After all, the Page in Salome does warn that horrible things are going to happen

Salome (Angela Denoke at Covent Garden, 2010) finally gets to kiss the mouth of the prophet Jochanaan, who may have wished he'd let her do it when his head was still attached to him.

by Ken

It was as part of our Caballé-remembrance series that, last week, we ventured into Salome ("Some out-of-this-world sounds from a singer who proves mistress of a surprising role"). Now, having ventured there, I don't see how we can leave without some further exploring, and for this week's installment we're not even going to have Caballé at the center -- though I think you'll notice, if you compare her with the (very fine) other Salomes we'll be hearing, that she's plugged into the role in a way that is very much her own.

Just to recap, the opera is set on a terrace of the palace of Herod, the tetrarch of Judea, inside which a great feast is taking place. For a while the audience is invited to observe the wild infatuation of a handsome young captain, Narraboth, with the princess Salome, daughter of Herodias and stepdaughter (as well as niece) of the tetrarch (her father, Herodias's first husband, was Herod's half-brother), and we've been introduced to some of the many palace functionaries and guests who populate the terrace (and the opera), including a page of Herodias (presumably male) who appears as fixated on Narraboth as the latter is on Salome. We've also heard briefly from a still-invisible character: Safely locked away in a heavily guarded cistern is the prophet Jochanaan, aka John the Baptist, who despite his unfortunate incaraceration voices a soaring brand of religious ecstasy, for which Strauss found an appropriately ecstatic musical format, even as the prophet details the sea of human corruption all around.

Last week we heard Salome make her escape from the banquet to the terrace, and this week we're going to overlap a clip we heard last week, so we can immediately hear Salome switching on a dime from pouting rage to angelically youthful sweetness. One point to note: As far as I know we're not given an age for Salome, but the implication seems fairly clear that she's still a teenager, and again I would call attention to the young-girlishness that comes out so strongly in Strauss's musical setting, at least if the singer can make it come out, which it seems to me Caballé did, at least in the RCA recording of the opera conducted by Erich Leinsdorf, better than any other Salome I've heard. Again, the sound that's made by a big-voiced singer capable of scaling the voice down has an intensity and excitement that a smaller-voiced singer can't match -- as a matter of fact, as I think I've already mentioned, Birgit Nilsson, the greatest of the post-Welitsch Salomes, who pretty much obliterated the competition in the flaming outbursts, did some of her most memorable work in Salome's quiet moments.


LET'S HEAR SOME MUSIC ALREADY!

I swear, Caballé and Domingo were electrifying that night, but I will still need to scrounge to give you an idea of what I remember

AMELIA: Grant me, o Lord,
strength to cleanse my heart
and allay the inflamed
throbbing in my breast.

by Ken

No, there's nothing wrong with your computer, or your ears -- there's no singing in this audio clip. What it is -- in what I think is a pretty special performance (we'll talk more about this later) -- is a chunk of the orchestral introduction to Act II of Verdi's A Masked Ball (Un Ballo in maschera), which so powerfully recalls this crucial moment from Act I, Scene 2, when Amelia visits the fortune-teller Ulrica seeking help with a desperate problem: that she's hopelessly in love with her husband's best friend, an unfortunate complication being that the proceedings happen to be overhead by that self-same best friend, who happens to share that very passion, and who, although he too knows that he mustn't act on it, regrettably doesn't necessarily not do things he knows he mustn't, self-denial not being his strong suit.


LET'S HEAR THIS IMPASSIONED MOMENT FOR REAL

Ariadne is "the symbol of human solitude" -- which is "just why she needs company" (says the Dance Master)

[NOTE: This is still a rough version of this post, which needs a bit of fixing and amplifying that I'll get to ASAP. Okay, the updating is pretty well done -- or at least done as well as it's gonna get done.]

THE DANCE MASTER: There's nothing more tasteless than a desert island.
THE COMPOSER: Ariadne on Naxos, sir -- she is the symbol of human solitude.
THE DANCE MASTER: That's just why she needs company.

Murray Dickie (t), Dance Master; Sena Jurinac (s), Compower; Vienna Philharmonic, Erich Leinsdorf, cond. RCA-Decca, recorded 1958

Gerhard Unger (t), Dance Master; Tatiana Troyanos (ms), Composer; Vienna State Opera Orchestra, Karl Böhm, cond. Live performance, Nov. 29, 1967

by Ken

Awhile back I asked, "Why won't everyone just let poor abandoned Ariadne die in peace?" Rather than try to answer the question directly, I hoped that the answer, or at least an answer, would be clear from the extravagantly gorgeous music the abandoned princess sings in the two-part monologue she has been given upon her awakening from her weeping slumber.

Of course, as we're reminded by the little exchange I've reproduced atop this post, there are two decidedly different schools of thought about Ariadne abandoned on Naxos among the participants in the strange hybrid entertainment about to be performed in the house of the richest man in Vienna: the "serious opera" folk including the Music Master and his student, the Composer, the composer of the opera seria Ariadne auf Naxos that's on offer; and the entertainers "in the Italian buffo manner," as the Music Master puts it, led by the Dance Master and "the incomparable Zerbinetta."

Now I don't believe we've yet seriously encountered the Dance Master, a treat of a little character-tenor role. For one thing, the fellow knows how to present himself. Here we're hearing one of my favorite character tenors, Murray Dickie, a Scotsman we've heard in repertory from Mozart to Wagner to Mahler.

THE MAJOR-DOMO: Where is Master Dance Master? I have an instruction from my honorable master for you both.
THE DANCE MASTER: What's wished of me?

Kurt Preger (spkr), Major-Domo; Murray Dickie (t), Dance Master; Vienna Philharmonic, Erich Leinsdorf, cond. RCA-Decca, recorded 1958

And he knows how to plead his case. Here he's debunking the notion that the comic presentation will be dragged down if it's give following the soporific opera seria.

THE DANCE MASTER [to ZERBINETTA]: On the contrary. They've just got up from table, they feel much too full and disinclined for anything save forty winks on the side. They clap, then, out of politeness and to wake themselves up. In the meantime they become quite lively. "What's next?" they say to themselves. "The Inconstant Zerbinetta and Her Four Suitors": a merry comedy to follow with dancing, light, tuneful music and a plot as clear as daylight where one knows where one is. "That's what we like," they say to themselves. "This is where we wake up. We know where we are with this!" And afterwards, when they're driving home, they can't remember a single thing, except that they saw the incomparable Zerbinetta dance.

Murray Dickie (t), Dance Master; Vienna Philharmonic, Erich Leinsdorf, cond. RCA-Decca, recorded 1958

Now here's how this occurs in context, reflecting the comedians' view of the Ariadne story, with some other characterful Dance Masters. I would put in a good work in particular for that wonderful Spieltenor of the '50s and '60s Gerhard Unger. (One thing to note in these excerpts is how each tenor copes with that totally exposed, long-held high B-flat at the end, on "Zerbi-net-ta." Peter Schreier may not have been the goldenest-voiced of tenors, but he was a legit lyric tenor rather than, strictly speaking a Spieltenor, and I think that gives him an edge here.)

I was already thinking that maybe we should do a "Murray Dickie Day" post, if only gathering together the repertory we've already heared; now I'm thinking maybe we should do Murray Dickie-plus-Gerhard Unger, since there was of course a good deal of repertory overlap.

R. STRAUSS: From the Prologue to Ariadne auf Naxos

ZERBINETTA sits on a little straw stool at the front of the stage and finishes applying her makeup assisted by her partners; HARLEKIN holds the light, BRIGHELLA the mirror.

PRIMA DONNA [opens the door and beckons to the MUSIC MASTER]: Have you summoned the Count?
[Comes out a little and notices ZERBINETTA and the rest]
Pfui! What kind of visions are these, pray?
[To the MUSIC MASTER, not exactly softly] Fancy our being mixed up with people of that sort! Don't people hereabouts know who I am? How could the Count --
ZERBINETTA [with an impudent look at the singer and in a purposely loud voice]: If the rubbish is so boring, then we ought to have been allowed to appear first, before they become irritable. If they've been bored for a whole hour beforehand, then it will be twice as hard to make them laugh.
DANCE MASTER [to ZERBINETTA]: On the contrary. They've just got up from table, they feel much too full and disinclined for anything save forty winks on the side. They clap, then, out of politeness and to wake themselves up. In the meantime they become quite lively. "What's next?" they say to themselves. "The Inconstant Zerbinetta and Her Four Suitors": a merry comedy to follow with dancing, light, tuneful music and a plot as clear as daylight where one knows where one is. "That's what we like," they say to themselves. "This is where we wake up. We know where we are with this!" And afterwards, when they're driving home, they can't remember a single thing, except that they saw the incomparable Zerbinetta dance.

Leonie Rysanek (s), Prima Donna; Jeanette Scovotti (s), Zerbinetta; Gerhard Unger (t), Dance Master; Vienna State Opera Orchestra, Karl Böhm, cond. Live performance, Nov. 29, 1967

Gundula Janowitz (s), Prima Donna; Sylvia Geszty (s), Zerbinetta; Peter Schreier (t), Dance Master; Staatskapelle Dresden, Rudolf Kempe, cond. EMI, recorded June-July 1968

Maria Reining (s), Prima Donna; Alda Noni (s), Zerbinetta (s), Josef Witt (t), Dance Master; Vienna State Opera Orchestra, Karl Böhm, cond. Live performance in honor of Strauss's 80th birthday, June 11, 1944


BUT ABOVE ALL THERE'S ARIADNE'S MUSIC

And now, as promised way back when, we're returning to Ariadne's monologue, this time hearing the whole chunk of the opera seria through the second part of the monologue. Is it really possible to stand by and allow Ariadne to will herself into oblivion, even for the commedia dell'arte players?

R. STRAUSS: Ariadne auf Naxos, Op. 60:
The first part of the Opera Seria

(1) Overture

(2) Ariadne watched by the nymphs Najade, Dryade, and Echo (Najade, "Schläft sie?")

ARIADNE lies prostrate on the ground before the mouth of a cave. NAJADE is left, DRYADE right, ECHO at the back against the wall of the grotto.

["Is she sleeping?" first NAJADE and then DRYADE ask. "No, she is weeping," they determine. "Weeping in her sleep." "Day after day benumbed in sorrow." And they continue their lamentations, joined by the echoing ECHO, until finally ARIADNE awakens.]

(3) Ariadne awakens ("Ach! Wo war ich?")

ARIADNE [on the ground]: A-ah!
ECHO: A-ah!
ARIADNE: Where was I? Dead? And alive, alive again
and still living?
And yet it is no life that I live!
Broken heart, will you continue forever beating?
[Half raising herself]
What then was I dreaming? Woe is me! Forgotten already!
My head retains nothing anymore.
Only shadows slip
through a shadow.
And yet, something suddenly blazes up and pains me so!
A-ah!
ECHO: A-ah!

(4) Ariadne's monologue, part 1: "Ein schönes war, hiess Theseus-Ariadne"

ARIADNE [to herself, as in a monologue]:
There was a thing of beauty, called Theseus-Ariadne,
that walked in light and rejoiced in life,
that walked in light and rejoiced in life.
A thing of beauty was: Ariadne. Theseus.
Theseus! That walked in light and rejoiced in life.
Ariadne. Theseus.
Why do I know of it? I want to forget!
[Another idea occurs to her poor deranged mind.]
This one thing I have still to find: It is shameful
to be as confused as I am.
I must try to rouse myself: Yes, this I still must find:
the maiden that once I used to be!
Now I have it -- the gods grant that I hold on to it!
Not the name -- the name has grown together
with another name, one thing grows
so easily into another, alas!
NAJADE, DRYADE, and ECHO [trying to awaken her]:
Ariadne!
ARIADNE [motioning them away]:
No, not again! She lives here quite alone.
Lightly she breathes, lightly she moves,
not a blade stirs where she treads,
her sleep is chaste, her mind serene,
her heart as pure as a spring;
she keeps herself undefiled, for the day is soon to come
when she can wind herself in her mantle,
cover herself with a cloth
and lie there,
among the dead.

(5) Ariadne not quite alone (including Harlekin's song)

ZERBINETTA [from the wings]:
Oh then, try a little song!
HARLEKIN [singing from the wings]:
Love, hatred, hope, fear,
every joy and every pain,
all this can a heart endure
once and many times again.
ECHO: repeats it soullessly, like a bird, without words.
HARLEKIN: But to feel not joy nor sadness,
even pain itself being dead,
that is fatal to your heart,
this you must not do to me!
You must lift yourself from darkness,
were it but to fresher pangs!
You must live, for life is lovely,
you must live again once more.
ECHO: as before.
[ARIADNE, unmoved, dreams on as before.]
ZERBINETTA [sotto voce]: She didn't raise her head once!
HARLEKIN [the same]: It's all no use.
I felt as much while I was singing.
ZERBINETTA: You're quite upset.
HARLEKIN: Never have I been so moved by any human being.
ZERBINETTA: You're the same about every woman.
HARLEKIN: And aren't you the same about every man?

(6) Ariadne's monologue, part 2: "Es gibt ein Reich, wo alles rein ist"

ARIADNE: There is a realm where all is pure:
it has a name too: Realm of Death.
[Rises from the ground.]
Here nothing is pure.
All is finished here.

[She pulls her robe close around her.]
But soon a messenger will draw nigh,
Hermes they call him.
With his staff
he rules all souls:
Like birds on the wing,
like dry leaves,
he drives them before him.
Thou beautiful, serene god!
See! Ariadne awaits!

Oh, my heart must be cleansed
of all wild grief,
then your presence will call me,
your footsteps will approach my cave,
darkness will cover my eyes,
your hand will touch my heart.
In the beautiful festal robes
that my mother bequeathed me
my body will remain;
the silent cave will be my tomb.
But mutely my soul
will follow its new lord,
as a light leaf in the wind
flutters downward, gladly falling.
Darkness will cover my eyes
and fill my heart;
this body will remain,
richly adorned and all alone.

You will set me free,
give me to myself,
this burdensome life,
take it from me.
I will lose myself entirely in you;
with you Ariadne will abide.
[She stands lost in thought.]

-- English translation of texts by Peggie Cochrane

Erika Wustmann (s), Najade; Annelies Burmeister (ms), Dryade; Adele Stolte (s), Echo; Gundula Janowitz (s), Ariadne; Hermann Prey (b), Harlekin; Sylvia Geszty (s), Zerbinetta; Hans-Joachim Rotzsch (t), Brighella; Siegfried Vogel (bs), Truffaldin; Peter Schreier (t), Scaramuccio; Staatskapelle Dresden, Rudolf Kempe, cond. EMI, recorded 1967
[(1)-(6) tracks 1-6]

Mimi Coertse (s), Najade; Hilde Rössl-Majdan (ms), Dryade; Liselotte Maikl (s), Echo; Leonie Rysanek (s), Ariadne; Walter Berry (b), Harlekin; Roberta Peters (s), Zerbinetta; Murray Dickie (t), Brighella; Gunter Adam (bs), Truffaldin; Kurt Equiluz (t), Scaramuccio; Vienna Philharmonic, Erich Leinsdorf, cond. RCA-Decca, recorded 1958
[(1) start; (2) 3:38; (3) 7:30; (4) 10:15; (5) 16:00; (6) 18:53]

Eleanor Bergquist (s), Najade; Gwendolyn Jones (ms), Dryade; Pamela South (s), Echo; Leontyne Price (s), Ariadne; Dale Duesing (b), Harlekin; Ruth Welting (s), Zerbinetta; Robert Johnson (t), Brighella; Alexander Malta (bs), Truffaldin; Joseph Frank (t), Scaramuccio; San Francisco Opera Orchestra, János Ferencsik, cond. Live performance, Oct. 28, 1977
[(1) track 1; (2) track 2; (3) track 3; (4)-(5) track 4; (6) track 5]

Deborah Cook (s), Najade; Enid Hartle (ms), Dryade; Norma Burrowes (s), Echo; Leontyne Price (s), Ariadne; Barry McDaniel (b), Harlekin; Edita Gruberová (s), Zerbinetta; Gerhard Unger (t), Brighella; Manfred Jungwirth (bs), Truffaldin; Kurt Equiluz (t), Scaramuccio; London Philharmonic Orchestra, Sir Georg Solti, cond. Decca, recorded November 1977
[(1) start; (2) 3:30; (3) 7:41; (4) 11:00; (5) 18:15; (6) 20:19]

Emmy Loose (s), Najade; Melanie Frutschnigg (ms), Dryade; Elisabeth Rutgers (s), Echo; Maria Reining (s), Ariadne; Erich Kunz (b), Harlekin; Alda Noni (s), Zerbinetta; Peter Klein (t), Brighella; Marjan Rus (bs), Truffaldin; Richard Sallaba (t), Scaramuccio; Vienna State Opera Orchestra, Karl Böhm, cond. Live performance in honor of Strauss's 80th birthday, June 11, 1944
[track 1: (1) start, (2) 3:58, (3) 8:38, (4) 11:53; track 2: (5) start; (6) 1:56]

UPDATE: A note about the recordings

We already heard Leonie Rysanek's thrilling "Es gibt ein Reich," from the Leinsdorf-RCA studio recording, in the earlier Ariadne's-monologue post, at which time I promised that we would be hearing the whole scene. I assumed nobody would mind hearing the Es gibt ein Reich" again! By virtue of the voice's natural weight and soaring upward extension, it seems to me a just about ideal Ariadne voice -- like Jessye Norman's, which we heard in both halves of the monologue, with its sumptuous lower range as a vocal bonus.

Gundula Janowitz, of course, is a representative of the lighter-weight sopranos who have made the role work, and while some listeners have been put of by the quasi-instrumental quality of the vocalism, I really loved the sound of the voice in these glory years -- and especially working with a conductor as inspiring as Rudolf Kempe in this outing, she remains for me a memorable Ariadne.

I haven't included two Leontyne Price performances because I think either is "definitive"; I would have loved, for one thing, to hear her in the role when she was younger -- as in the gleaming studio recording we heard of "Es gibt ein Reich" (and also the first two of the Four Last Songs). The San Francisco performance and the London studio recording are almost contemporary; one gets the feeling that Price headed straight from San Francisco to London to make the recording. That said, she sounds to me vocally more assured and dramatically more comfortable in the live performance, but since I had already made a file of the studio version, I decided to include both.

Finally, I'm happy to have included the excerpt from the June 1944 Vienna State Opera performance conducted by Karl Böhm to commemorate Strauss's 80th birthday, from which we've already heard the Prologue. Maria Reining, the Ariadne, was not at all surprisingly in considerably better vocal health here, at age 41, than she was in the recording for which she's surely best known, the Marschallin in the June 1954 Decca recording conducted by Erich Kleiber, when she was about to turn 51. The Ariadne seems to me an all-round lovely piece of work.


STILL TO COME: No, we're not done with Ariadne

We still have to look at the way the comic and tragic elements are not only balanced but in fact brought into harmony.

#

Why won't everyone just let poor abandoned Ariadne die in peace?

"There is a realm where all is pure"

Ernst Stern's design for the original 1912 Ariadne auf Naxos (click to enlarge)

There is a realm where all is pure:
it has a name too: Realm of Death.
[Rises from the ground.]
Here nothing is pure.
All is finished here.

[She pulls her robe close around her.]
But soon a messenger will draw nigh,
Hermes they call him.
With his staff
he rules all souls:
Like birds on the wing,
like dry leaves,
he drives them before him.
Thou beautiful, serene god!
See! Ariadne awaits!

Oh, my heart must be cleansed
of all wild grief,
then your presence will call me,
your footsteps will approach my cave,
darkness will cover my eyes,
your hand will touch my heart.
In the beautiful festal robes
that my mother bequeathed me
my body will remain;
the silent cave will be my tomb.
But mutely my soul
will follow its new lord,
as a light leaf in the wind
flutters downward, gladly falling.
Darkness will cover my eyes
and fill my heart;
this body will remain,
richly adorned and all alone.

You will set me free,
give me to myself,
this burdensome life,
take it from me.
I will lose myself entirely in you;
with you Ariadne will abide.
[She stands lost in thought.]

-- English translation by Peggie Cochrane

Maria Cebotari, soprano; Vienna Philharmonic, Herbert von Karajan, cond. EMI, recorded Nov. 16, 1948

Leontyne Price, soprano; London Symphony Orchestra, Fausto Cleva, cond. RCA, recorded 1965


"Playgoers, I bid you welcome. The theater is a temple, and we are here to worship the gods of comedy and tragedy. Tonight I am pleased to announce a comedy."

-- the principal player at the outset of A Funny
Thing Happened on the Way to the Forum

by Ken

We've already had a taste of the comedy of Ariadne auf Naxos, in the October 11 Sunday Classics snapshots post "Meet the Composer, Richard Strauss-style," observing the comically serious young Composer make his way backstage through the craziness preceding the performance of his opera seria of the same name. Now, above, we've gotten a taste of the tragedy.

(In studio recordings, I should add, of just this excerpt. The lovely Maria Cebotari [seen at right], heard here less than seven months before her untimely death, at 39, did sing Ariadne, and must have been radiant in the role, but Leontyne Price didn't take it on until years after she recorded this stand-alone "Es gibt ein Reich" in her Art of the Prima Donna series, in which she sampled roles she hadn't sung. (Eventually -- not this week, but eventually -- we'll hear more of her eventual Ariadne.)

We've also had a masterful exposition, two weeks ago, of the conventional way of handling comedy and tragedy, from the principal player at the top of Burt Shevelove, Larry Gelbart, and Stephen Sondheim's A Funny Thing Happened on the Way to the Forum, the first show for which Stephen Sondheim wrote music as well as lyrics. It's probably still my favorite Sondheim song, and I can't ever hear it enough. So . . .

LET'S HEAR IT AGAIN -- AND AGAIN, AND AGAIN

Ghost of Sunday Classics: A Mind Is a Terrible Thing to Waste Dept. -- Two operatic heroines, part 1

In Act II of Verdi's La Forza del destino, Leonora (Jennifer Maines) meets the kindly Padre Guardiano (Marek M. Gasztecki), at Innsbruck's Landestheater, September 2013.

by Ken
Another ghost-of-a-post idea, and one that may require some eventual fleshing-out. It was born of conjoined images from two different operas that suddenly started playing together in my head. And the "ghost" theme is actually appropriate, since it happens that both of the operatic heroines of our post title is that both have been seeing, er, fantastmi, as our Heroine No. 1, Verdi's Donna Leonora di Vargas from La Forza del destino, puts it.

HEROINE NO. !: VERDI'S LEONORA DI VARGAS
(LA FORZA DEL DESTINO)

We've actually heard this before, at some length. in the May 2011 post "Verdi's Forza demonstrates from start to finish what only opera can do." Donna Leonora, held responsible for the death of her father, the Marquis of Calatrava, the night she attempted to elope with her beloved Don Alvaro, has fled her home in Seville, eventually winding up at the mountain monastery of Hornachuelos, where she throws herself at the mercy of its superior, the kindly Padre Guardiano. When he finds out who she is, he recoils at first, then shows her the first human kindness she has received since her father's death, and what we hear from her in this release of pent-up tension rather terrifies me.

VERDI: La Forza del destino, Act II, Scene 2: Leonora, "Più tranquillo l'alma sento" ("I feel my soul more tranquil")

LEONORA: I feel my soul more tranquil
since I tread this ground.
The fearful phantasms
I no longer feel making war against me.
No longer does my father's shade
rise bleeding before me,
nor do I hear him, terrible,
cursing his daughter.

Maria Caniglia (s), Donna Leonora di Vargas; EIAR Turin Symphony Orchestra, Gino Marinuzzi, cond. Fonit Cetra, broadcast performance, 1941

Renata Tebaldi (s), Donna Leonora di Vargas; Orchestra of the Accademia di Santa Cecilia (Rome), Francesco Molinari-Pradelli, cond. Decca, recorded summer 1955

Leontyne Price (s), Donna Leonora di Vargas; Metropolitan Opera Orchestra, Francesco Molinari-Pradelli, cond. Live performance, March 9, 1968

They say that falling in love is wonderful -- Tchaikovsky's Tatiana writes a letter

Renée Fleming as Tatiana in the Letter Scene

Are you an angel, sent to guard me,
or will you tempt and then discard me?
Resolve these doubts I can't dispel.
Could all my dreams be self-delusion?
Am I too innocent to tell?
Has fate prepared its own conclusion?

Renée Fleming (s), Tatiana; London Symphony Orchestra, Sir Georg Solti, cond. Decca, recorded Dec. 16-21, 1996

by Ken

Is there anyone who hasn't frenziedly punched out an e-mail and then, still in the grip of that frenzy, pressed SEND only to regret it as soon as the frenzy passes? It appears that for all the wizardry of the technology and the instantaneousness of communication, we 21st-century folk aren't that different from our technologically primitive letter-writing ancestors.

In last night's preview we set the scene for what we're going to be hearing tonight: the scene in which young Tatiana Larina, in the wee hours of the morning, declares her love for Yevgeny Onegin, the visiting friend of her sister Olga's fiancé, Lenski. We heard the intense Prelude, the opening quartet, set in the garden of the Larin country estate, in which the sisters sing a duet from inside the house while their mother and nurse listen and reflect outside, and we heard some interactions between the paired young people and Lenski's ravishing declaration of love for Olga.

TATIANA WRITES HER LETTER

Now it's several days later, and an intensely excited Tatiana, alone in her room, figures out what to do. We're going to listen to the whole of Act I, Scene 2, where the "Letter Scene" proper is bracketed by scenes between Tatiana and Filipyevna, the nurse. In fact, we're going to break it down into manageable bits with the assistance of one of our CD versions, but I thought we now might just take the plunge.

Here are three performances -- very different but, I think, quite effective in their distinctive ways.

TCHAIKOVSKY: Yevgeny Onegin, Op. 24:
Act I, Scene 2, Letter Scene, Tatiana

TATIANA's room, very simply furnished with old-fashioned whtie wooden chairs covered with chintz, and window curtains of the same material. A bed, over which is a bookshelf. A chest of drawers, covered with a cloth, and on it a mirror on a stand. Vases of flowers. At the window, a table with writing materials.

TATIANA has told the nurse, Filipyevna, that she can't sleep, and had Filipyevna set up her writing table with writing supplies. The nurse has left. TATIANA remains for a long time lost in thought. Then she rises, very agitated and with an expression of resolute determination.

[Note: What follows is the singing translation by David Lloyd-Jones used in the Welsh National Opera English-language recording we're going to be hearing.]

TATIANA: To write is foolishness, I know it,
but as I love him, I must show it.
And though I languish evermore,
I'll learn what rapture lies in store!
Desire has poisoned me with longing;
all day I only think of him.
For though I hide in my despair,
my fatal tempter finds me there;
My tempter haunts me everywhere!
[She goes to the writing table, sits down and writes, then pauses.]
No, that won't do! I'll start another.
[She tears up the letter.]
What's wrong with me? I'm all on fire.
I can't think how to start.
[She writes again, then pauses and reads over what she has written.]

"I had to write, my heart compelled me;
What is there more that I need to say>
Henceforth I know that you'll disdain me
for acting rashly in this way.
But if you'd only show compassion
and think how wretched I must be,
you'll surely not abandon me!
At first I meant to hide my secret;
believe me, I had hoped that you would never know it;
never know, never know!"
[She lays the letter aside.]
Oh yes, I'd sworn that I would hide my love.
And not betray this madness that consumes me.
But now I can't subdue my passion any more;
fate will decide what whatever lies in store.
I shall declare myself and trust in my confession!
[She writes again.]
"Whatever brought you to this lonely place?
For since I live here in seclusion
I would never have seen your face,
or would have known such bitter torment.
My heart would soon have grown contented,
and then as time went by, who knows,
I might have chanced to find another,
agreed to honor and respect him,
and made a faithful, loving wife . . ."
[She becomes lost in thought, then rises suddenly.]
But no!

No, there could never be another
to whom I'd give my love!
My life is bound to yours forever;
this is decreed by heaven above.
Now my existence has a meaning,
that noble soul for which I sigh.
I know that God above has sent you
to guard and to love me till you die!
Often I'd seen you in my dreaming;
your face and form had long been dear.
Nightly you whispered in my ear;
your words disturbed me with their meaning.
And then . . . that dream of mine came true.
For when we met, I straightaway knew you,
and in that instant, beating wildly,
my heart cried out to me: "Love him, love him!"

For you were always there beside me
when, sick at heart, I knelt in prayer.
Your noble presence seemed to guide me
when I would help the poor and
needy in charity.
Yes, it is your beloved vision
that comes in this moment of decision
to stand beside me as I write,
and fill my heart with new emotion,
with whispered promise of devotion
that brings me comfort and delight.
[She goes to the table and sits down again to write.]

"Are you an angel, sent to guard me,
or will you tempt and then discard me?
Resolve these doubts I can't dispel.
Could all my dreams be self-delusion?
Am I too innocent to tell?
Has fate prepared its own conclusion?"
[She again rises and and walks about pensively.]

"No, come what may, I'm now resolved
to lay my worthless life before you.
Pity my burning tears and grant me
your protection, I impore you,
I implore you!
Imagine, I am all alone;
there's no one here who understands me.
[She comes downstage.]
I fear my reason will desert me;
to find release I'd gladly die.
I long for you,
I long for you to be my savior;
one word can set my heart on fire
or simply stifle my desire,
to leave me desolate and wretched!"
[She goes quickly to the table and hurriedly finishes the letter. Then she stands up and seals it.]
It's finished! Dare I read it through?
For shame and terror now assail me.
But since his honor is my pledge
I boldy trust he will not fail me!

Galina Vishnevskaya (s), Tatiana; Bolshoi Opera Orchestra, Boris Khaikin, cond. Melodiya, recorded 1956

Leontyne Price (s), Tatiana; London Symphony Orchestra, Fausto Cleva, cond. RCA/BMG, recorded June 1970

[in German] Ljuba Welitsch (s), Tatiana; Philharmonia Orchestra, Walter Susskind, cond. EMI, recorded May 22, 1948

RECORDING NOTES: The Price and Welitsch recordings are stand-alone excerpts; the Vishnevskaya is from the 1956 Bolshoi Opera complete Onegin . . .