Alderley Edge Symphony Orchestra May 2022: Centenary Gala
Johann Strauss II (1825-1899): Die Fledermaus (1874) – Overture
Die Fledermaus (‘The Bat’) remains one of the best loved operettas in the genre. The original source for the delightfully absurd plot was Julius Roderich Benedix’s 1851 farce Das Gefängnis. Over the course of three acts, Gabriel and Rosalinde von Eisensteins become ever more tangled in a complex knot of disguise and deception in the hope of catching the other being unfaithful. Gabriel’s old friend Dr Falke is the master puppeteer of the quarrel, searching for revenge for an old insult in which Gabriel abandoned a drunk and disorderly Falke to ridicule and shame while in costume as a bat. Of course, things work out happily enough in the end. The overture captures all of the Champagne-driven hikinks in a whirl of polkas and waltzes from the show.
Richard Wagner (1813-1883): Tannhäuser (1845) – Arrival of the Guests at the Wartburg
Tannhäuser was written during Wagner’s middle years, between Der fliegende Holländer and Lohengrin. As with many of his operas, his inspiration was large from medieval mythology, and explores the relationship with so-called ‘pure’, or ‘sacred’ love, and the profane. The eponymous knight staggers out of Venus’ underworld lair and resolves to return to his old love, Elizabeth. In this extract, guests arrive at the Wartburg for a song contest, hailing the Thuringian Landgrave. In the contest, however, Tannhäuser blasphemously extols Venus and profane love, and is banished to seek forgiveness from The Pope in Rome. The Pope denies clemency, or at least not until his staff blossoms. Just as Tannhäuser is about to fall back into the arms of Venus, he is reminded of Elizabeth, who appears on a funeral bier, having succumbed to grief. He collapses onto her body, his soul redeemed by her death. Pilgrims appear proclaiming a miracle: The Pope’s staff has bloomed, and he is forgiven.
Georges Bizet (1838-1875): Carmen (1874) – Habanera and Toreador Song
Despite a lukewarm initial reception, Carmen has become a staple of opera houses the world over. Memorable tunes abound, and the plot is relatively simple: Don José leaves his betrothed for the alluring Carmen, but stabs her after she leaves him for the bull-fighter Escamillo. In the Habanera from Act I, Carmen describes love as a rebellious bird which cannot be tamed, and in the testosterone-laden Toreador song from Act II, Escamillo introduces himself with much bravura.
Léo Delibes (1836-1891: Lakmé (1883) - The Flower Song
Despite his efforts to write ‘serious’ operas, the Romantic French composer Delibes is now best known for the ballets Coppélia and Sylvia and the opera Lakmé. The latter is a three-act tragedy set in nineteenth century India, in which the title character, the daughter of a local priestess, falls in ill-fated love with a British officer. Their doomed love affair ends with Gérald returning to his military station and Lakmé ending her life with poison. The famous Flower Duet for Lakmé and her maid Mallika occurs early in Act I as the pair travel down river to gather flowers.
Giacomo Puccini (1858-1924): Turandot (1926) – Nessun dorma
Puccini holds reasonable claim as second only to Verdi in the pantheon of great Italian opera composers. His works, including such favourites as La bohème, Madama Butterfly and Tosca, remain much-loved around the world, well known for their drama and rich musical romanticism. He left his final opera, Turandot, unfinished at the time of his death, though the final act was later completed by the composer Franco Alfano. The opera is set in mythical China, with Puccini making ample use of the pentatonic scale (that which sounds if one only plays a piano’s black keys). The final act aria Nessun dorma (‘Let no one sleep’) reached unprecedented prominence when chosen as the anthem for the 1990 football World Cup. Princess Turandot has decreed that none in the city shall sleep until her suitor, Prince Calaf, is identified by name. If she correctly guesses his name, he is to be executed, though if she fails, she will be forced to marry him and will execute all her subjects in objection.
Pietro Mascagni (1863-1945): Cavalleria Rusticana (1890) – Intermezzo and Easter Hymn
The Italian composer Mascagni achieved considerable success in his own lifetime as a prolific composer of opera and operetta, though beyond the one-act tragedy Cavalleria Rusticana (‘rustic chivalry’) his work is rarely heard today, and even this most popular of his works is typically paired with Pagliacci by Ruggero Leoncavallo. The action of Cavalleria takes place on Easter morning in 19th century rural Sicily, as Santuzza, Turiddu, Lola and Alfio tussle their way through an ill-fated love quadrangle. The Intermezzo and Easter Hymn remain popular excerpts; in the former, the villagers celebrate the resurrection in the church.
Gioachino Rossini 1792-1868: Il barbiere di Siviglia (1816) – Overture and Largo al factotum
Master of the Italian opera buffa (comic opera), Rossini wrote some 34 operas between the ages of 18 and 31, before largely retiring on the laurels of his success and writing nothing further in the genre for the final four decades of his life. The comedy The Barber of Seville, with its razor-sharp libretto by Pierre Beaumarchais, was a disaster at its premiere, one of the few highlights cheered by the audience being a stray cat wandering on stage, but has since remained a staple of opera houses needing a crowd-pleaser. Rossini had already used the sparkling overture for two earlier operas, Aureliano in Palmira and Elizabeth, Queen of England, but now enjoys prominence of its own, even being adapted by Bugs Bunny in Rabbit of Seville (to the opening line ‘Welcome to my shop / let me cut your mop / let me shave your crop). In the Largo al factotum, the barber Figaro introduces himself as an all-round man-about-town: “Figaro here, Figaro there / Figaro up, Figaro down / Swift, swifter, like lightning I am / I am the city's servant / Ah, worthy Figaro! Worthy, superb / Fortune will not fail you / I am the city's servant!”.
Pyotr Ilyich Tchaikovsky (1840-1893): Eugene Onegin (1879) – Waltz
Eugene Onegin remains the best-loved of Tchaikovsky’s eleven operas. Written to a libretto largely taken from verse by Pushkin, the opera takes place over several years, recounting the title character’s developing love for Tatyana and tragically fatal rivalry with his friend Lensky. The waltz opens the second act, as a grand ball takes place in honour of Tatyana’s name day, while the guests sing of their joy at the party. Needless to say, the fun is short-lived: Onegin dances with Lensky’s fiancée, Olga, prompting the latter to challenge his friend to a duel, whereupon Onegin reluctantly shoots Lenksy dead in order to save face.
Giuseppe Verdi (1813-1901): La forza del destino (1862) – Overture
Verdi and Wagner lived relatively parallel lives and both contributed immeasurably to the development of opera, taking it in entirely different directions. The Force of Destiny, written in his middle period, between Un ballo in maschera and Don Carlos, concerns the struggles of Don Alvoro as he attempts to elope with Leonora, whose father he shot in the process. Fate, represented by the three unison brass Es which starkly open the overture, catches up with them at every turn. The overture quotes a number of other tunes from the opera, its agitated figures alluding to the challenges facing Leonora. The ultimate resolution hints at the redemption she finds in death.
Giuseppe Verdi (1813-1901): Il Trovatore (1853) – Anvil Chorus
Il Trovatore (‘The Troubadour’) was written between Rigoletto and La Traviata just as Verdi was riding a wave of success which would ultimately render him a national hero. Set in Spain, the opera is similarly inspired by gypsy themes as Bizet’s Carmen. The ‘Anvil Chorus’ opens Act II, with the gypsies extolling their work at the anvils, their wives, and their wine.
Giuseppe Verdi (1813-1901): Nabucco (1841) – Chorus of the Hebrew Slaves
Nabucco was one of Verdi’s earliest successes. It is based on Biblical source material from Jeremiah and Daniel, describing the struggles of the Israelites against the Babylonian king, Nabucco (Nebuchadnezzar). In the Chorus of the Hebrew Slaves, from late in the penultimate act, the slaves lament their exile from Jordan, paraphrasing Psalm 137. The chorus was an instant hit, and was spontaneously sung at the composer’s own funeral by mourners before later being adopted as an unofficial anthem of Italian unification.
Giuseppe Verdi (1813-1901): Aida (1871) – Triumphal March
Set in ancient Egypt, Aida tells the story of the titular Ethiopian slave and daughter of the King of Egypt, and her love for an Egyptian soldier, Radames. After a defeat of the Ethiopian army, Radames inadvertently leaks Egyptian military intelligence to the Ethiopian King, and is sentenced to death. Buried alive in a dark vault, he finds that Aida has hidden herself in his tomb, and the pair die in each other’s arms. The Triumphal March takes place in Act II, as the Egyptians celebrate their victory, proclaiming ‘Glory to Egypt and Isis!’ in a breath-taking scene which typically makes for a spectacular stage set-piece, with off-stage trumpet calls blaring out their triumphant fanfares.