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Alexander Goehr | Claudio Monteverdi Arianna Lost opera by Monteverdi in eight scenes newly composed (1995) Text by Ottavio Rinuccini · English text version by Patrick Boyde Op. 58 Origin: 1994-1995 Language: Italian 1995 Cast: Arianna · mezzo soprano – Dorilla / Venere · contralto – Amore · soprano – Bacco / Coro · altus – Teseo / Coro · tenor 1 – Nunzio 2 / 1. Soldier / Coro · tenor 2 – 2. Soldier / Messenger / Coro · tenor 3 (or baritone) – Counsellor / Coro · baritone – Nunzio 1 / Giove / Coro · bass Orchestra: fl. (soprec) · afl (soprec) · 2 ssax. (2Bbcl, 2bcl; 1:Ebcl) · bcl (cbcl) · bn. (cbn)-2ttbn. (atbn) - perc. (2 baroque timp., t.d., small cym., hi-hat, w.bl., 3 tabors, tamb., small tamb., casts., tri., small tam-tam, small jingle stick, xyl., glock.l, vib. (3 octaves), tub.bells, antique cym., small gng pitched at middle C, rainstick)(4 players) - hp. (medieval hp) · sampler (AKAI S1000 or AKAI S3200) · gtr. (amplified) - vn.I · vn II · va. Duration: 130‘ Vocal score ED 12457 · Recording CD NMC D054 · Performance material on hire Selected Productions 15.09.1995 Royal Opera House Covent Garden London (WP) Ivor Bolton · Francesca Zambello · Alison Chitty 14.08.1996 Kammeroper im Rathaushof Konstanz Peter Bauer · Mauro Guindani · Marcel Zaba 04.10.1996 West Road Concert Hall Cambridge William Lacey · Annilese Miskimmon · Francio Terry 07.06.1998 Opera <strong>Theatre</strong> Saint Louis Grant Llewellyn · Tim Ocel · Leslie Taylor · Robin Verhage-Abrams 52
Synopsis It was surely an act of faith - if not of folly - for me to choose Rinuccini’s old Arianna libretto, when I could barely make out the meaning of the words. Yet I knew it was right for me, just as I would have known that Orfeo or Poppea or, for that matter, La Traviata or Lohengrin (had they been so unfortunate as to lose their music) would not be right. I also knew and this may seem almost perverse, that it was to be Arianna and not Ariadne - that is Italian and not English. Common sense led me to experiment with the possibility of an English version, for it would certainly have made things a lot easier; but in this case I knew that my attraction had as much to do with the sound as the meaning of the antique Italian [...] My final score is deliberately patchy: some parts are highly worked, polyphonically and instrumentally; elsewhere the bare bones of the original are left to stand. The impression I aim to create is one of transparency: the listener should perceive, both in the successive and simultaneous dimensions of the score, the old beneath the new and the new arising from the old. We are to see a mythological and ancient action, interpreted by a 17th-century poet in a modern theatre. My hope, as expressed by Rinuccini’s Apollo in the (unset) prologue of Arianna, is that ‘it will come to pass that in these new songs you will admire the ancient glory of the Grecian stage’. (Alexander Goehr, Royal Opera House programme, 1995) Arianna 15.09.1995 Royal Opera House Covent Garden © Cliver Barder/Arenapal.com The eight scenes from Rinuccini’s text in Goehr’s musical adaptation give the impression that Monteverdi has come back to life 356 years after his death and, still familiar with his own idiom, is attempting to find himself somewhere between the Second Viennese School and Goehr’s teacher, Olivier Messiaen. Unlike Alfred Schnittke, Goehr does not assemble or alienate quotations or pseudo-quotations; in fact, he transforms precisely observed stylistic characteristics of Monteverdi in the light of his experiences with Schoenberg, Webern, Berg and Messiaen into his own tonal language. Thus his concentrated, quasi pointillist instrumentation is both reminiscent of the brilliant Spaltklang ensemble of the Early Baroque period and also of Webern’s structural colouring of Bach’s Ricercare. (Frankfurter Allgemeine Zeitung, 23.04.1999) 53
Page 1 and 2: Music Theatre since 1990 An annotat
Page 3: MUSIC THEATRE SINCE 1990 An annotat
Page 7 and 8: CONTENTS Works in chronological ord
Page 9 and 10: Synopsis Das verratene Meer | Gogo
Page 11 and 12: Synopsis Ingomar Grünauer 1990 in
Page 13 and 14: Synopsis Outside the palace in Myce
Page 15 and 16: Synopsis “A murdered victim climb
Page 17 and 18: Synopsis Dieter Schnebel · Photo:
Page 19 and 20: Synopsis Ubu is greedy for power, m
Page 21 and 22: Synopsis The penniless adventurer T
Page 23 and 24: Synopsis The opera is set in Fehrbe
Page 25 and 26: Synopsis The plot is imaginary, and
Page 27 and 28: Synopsis Aribert Reimann’s opera,
Page 29 and 30: Synopsis St. Petersburg (1.-3. scen
Page 31 and 32: Synopsis The mysterious, disturbing
Page 33 and 34: Synopsis The setting is ancient The
Page 35 and 36: Synopsis The Caribbean island of Sa
Page 37 and 38: Synopsis In the early hours of Sept
Page 39 and 40: Synopsis Rodion Shchedrin’s Lolit
Page 41 and 42: Synopsis Volker David Kirchner gave
Page 43 and 44: Synopsis A power-hungry Regent stri
Page 45 and 46: Synopsis Homage to Mozart of a spec
Page 47 and 48: Synopsis Harvey Milk is inspired by
Page 49 and 50: Synopsis Rainer Maria Rilke depicts
Page 51: Synopsis This is a story based on t
Page 55 and 56: Synopsis In Antonio der Dieb [Anton
Page 57 and 58: Synopsis In the manuscript of the t
Page 59 and 60: Synopsis Viktor Ullmann composed hi
Page 61 and 62: Synopsis Emmeline Mosher is only 13
Page 63 and 64: Synopsis A country doctor is called
Page 65 and 66: Synopsis The immensely rich Marches
Page 67 and 68: Synopsis The prima donna, the heroi
Page 69 and 70: Synopsis Strange things are happeni
Page 71 and 72: Synopsis A woman has killed her hus
Page 73 and 74: Synopsis Hopper’s Wife imagines A
Page 75 and 76: Synopsis ‘The opera takes place i
Page 77 and 78: Volker David Kirchner · Photo: Pet
Page 79 and 80: Synopsis A rehearsal of the opera A
Page 81 and 82: Synopsis Jeremiah has a vision of t
Page 83 and 84: Synopsis A nurse is reading to an o
Page 85 and 86: Synopsis Majakowkis Tod [Mayakovsky
Page 87 and 88: Synopsis ‘Doctor Ox’s Experimen
Page 89 and 90: Synopsis ‘For me, Der Schimmelrei
Page 91 and 92: Synopsis Unlike the Brothers Grimm
Page 93 and 94: Synopsis A modern fable, Fantastic
Page 95 and 96: Synopsis The chamber opera Albert -
Page 97 and 98: Synopsis A homeless woman in Centra
Page 99 and 100: Synopsis Five women have gathered i
Page 101 and 102: Synopsis This opera is set in the e
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Synopsis The prince is loved by two
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Synopsis In Kantan, a young man dri
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Synopsis Eduard auf dem Seil is the
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Synopsis We have an old man (a surv
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Synopsis The Silver Tassie, Turnage
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Synopsis Gilgameh, king of Uruk, ha
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Synopsis Wilhelm Busch, the German
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Synopsis Ingomar Grünauer · Photo
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Synopsis The opera opens with the m
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Synopsis Jakob von Gunten, a boy of
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Synopsis Pontius Pilate’s doorkee
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Synopsis Father Sergius, Tolstoy’
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Synopsis New York, somewhere in Man
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Synopsis The title Bing refers to B
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Synopsis Strasbourg in the 1440s. W
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Synopsis Das Salome-Prinzip is a ne
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Synopsis A poignant setting of the
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Synopsis The opera takes its subjec
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Synopsis Revolution is raging in th
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Synopsis The events leading to Dian
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Synopsis Patrizia and Bruno are a c
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Synopsis When his beloved wife Minn
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Synopsis The life of the South Tyro
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Synopsis Hanjo is the name of the e
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Synopsis ‘I would prefer not to
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Synopsis The angels are singing now
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Synopsis Beatrice, the daughter of
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Synopsis Augustinus von Hippo, Sour
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Synopsis A progressive drama of tem
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Synopsis This is music theatre comp
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Synopsis Married Parisian couple Th
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Synopsis Gian Lorenzo Bernini: Apol
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Synopsis The opera re-enacts the ex
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Synopsis As early as the year 1779
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Synopsis The deep sea makes up 80%
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Synopsis What is Infinity How do yo
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Synopsis This story captures the ev
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Synopsis At the battlefield on the
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Synopsis Peter Eötvös’ opera Lo
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Synopsis The opera Gegen die Wand i
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Kirchner, Volker David (*1942) Ahas
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König für einen Tag .............
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Thorne, Joan Vail .................
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St. Jago ..........................
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Music Theatre since 1990 - Schott Music

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