01 Sep 2008
STRAUSS: Die Frau ohne Schatten — Covent Garden 1992
Die Frau ohne Schatten: Oper 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.
Die Frau ohne Schatten: Oper in three acts
Music composed by Richard Strauss. Libretto by Hugo von Hofmannsthal.
First Performance: 10 October 1919, Wiener Staatsoper, Vienna.
|Der Kaiser [Emperor]||Tenor|
|Die Kaiserin [Empress]||Soprano|
|Die Amme [Nurse]||Mezzo-Soprano|
|Geisterbote [Spirit Messenger]||Baritone|
|Die Erscheinung eines Jünglings [Apparition of Youth]||Tenor|
|Die Stimme des Falken [Voice of the Falcons]||Soprano|
|Barak der Färber [a dyer]||Bass-Baritone|
|SeinWeib [his wife]||Soprano|
|Der Einäugige [his brother, The One-Eyed]||Bass|
|Der Einarmige [his brother, The One-Armed]||Bass|
|Der Bucklige [his brother, The Hunchback]||Tenor|
Setting: The Emperor’s palace, Barak’s hut, fantastic caves and landscapes
The Emperor’s gardens
The Nurse is visited by a Spirit Messenger sent by the Spirit King Keikobad to check whether the Empress has a shadow. The Empress is the daughter of Keikobad, who had given her a magic talisman enabling her to transform herself into any form she chose. It was while in the form of a white gazelle that she was hunted by the Emperor and struck down by his falcon. She regained her human form and they were married, but the talisman carried a curse, which she has forgotten, threatening that her husband will be turned to stone and she will return to her father if she fails to win a shadow, that is, become pregnant.
A year has passed and she has not conceived, as she and the Emperor are so wrapped in one another that they have not sought to produce children. The Messenger grants a delay of three days, but the Emperor tells the Nurse that he will be probably be absent for three days, hunting for his falcon, which had flown off when he wounded it in his anger at its attack on the gazelle/Empress.
The Empress laments her husband’s absence and her inability, since she has lost the talisman, to transform herself again. The lost falcon returns and weeps because, as it tells the Empress, if she casts no shadow, the Emperor must turn to stone. She now remembers that these were the words, carved on the talisman, and asks the nurse how she can obtain a shadow. With apparent reluctance, the Nurse answers that it is possible to buy shadows from mortal beings. Though she paints a grim picture of the world of men, she is unable to resist the Empress’ plea to take her there to find a shadow.
The Dyer’s house
The three deformed brothers of the Dyer are fighting, but when the Dyer’s Wife throws water over them, they turn on her. In answer to her complaints and threat to leave the house, Barak says that it is his responsibility to feed and care for his brothers. She is discontented and blames him for not having made her pregnant. He answers her vituperations calmly and benignly, but does not succeed in soothing her.
The Empress and the Nurse appear, disguised as serving maids, the latter pretending to be amazed at the beauty of the Dyer’s Wife, who is at first angry at this flattery, but becomes intrigued when the Nurse speaks of a bargain by which she can obtain her heart’s desires: if she will renounce her shadow, she will have slaves, fine clothes and many young lovers. The Nurse transforms the poor hut into a rich pavilion, summons slaves to adorn the wife and shows her her reflection in a mirror. She tells the wife that by renouncing the idea of child-bearing, of which she paints a gruesome picture, simply by selling her shadow, the wife will achieve a life of love and luxury. When Barak is heard returning for his supper, his wife says she will refuse to sleep with him, and the Nurse splits the conjugal bed into two parts and summons fish to appear in the pan, from which, strangely, the voices of unborn children beg their mother to let them in.
The wife tells the dyer that he must sleep alone, while her "cousins," who have come to serve her, will sleep at her feet. Although distressed, he takes it philosophically. Nightwatchmen bless the procreative love of husband and wife.
The Dyer’s House
As soon as the Dyer leaves for the market the next morning the Nurse offers to send a messenger for the Wife’s secret lover. Disconcerted because there is no such person, the wife confesses that she had once looked with interest at a young man she passed in the street. Using her magic arts, the Nurse summons the shape of a young man. The Empress, who had previously been eager to obtain the shadow, is now repelled by the means used to achieve it and distressed by the apparent corruptibility of mankind.
The wife is embarrassed at this granting of wishes she scarcely knew she had. The young man disappears when Barak returns, laden with food and followed by a troop of beggar children, whom he joyfully feeds, along with his brothers. Again he turns away with a mild answer the discontented reproaches of his wife.
The Emperor’s falcon house in a wood
The Emperor has found his lost falcon and followed it to the falcon house. He has received a message from the Empress that she will be spending the three days of his absence there, alone except for the Nurse. But he senses the aura of humanity surrounding his wife. Believing that she has lied to him, he thinks of killing her, but is unable to bring himself to do so and leaves sadly.
The Dyer’s house
Barak is at work and his wife and the Nurse impatiently await his departure. He asks for a drink and the Nurse gives a cup to the Empress who hands it to him. He falls asleep, but his wife is angry when she realises that he has been drugged, and tries to rouse him. She accuses the Nurse of spying out her deepest secrets and putting ideas into her head. Although apparently not averse to the idea of the young lover, she wants nothing to do with the Nurse’s machinations.
Nonetheless the Nurse summons up the young man and the wife seems inclined to listen to his wooing, but suddenly draws back and, assisted by the Empress, shakes Barak awake, blaming him for sleeping and leaving her at the mercy of thieves.
The Emperor’s bedroom in the falcon house
The Empress sleeps restlessly, haunted by the memory of Barak’s eyes, aware that she has sinned against him. She dreams that she sees the Emperor turning to stone, only his eyes crying for help, and blames herself.
The Dyer’s house
Although it is mid-day, darkness is falling. The Nurse realises that powers greater than hers are at work. The Dyer’s Wife finds the house unbearable, and Barak feels weighed down. The Empress, moved by his great humanity, decides to remain among mankind.
The wife tries again to provoke her husband, hinting at the adventures she has been experiencing and finally announcing that she will not have children, having renounced her shadow as a sign of this. As it is seen that she really has lost her shadow, Barak raises a sword to her and she falls at his feet, swearing that she has not sinned against him, only thought about it, but begging him to kill her. The Empress refuses to take the shadow, which has blood on it. A river rises, Barak and his wife are swallowed up by the earth and the Nurse leads the Empress to a boat.
An underground vault, divided by a wall
Barak and his wife are on different sides of the wall, unable to communicate, each regretting their estrangement.
A rocky terrace
The Empress and the Nurse are carried by a boat to the entrance to a temple, where the Spirit Messenger awaits them. The Nurse tries to resist, but the Empress knows that she is called to judgment by her father. The door leads to the Water of Life. The Nurse warns her against it, but she believes she has to sprinkle the Emperor with it, to save him from turning to stone. Declaring that she now belongs with mankind, she rejects the Nurse and goes through the gate. The Nurse is unable to follow her and vindictively misleads Barak and his wife as they search for one another. She tries to save the Empress from her fate, but is banished to earth and curses Barak and his wife.
The Empress awaits her father’s judgment, resisting the temptation to drink the Water of Life for the same reason as she rejected the shadow, because it has blood in it. She sees her husband turned to stone, but still has the strength to refuse to accept the shadow at the expense of the happiness of others. The spell is broken and the Emperor returns to life and the Empress throws a shadow. The voices of unborn children are heard calling to them.
A beautiful landscape
Barak and his wife can see one another, but they are on the opposite sides of a ravine. Her shadow turns into a golden bridge. Both couples rejoice and look forward to their children.
[Synopsis Source: Opera~Opera]