The Bassarids: Difference between revisions
m Stub-sorting. You can help! |
began synopsis; added reference; destubbed |
||
| Line 1: | Line 1: | ||
'''''The Bassarids''''' (in [[German language|German]], ''Die Bassariden'') is an [[opera]] in one act and an [[intermezzo]] |
'''''The Bassarids''''' (in [[German language|German]], ''Die Bassariden'') is an [[opera]] in one act and an [[intermezzo]], with music [[Hans Werner Henze]] to an [[English language|English]] [[libretto]] by [[W. H. Auden]] and [[Chester Kallman]], after [[Euripides]]'s [[The Bacchae]]. It was first performed in a German translation by [[Maria Basse-Sporleder]] in [[Salzburg]] on [[6 August]] [[1966]]. [[Christoph von Dohnányi]] was the conductor<ref>{{cite journal | url=http://mq.oxfordjournals.org/cgi/reprint/LIII/3/408 | last=Helm | first=Everett | title=''Current Chronicle'' | journal=The Musical Quarterly | volume=LIII | issue=3 | pages=408-415 | date=1967 | accessdate=2007-10-26}}</ref>, and the original cast included:<ref>Porter, Andrew, "Reports: Salzburg - Henze's ''Bassarids''" (October 1966). ''The Musical Times'', <B>107</B> (1484): pp. 882-887.</ref> |
||
* Kerstin Meyer (Agave) |
* Kerstin Meyer (Agave) |
||
* Loren Driscoll (Dionysus) |
* Loren Driscoll (Dionysus) |
||
| Line 10: | Line 10: | ||
* 'Movement III' = adagio and fugue |
* 'Movement III' = adagio and fugue |
||
* 'Movement IV' = passacaglia |
* 'Movement IV' = passacaglia |
||
Henze has noted that he quotes from [[Johann Sebastian Bach]]'s ''St. Matthew Passion'' and the ''English Suite'' in D minor.<ref>"''The Bassarids'': Hans Werner Henze talks to Paul Griffiths". ''The Musical Times'', pp. 831-832 (1974).</ref> |
Henze has noted that he quotes from [[Johann Sebastian Bach]]'s ''St. Matthew Passion'' and the ''English Suite'' in D minor.<ref>"''The Bassarids'': Hans Werner Henze talks to Paul Griffiths". ''The Musical Times'', pp. 831-832 (1974).</ref> Auden and Kallman wrote of changes that they made to the Euripides original for the purposes of this opera.<ref>W. H. Auden and Chester Kallman, "Euripides for Today" (October 1974). ''The Musical Times'', <B>115</B> (1580): pp. 833-834.</ref> |
||
The conflict in the opera is between human rationality and emotional control, represented by the King of Thebes, Pentheus, and unbridled human passion, represented by the god Dionysus. |
The conflict in the opera is between human rationality and emotional control, represented by the King of Thebes, Pentheus, and unbridled human passion, represented by the god Dionysus. |
||
==Synopsis== |
|||
The setting is ancient Thebes. Prior to the opera, Dionysus has stated that he intends to revenge himself upon Agave and the women of Thebes because they have denied his divinity. |
|||
At the start of the opera, Cadmus, King of Thebes, has abdicated his throne in favour of his son Pentheus. Pentheus has learned of the cult of Dionysus, which involves wild and irrational revelry. Pentheus plans to ban the cult from his city. A stranger arrives in town and seduces the citizens into increasingly frenetic celebration of the god Dionysus. Because Pentheus is unaware of his own irrational, "Dionysiac" impulses, or tries to suppress them, Dionysus can entrance Pentheus and intrude upon his nature to the point that Pentheus disguises himself as a woman, and goes to Mount Cytheron, where the revelry is occuring. In the course of events, the spell over the citizens extends to Agave, Pentheus' mother, and Autonoe, Pentheus' sister. Pentheus is killed and torn to pieces, and his city brought to ruin. Without realizing it, Agave cradles the severed head of her son in her arms. The Stranger is revealed to be Dionysus himself. |
|||
==Recording== |
==Recording== |
||
| Line 32: | Line 37: | ||
[[Category:1966 operas]] |
[[Category:1966 operas]] |
||
[[Category:Libretti by W. H. Auden]] |
[[Category:Libretti by W. H. Auden]] |
||
{{English-opera-stub}} |
|||
[[de:Die Bassariden]] |
[[de:Die Bassariden]] |
||
Revision as of 06:25, 6 January 2008
The Bassarids (in German, Die Bassariden) is an opera in one act and an intermezzo, with music Hans Werner Henze to an English libretto by W. H. Auden and Chester Kallman, after Euripides's The Bacchae. It was first performed in a German translation by Maria Basse-Sporleder in Salzburg on 6 August 1966. Christoph von Dohnányi was the conductor[1], and the original cast included:[2]
- Kerstin Meyer (Agave)
- Loren Driscoll (Dionysus)
- Kostas Paskalis (Pentheus)
The first performance using the original English text, as well as the US premiere, was at Santa Fe Opera on 7 August 1968, with the composer conducting.[3] The opera was also given in London on 22 September 1968, and was revived at English National Opera in October 1974, with the composer conducting.[4]
A noteworthy feature of the opera is its construction like a classical symphony in four 'movements'[5]:
- 'Movement I' = sonata form
- 'Movement II' = scherzo and trio
- 'Movement III' = adagio and fugue
- 'Movement IV' = passacaglia
Henze has noted that he quotes from Johann Sebastian Bach's St. Matthew Passion and the English Suite in D minor.[6] Auden and Kallman wrote of changes that they made to the Euripides original for the purposes of this opera.[7]
The conflict in the opera is between human rationality and emotional control, represented by the King of Thebes, Pentheus, and unbridled human passion, represented by the god Dionysus.
Synopsis
The setting is ancient Thebes. Prior to the opera, Dionysus has stated that he intends to revenge himself upon Agave and the women of Thebes because they have denied his divinity.
At the start of the opera, Cadmus, King of Thebes, has abdicated his throne in favour of his son Pentheus. Pentheus has learned of the cult of Dionysus, which involves wild and irrational revelry. Pentheus plans to ban the cult from his city. A stranger arrives in town and seduces the citizens into increasingly frenetic celebration of the god Dionysus. Because Pentheus is unaware of his own irrational, "Dionysiac" impulses, or tries to suppress them, Dionysus can entrance Pentheus and intrude upon his nature to the point that Pentheus disguises himself as a woman, and goes to Mount Cytheron, where the revelry is occuring. In the course of events, the spell over the citizens extends to Agave, Pentheus' mother, and Autonoe, Pentheus' sister. Pentheus is killed and torn to pieces, and his city brought to ruin. Without realizing it, Agave cradles the severed head of her son in her arms. The Stranger is revealed to be Dionysus himself.
Recording
- Gerd Albrecht, conductor; Kenneth Riegel, Andreas Schmidt, Michael Burt, Robert Tear, Karan Armstrong, Ortrun Wenkel, William B. Murray, Celina Lindsey; Berlin Radio Symphony Orchestra; 1986, Koch Schwann International (314-006)[8]
References
- ^ Helm, Everett (1967). "Current Chronicle". The Musical Quarterly. LIII (3): 408–415. Retrieved 2007-10-26.
- ^ Porter, Andrew, "Reports: Salzburg - Henze's Bassarids" (October 1966). The Musical Times, 107 (1484): pp. 882-887.
- ^ "Out of the Ashes". Time. 23 August 1968. Retrieved 2007-09-07.
{{cite news}}: Italic or bold markup not allowed in:|publisher=(help) - ^ Dean, Winton, "Music in London: Opera - The Bassarids" (December 1974). The Musical Times, 115 (1582): pp. 1057-1064.
- ^ Terry Apter, "Tristan and The Bassarids". Tempo, pp. 27, 28, 30 (1975).
- ^ "The Bassarids: Hans Werner Henze talks to Paul Griffiths". The Musical Times, pp. 831-832 (1974).
- ^ W. H. Auden and Chester Kallman, "Euripides for Today" (October 1974). The Musical Times, 115 (1580): pp. 833-834.
- ^ David E. Anderson, "Die Bassariden. Hans Werner Henze" (recording review). The Opera Quarterly, 9(3), 186-188 (1993).