21 Sep 2008
STRAUSS: Arabella — Salzburg 1958
Arabella: Lyrische Komödie in three acts
Hamlet: Opéra in five acts. Music composed by Ambroise Thomas. Libretto by Michel Carré and Jules Barbier after The Tragedy of Hamlet, Prince of Denmark by William Shakespeare.
Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.
Das Liebesverbot: Grosse komische Oper in two acts.
Opera in three acts. Words and music by Richard Wagner.
Parsifal. Bühnenweihfestspiel (“stage dedication play”) in three acts.
“German poet, dramatist and novelist. One of the most important literary and cultural figures of his age, he was recognized during his lifetime for his accomplishments of almost universal breadth. However, it is his literary works that have most consistently sustained his reputation, and that also serve to demonstrate most clearly his many-faceted relationship to music. . . .
This theme relates to operas based on the works of Friedrich von Schiller.
Here are operas based on French literature from Balzac, Hugo and beyond:
Le Cid, Opéra in 4 acts
I puritani, opera seria in three acts
Zaira, Tragedia lirica in two acts.
Athalia: Oratorio (sacred drama) in 3 acts
Lucrezia Borgia: Melodramma in a prologue and two acts.
La Esmeralda: Opéra in four acts.
Ernani: Dramma lirico in four parts.
Oberst Chabert (Colonel Chabert): Tragic opera in 3 acts.
Otello: Dramma lirico in four acts.
Music composed by Giuseppe Verdi. Libretto by Arrigo Boito after The Tragedie of Othello, the Moore of Venice by William Shakespeare.
A Midsummer Night’s Dream, a comedy in five acts with incidental music.
Le Marchand de Venise (“The Merchant of Venice”): Opéra in three acts.
Gli Equivoci (The Comedy of Errors): Opera in two acts.
Arabella: Lyrische Komödie in three acts
Music composed by Richard Strauss. Libretto by Hugo von Hofmannsthal.
First Performance: 1 July 1933, Sächsisches Staatstheater Opernhaus, Dresden
|Adelaide, his wife||Mezzo Soprano|
|Arabella, their daughter||Soprano|
|Zdenka, Arabella’s younger sister||Soprano|
|Mandryka, a Croatian landowner||Baritone|
|Matteo, an officer||Tenor|
|Welko, Mandryka’s bodyguard||Spoken Role|
The impoverished Count and Countess Waldner seek a rich suitor for their eldest daughter Arabella, and have disguised their younger daughter Zdenka as a boy to save money. Zdenka is in love with Matteo, one of Arabella’s admirers, and has written him letters in her sister’s name. Arabella believes she will recognise ‘the right man’, and is curious about a stranger who has watched her outside the hotel. She agrees to choose a husband by the end of the Coachmen’s Ball that evening, and leaves for a sleigh-ride. Beset by creditors, the Count has written to a Croatian landowning friend, enclosing a photo of Arabella. The friend’s nephew and heir, Mandryka, announces himself. He is bewitched by Arabella’s portrait and has come to Vienna to woo her. The Count accepts Mandryka’s suit and a loan for the gambling tables. At the ball, Arabella and Mandryka are attracted to each other – he is the stranger she had noticed. He describes a village custom in which a glass of water is offered by a maid to her betrothed to drink. She agrees to marry him, but begs a few hours to bid farewell to her youth. Arabella is proclaimed Queen of the Ball by Milli, the coachmen’s darling, and takes leave from each of her former suitors. Zdenka arranges an assignation with Matteo, luring him with a key to Arabella’s room. This is overheard by Mandryka, who notes Arabella’s departure and falls into a drunken fury, outraging the Countess with accusations of Arabella’s infidelity. The Waldners leave the ball and the Count commands Mandryka to follow. Back at the hotel, Matteo believes he has met with Arabella in her darkened bedroom, but in the foyer she is baffled by his allusions. Mandryka has lost his trust in Arabella, and in the growing confusion challenges Matteo to a fight. Zdenka appears in a nightdress and confesses her love for Matteo. Arabella seeks forgiveness from Mandryka and asks her father to bless the union of Zdenka and Matteo. Mandryka, alone, contemplates his feelings for Arabella and sends a glass of water to her room. She brings it down for him to drink, as a symbol of their love.
[Synopsis Source: Boosey & Hawkes]