Friday, March 2, 2018

1850 – 1870 Liszt and Wagner




This is the generation of Verdi and Brahms, not just Liszt and Wagner. Liszt introduces the symphonic poem and Wagner the music drama.


Music Drama



The logical extreme of the program symphony, traits of Wagner's late operas were

(a) his own librettos on medieval German myths (first used in Dutchman),
(b) continuous music through continual modulation and avoidance of perfect cadences,
(c) no clear-cut arias and expanded recitative (first in Rheingold),
(d) thick romantic orchestration,
(e) a system of themes, called leitmotifs, connected to persons, objects or ideas in the drama (also first in Dutchman), and
(f) equal importance of visual and dramatic arts in the Gesamtkunstwerk.
Tannhäuser (1845) and Lohengrin (1850) were still number operas. Though he began composing the Ring in 1853, Tristan und Isolde (1865) was the first music drama to be produced, followed by Die Meistersinger von Nürnberg (1868). The four operas of Der Ring des Nibelungen, 1. Das Rheingold (1869), 2. Die Walküre (1870), 3. Siegfried, and 4. Die Götterdämmerung were produced together in Bayreuth in 1876.




Italian Opera


Italian opera was dominated by Giuseppe Verdi (1813-1901) who capitalized on the strengths of Grand Opera in melodramatic plots, popular melodies and effective vocal display pieces. His mature operas began with Rigoletto (1851) and included Il Trovatore (1853), La Traviata (1853), Un Ballo in Maschera (1859), Don Carlos (1867) and Aida (1871).



French Opera



Grand Opera continued in Meyerbeer's L'Africaine (1865). Popular sentimental operas were Mignon (1866) by Ambroise Thomas (1811-96) and Faust (1859) and Roméo et Juliette (1867) by Charles Gounod (1818-93). Berlioz' Béatrice et Bénédict (1862) and Les Troyens (Part II 1863, Part I 1890) failed to establish him as an opera composer.



Opéra Bouffe



Jacques Offenbach (1819-80) created the prototype for the operetta in his Orpheus in the Underworld (1858) and La Belle Hélène (1864).



Czech Opera



The Bartered Bride (1866) by Bedrich Smetana (1824-84) began the second nationalist school in Czechoslovakia.




Oratorio



The most important oratorios were Berlioz' L'Enfance du Christ (1854) and Franz Liszt's (1811-86) Christus (1856) and Legend of St. Elizabeth (1857-62). Ein deutsches Requiem (1868) by Johannes Brahms (1833-97) can also be considered an oratorio.




Lied


Lieder were by Liszt, Peter Cornelius (1824-74), Adolf Jensen (1837-79), Robert Franz (1815-92) and Brahms, especially his Magelone (1861) cycle. Wagner's cycle, Wesendonck Lieder (1857-8), was composed in both piano and orchestral versions.



Orchestra



Wagner's orchestra benefited from the newly improved woodwinds with the Böhm key system and the recently perfected valve horns and valve trumpets first used in Halévy's La Juive (1835). Wagner's standard orchestra was three of each woodwind (with the third player doubling on piccolo, English horn, bass clarinet or double bassoon), four horns, three trumpets, three trombones, tuba, timpani, harp and strings. For the Ring he added another flute, oboe, clarinet, trumpet and trombone along with four more horns which doubled on Wagner tubas, another pair of timpani and other percussion, six harps and augmented strings.







Thursday, March 1, 2018

Wagner Tannhäuser (#53)


The Opera

Richard Wagner's Tannhäuser was first performed in Dresden in 1845, and the music is French grand opera in German.

The Minnisinger (German version of a troubadour) must choose between the sensuality of Venus and the simple love of home.

What is this opera about?  


The Minnesingers Tannhäuser and Wolfram were real people, but Tannhäuser is the subject of a myth where he spends a year in the grotto of Venus.  Everyone else in the story is horrified with this departure from the strictures of Christianity.  The plot of the opera covers the end of his time with Venus through his return to normal life.  I think it's probably all a myth.  Wagner was particularly attracted to German mythology. 


The Story

Act I

We are in the Venusberg.  There is an extended ballet called The Venusberg Music, followed by a duet between Venus and Tannhäuser.  After the dancing, Tannhäuser tells Venus that he has dreamed of the sound of bells and wishes to return to the surface where he will be able to see the sun and the seasons.  He has tired of constant love making.  He tells her he is leaving to follow the virgin Mary.

In the next scene he is found lying on the ground with his harp next to a roadside shrine to Mary.  Pilgrims pass by on their way to Rome.  Then a group of minstrels pass by and recognize him. Wolfram convinces Tannhäuser to return with him to bring comfort to Elisabeth who loves him.

Act II

Hit Tune



We are in the hall where the singing contest is to take place.   Elisabeth enters the hall of the singing competitions and knowing that Tannhäuser has returned, joyfully sings "Dich teure Halle" (treasured hall), the place where she fell in love with a singer.


This scene includes a singing competition where each contestant is to describe the true meaning of love.  Wolfram begins and describes an abstract and idealistic kind of love.  Everyone praises this except Tannhäuser who leaps up to sing that no one can know about love who has not been with Venus.  Everyone is shocked, especially Elisabeth.  Since this whole scene was arranged for the sake of Elisabeth, he realises he has messed up.  She pleads for them not to kill him, and he agrees to go to Rome with the pilgrims to seek forgiveness from the Pope. 

Act III

Finally we return to the road seen in the second scene.  Elisabeth is there waiting for the pilgrims to return from Rome.  We hear the famous pilgrim's chorus while she searches for Tannhäuser. 

Hit Tune

 

If he is there, it means the Pope has forgiven him.  He is not, and she goes off and dies.

Hit Tune

Wolfram sings the very beautiful "O du mein holder Abendstern" to the evening star, which curiously is Venus.  "Oh evening star, greet her as her soul passes by."  
 
 

Tannhäuser returns complaining bitterly and wanting to return to Venusberg.  The Pope has refused him.  We see Venus pleading in the distance, but when Elisabeth's body is brought in, he dies, too.  Too late they realize that the staff has bloomed, indicating that he is forgiven.


Complete Film


Richard Wagner

His most popular operas are:

  • Der fliegende Holländer #25 (2 Jan 1843)
  • Tannhäuser #53 (19 Oct 1845)
  • Lohengrin #63 (28 Aug 1850)
  • Das Rheingold (22 Sept 1869)
  • Die Walküre #36 (26 June 1870)
  • Tristan und Isolde #39 (10 June 1865)
  • Die Meistersinger von Nürnberg #77 (21 June 1868)
  • Siegfried #50 (16 Aug 1876)
  • Götterdämmerung #59 (17 Aug 1876)
  • Parsifal #54 (26 July 1882)
All of these operas are in the 100 most performed.  It is interesting, at least to me, that his most popular opera is the one most like a Grand Opera. There is no listing for librettists because Wagner wrote his own librettos.


Faust Story


I decided that I needed to know more about Faust. We are hitting only the highlights. To get an idea of how big the influence of the Faust legend is see this list.

I

I called the original Faust a German myth. Apparently others call it a legend. One reliable source (EB) says that the original Johann Georg Faust (c. 1480–1540) lived in the time of Martin Luther and practiced the dark arts of wizardry, magic and astrology. This is rather a different idea than Goethe’s Faust. The Faust legend became the subject of extensive theological discussion.  Martin Luther was concerned that Protestantism would become associated with the practices of Faust and fought hard against him.

II

Between 1589 and 1592 Christopher Marlowe wrote a play usually referred to as Doctor Faustus. Calling Faust Doctor Faustus means pretty much the same thing it does now.  He has advanced to the top of academia.  This is an interesting work where Faust gives up his soul in order to gain magical powers for a specified time period. He accomplishes nothing useful but uses his gifts to perform tricks for the nobility. He goes to hell when his time runs out. 

I don’t have to go into all the details. Clearly in this early period the subject matter of Faust’s knowledge and studies is significant. Marlowe’s play represents the Calvinist position where salvation is preordained. He is condemned for his magical practices and cannot be saved.

Mephistopheles was a folklore figure in the Faust legend. He becomes a stock character.  It's best seen as a play for special effects.  Marlowe establishes the idea that Faust gets his magic powers from the Devil.

III

Johann Wolfgang von Goethe’s play Faust part 1 and part 2 (1806-1832) was the next landmark in the life of this legend. Only part 1 is regularly staged.  It is regarded as a great monument of German literature.  For our purposes we will concern ourselves only with part 1.

It is Goethe who transforms the legend into something else.  Originally it is Faust himself who leads himself into darkness, perhaps with the devil's help, but not entirely.  In Goethe it is rather like the tale of Job where God challenges the Devil to lead his exemplary man to hell.  The Devil gives it his best shot.  Faust is a learned man but his studies are here regarded as good.  Mephistopheles enters into Faust's life as a dog who follows him home.

It is also Goethe who introduces Marguerite into the story.  We are to presume that Faust, the saintly scholar, is sexually inexperienced.  Here it becomes a transaction.  Faust may have anything he wants on earth, while the Devil alone has power in hell.  It is a witch who turns Faust into a young man.  Valentine, Marguerite's brother, first appears here.



Goethe's Marguerite donates Mephistopheles' jewels to the church, but is led to ruin anyway.  The Devil thinks Faust would be tempted by a Walpurgis Nacht.  Perhaps this links us back to the original legend where Faust is attracted to the dark arts.  Here he isn't. 

The Marguerite story is extended through several scenes where she kills her mother, gives birth Faust's child, kills her child and is sent to prison.  At the very end she prays for salvation and is saved.  This does not sound like a Calvinist perspective. The story of Faust continues into part 2.  Faust has only to say to the Devil, "this is beautiful, stop here,"  and Faust's soul is his.

IV



It's after this that musicians become interested.  The first piece that has remained in the repertoire is Hector Berlioz' La damnation de Faust (1846).  This is intended to be a concert piece, but is often fully staged.  The prologue in heaven where God makes a bargain with the Devil does not appear.  Instead Faust is an old man who has become tired of life and wants to kill himself.  Méphistophélès appears and offers him something to live for.  They travel together to several locations, but Faust doesn't become interested until Marguerite enters the picture.



Berlioz focuses on Marguerite much like Goethe, but shows Faust's continuing interest in science in this aria. The presence of a love story makes it more suitable as an opera plot.  At the end Marguerite is saved but Faust goes to hell.  The musical style is fully romantic. 

V



The most famous of all the Faust operas is Charles Gounod's Faust (1859).  For about 50 years it was the most popular opera just about everywhere, but then it faded considerably.  Gounod's Faust summons the Devil to his study when after a long life in science, he finds that he has accomplished nothing and wants to kill himself.  Mephistopheles makes a bargain with Faust that he will show him something he cannot resist.  God's complicity in this bargain is not shown.  After changing him into a young man, the Devil takes Faust out to get drunk in a bar.  Faust is uninterested.  Marguerite is next.  The above aria is Faust's reaction to her.



This is my favorite aria from Gounod's Faust, sung here by my favorite baritone, Dmitri Hvorostovsky, in the role of Marguerite's brother Valentin.  This is just before he leaves her to go off to war.  He gives responsibility for her to Siebel who appears only in this opera.

 

Here Above we have the original version of "Diamonds are a girl's best friend."

The Walpurgis Nacht comes in the form of a ballet which is usually omitted.  Faust returns to Marguerite in her prison cell.  She is saved by an angel, but Faust continues on with Mephistopheles.  In the recent production from London he turns back into an old man.

We have wandered far from the original legend which concerned itself with Faust's interests as a scholar to the mere boredom of an old man who has accomplished nothing with his life.  The Met's attempt to drag it back by casting Faust as a nuclear scientist who regrets what he has spent his time doing.  We have the fully romantic music of one Faust and the story of another.

It is good to stop for a moment and point out the difference between Gounod and Goethe.  Goethe is clear that Faust the academic is a good man favored by God.  Gounod's Faust is just a bored old man.  The worst thing about this opera is the fact that both Faust and Valentin praise Marguerite for her chastity and purity.  Then Faust leads her into darkness with hardly a backward look.  Valentin abandons her.  She is saved in the end through God's grace.  This is seen as a Christian message because God can forgive anything.  Someone has pointed out to me that Gounod was a Catholic, and that we have here more of a Catholic perspective.

VI

Not too long after Gounod's opera came Arrigo Boito's Mefistofele (1868).  I know this opera from glorious performances in San Francisco starring Samuel Ramey.  Boito restores Goethe's prologue in heaven where Mefistofele challenges God for the soul of his servant Faust.  It was a failure at its initial performance at La Scala, Milan.



Faust agrees to give up his soul in return for bliss on earth. The Marguerite part of the story is similar to Gounod, except in addition to killing her child, she poisons her mother.  She repents of her sins, and the angels save her.

At the end Mefistofele and Faust return to heaven for the final judgment.  Faust is saved.



I think it is the music which speaks against this opera, Boito's only composed opera.  Boito is almost modern in his style.  The contrast to Gounod's music is enormous.  The version with Samuel Ramey is highly recommended.  Without Ramey does it work at all?

VII

Ferruccio Busoni in his Doktor Faust (1916–25) writes his own libretto in German.  This opera was presented at the San Francisco Opera in June, 2004.  I attended one of these performances and was completely confused.  Now that I see the plot description, I can understand why.   It was done as a regie production in modern dress in what appears to be a modern factory of some kind.  To add to the confusion Faust is a baritone and Mephistopheles is a tenor.



God is not involved.  Faust the academic is visited by mysterious figures who give him a book.  He follows the instructions in the book, draws a circle on the floor and summons the Devil.  Marguerite's brother is a character whom Faust kills, but she herself does not appear.  Clearly we have wandered far from Goethe but closer to Marlowe.

Faust appears as a magician at the court of the Duke of Parma where he seduces and elopes with the Duchess of Parma.  I can't imagine how this fits in with a factory.  At the end he performs some kind of magic trick where he falls dead and gives his life to another.  I think it would be necessary to study this extensively to have any hope of understanding what was going on.

VIII
It might be possible to regard Igor Stravinsky's The Rake's Progress (1951) as a Faust opera.  It's a bit of a stretch.  The Devil makes an appearance.

It has also been pointed out to me that Damn Yankees is also a Faust story.

Bizet Carmen (#11)

The Opera

First performed in 1875, the music is French romanticism with a Spanish twist.
The plot is an unhappy love affair with a gypsy queen.

The Story

Act I

The work day is over at the cigarette factory and the girls emerge. Last to exit is Carmencita who flirts with everyone.

Act II

Act III

 

Act IV

Complete Film


Verdi Don Carlo #36

The Opera


Verdi's Don Carlos had its premier in Paris in 1867, and was originally in French.  It comes in various versions, but is almost always performed in Italian.  There was a period of about 50 years when no one performed Don Carlo at all, but now it is considered one of Verdi's greatest operas.


The Story


Act I


Scene 1. The Forest of Fontainebleau, France in winter

The scene begins with a chorus of complaining peasants.  Sometimes the whole scene is cut.  The plot has to do with Spain and Flanders, so complaining French peasants never come up again.  Perhaps they are included to show how they love Elisabetta. Carlo and Elisabetta meet and fall in love.  The scene ends with the announcement that Elisabetta will marry Philip II, king of Spain, and not Carlo, as part of a peace treaty between Spain and France.  She takes it better than he does. 

Act II


Scene 2: The monastery of Saint-Just in Spain

Sometimes the opera starts here.  Don Carlo meets with his friend Posa, sung by Thomas Hampson.  Carlo wants to talk about Elisabetta, and Posa wants to talk about conditions in Flanders where the Catholic Philip II is persecuting the Lutherans of Flanders.  They sing the gorgeous friends duet.

Hit Tune



Scene 3: A garden near Saint-Just

Elisabetta is with her ladies in waiting.  Eboli, sung by Ekaterina Semenchuk, is introduced with a song.  Posa and Eboli help to arrange for Carlo to be alone with Elisabetta, and a rather torrid love scene ensues.  They are rolling around on the floor and Elisabetta says, "so you want to kill your father and marry your mother."  This cools him off, and he leaves.  The king enters and is furious because the queen has been left alone.  He sends one of her women back to France.

Act III

Scene 4: Evening in the Queen's garden in Madrid
The celebration of the anniversary of the ascension of Philip II to the throne of Spain has begun.  We hear celebratory music and see costumes and decorations that resemble carnival, including masks.  The queen and Eboli appear, the queen complains that she is tired and wants to go pray, and asks Eboli to take her place at the celebration.  She removes her outer garments, including a head piece, and Eboli puts them on.  Elisabetta leaves.

Eboli writes a note for Carlo, and he enters thinking Eboli is Elisabetta.  This is much clearer if we have just seen them exchange clothing.  Carlo is passionate until he realizes it is actually Eboli.  Eboli is not happy with this, as she is in love with Carlo.  Posa enters, Eboli threatens to rat on Carlo, and Posa tries to stab her.  Carlo prevents this, but Eboli is still angry.  There is an extended trio with a lot of intensity.

Scene 5: In front of the Cathedral of Valladolid

This is called the "Auto-da-fé" or "act of faith" scene and features the burning of heretics condemned by the Inquisition. The events go:  heretics are dragged in; Flemish ambassadors appear and plead their case to the king with Posa and Carlo arguing on their side (shown above); the king refuses their plea and has them arrested and taken away; Carlo gets angry, pulls his sword and threatens the king; no one will confront Carlo until Posa steps forward and orders Carlo to give him his sword; Carlo obeys and the king immediately makes Posa a Duke and has Carlo arrested.  Finally the king and queen take their places and the heretics are burned.

Act IV

 

Scene 6: Dawn in King Philip's study in Madrid 

Hit Tune


 

Elisabetta enters and the king confronts her about the portrait.  She faints.  This is the female version of when in doubt punt.  If things aren't going well, faint.  Eboli and Posa are also in this scene.  When Elisabetta wakens, Eboli admits that it was she who gave the jewelry box to the king.  Everyone else leaves, and Eboli sings her big aria "O don fatale."  She vows to try to save Carlo.

Hit Tune


 

Scene 7: A prison

Posa visits Carlo in jail where a shadowy figure kills him.  I don't seem to have ever known what was going on here except that Posa dies.  The question is who killed Posa?  We see two men, both in dark robes, one with a soldier's helmet and one with a hood.  The one in the helmet shoots Posa.  Did the king give in to the Grand Inquisitor or did the Grand Inquisitor take care of matters on his own? 

Hampson struggles with the heavier parts of this scene but excels at the sweeter parts.  He dies in close-up, very nicely.  Carlo cries.  Philip comes in bragging that he has killed him.  Carlo curses him.  Such emotion.  Kaufmann is magnificent in his anger; his intensity is the secret of his fame.

Act V


Scene 8: The moonlit monastery of Yuste

Hit Tune




This opera is a patchwork, a many times reworked patchwork.  We put in some stuff.  We take some of it out.  We put in some more.  Etc.  We love the music, so we don't mind so much that the story is so disorganized.  In contrast La Forza del Destino is much easier to follow but is implausible.

 

Complete Film



Giuseppe Verdi


Giuseppe Fortunino Francesco Verdi (1813 – 1901) was the most important of all Italian opera composers, and his operas still form the core of Italian repertoire.  His most important operas are:


  • Nabucco #41 (9 March 1842) libretto by Temistocle Solera
  • Ernani (9 March 1844) libretto by Francesco Maria Piave
  • I due Foscari (3 November 1844) libretto by Francesco Maria Piave
  • Attila (17 March 1846) libretto by Temistocle Solera, Francesco Maria Piave 
  • Macbeth #61 (14 March 1847) libretto by Francesco Maria Piave
  • Luisa Miller (8 December 1849) libretto by Salvatore Cammarano
  • Rigoletto #10 (11 March 1851) libretto by Francesco Maria Piave
  • Il trovatore #31 (19 January 1853) libretto by Salvatore Cammarano, Leone Emanuele Bardare
  • La traviata #6 (6 March 1853) libretto by Francesco Maria Piave
  • Les vêpres siciliennes (13 June 1855) libretto by Charles Duveyrier, Eugène Scribe
  • Simon Boccanegra #58 (12 March 1857) libretto by Francesco Maria Piave
  • Un ballo in maschera #18 (17 February 1859 ) libretto by Antonio Somma
  • La forza del destino #57 (10 November 1862) libretto by Francesco Maria Piave
  • Aida #15 (24 December 1871 ) libretto by Antonio Ghislanzoni
  • Don Carlo #36 (November/December 1872) libretto by Camille du Locle, Joseph Méry; Achille de Lauzières (Italian trans.)
  • Otello #28 (5 February 1887) libretto by Arrigo Boito
  • Falstaff #22 (9 February 1893) libretto by Arrigo Boito
Several of these operas appeared in different versions, some in French.  You may see these.