiful, white body! Wood Nymphs Let us dance in a circle, sisters, caressed by the gentle night breeze, in a moment the green Water Sprite will call to us from the reeds! (seeing the Water Sprite) There he is already, mending his nets! (dancing around him) Water Sprite, hey, hey, try and catch us if you can, whichever one you catch, dear man, will give you a nice kiss! But your wife, ha ha ha, Water Sprite, ha ha ha, will pull your ears for you! Water Sprite, hey, hey, try and catch us if you can! Water Sprite Now is not the time for fooling, my dear, golden-haired children, CHAN 10449(3) Booklet.indd 88-89CHAN 10449(3) Booklet.indd 88-89 20/11/07 17:01:4820/11/07 17:01:48 90 91 Rusalka Živa ni mrtva, žena ni víla, prokleta bloudím mátohou! Marneˇ jsem chvíli v loktech tvých snila ubohou lásku, lásku svou, milenkou tvojí kdysi jsem byla, ale ted’ jsem jen smrtí tvou! Princ Bez tebe nikdy nelze žít, mu˚žesˇ mi, mu˚žesˇ odpustit? Rusalka 11 Procˇ volal jsi mne v nárucˇ svou, procˇ ústa tvoje lhala? Ted’ meˇsícˇní jsem vidinou v tvá muka neskonalá. Ted’ tebe sˇalím v nocˇních tmách, je zneucteˇn mu˚j klín a s bludicˇkami na vodách teˇ svedu do hlubin! Procˇ volal jsi mne v nárucˇ svou, procˇ ústa tvoje lhala? Tys hledal vásˇenˇ, vím to, vím, jíž já jsem nemeˇla, a ted’-li teˇ políbím, jsi ztracen docela. Princ (potácí se k ní) 12 Líbej mne, líbej, mír mi prˇej, nechci se vrátit ve sveˇta rej, do smrti trˇeba mne ulíbej! Rusalka I am neither dead nor alive, neither a woman nor a nymph, I am condemned to roam this earth as a phantom! In vain I dreamt for a moment in your arms of my poor, wretched love – I may once have been your beloved, but now I can only bring you death! Prince I can no longer live without you; can you ever forgive me? Rusalka Why did you enfold me in your arms, why did your lips lie to me? Now I am nothing but a moonlit vision destined ever to torment you. Now I must entice you at dead of night, my womanhood is defiled, and together with the will-o’-the-wisps I am condemned to drag you into the depths! Why did you enfold me in your arms, why did your lips lie to me? You sought passion, I know, a passion that was alien to me, but if I were to kiss you now, you would be lost for ever. Prince (staggering towards her) Kiss me, kiss me, give me peace, the world is already lost to me, I would gladly die of your kisses! Mému narˇíkání, speˇchu bez ustání konec už nikdy nebude? Ode dne ke dni touhou sˇtván hledám teˇ v lesích udýchán, noc-li se blíží tusˇím teˇ v ní, chytám teˇ v mlze meˇsícˇní, hledám teˇ sˇiré po zemi, pohádko, pohádko! Vrat’ se mi! (Stane. Poznává krajinu z prvního deˇjství. Pojednou se mu rozum rozjasnˇuje.) Tady to bylo, mluvte, neˇmé lesy! Vidino sladká, milenko má, kde jsi? Bílá moje lani! kde jsi, kde jsi? Prˇi vsˇem, co v mrtvém srdci mám, nebe i zemi zaklínám, zaklínám Boha i beˇsy, ozvi se, ozvi, kde jsi! Milenko má! (Meˇsíc vyjde z mraku˚. Rusalka se zjeví v meˇsícˇním svitu nad jezerem.) Rusalka 10 Milácˇku, znásˇ mne, znásˇ? Milácˇku, jesˇteˇ vzpomínásˇ? Princ (užasne) Mrtva-lis dávno, znicˇ mne vráz – živa-lis jesˇteˇ, spas mne, spas! Is there to be no end to my lamentations, to my fevered searching? Day after day, driven on by longing, I frantically seek you in these forests. As night approaches, I feel you are there, I seek you out in the moonlit mist, I scour the entire world for you, my fairytale, my fairytale! Come back to me! (He comes to a halt and realises that he is in the same place as where he first saw Rusalka in Act I. Suddenly he becomes more coherent) Was it here? Tell me, silent forests! Sweet vision, my dearest one, where are you? My white doe, where are you, where are you? By all that lives on in my dead heart, I entreat both heaven and earth, God and all the devils, speak to me, tell me where you are! My dearest one! (The moon emerges from behind the clouds. Rusalka appears in the moonlight over the lake.) Rusalka Beloved, do you recognise me? Do you still remember me? Prince (startled) If you are dead, then kill me right away – but if you are alive, please save me! CHAN 10449(3) Booklet.indd 90-91CHAN 10449(3) Booklet.indd 90-91 20/11/07 17:01:4920/11/07 17:01:49 93 Vodník (hluboko pod vodou) Nadarmo v loktech zemrˇe ti, marny jsou vsˇechny obeˇti, ubohá Rusalko bledá! Beˇda! Beˇda! Beˇda! (Rusalka políbí naposled mrtvého prince.) Rusalka Za tvou lásku, za tu krásu tvou, za tvou lidskou vásˇenˇ nestálou, za vsˇecko, cˇím klet jest osud mu˚j, lidská dusˇe, Bu˚h teˇ pomiluj! Bu˚h teˇ pomiluj! (Ponorˇí se do jezera.) Libretto by Jaroslav Kvapil Water Sprite (from deep under the water) In vain does he die in your arms, all your sacrifices are in vain, poor, wan Rusalka! Woe! Woe! Woe! (Rusalka kisses the dead Prince for the last time.) Rusalka For your love, for your beauty, for your inconstant human passion, for everything which condemned me to my fate, may God have mercy on your human soul! May God have mercy on you! (She sinks into the lake.) Translation by Paula Kennedy © Decca Records Rusalka A tys mi, hochu mu˚j, tolik dal, procˇ jsi mne, hochu mu˚j, oklamal? (Rozpíná nárucˇ.) Zda to vísˇ, hochu, zda to vísˇ, z loktu˚ mých že se nevrátísˇ, že zkázou to v loktech mých zaplatísˇ? Princ Vsˇechno chci ti, vsˇechno chci ti dát, líbej mne, líbej tisíckrát! Nechci se vrátit, zemru rád, líbej mne, líbej, mír mi prˇej, nechci se vrátit, zemru rád, nemyslím, nemyslím na návrat! Rusalka Láska má zmrazí vsˇechen cit – musím teˇ, musím zahubit, musím teˇ v lednou nárucˇ vzít! (Obejme jej a líbá.) Princ (omdlévaje) Líbej mne, líbej, mir mi prˇej! Polibky tvoje hrˇích mu˚j posveˇtí! Umírám sˇt’asten, umírám ve tvém objetí! (Zemrˇe.) Rusalka You who gave me so much – why did you betray me? (opening her arms to him) Do you realise, my lad, that from my embrace there’s no return, that here you will pay for your treachery with your life? Prince I will give you everything you desire, only kiss me, kiss me a thousand times! I have no wish to return, I would gladly die, kiss me, kiss me, give me peace, I have no wish to return, I would gladly die, to return is now unthinkable! Rusalka All feeling will be frozen by my love, I must destroy you, I must clasp you in my icy embrace! (She embraces and kisses him.) Prince (swooning) Kiss me, kiss me, give me peace! Your kisses will redeem my sins! I die happy, happy in your embrace! (He dies.) 92 CHAN 10449(3) Booklet.indd 92-93CHAN 10449(3) Booklet.indd 92-93 20/11/07 17:01:4920/11/07 17:01:49 Anne-Marie Owens as Ježibaba Elizabeth Whitehouse as the Foreign Princess and Rosario La Spina as the Prince CHAN 10449(3) Booklet.indd 94-95CHAN 10449(3) Booklet.indd 94-95 20/11/07 17:01:5020/11/07 17:01:50 Recorded by the Sydney Opera House Recording Studio, with the kind co-operation of the Sydney Opera House Trust. For Opera Australia’s production of Rusalka Director Olivia Fuchs Designer Niki Turner Lighting Designer Bruno Poet Choreographer Claire Gaskin Assistant Conductor Stephen Mould Assistant Director Luise Napier Musical preparation Stephen Walter and John Haddock Chorus Master Michael Black Assistant Chorus Master Kate Golla Czech Language Coach Adriana Hanic Stage Manager Zana Forster Lighting Supervisor Simon Lefort For Opera Australia Chief Executive Adrian Collette Music Director Richard Hickox CBE Executive Producer Stuart Maunder Artistic Administrator Ian McCahon Finance Director/Company Secretary Narelle Beattie Marketing and Communications Director Liz Nield General Manager, Melbourne/ Director of Development Carolyn Chard Director – Human Resources and Orchestral Services Vernon Winley Director – Technical Administration Chris Yates Director – Technical Production Chris Potter Manager – Opera Enterprises Alex Budd Coordinator – Opera Enterprises Samantha Russell www.opera-australia.org.au Opera Australia is assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and by the New South Wales Government through its Ministry for the Arts. Opera Australia acknowledges the support of the Victorian Government through Arts Victoria. © Opera Australia 2008 Members of Opera Australia Chorus 96 CHAN 10449(3) Booklet.indd 96-97CHAN 10449(3) Booklet.indd 96-97 20/11/07 17:01:5220/11/07 17:01:52 On session: Robert Brubaker and Peter Hoare On session: Robert Brubaker and Peter HoareCheryl Barker as Rusalka and Rosario La Spina as the Prince CHAN 10449(3) Booklet.indd 98-99CHAN 10449(3) Booklet.indd 98-99 20/11/07 17:01:5420/11/07 17:01:54 100 101 Also available Prokofiev The Love for Three Oranges CHAN 10347(2) Also available Janácˇek Katya Kabanova CHAN 3145(2) CHAN 10449(3) Booklet.indd 100-101CHAN 10449(3) Booklet.indd 100-101 20/11/07 17:01:5520/11/07 17:01:55 103 You can now purchase Chandos CDs online at our website: www.chandos.net To order CDs by mail or telephone please contact Liz: 0845 370 4994 For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Finance Director, Chandos Records Ltd, direct at the address below or via e-mail at srevill@chandos.net. Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: enquiries@chandos.net Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201 This recording has been made possible with the kind assistance of Philip Bacon Recording producer Ralph Couzens Sound engineer Allan Maclean Assistant engineers Tony David Cray (Manager, Opera House Recording Studio) and Jason Blackwell Editor Rachel Smith A&R administrator Mary McCarthy Recording venue Sydney Opera House; 21–29 March 2007 Front cover Photograph by Branco Gaica Back cover Photograh of Richard Hickox by Greg Barrett Production photographs Branco Gaica Photograph of Cheryl Barker (p. 16) by Keith Saunders Photography (PO Box 969 Bondi Jn. NSW 1355; 0418 497791; http://www.keithsaundersphotography.com Design and typesetting Cassidy Rayne Creative Booklet editor Elizabeth Long Copyright 1959 by Statni nakladatelstvi krasne literatury, hudby a umeni, Praha. Music Hire Boosey & Hawkes P 2008 Chandos Records Ltd © 2008 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Printed in the EU Chandos 24-bit recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit recording. 24-bit has a dynamic range that is up to 48 dB greater and up to 256 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’. Cheryl Barker as Rusalka (centre) with Taryn Fiebig, Sarah Crane and Dominica Matthews as the Wood Nymphs CHAN 10449(3) Booklet.indd 102-103CHAN 10449(3) Booklet.indd 102-103 20/11/07 17:01:5620/11/07 17:01:56 0 95115 14492 3 Printed in the EU MCPS LC 7038 DDD TT 152:37 Recorded in 24-bit/96 kHz p 2008 Chandos Records Ltd c 2008 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England OMAR KHAYYÁMpremiere recording CHANDOS DIGITAL 3-disc set CHAN 10449(3) R U S A L K A Cheryl Barker Opera Australia Richard Hickox Dvorˇák Antonín Dvořák (1841–1904) R U S A L K A An opera in three acts Libretto by Jaroslav Kvapil, after Undine by Friedrich Heinrich de la Motte Fouqué A production by Opera Australia recorded live at the Sydney Opera House in March 2007 Wood Nymphs Sarah Crane soprano Taryn Fiebig soprano Dominica Matthews mezzo-soprano Water Sprite Bruce Martin bass Rusalka Cheryl Barker soprano Ježibaba Anne-Marie Owens mezzo-soprano Prince Rosario La Spina tenor Gamekeeper/Huntsman Barry Ryan baritone Kitchen Boy Sian Pendry soprano Foreign Princess Elizabeth Whitehouse soprano Wedding Guests; Water Nymphs Opera Australia Chorus Michael Black chorus master Kate Golla assistant chorus master Australian Opera and Ballet Orchestra Richard Hickox Stephen Mould assistant conductor Aubrey Murphy concertmaster RUSALKADvorˇák CherylBarkerOperaAustraliaRichardHickox COMPACT DISC ONE Act I TT 54:04 COMPACT DISC TWO Act II TT 43:40 COMPACT DISC THREE Act III TT 54:53 CHAN 10449(3) Clambox.indd 1CHAN 10449(3) Clambox.indd 1 14/11/07 20:35:3214/11/07 20:35:32