Three sisters (opera)

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Opera dates
Title: Three sisters
Original title: Три сестры
(Tri sestry)
Shape: Opera in a prologue and three sequences
Original language: Russian
Music: Péter Eötvös
Libretto : Claus H. Henneberg ,
Péter Eötvös ,
Krzysztof Wiernicki
Literary source: Anton Chekhov :
Three sisters
Premiere: March 13, 1998
Place of premiere: Opéra de Lyon
Playing time: approx. 1 ¾ hours
Place and time of the action: A provincial town in Russia, indefinitely
people
  • Ирина / Irina ( countertenor , soprano )
  • Маша / Mascha (countertenor, mezzo-soprano )
  • Ольга / Olga (countertenor, alto )
  • Андрей / Andrej, brother of Irina, Mascha and Olga (lyric baritone )
  • Наташа / Natascha, his wife (countertenor, soprano)
  • Кулыгин / Kulygin, Masha's husband ("Russian" bass )
  • Анфиса / Anfisa, wet nurse (bass with an extremely dark voice, amplified)
  • Тузенбах / Baron Tusenbach, in love with Irina (lyric baritone)
  • Солёный / Soljony, in love with Irina (bass with a powerful voice)
  • Вершинин / Vershinin, Masha's lover (baritone)
  • Чебутыкин / Doctor Ivan Romanytsch Tschebutykin (high tenor)
  • Родэ / Rodé ("Russian" tenor)
  • Федотик / Fedotik ("Russian" tenor)

Drei Schwestern (Russian: Три сестры, Tri sestry ; international spelling: Tri Sestri ) is an opera in a prologue and three sequences, composed by Péter Eötvös with a libretto by Claus H. Henneberg , Krzysztof Wiernicki and the composer based on Anton Chekhov's drama Three sisters . The world premiere took place on March 13, 1998 in the Opéra de Lyon .

action

Eleven years ago, the Prozorov family moved to the provinces from Moscow with their three sisters Olga, Mascha and Irina and their brother Andrej. There they suffer profoundly from boredom. Her father died a year earlier. Masha is married to the high school professor Kulygin. Andrej has given up his violin studies and his plan for a university career, taken a job in the administration and married the middle-class Natascha. Irina, the youngest daughter, works as a telegraph operator. Some officers from the local garrison and other guests come to visit for their name-day celebration. The unhappily married new commandant Alexander Vershinin is courting Mascha. The gentle first lieutenant Baron Tusenbach and the aggressive captain Soljony woo Irina. After an argument, Soljony kills Tusenbach in a duel.

Eötvös 'opera takes place in the parlor and garden of the siblings' country house. It shows the action that takes place in Chekhov's original over the course of four years three times in a row from the perspective of Irina, Andrei and Mascha.

prolog

The three sisters reflect on the emptiness in their lives (# 1). They console themselves with the fact that their present suffering will establish the happiness of future generations.

First part: Irina's sequence

Irina longs to return to Moscow and meet her dream man there (No. 2). Olga points them out to the reliable Baron Tusenbach. She says one should marry out of duty rather than love. Masha listens while she whistles to herself.

In the background of the stage, her sister-in-law Natascha sneaks past with a candle in her hand (“Refrain” No. 3). This reminds Mascha of the fire that was raging in the city, and she remarks ironically that maybe Natascha is the arsonist.

Now Masha's husband (the teacher Kulygin) and the guests invited to the celebration of Irina's name day arrive, including Baron Tusenbach, the commandant Vershinin, the captain Solyony and the doctor Chebutykin. They report that the soldiers of the garrison are fighting the fire. Tusenbach informed those present that the brigade should shortly be relocated to Poland. The already drunk Chebutykin accidentally breaks a glass clock. Vershinin and Mascha get closer (No. 4). Irina asks Solyony, who has just arrived, to leave again. However, he refuses with a reference to Tusenbach, who is allowed to stay. Tusenbach tries to find a reconciliation, but Soljony is now looking for an argument with the doctor and shortly afterwards with Andrej (No. 5). Natascha informs Chebutykin about an illness of Andrei's son Bobik. Little by little the others also find out about it, and most of them leave. Mascha, however, does not believe in a real illness, but assumes that Natascha is pampering her son.

After calm has returned, the slightly drunk Tusenbach tries to get Irina (No. 6). He talks about ending his idleness to become worthy of her. The returned Soljony attacks Tusenbach with cynical slogans, and Tschebutykin continues Tusenbach. Solyony now confesses his love to Irina (No. 7). When she turns him away, he vows that he will kill any happier rival. He withdraws.

Natascha believes that her son's illness was caused by his child's room being too cold. She asks Irina to move into Olga's room for a while so that Bobik can get her own room (No. 8). But when Anfisa announces the arrival of her lover Protopopov, she hurries away.

Rodé and Fedotik say goodbye to Tusenbach, Kulygin and Irina (No. 9) in the garden. The next day, the last three batteries of the garrison are to withdraw. Irina and Tusenbach want to get married and move to Moscow. The officers go out. Shortly afterwards, Kulygin reports that Soljony was looking for a dispute with Tusenbach (No. 10). Soljony comes in, symbolically perfumes his "after death" stinking hands and picks up the doctor to attend the upcoming duel. Tusenbach says goodbye to Irina knowing that she doesn't really love him (No. 11). Irina can only assure him that she would be a faithful wife to him. She has not yet got to know the feeling of love. He makes his way to the duel area. Shortly afterwards a shot is fired. Chebutykin informs Olga and Irina about the death of Tusenbach (No. 12).

Second part: Andrej's sequence

The three sisters complain about the behavior of their brother Andrej who, because of his wife Natascha, gave up his dream of a professorship in favor of a simple administrative post in the province (No. 13).

In the background of the stage, her sister-in-law Natascha sneaks past with a candle in her hand (“Refrain” No. 14). This reminds Mascha of the fire that was raging in the city, and she remarks ironically that maybe Natascha is the arsonist.

Still shaken by the fire, Andrei storms in and demands a discussion with the sisters (No. 15). He is annoyed by her behavior towards his wife and wants to justify his choice of profession. However, they are not interested in a conversation. Masha leaves the room for a rendezvous with Vershinin, and Olga has to calm the old nurse Anfisa, who fears she will be released. Then Natascha appears, worried about her son Bobik, and accuses Anfisa of her uselessness (No. 16). Olga, however, vehemently defends the wet nurse who has been working for them for thirty years. Natascha has no choice but to rush out under furious threats.

Now come Tusenbach, Kulygin, Fedotik, Rodé and the drunk Tschebutykin (No. 17). The latter feels guilty for the death of a patient. He accidentally breaks a glass clock - an heirloom from the sisters' late mother. Natascha returns with Soljony (No. 18). She raves to him about her little Bobik. A cynical remark by Soljonys about her son hurts her deeply.

After the others withdrew, Andrej confided to the doctor that he was worried about his declining love for Natascha ("Recitativo" No. 19). Chebutykin advises him to drop everything and travel far away. Andrej realizes that he can no longer bear his present dreary life ("Andrejs Monologue" No. 20). His only consolation is the hope of a better life in the future.

Natascha appears again and asks for silence, because her daughter Sophie is already sleeping (No. 21). But when her lover Protopopov is reported, she loudly leaves the room herself. Andrei and the doctor go to the city to play.

Third part: Masha's sequence

At the celebration of Irina's name day, Tusenbach introduces the new commanding officer Vershinin to those present (“In the tea room” No. 22). This is an old friend of the family from Moscow. Mascha, who whistles to herself in boredom and actually wanted to leave, is staying after all, and Irina brings Olga in too. Irina receives gifts, and Masha's husband Kulygin gives her the same as last year. Kulygin assures Masha of his love and asks her to visit the school principal with him that evening (No. 23). She reluctantly agrees.

After Kulygin leaves, Vershinin asks Anfisa several times to bring him tea (No. 24). While he waits, he talks to Masha. Both are dissatisfied with their married life. Masha is bored with Kulygin, and Vershinin's wife often threatens suicide. Mascha and Vershinin feel drawn to each other. But just as Vershinin declares his love for her, Anfisa brings the tea and a letter with the news that his wife has taken poison again. Vershinin says goodbye to Masha. Natascha reproaches her for talking to Vershinin.

On the night of the fire, Mascha reveals to her sisters her relationship with Vershinin (No. 25). Olga refuses to listen to her. She herself is unmarried, but would definitely be loyal to her husband.

Before the garrison withdrew, Vershinin said goodbye to the sisters in the garden (“In the garden (3rd farewell)” No. 26). Mascha in particular takes this with her in such a way that she bursts into tears and has to be comforted by her sisters and Kulygin. Mascha whistles to herself in her resignation.

layout

Music numbers

The following musical numbers are listed in the score:

prolog

  • No. 1 - Olga, Mascha, Irina, later Natascha for a moment

First part: Irina's sequence

  • No. 2 “Sequence Irina” - Olga, Mascha, Irina
  • No. 3 "Refrain" - Mascha, Irina, Natascha
  • No. 4 “Fire Music” - Mascha, Irina, Tusenbach, Vershinin, Kulygin, Soljony, Doctor
  • No. 5 - Olga, Mascha, Irina, Natascha, Andrej, Tusenbach, Werschinin, Kulygin, Soljony, Doktor, Fedotik, Rodé, Anfisa
  • No. 6 - Irina, Tusenbach, Soljony, Doctor
  • No. 7 - Irina, Solyony
  • No. 8 - Irina, Natascha, Solyony, Anfisa
  • No. 9 “In the garden (first farewell)” - Irina, Tusenbach, Kulygin, Doktor, Fedotik, Rodé, Anfisa
  • No. 10 “In the garden” - Irina, Kulygin, Soljony, doctor
  • No. 11 "In the garden (2nd farewell)" - Irina, Tusenbach
  • No. 12 “In the garden” - Irina, Olga, doctor

Second part: Andrej's sequence

  • No. 13 - Irina, Mascha, Olga 108
  • No. 14 “Refrain” - Irina, Mascha, Olga, Natascha
  • No. 15 - Olga, Masha, Irina, Andrei, the voice of Vershinin, Kulygin, Anfisa
  • No. 16 - Natascha, Olga, Irina, Anfisa
  • No. 17 - Olga, Irina, Vershinin, Tusenbach, Doktor, Kulygin, Fedotik, Rodé
  • No. 18 - Natascha, Irina, Doktor, Soljony, Tusenbach, Vershinin, Kulygin, Rodé, Fedotik
  • No. 19 “Recitativo” - Andrej, doctor
  • No. 20 "Andrej's monologue"
  • No. 21 - Natascha, Andrej, Doktor, Anfisa

Third part: Masha's sequence

  • No. 22 “In the tea room” - Olga, Mascha, Irina, Vershinin, Tusenbach, Doktor, Soljony, Fedotik, Rodé, Anfisa
  • No. 23 - Olga, Mascha, Irina, Vershinin, Tusenbach, Kulygin, Doktor, Soljony, Fedotik, Rodé
  • No. 24 - Mascha, Vershinin, Anfisa, Natascha
  • No. 25 - Masha, Olga
  • No. 26 “In the garden (3rd farewell)” - Irina, Olga, Mascha, Vershinin, Kulygin

occupation

The instruments are divided into two groups. An "ensemble" of 18 musicians is located in the orchestra pit. The two drummers sit in it left and right. 50 other instrumentalists play in an "orchestra" behind the scene. Again, the drummers sit on the left and right. In addition, the strings are divided into a left and a right group.

The instruments of the ensemble each represent one or more of the characters as stated in the score. The Anfisa singer sings with a microphone (“Microport”) and electro-acoustic amplification.

ensemble

orchestra

  • Woodwinds: two flutes (also piccolo), two oboes, two clarinets, two bassoons (also contrabassoon)
  • Brass: two horns, two trumpets, two trombones, bass tuba
  • Percussion (two players)
    • Left: vibraphone , crotales , snare drum, bass drum, a pair of cymbals, two Chinese cymbals, two hanging cymbals, two tamtams , two maracas, rainmakers
    • Right: maracas, tubular bells , glockenspiel , snare drum, bass drum, Chinese cymbal, two hanging cymbals, two tamtams, two maracas, rainmakers, Chinese tom-tom
  • E-piano and CD player (electro-acoustic amplified)
  • Strings: eight violins I, eight violins II, six violas, six cellos, four double basses

structure

The historical references to the original are missing in the opera version. The plot relates exclusively to the dreams and hopes of the main characters, told from the point of view of Irina, Andrei and Mascha. Olga's perspective is absent because, according to the composer, she has no dreams or “is everywhere, but has no tragedy”. The different triangular relationships in which the figures are located are an important topic: Irina / Tusenbach / Soljony, Mascha / Kulygin / Werschinin and Andrej / sisters / Natascha. Olga's sentence at the end of Chekhov's original (“Our suffering becomes joy for all those who live later”) can be found in Eötvös at the beginning of the prologue. Each of the three sequences ends with a farewell scene.

Despite the division into individual musical numbers, the opera is thoroughly composed. The abstract scenes are held together by various recurring elements that enable orientation. These include, for example, Natasha's nocturnal appearance with the candle (similar to the sleepwalking Lady Macbeth in Shakespeare's Macbeth ), Chebutykin's accident with the glass clock (a symbol of the old days) and Masha's challenging whistling in response to all negatives.

Eötvös renounces any kind of naturalism. Only an accordion player on stage creates a “Russian atmosphere”, which is not folkloric and is also alienated by electronics - the sound is emitted from the Schnürboden through loudspeakers . By filling all female roles with male singers (counter tenors or a bass for Anfisa) he ensures a maximum of alienation. However, Eötvös also allowed performances with singers instead of countertenors.

According to the assignment of the instruments of the chamber ensemble to the characters given in the score, woodwinds represent family members and brass instruments represent officers. The romantic Tusenbach is assigned the horn, the aggressive Soljony the drums.

Although Eötvös does not use simple repetitions, there are recognizable motifs in different places, which take different forms depending on the context. One example is Vershinin's declaration of love to Mascha, which draws on the motifs of Kulygin's previous declaration of love. The motifs are often based on the Russian language melody. The division of the orchestra enables “depth perspective” sound effects. The fire in the city is represented with the help of a CD player through real noises of horns or sirens. At the beginning of the third sequence there is stage music for the characters' teacups. In the first sequence, Eötvös quotes the aria of Gremin from Tchaikovsky's Eugene Onegin , which appears in Chekhov's original. The vocal sound language varies widely between speaking and singing, which creates a "quickly rushing conversation tone". The prologue of the sisters and Andrej's monologue at the end of the second sequence refer to the bel canto . The basic musical material of the opera already presented in the prologue is a fifth with an alternating middle third.

Work history

Péter Eötvös received the commission for this, his first great opera, from the Opéra de Lyon in 1988 . He created the composition within five years in close collaboration with the singers and the director. He wrote the libretto in German with Claus H. Henneberg . It was then translated back into Russian by Krzysztof Wiernicki.

The world premiere in Russian took place in Lyon on March 13, 1998 under the musical direction of Kent Nagano . Ushio Amagatsu's production was inspired by the Japanese kabuki theater. As intended by the composer, countertenors took on the roles of sisters and sister-in-law. Oleg Riabets (Irina), Vyacheslav Kagan-Paley (Mascha), Alain Aubin (Olga), Albert Schagidullin (Andrej), Gary Boyce (Natascha), Nikita Storojev (Kulygin), Jan Alofs (Anfisa), Dietrich Henschel (Tusenbach ) sang ), Denis Sedov (Soljony), Wojciech Drabowicz (Werschinin), Peter Hall (Tschebutykin), Ivan Matiakh (Rodé) and Marc Duguay (Fedotik). An audio recording was released on CD. The production was so successful that the opera was voted the “most important new work of 1998” by German critics.

The German premiere was on October 13, 1999 at the Deutsche Oper am Rhein Düsseldorf in German under the musical direction of Wen-Pin Chien and Günther Albers in a production by Inga Levants. Here the sisters were sung by women - according to the program, in order to bring the performance “closer to the Chekhov model, which unites both levels, the ideal and the real”. As of March 2016, there have already been performances in 27 cities.

A German translation comes from Alexander Nitzberg . The Russian original language is now clearly preferred by the composer. On the title page of the version of the score dated January 13, 2016, it is noted that public performances are only allowed in Russian.

Recordings

  • March 1998 - Kent Nagano (conductor), Orchester de l'Opéra national de Lyon.
    Oleg Riabets (Irina), Vyacheslav Kagan-Paley (Mascha), Alain Aubin (Olga), Albert Schagidullin (Andrej), Gary Boyce (Natascha), Nikita Storojev (Kulygin), Jan Alofs (Anfisa), Dietrich Henschel (Tusenbach), Denis Sedov (Soljony), Wojciech Drabowicz (Werschinin), Peter Hall (Tschebutykin), Ivan Matiakh (Rodé), Marc Duguay (Fedotik).
    Live from Lyon, cast for the premiere, listening instructions attached.
    Award u. a. with the Echo Klassik 2000 in the category "World Premiere of the Year".
    DGG 459 694-2.
  • November 10, 2001 - Kent Nagano and Péter Eötvös (conductor), Ushio Amagatsu (production), Orchester Philharmonique de Radio France .
    Oleg Riabets (Irina), Bejun Mehta (Mascha), Alain Aubin (Olga), Albert Schagidullin (Andrej), Gary Boyce (Natascha), Nikita Storojev (Kulygin), Jan Alofs (Anfisa), Gregor Dalal (Tusenbach), Denis Sedov (Soljony), Wojciech Drabowicz (Werschinin), Peter Hall (Tschebutykin), Alexei Grigorev (Rodé), Valery Serkin (Fedotik).
    Video; live from the Théâtre du Châtelet Paris.

Web links

Individual evidence

  1. ↑ a b Péter Eötvös: Tri sestry. Work information from the music publisher Ricordi , accessed on April 17, 2018.
  2. ↑ a b c d e f g h i j k l m n Robert Maschka: Drei Schwestern (Tri Sestri). In: Rudolf Kloiber , Wulf Konold , Robert Maschka: Handbuch der Oper. 9th, expanded, revised edition 2002. Deutscher Taschenbuch Verlag / Bärenreiter, ISBN 3-423-32526-7 , pp. 162–167.
  3. ↑ a b c d András Batta: Opera. Composers, works, performers. hfullmann, Königswinter 2009, ISBN 978-3-8331-2048-0 , pp. 142-143.
  4. ↑ a b c d e f g h Tri Sestri. In: Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , pp. 244–245.
  5. ↑ a b c d e 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 , 511-512.
  6. ↑ Silke Leopold (Ed.): Music theater in the 20th century (= history of the opera. Volume 4). Laaber, 2006, ISBN 3-89007-661-0 , pp. 468-469.
  7. ↑ Peter Eötvös' Tri Sestri "(" Three Sisters ") on the radio program of March 12, 2016 Austria 1 , accessed on 18 April 2018th
  8. ↑ Three sisters (1996–1997) on IRCAM , accessed October 26, 2017.
  9. ↑ a b c Péter Eötvös. In: Andreas Ommer: Directory of all complete opera recordings (= Zeno.org . Volume 20). Directmedia, Berlin 2005.
  10. ↑ Heinz Sichrovsky : From the fascination of boredom. Review of the production of the Vienna State Opera. In: news.at, March 7, 2016, accessed on April 17, 2018.
  11. ↑ Tres hermanas in the program of the Teatro Colón , accessed on April 18, 2018.
  12. ↑ Tri sestry in the program of the Frankfurt Opera, accessed on September 1, 2018.
  13. ↑ Aya Makarova, Albrecht Thiemann (trans.): Mirror of the present. Review of the performance in Yekaterinburg 2019. In: Opernwelt , July 2019, p. 42.