Christophe Colomb (opera)
| Opera dates | |
|---|---|
| Title: | Christoph Columbus |
| Original title: | Christopher Colomb |
Christopher Columbus, posthumous portrait by Sebastiano del Piombo , 1519 |
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| Shape: | Opera in two parts and 27 or 24 pictures |
| Original language: | French |
| Music: | Darius Milhaud |
| Libretto : | Paul Claudel |
| Literary source: | Paul Claudel: Le livre de Christophe Colomb |
| Premiere: | May 5, 1930 |
| Place of premiere: | State Opera Unter den Linden , Berlin |
| Playing time: | about 2 hours |
| Place and time of the action: | Spain, late 15th century |
| people | |
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Christophe Colomb (German title: Christoph Columbus ) is an opera in two parts and 27 or 24 pictures by Darius Milhaud (music) with a libretto by Paul Claudel based on his play Le livre de Christophe Colomb from 1927. The opera was on May 5, 1930 premiered in German at the State Opera Unter den Linden in Berlin. The first performance of the second version took place in concert on May 31, 1956 in the Théâtre des Champs-Élysées in Paris and staged on June 21 or 27, 1968 in the Graz Opera House .
action
The sequence of scenes given here relates to the second version of the opera. In the first version, the two parts are played in reverse order. There they are divided into 27 images.
First part
“Overture”, empty stage. Colomb prays. The people talk about their discoveries and the riches of the new world. The narrator opens "The Book of Christophe Colomb".
1st picture. “The King of Spain and the Three Wise Men”, Throne Room. After Colomb's return and the discovery of America, the king consults with his three wise men how to behave towards Colomb. The wise men point out that Colomb has already become too arrogant. They recommend honoring, observing, and burying him.
2nd picture. “Christophe Colomb holds the mast” on board a caravel. Colomb is arrested and taken to Spain in chains. A violent storm breaks out en route and threatens the ship. The captain and the sailors beg Colomb to save them. They think nothing can happen to the ship as long as Colomb holds the mast. The devil in the form of the cook tries to persuade Colomb to let go in order to get revenge on his tormentors. Colomb soothes the first gust of wind with a Bible verse: "In the beginning was the word". When the storm threatens to break out again, he exclaims: “There was a man called Johannes”. He repeats this sentence several times, most recently modified as "There was a man called Christophe Colomb". Suddenly there is silence. The cook explains that they are in the eye of the typhoon.
3rd picture. "The conscience of Christophe Colomb", as I: 2. Colomb and the cook are within Colomb's conscience. The cook reminds him of his sins, the slaughtered Native Americans, and the slavery that came back into the world after he sold the Indians he brought with him in Seville. Colomb justifies himself by saying that he had no gold and somehow had to pay for his trips. He promised to put an end to the gloom, but not the suffering. Colomb's wife and mother accuse him of abandoning them. Even his own shadow turns against him: he has not achieved his goals. The cook tells him that not even the country he has discovered bears his name, but that of the Italian merchant Amerigo Vespucci . Colomb, shocked, replies with the words of the psalmist: " From the depths, Lord, I call to you ".
4th picture. "Christophe and Isabelle", a Spanish port city. Back home, Colomb hopes for help from Queen Isabelle. A messenger tells him that she had stood by his side until the end, but that she recently passed away. A funeral party with a cross appears behind the trees. The messenger comforts Colomb with the fact that the queen still had his name on her lips when she died.
5th picture. “The hostel of Valladolid”. Colomb is in a poor hostel. The landlord threatens to confiscate his mule if he does not pay by tomorrow. Colomb feels abandoned by God. His shadow asks the people for help in vain. Instead, the narrator promises him that he will be worshiped like a god.
6th picture. "In the paradise of ideas", in heavenly Majorca, a landscape like hoarfrost. Isabelle is in her garden with her ladies-in-waiting. The landscape, objects and people are white because it is paradise. They all pay homage to Isabelle and give her presents. The Sultan of Miramolin brings her two keys to paradise on a pillow. In his earthly life he had brought her a pigeon whose cage is now empty. This reminds her of her friend Christophe Colomb, whom she misses here. A messenger reports that Colomb is dying on a bed of straw and does not want to come. He also refused to give her back her ring, but instead wanted to send his mule, his last possession. Isabelle has it brought to her immediately. It is decorated and provided with bells and silver feathers. Isabelle rides it into her new kingdom of America, which spreads out as a carpet in front of her. Little by little the set disappears as if several veils were being pulled back one after the other. What remains is a blue, starry night.
7th picture. "Hallelujah" as I: 6. Saint Jacob guides Isabelle on her steps into the New World, the pillars of Heracles on his shoulders . The sky is covered by countless white doves like an astronomical constellation. Isabelle only misses one: Christophe Colomb. She prays with the entire court to the Mother of God for his soul.
Second part
1st picture. “Procession”, empty stage. Soldiers and halberdiers from Aragon and Castile bring in “The Book of Christophe Colomb”, followed by the narrator. The porters put the book on a desk. The narrator opens it to read from it.
2nd picture. "Prayer". After the porters leave, the narrator begins his story about the discoverer Christophe Colomb with a prayer to Almighty God.
3rd picture. "And the earth was desolate and empty". Christophe Colomb (Colomb I) meets old and impoverished with his mule in a hostel and unpacks his suitcase. Inside there are books, a picture of a woman and chains.
4th picture. "Christophe Colomb and posterity". Voices call out Colomb's name. It is posterity that will judge him. He should cross the line of death and advance into a higher region. There he will see what he has achieved and discovered without realizing it himself. Colomb crosses the line and takes a seat on the throne intended for him between the representatives of posterity. A prosecutor is also there and warns him against rash statements, because he will protect the rights of free criticism.
5th picture. "The four quadrilles". Throne room of the King of Spain, on the canvas a map of the newly discovered America. Four quadrilles led by beautifully dressed women enter the hall. They represent envy, stupidity, vanity and avarice and move in different directions on a checkerboard pattern drawn on the floor. The prosecutor rises in defense of the king, whom Colomb's attorney accuses of suppressing the genius. The prosecutor recalls that the king supported Colomb and equipped them with ships. However, he did not know what he had discovered and messed up the traditions of Spain. Even his name is a lie. Colomb himself (in his earthly form as Colomb II) contradicts. He acted out of love for the world of God. His first name means "Christ Bearer" and his last name (the dove) stands for the light, the spirit and the wings.
6th picture. "Attack of the pigeons", like II / 5. The scene fills with a whirlwind of white pigeons that drive the figures of the quadrille away. Somebody catches one of the pigeons.
7th picture. "The Court of Isabelle the Catholic", garden in Aragon. The childish Isabelle is in her garden with her ladies-in-waiting. Other children are dressed as soldiers, judges, senior officials, doctors, and astronomers. They all pay homage to her and give her gifts. Sultan Miramolin arrives with his entourage (also children) and brings her a pigeon in a cage. Isabelle takes the pigeon out, attaches a ring to her foot and lets it fly.
8th picture. "The pigeon over the sea". The pigeon flies to Genoa.
9th picture. "The vocation of Christophe Colomb", poor weaver's room in Genoa. The prosecutor doubts that Colomb is really of noble descent, as he always claims. His father was a weaver. You can see Colomb's parents' house in Genoa and his poor family. While his old mother is crazy, Colomb reads Marco Polo's travelogue . A man appears at the window and tells him to go to the port. God himself demanded that he leave his family and go out into the world in the west. A ringed pigeon flutters into the room. Colomb's sister takes it in hand and gives it to him.
10th picture. "Christophe Colomb at the end of the world", beach in the Azores. Colomb has left Genoa and is on his way west to the Azores, which he believes is the end of the world. There he finds a shipwreck and an old dying sailor amid sea gods and nereids . Colomb asks him if there is another world in the west. Some voices promise him a world full of gold and riches. Others warn against it that the supposed islands are whales and sea monsters. When the old man dies, Colomb is certain that there is land in the west.
11th picture. “Christophe Colomb and His Believers”, Lisbon. Colomb returns to Lisbon. You don't believe him there. His business and his marriage fail. He longs for the west. Three guitar players mock him and tell him to pay his debts. When three creditors demand their money back, Colomb promises to compensate them with the "gold of the setting sun" after his next trip. He is sure that the king will give him ships. The creditors reluctantly accept.
12th picture. “Christophe Colomb wants to go before the king”, at court. On the stairs to the palace, Colomb asks the steward for an audience with the king. He has no demands, but wants to offer him something. The courtiers laugh at him, because after the expulsion of the Moors, the king already owns all of Spain. The dove's ring, which Colomb shows as proof of his divine mission, is also mocked. A young man says he should keep him for his wife. A scholar and two old men laugh at his claim that the earth is round. Finally, Colomb manages to bribe the steward with his last money and to be admitted.
13th picture. "Isabelle and St. Jacob", chapel. Isabelle's thoughts are filled with the war events surrounding the conquest of Granada . She prays to God for her death as she sees her work completed. The Saints Jacob appears a dove with sword in hand on the stained glass windows above him. He transforms from a soldier into a pilgrim, and in the distance the city of Compostela can be seen . With the voice of the choir, he reminds her of the dove, the Christ-bearer and her ring, which she recently saw again on this madman's finger. Now she knows what to do.
14th picture. “Recruiting the crew for the caravels”, Port of Cadiz. The king equipped three ships for Colomb: the Santa Maria, the Nina and the Pinta. Sailors are advertised on posters. A crowd is excitedly discussing the event. Beggars and handcuffed convicts are brought here to work on board as well.
15th picture. “The gods whip the sea” on the beach of America. Earthquakes in America announce the nearness of Europeans. An Aztec master of ceremonies calls the gods together. Some of them are still on the explorers' ships to destroy the compass, destroy the provisions and spread disease and despair. But nothing can stop Colomb. In the greatest desperation, the gods reach for a huge rope, the other end of which their colleagues in Africa hold on to, in order to whip open the sea and destroy the conquerors.
16th picture. "Christophe Colomb and the crew", on board the "Santa Maria". After the long journey, the seafarers run out of food and water. The sailors begin to mutiny. Their emissaries tell Colomb to turn back. However, he remains steadfast and negotiates three more days. A dove brings them new hope. Land is already in sight.
17th picture. "The Redeemer", landscape on the coast of America. A huge stone statue with two faces stands in the middle of palm trees and ferns. One of them looks out over the sea, the other into the audience. A large snake lies curled up on weathered rocks. The sails of the three approaching ships appear on the horizon. The gods in the forest and at sea murmur desperately, but are drowned out by the sounds of ships, the thunder of cannons and the sailors' Te Deum .
layout
With Christophe Colomb , Darius Milhaud turned away from the principle of his previous chamber and miniature operas and created a huge conglomerate of “mystery play and revue, opera and multimedia total work of art, creed and accusation, historical spectacle and theory of ideas, psychogram and action thriller, film art and stage art, Parody and experiment ”( Michael Stegemann ). Although it was written as early as 1928, it contains almost all of the elements that were considered modern in music theater after the Second World War. The film sequences projected onto the background of the stage, with the help of which the thoughts and unconscious of the protagonist are made visible, have a special meaning.
The opera makes unusually high demands on the performers and the direction. There is an extensive and highly complex part for a large choir, from which many smaller roles can also be cast, and which, like the ancient Greek choir, commentates and takes part in the plot itself. There are also speaking parts for actors. In addition to the large orchestra in the pit, a smaller group of instrumentalists is needed behind the stage. Many simultaneous scenes have to be staged. On the other hand, the musical language here is less experimental than in earlier works by Milhaud. The tonal references can also be heard in bi- and polytonal passages . Milhaud's reluctance to lead the vocal parts and the instrumentation compensates for the scenic complexity.
Conceptually, Christophe Colomb's number opera follows the principles of epic theater in contrast to Richard Wagner's well- composed drama . The individual images are introduced by texts from a narrator or "explicateur" accompanied by the drums and often also by the choir.
The opera plot itself contains realistic, allegorical, stylized and expressionist elements. The figure of Columbus is divided into two characters: the dialogue partner of the narrator and the acting person. In addition to these, there are other aspects such as his consciousness, his alter ego (the cook) or his shadow in individual scenes. Claudel often resorts to religious symbols, for which the name "Christophe Colomb" suggested, since " Christophe " stands for the bearer of Christ and "Colomb" (the dove) for the Holy Spirit. Although it is a biographical opera, it lacks real coherent character roles in the traditional sense. This corresponds to the turn away from the nineteenth century narrative style typical of the interwar period. The plot is not reported chronologically either, but is viewed as a final inventory from a distance. This enabled Milhaud to swap the order of the two parts in the second version.
Many of the individual images, such as the mutiny scene, are structured in the form of an “entropic” dramatic increase. They begin with a rhythmically simple melody, to which more complex layers are added later, and which is followed by a sudden calm after a final “explosion”.
orchestra
The orchestral line-up for the opera includes the following instruments:
- Woodwinds : three flutes (3rd also piccolo ), two oboes , English horn , E-flat clarinet , two clarinets , bass clarinet , two bassoons , contrabassoon
- Brass : four horns , three trumpets , three trombones , tuba
- Timpani , percussion : bass drum , cymbal , snare drum , beater drum, Basque drum, tambourine , hanging cymbal, tam-tam , triangle , castanets , whip , bells, xylophone
- Celesta
- harp
- Strings
- Incidental music behind the scene: two oboes, four horns, three violins , harmonium
- Incidental music on the scene: two piccolo flutes, two trumpets, tuba, two double basses
Work history
The libretto of the opera Christophe Colomb is from Paul Claudel . The idea for the material came from the painter Josep Maria Sert , who suggested it to the film director Max Reinhardt . It was to be a great play in the style of the wordless play Das Mirakel by Karl Gustav Vollmoeller , staged by Reinhardt . They originally thought of Richard Strauss as the composer of drama music, but Claudel suggested Darius Milhaud instead . Claudel wrote the piece entitled Le livre de Christophe Colomb in 1927. Since the project was not realized due to artistic differences between Claudel and Reinhardt, Milhaud finally set the text to music as an opera. In his usual brisk work in 1928, he found that "the great variety of scenes and the enormous rhythmic train that drives the entire drama represents an absolutely fascinating challenge." The unusual structure of the work envisaged by Reinhardt also characterizes the opera . According to the score, hundreds of slides and over 42 minutes of film material have to be projected onto a film screen that makes up the entire background of the stage.
The premiere was originally planned in Paris. However, there was no choir there that could master the extensive and complex part. The first version of the opera was therefore premiered on May 5, 1930 in German (translation: Rudolf Stephan Hoffmann) under the title Christopher Columbus at the State Opera Unter den Linden in Berlin. The effort was considerable. There were 100 choir and 25 orchestra rehearsals. A good solution was also found for the problem of the then still new connection between film and acting elements. Directed by Franz Ludwig Hörth. The set was designed by Panos Aravantinos . Erich Kleiber was the musical director . Karl Armster acted as narrator. It sang Delia Reinhardt (Isabelle), Theodor Scheidl (Christophe Colomb I), Emanuel List (Christophe Colomb II), Marcel Noë (accuser, and master of ceremonies. A.), Fritz Soot (domo, and cooking. A.) Dezső Ernster (King of Spain, commander and innkeeper), Margherita Perras (Colomb's wife), Sabine Meyen (Duchess of Medina-Sidonia) and Emil Lücke, Robert von Scheidt and Max Roth in various smaller roles. The production was heavily criticized in parts, with Nazi and anti-Semitic voices being heard. Nevertheless, it is considered to be one of the most important theatrical events of the Weimar Republic and the counterpart to the rise and fall of the city of Mahagonny von Brecht / Weill, which had premiered in Leipzig two months earlier. The production lasted two years at the State Opera.
Due to the great effort required, there were no other scenic productions for a long time. In France, people were also annoyed that the premiere had not taken place there. The French premiere did not take place until December 6, 1936 in concert in the Salle Pleyel in Paris. In 1937 Pierre Monteux conducted the opera in Nantes. On January 16, 1937, there was the English premiere in the Queen's Hall in London, which Milhaud conducted himself. The American premiere was conducted by Dimitri Mitropoulos on November 6, 1952 in concert at Carnegie Hall in New York. The only second performance of the complete work was in Buenos Aires that same year.
Together with Milhaud's opera Maximilien (1932) and Bolivar (1936 and 1950), which was first set to music and later as an opera, his Christophe Colomb forms a trilogy on the theme of “America”.
1953 Milhaud dealt again with Claudel's text. For a theater production staged by Jean-Louis Barrault in Bordeaux, he composed incidental music for ten instruments that has nothing to do with opera. It was also shown in Montpellier and Colmar in 1990.
In 1955 Milhaud completed a revised version of the work. The music remained essentially unchanged. However, he shortened the text slightly and swapped the two parts on the following grounds:
“Several times I had observed a certain disproportion between the first, epic, vivid, and the second, inward-looking, mystical, abstract part of my opera Christophe Colomb. After the first act unfolded, the audience had to succumb to a certain amount of fatigue in the face of such a static second act. "
This second version was first played in concert on May 31, 1956 in the Théâtre des Champs-Élysées at the Festival de Paris under the direction of Manuel Rosenthal . The soloists included Robert Massard, Jean Marchat and Janine Micheau . The scenic premiere of the second version took place on June 21 or 27, 1968 in the Graz Opera House as part of the Graz Summer Games. Berislav Klobučar conducted here , Adolf Peter Rott directed, and Wolfram Skalicki provided the equipment. Other contributors were Wassilios Janulakos, Jürg Holl, Althea Bridges . The film projections were dispensed with.
A one-act version by Gunther Schuller was shown in 1968 under the title The Discovery of America in Chicago.
In 1969 the work was performed under the direction of Reinhard Schwarz in Wuppertal (production: Kurt Horres , equipment: Wilfried Sakowitz and Edith Biskup; soloists: Willi Nett, Günter Begeré and Barbara Rondelli).
In 1972 Milhaud revised the opera one more time.
There is a video recording of a staged production from 1984 in Marseille (conductor: Henri Gallois, director: Jacques Karpo, equipment: Wolfram and Amrei Skalicki, soloists: Armand Arapian, Jean-Pierre Aumont, Christine Barbaux).
It wasn't until 1992, on the 500th anniversary of Columbus' journey, that it was staged for the first time in America. In December Christophe Colomb was played as a “staged concert version” with English narrative texts in the War Memorial Opera House of the San Francisco Opera under the direction of Kent Nagano .
In 1998 the work was played again at the German State Opera. Here it was decided to use the first version and integrated video projections by film director Peter Greenaway .
In 2019, Theater Lübeck presented a staged production of the first version with the original texts from 1930. The staging was by Milo Pablo Momm , the costumes by Sebastian Helminger, the choreography by Jessica Nupen, the videos by Martin Lechner and the lighting design by Falk Hampel. Andreas Wolf was the musical director.
Recordings
- May 31, 1956 - Manuel Rosenthal (conductor), Orchester Lyrique de l'ORTF Paris, Chœurs du Radio France.
Janine Micheau (Isabelle), Robert Massard (Christophe Colomb I), Xavier Depraz (Christophe Colomb II, messenger and recruiting officer), Jean Marchant (narrator), Jean Davy (prosecutor and speaking voice of Christophe Colomb), Lucien Lovano (emissary of the sailors, King of Spain, commander and landlord), Jean Giraudeau (steward, cook, Sultan Miramolin and landlord), Claudine Verneuil (wife of Christophe Colomb), Marthe Coustey (mother of Christophe Colomb), Claudine Collart (Duchess of Medina-Sidonia), Joseph Peyron (sage, mature man, etc.), Pierre Germain (sage, young man, etc.), Jacques Chalude (sage, shadow of Christophe Colomb, etc.).
Live from the Théâtre des Champs-Élysées in Paris.
Montaigne CD: 8750 (2 CDs). - October 1984 - Henri Gallois (conductor), Jacques Karpo (production), Wolfram and Amrei Skalicki (equipment), orchestra and choir of the Opéra de Marseille, choir of the Opéra de'Avignon.
Christine Barbaux (Isabelle), Armand Arapian (Christophe Colomb I), Claude Meloni (Christophe Colomb II), Michel Hubert (King of Spain, Emissary of the Sailors, etc.), Jean Brun (Commander), Alain Munier (Steward), Gérard Friedmann ( Appariteur et al), Jacques Noel (cook), René Franck (messenger et al.), Monique Baudoin (wife of Christophe Colomb), Josette Jaques (mother of Christophe Colomb), Jean-Pierre Aumont (narrator), Marcel Tupinier (opposing), André Abello, Etienne Bernard, Andrée Caroubi, François Castel, Bruno Constantin, Marc Filograsso, Michel Llado, Daniel Ottovaere, Jacques Puglisi.
Video; live from the Opéra de Marseille.
Broadcast on French television. - September 1992 - Michel Swierczewski (conductor), Claude Lulé (production), Jean-Yves Legavre and Juan Stoppani (equipment), Geneviève Soubirou (lighting), Olga Roriz (choreography), orchestra, choir and ballet of the Gulbenkian Lisboa Foundation.
Mary Saint-Palais (Isabelle), Laurent Naouri (Christophe Colomb I), Michel Hermon (Christophe Colomb II and narrator), Franck Legueriel, Pascal, Mesle, Jérôme Varnier, Les Comédiens.
Video; live from Compiègne.
Théâtre Compiegne (1 VC), DOM DVD 11014.
literature
- Jens Rosteck : Darius Milhaud's Claudel operas "Christophe Colomb" and "L'Orestie d'Eschyle". Studies on creation, aesthetics, structure and reception . Thurnauer Schriften zum Musiktheater, Volume 15. Laaber, Laaber 1995. ISBN 978-3-89007-312-5 .
Web links
- Collection of reviews on the production in Berlin 1998 on publicopera.info
- Matthias Schumann: The apotheosis of Christopher Columbus. Review of the production in Lübeck 2019. In: Die Deutsche Bühne , 23 October 2019
- Arndt Voß: Theater Lübeck: Milhaud's "Christophe Colomb" in the association and sound thunderstorm. Review of the production in Lübeck 2019. In: Neue Musikzeitung , October 16, 2019
Individual evidence
- ↑ a b c d e f g h i j k l m n o p q r Michael Stegemann : Christophe Colomb. In: Piper's Encyclopedia of Musical Theater . Volume 4: Works. Massine - Piccinni. Piper, Munich / Zurich 1991, ISBN 3-492-02414-9 , pp. 178-182.
- ↑ a b c d Christophe Colomb. In: Amanda Holden (Ed.): The Viking Opera Guide. Viking, London / New York 1993, ISBN 0-670-81292-7 , p. 668.
- ^ A b c Sieghart Döhring : "Between world theater and experiment: French music theater in the 20th century". In: Udo Bermbach (Ed.): Opera in the 20th century. Development tendencies and composers. Metzler, Stuttgart 2000, ISBN 3-476-01733-8 , pp. 294-295.
- ↑ a b c d e f Christopher Palmer: Christophe Colomb ("Christopher Columbus"). In: Grove Music Online (English; subscription required).
- ↑ a b c Christophe Colomb. In: Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , pp. 543-544.
- ↑ Jürgen Schläder : "Against Wagner". In: Udo Bermbach (Ed.): Opera in the 20th century. Development tendencies and composers. Metzler, Stuttgart 2000, ISBN 3-476-01733-8 , pp. 65-66.
- ↑ a b c d e f g h Max Erwin, Oliver Fraenzke (translator): Darius Milhaud - Christophe Colomb, Op. 102. Foreword to the performance material of the Universal Edition on musikmph.de, accessed on April 28, 2020.
- ↑ Quoted from the foreword to the performance material of the opera by Paul Collaer, Jane Hohfeld Galante (transl.): Darius Milhaud. San Francisco Press, San Francisco 1988, p. 130.
- ↑ Martin Kučera: La mise en scène des pièces de Paul Claudel en France et dans le monde (1912–2012) (PDF) on paul-claudel.net. Olomouc 2013, p. 222.
- ↑ May 5, 1930: "Christophe Colomb". In: L'Almanacco di Gherardo Casaglia .
- ↑ a b Ulrich Schreiber : Opera guide for advanced learners. 20th Century II. German and Italian Opera after 1945, France, Great Britain. Bärenreiter, Kassel 2005, ISBN 3-7618-1437-2 , pp. 467-471.
- ^ Christophe Colomb Presented in France. In: The Darius Milhaud Society Newsletter, Vol. 6, No. 1–2, p. 4 ( online, PDF ).
- ↑ a b Information on the admission from Marseille 1984 on operapassion.com, accessed on April 27, 2020.
- ↑ Information on the performance in San Francisco 1992 (PDF) , accessed on April 28, 2020.
- ↑ Jürgen Kesting : Maze of History. Review of the production in Lübeck 2019. In: Opernwelt , December 2019, p. 14.
- ↑ a b Darius Milhaud. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
- ↑ Cast based on the DVD cover on Amazon.