The Collins Guide To Opera And Operetta. Michael White

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СКАЧАТЬ the dreadful events that have just taken place on the seashore. Laocoön, the priest, deeply suspicious of the wooden horse, threw a spear into its side; immediately two serpents rose out of the sea and swallowed him. Aeneas suggests that this is a sign that Pallas, to whom the horse is dedicated, was greatly displeased by Laocoön’s action. King Priam orders the horse to be brought within the city walls, for safety. Cassandra, alone, is filled with misgivings as the horse, despite the unmistakable sound of the clash of weapons within it, is brought to Troy.

      ACT II Aeneas is asleep in his armour but wakes on the appearance of the ghost of Hector, the dead king of Troy. Hector tells him that Troy has fallen and that Aeneas must take his son, Ascanius, to Italy to found a new empire. Pentheus, the priest, then arrives, bringing with him Troy’s sacred idols, and tells Aeneas how the Greek soldiers emerged from the horse at night to sack the city; Troy is on fire and King Priam is dead. Aeneas calls his men to arms and leaves to defend the citadel. In the city Cassandra tells the Trojan women that Aeneas has escaped and has taken King Priam’s treasure with him. As the Greeks storm their final refuge Cassandra stabs herself and urges the women to follow her example.

      ACT III The Carthaginians are celebrating the great progress they have made in building their new city, led by their widowed queen, Dido. Iopas, the poet, interrupts their festivities to report the arrival of a foreign fleet. Dido welcomes the strangers and offers them hospitality, not recognising the disguised Aeneas. Suddenly, Narbal comes in with the news that the Numidian enemy, Iarbas, has invaded Carthaginian territory and is laying waste the countryside. Aeneas, throwing off his disguise, offers his men and weapons in Dido’s service. Dido, instantly smitten by the sight of this legendary hero, accepts with alacrity.

      ACT IV This act either opens or closes with The Royal Hunt and Storm, a musical interlude in which Dido, as Diana the Huntress, and Aeneas shelter in a cave where they express the ecstasy of their mutual love.

      Aeneas has beaten off the Numidian threat and is celebrating his victory with Dido. The entertainments lack interest for the queen who asks Aeneas to tell her the tale of Andromache, the prisoner who yielded to her captor, Pyrrhus, and married him. The idea of remarriage, previously scorned by Dido, now seems more attractive. But as the two lovers leave, the statue of Mars, illuminated by a shaft of moonlight, breathes the one word that can ruin their hopes of a life together: ‘Italy’.

      ACT V Aeneas, torn between his destiny and his love for Dido, sees the ghosts of Priam, Coroebus, Cassandra and Hector – each in turn urging him to leave Carthage. He orders his men to make ready to sail and, in spite of Dido’s heartbroken pleas, sets sail for Italy and the new empire. Dido’s anguish turns to fury and she orders everything associated with the Trojans to be burnt on a pyre. But her bitterness soon turns again to heartbreak and she determines to die, using Aeneas’s discarded sword to stab herself. As she dies she sees, prophetically, that she will be avenged by the Carthaginian hero, Hannibal, but she also has a vision of the coming Roman pre-eminence.

       Music and Background

      The grandest of grand operas, Les Troyens is in every sense an epic, and until comparatively recently it was the practice to spread the five acts over two nights. Berlioz never saw it staged on a single night as he intended – it was beyond the scope of what could be done in France at the time – and his wishes weren’t fulfilled until a famous, more or less complete production at Covent Garden in 1957. Undoubtedly the composer’s masterpiece, richly orchestrated and carefully plotted throughout its considerable duration, it contrasts abrasive war-music in the first two (Trojan) acts with radiant, sometimes rather lurid warmth in the next three (Carthage) and is basically the sort of music that you either love or loathe. Half-measures don’t apply to anything so monumental.

       Highlights

      The Act IV love duet for Dido and Aeneas, ‘Nuit ďivresse et ďexstase infinie’, is the great moment of the score. At the start of Act V comes an exquisite set-piece of longing for home, ‘Vallon sonore’, for the otherwise small role of a young sailor, Hylas. And between Acts IV and V (though Berlioz originally had it between Acts III and IV) is an orchestral intermezzo, the ‘Royal Hunt and Storm’, which is often played by itself as a concert piece.

      Did You Know?

      

Berlioz had great difficulty in getting the opera performed, especially after rumours that it lasted eight hours, and the critics judged it severely, saying that such music could not and should not be allowed.

      

Nevertheless, people did enjoy Les Troyens and the composer himself recounted that, shortly after the first performance, he ‘was stopped in the street by strangers who wished to shake hands with me and thank me for having composed it. Was not that ample recompense for the sneers of my enemies?’

      

Berlioz identified the young sailor, Hylas, with his own son Louis, and certainly had Louis in mind as he wrote that famous song of homesickness.

      Recommended Recording

      Jon Vickers, Josephine Veasy, Royal Opera Covent Garden/Colin Davis. Philips 416 432-2. A classic recording conducted by the most authoritative (and loving) Berlioz champion of modern times.

Leonard Bernstein

      (1918–90)

      Trouble in Tahiti (1952)

       Candide (1956)

      West Side Story (1957)

       A Quiet Place (1983)

       Bernstein was one of the great personalities and true bridge-builders of 20th-century music: a conducting, composing, all-round American icon whose work (usually in emotional overdrive) crossed the divide between high art and popular entertainment with a panache that only Gershwin managed before him. The son of Russian-Jewish immigrants to the United States, he made headlines after his conducting debut with the New York Philharmonic Orchestra and went on to run the NYPO for twelve exuberant years, attracting special acclaim for his uniquely heart-on-sleeve performances of Mahler. His first mature stage works were ballets (Fancy Free, Facsimile) and musical comedy (On the Town) in the 1940s. The short, one-act Trouble in Tahiti came out of those worlds – half-opera, half-Broadway – as did Candide and West Side Story, which contain the same sort of hybrid ingredients but in different proportions, and the Mass of 1971 which is the most eclectically uncategorisable score of all, uncomfortably strung between theatre, liturgy and stale ’60s idealism. Jewish identity featured prominently in two of his three symphonies, and in the ballet Dybbuk.

Candide

       FORM: Operetta in two acts; in English

       COMPOSER: Leonard Bernstein (1918–90)

       LIBRETTO: Lillian Heilman; after Voltaire’s novel

       FIRST PERFORMANCE: Boston, 29 October 1956 СКАЧАТЬ