Diary of a missing person

Diary of a Missing Person (original Czech title: Zápisník zmizelého , JW V / 12) is a song cycle for tenor, alto and three female voices with piano by Leoš Janáček based on a text by Josef (Ozef) Kalda. It was composed between 1917 and 1919 and was premiered on April 18, 1921 in the Reduta in Brno.

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The song cycle is about the love of the wealthy farmer's son Janíček for the gypsy Zefka. Janíček refuses to marry the girl his father has chosen. When Zefka becomes pregnant, he finally breaks free from the constraints of society and begins a new life in nature with his lover. He is missing for his family. A few days after his disappearance, notes containing little poems that reveal his secret are discovered in his chamber.

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The songs reflect indirectly and in a stylized way the emotional life of the composer himself. They contain very personal monologues and dialogues that are interspersed with descriptions of nature. The music uses the “speech motifs” typical of Janáček. But they can be seen less clearly here than in his operas. The structure appears more traditional, as the music adheres closely to the metrical and rhythmic specifications of the text poem. The vocal lines are embedded in a highly refined and detailed piano setting. There are some echoes of folklore, but Janáček dispenses with direct quotations from folk songs or “gypsy music”.

Work history

Janáček composed the song cycle between August 9, 1917 and November 11, 1919 on a text that had been published on May 14 and 21, 1916 with the note "from the pen of an autodidact" in the Sunday editions of the daily Lidové noviny . The newspaper wrote:

“Some time ago, in a mountain village in East Moravia, J. D., a decent, hard-working farm boy, his parents' only hope disappeared. At first one suspected an accident or a crime. It was not until a few days later that records were found in his chamber that revealed the secret of the disappeared. The papers contained little poems. [...] Because of their touching heart and poetic value they deserve to be torn from the dust of court records. "

- Lidové noviny , May 14, 1916

The authorship of the text was only clarified in 1997 when a letter from Janáček to Antonín Matula dated June 8, 1916, which contained the name of the lyricist Ozef Kalda (1871–1921), was discovered. The earlier assumption of the philologist František Travníček that it was a question of Jan Misárek is thus refuted.

A year later, under the impression of his love for the beautiful and much younger Kamila Stösslová (when they first met he was 62 years old, she was not yet 27), Janáček decided to set the text to music. Completion was delayed, however, because at the time he was working on the orchestral rhapsody Taras Bulba and the opera The Excursions of Mr. Brouček . Although he informed Kamila about the completion of the songs on March 11, 1919 (“Your little songs about your gypsy are finished”), song XVI bears a note from November 11, 1919. Several letters from Janáček to Kamila contain references to the song cycle. On December 24, 1927 he wrote that he had always thought of her in it: "You were this Sefka to me."

The song cycle has been translated into German several times. The first is by Max Brod in 1921 and, like the original, is versed in rhymes. Later versions are either literal translations or try to bring Brod's translation closer to the original.

The premiere took place on April 18, 1921 in the Reduta in Brno. Karel Zavřel (tenor) and Ludmila Kvapilová-Kudláčková (alto) sang, accompanied by Břetislav Bakala on the piano.

Other notable performances were:

September 21, 1922: Berlin - Karel Zavřel (tenor); Felix Petyrek, piano.
October 27, 1922: London.
October 28, 1926: Laibach - staged version by Ota Zítek; Zdeněk Knittl (tenor), Vilma Thierry (alto), Antonín Balatka (piano).
June 26, 1945: Pilsen - orchestral version by Ota Zítek and Václav Sedláček.
January 14, 1951: Leipzig Opera House - staged version and instrumentation by Ernst Richter with the title prelude to the opera “ The Cunning Little Vixen ” using the “Diary of a Lost Man” and the folk songs by Leoš Janáček.
1986: London - staged performance by the English National Opera ; Directed by David Pountney ; Arthur Davies (tenor), Jane Rigby (mezzo-soprano), Paul Crossley (piano).
April 7, 1999: Amsterdam - Chamber orchestra version by Gert van Keulen; Christoph Homberger (tenor), Helena Rasker (alto), Schönberg Ensemble, conductors: Reinbert de Leeuw ; also on April 14, 199 in Winterthur.
November 7, 2014: Workshop of the State Opera in the Schillertheater Berlin - staged performance, interwoven with Poulenc's La voix humaine ; Director: Isabel Ostermann ; Benedikt Kristjánsson (tenor), Carolin Löffler (soprano), Günther Albers (piano); Resumption (with both works one after the other) in March 2017 with Juliane Banse (soprano); in April 2018 in the Small House of the State Theater Braunschweig again with Carolin Löffler.
July 3, 2019: Production of the Muziektheater Transparant Antwerp at the Armel Opera Festival from Müpa Budapest - staged performance with additional works by Annelies Van Parys ; Director: Ivo van Hove; Andrew Dickinson (tenor), Andrew Dickinson (mezzo-soprano), Wim van der Grijn (actor), Jonathan Ware (piano); Live broadcast as a video stream at Arte Concert .

Texts

In addition to the original Czech text, Max Brod's German translations are listed below.

I. "Potkal jsem cigánku" - "I met a young gypsy"

Tenor and piano

  Potkal sem mladou cigánku,
  nesla se jako laň,
  přes prsa černé lelíky
  a oči bez dna zhlaň.
  Pohledla po mně zhluboka,
  pak vznesla sa přes peň,
  a tak mi v hlavě ostala
  přes celučký, celučký deň.

  I met a young gypsy,
  she walked lightly like a deer, her
  braids black on her breast,
  her eyes a dark lake.
  So she looked deeply at me
  until she quickly jumped away
  and stayed back in my head
  night and day.

II. "Ta černá cigánka" - "Is it still there"

Tenor and piano

  Ta černá cigánka
  kolem sa posmětá.
  Proč sa tady drží,
  proč nejde do světa?
  Byl bych snad veselší,
  gdyby odjít chtěla;
  šel bych sa pomodlit
  hnedkaj do kostela.

  Is she still there,
  this gypsy,
  isn't she going any further, is
  n't she out into the world?
  It was lucky for me
  if she wanted to step aside;
  immediately I was happy
  and went to church to pray.

III. "Svatojánské mušky" - "Like the firefly game"

Tenor and piano

  Svatojanské mušky tančija po hrázi,
  gdosi sa v podvečer podle ní prochází.
  Nečekaj, nevyjdu, nedám já sa zlákat,
  mosela by po téj má maměnka plakat.
  Měsíček zachodí, už nic vidět není,
  stojí gdosi stojí v našem záhumení.
  Dvoje světélka zářija do noci.
  Pane Bože, nedaj! Stoj mi ku pomoci!

  How the firefly game spreads on the edge of the hedge,
  and one step slowly paces the edge of the hedge.
  Don't wait, don't wait, won't let me out,
  oh how much my mother must mourn afterwards.
  Dark the night and the heart in anxious worries,
  someone is probably hidden by our barn.
  Two eyes glow and want to lead me there.
  You my god don't allow it! Stand by my side faithfully!

IV. "Už mladé vlaštůvky" - "The swallows are chirping in the nest"

Tenor and piano

  Už mladé vlaštúvky ve hnízdě vrnoží,
  ležal sem celú noc jako na trnoži.
  Už sa aj svítání na nebi patrní,
  ležal sem celú noc jako nahý v trní.

  The swallows chirping in the nest in the morning,
  oh and all night I lay in thorns.
  Now the red of the morning, lovely suntan,
  oh and all night I naked in the thorn bush.

V. "Těžko sa mi oře" - "Today it's hard to plow"

Tenor and piano

  Těžko sa mi oře,
  vyspal sem sa malo,
  a gdyž sem odespal,
  o ní sa mi zdálo!

  Today it is difficult to plow, there
  was no sleep to be found,
  and
  when I fell asleep: nothing dreams but sins!

VI. “Hajsi, vy sivi volci” - “Heisa! You gray ox "

Tenor and piano

  Hajsi, vy siví volci,
  bedlivo orajte,
  nic vy sa k olšině
  nic neohledajte!
  Ode tvrdéj země
  pluh mi odskakuje,
  strakatej fěrtúšek
  listím pobleskuje.
  Gdo tam na mne čeká,
  nech rači zkamení,
  moja chorá hlava
  v jednom je plameni.

  Hey! You gray oxen,
  plow the field for me,
  not after the alders there,
  not looking back at me!
  Does the plow spring back
  from hard clods of land ,
  what
  kind of headscarf there, would you like to know?
  Whoever waits there
  wants to go to dust immediately,
  woe to me, woe to the senses
  when they are on fire.

VII. "Ztratil jsem kolíček" - "Where has the peg gone?"

Tenor and piano

  Ztratil sem kolícek,
  ztratil sem od nápravy,
  postojte volečci, postojte,
  nový to vyspraví.
  Půjdu si pro něho
  rovnú ja do seče.
  Co komu súzeno,
  tomu neuteče.

  Where has the peg gone,
  the peg from the ploughshare?
  You little ox, hold me!
  Have to create a new one for me.
  I'll go straight ahead, I
  'll get it from Erlbusch,
  flee when fate calls,
  and yet you will never escape!

VIII. "Nehled'te, volečci" - "Do not see, you little ears"

Tenor and piano

  Nehled'te, volečci,
  tesklivo k úvratím,
  nebojte sa o mne,
  šak sa vám neztratím!
  Stojí černá Zefka
  v olšině na kraju,
  temné její oči
  jiskrú ligotajú.
  Nebojte sa o mne,
  aj gdyž k ni přikročím,
  dokážu zdorovat
  uhrančlivým očím.

  Do not see, you little ankles,
  afraid of the turning point,
  do not be afraid for me,
  since I am brave.
  When the black Seffka
  is standing, she is standing on the edge of the alder,
  her dark eyes
  glowing like a spark.
  When I come up to her,
  just let go of fear,
  evil look, evil look
  I always defy, so also today.

IX. "Vítaj, Janíčku" - "Be welcome, Jan"

Alto, tenor, three female voices and piano

  Alt
  Vítaj, Janíčku,
  vítaj tady v read!
  Jaksá št'astná trefa
  t'a sem cestú nese?
  Vítaj, Janíčku!
  Co tak tady stojíš,
  bez krve, bez hnutí,
  či snad sa mne bojíš?
  Tenor
  Nemám já sa věru,
  nemám sa koho bát,
  přišel sem si enom
  nákolníček ut'at!
  Alt
  Neřež můj Janíčku,
  neřež nákolníčku!
  Rači si poslechni
  cigánskú pěsničku!
  Women's voices
  Ruky sepjala,
  smutno zpívala,
  truchlá pěsnička
  srdcem hýbala.

  Alt
  “Be welcome, Jan,
  here in the dark Hagen!
  What good coincidence
  did you come across?
  Welcome to Jan!
  But you stand so long,
  without blood, without sound.
  Are you afraid of me? ”
  Tenor
  “
  I do n't need to be in front of anyone, I need to be afraid,
  just close a stake,
  I came into the forest! ”
  Alt
  “ Leave it, my dearest Jan,
  you don't have to swing a knife!
  Hear my song, listen to
  the gypsies singing it! ”
  Woman's voices, joined
  hand to hand,
  sang mournfully,
  and the gloomy song
  swelled sweetly into his heart.

X. "Bože, dálny, nesmrtelný" - "God up there, tell me why"

Alto, three female voices and piano

  Old
  Bože dálný, nesmrtelný,
  proč's cigánu život dal?
  By bez cíle blúdil světem,
  štván byl jenom dál a dál?
  Rozmilý Janíčku,
  čuješ-li skřivánky?
  Prisedni si přeca podlevá cigánky!
  Women's voices
  Smutná pešnička srdcem hýbala.
  Old
  bože mocný! Milosrdný!
  Než v pustém světě zahynu,
  daj mi poznat, daj mi cítit!
  Women's voices
  Smutná pěsnička srdcem hýbala.
  Alt
  Pořád tady enom jak solný slp stojíš,
  všecko mi připadá, že sa ty mne bojíš.
  Přisedni si blížej, ne tak zpovzdaleka,
  či t'a moja barva preca enom laká?
  Nejsu já tak černá jak sa ti uzdává,
  gde nemože slnce, jinší je postava!
  Women's voices
  Košulku na prsoch
  krapečku shrnula,
  jemu sa všecka krev
  do hlavy vhrnula.

  Old
  God up there, say why
  did you create gypsy blood?
  You chase it endlessly, chase it endlessly
  and no place to rest us good?
  "Have you dreamed, my Jan,
  listen to the larks?"
  "Sit down with the gypsy for a while!"
  Women's voices
  And the gloomy song swelled sweetly into his heart.
  Old
  God up there, merciful!
  Before I pass away in the world,
  let me know, let me feel!
  Women's voices
  And the gloomy song swelled sweetly into his heart.
  Alt
  You stand there as if made of stone, looking as if in a fever.
  Almost look like scared, and of me, dear?
  Not so far from the distance, you can stretch closer.
  Is that my color? Yes, it must frighten you!
  Am I too dark for you, a horror for your eyes?
  Where the sun doesn't shine, I look different!
  Women's voices   Pulled
  her gently from her breast,
pulled her shirt off,
  And all his warm blood rushed
  to his head in shock.

XI. "Táhne vůňa k lesu" - "The magic scent of heathen cheeks"

Tenor, alto and piano

  Tenor
  Tahne vůňa k lesu z rozkvetlé pohanky.
  Alt
  Chceš-li Janku vidět,
  jak spija cigánky?
  Tenor
  Halúzku zlomila, kámeň odhodila;
  Tož už mám ustlané, v smíchu prohodila.
  Alt
  Zem je mi za polštář,
  next to sa přikrývám,
  a rosú schladlé ruce
  v klíně si zahřívám.
  Tenor
  V jedné sukénce
  na zemi ležala
  a moja poctivost '
  pláčem usedala.

  Tenor
  From the heathen cheeks magic scent wafts so gently.
  Alt
  “Do you want to see me sleeping,
  just like the gypsy?”
  Tenor
  Clears away
  a little stone, a branch aside:
  Alt
  “The bed is
  already made, already prepared for night!
  Cushions the forest floor, ceiling of heaven's ornament,
  and the dew cools my hands, I warm them in my lap. ”
  Tenor
  only wore a skirt,
  lay there on the floor,
  oh how wailing
  my chastity disappeared.

XII. "Tmavá olšinka" - "Dark Alder Forest"

Tenor and piano

  Tmavá olšinka,
  chladná studénka,
  černá cigánka,
  bílé kolénka:
  nato štvero, co živ budu,
  nikdy já už nezabudu.

  Dark alder forest,
  Brünnlein wonderfully cold,
  black the heathen child,
  white the knees are:
  never escape these four
  , my senses can never forget.

XIII. (without text)

Piano solo

XIV. "Slunéčko se zdvihá" - "Sun has risen"

  Slnéčko sa zdvihá,
  stín sa krátí.
  Oh! Čeho sem pozbyl,
  gdo mi to navrátí?

  Sun has risen,
  fog is floating.
  Oh, what I've lost,
  who can give it back to me?

XV. "Moji siví volci" - "My gray oxen"

Tenor and piano

  Moji siví volci,
  co na mne hledíte?
  Esli vy to na mne,
  esli vy povíte!
  Nebudu já biča
  na vás šanovat,
  budete to potem,
  budete banovat!
  Nejhorší však bude,
  vráťa sa k polednu,
  jak já jen maměnce
  do očí pohlednu!

  My gray ox,
  just stand and look at me.
  If you betray me,
  I'll be sick of you.
  If you say it,
  the whip, 'I won't,
  you pay with sweat and effort
  what you do to me'!
  But the hardest
  thing is whether I can
  look my mother in
  the face at lunchtime!

XVI. "Co jsem to udělal" - "What did I do there"

Tenor and piano

  Co sem to udělal?
  Jaká to vzpomněnka!
  Gdyž bych já měl pravit
  cigánce maměnka.
  Cigánce maměnka,
  cigánu tatíček,
  rači bych si uťal
  od ruky malíček!
  Vyletěl skřivánek,
  vyletěl z ořeší,
  moje truchlé srdce
  nigdo nepotěší.

  What did I do there?
  Am I dreaming, am I awake?
  Does the gypsy woman
  really call me her "little son"?
  Should they be parents to
  me, the gypsy couple ?
  Better
  clear a knife into my heart's blood!
  If a lark
  flew up, flew with bright singing, there   is no consolation to be brought to
  my sorrow of the heart
.

XVII. "Co komu súzeno" - "Flee when fate calls"

Tenor and piano

  Co komu súzeno,
  tomu neuteče.
  Spěchám já včil často
  na večer do seče.
  Co tam chodím dělat? ...
  Sbírám tam jahody.
  Lísteček odhrňa,
  užiješ lahody.

  Flee when fate calls,
  no one has yet escaped from it.
  In the evening
  I hurry to the alders in the moonlight.
  'S is a strawberry cookie.
  Didn't you already know?
  If you touch a leaf,
  you will taste heavenly lust.

XVIII. "Nedbám já včil o nic" - "Nothing more, nothing more I think"

Tenor and piano

  Nedbám já včil o nic,
  než aby večer byl,
  abych si já s Zefkú
  celú noc pobyl.
  Povšeckým kohútom
  hlavy bychzutínal,
  to aby žádný z nich
  svítání nevolal.
  Gdyby chtěla noc
  na věky trvati,
  abych já na věky mohl milovati.

  Nothing more, nothing more I think,
  just wish in the evening
  that I would be up all
  night with Seffka !   I want to shred the heads of all
  the roosters around
.
  The dawn call
  and I never want to look at it again!
  Eternal night from now on, stayed
  forever,
  because all eternity
  I want nothing but love.

XIX. "Letí straka letí" - "How the magpie flies away"

Tenor and piano

  Letí straka letí,
  křídlama chlopotá,
  ztratila sa sestře
  košulenka z plota.
  Gdo jí ju ukradl,
  aj, gdyby věděla,
  věckrát by se mnú
  řečňovat nechtěla.
  Oh, Bože, rozbože,
  jak sem sa proměnil,
  jak jsem své myšlenky
  ve svém srdci změnil.
  Co sem sa modlíval,
  už sa hlava zbyla,
  jak gdyby sa pískem
  zhlybeň zařútila!

  As the magpie flies away,
  its wings flap swiftly.   A shirt disappeared
  from the nurse's fence in
the middle of the day.
  If your sister knew
  who was so good at stealing,
  she wouldn't say another word,
  never look at me again.
  Lord, my soul, how
  different my life is now,
  since the love of sin has occupied
  my heart!
  How I prayed,
  how my head was shattered!
  Now it is an abyss,
  filled with sand!

XX. "Mám já panenku" - "Have a youngster"

Tenor and piano

  Mám já panenku,
  ale po kolenka
  už sa jí zdvíhá
  režná košulenka.

  I have a youngster
  who is to be praised high high high.   Her skirt Skirt Skirt is raised
  around her belt
.

XXI. "Můj drahý tatíčku" - "Father, I curse the day"

Tenor and piano

  Můj drahý tatíčku,
  jak vy sa mýlíte,
  že sa já ožením,
  kterú mi zvolíte.
  Každý, kdo pochybil,
  nech trpí za vinu;
  svojemu osudu
  rovněž nevyminu!

  Father, I curse the day   that
  takes away the error
that I am taking the bride
  that you have given me.   Repentance and complaint
  follow
whoever is absent .
  Father, so must I too,
  must bear my fate!

XXII. "S Bohem, rodný kraju" - "Farewell, homeland"

Tenor and piano

  S Bohem, rodný kraju,
  s Bohem, má dědino!
  Navždy sa rozlúčit,
  zbývá mi jedino.
  S Bohem, můj tatíčku,
  ai Vy, maměnko,
  S Bohem, má sesřičko,
  mých očí pomněnko!
  Ruce Vám obtúlám,
  žádám odpuštění,
  už pro mne
  návratu žádnou cestou není!
  Chci všecko podniknút,
  co osud poručí!
  Zefka na mne čeká,
  se synem v náručí!

  Farewell, homeland,
  farewell, hometown!
  That was all that was
  left, this parting word.
  Dear father, do not grumble,
  and you too, mothers,
  and goodbye, my sister,
  you light my eyes!
  If I could only
  kiss and ask you once more .
  But there is no way back to
  my sad steps!
  What determines, I now
  carry, in need and harm,
  Seffka is standing, waiting
  and my son is in her arms!

Edits

There are several arrangements for other casts:

1943: Ota Zítek and Václav Sedláček
for orchestra: 3 flutes, 3 oboes, 3 clarinets, 2 bassoons - 4 trumpets, 2 horns, 3 trombones, tuba - timpani, percussion, harp - strings
Bärenreiter, Kassel 1958 (DP 2024, AP 1178 )
1999: Geert van Keulen
for chamber orchestra: 2 flutes / piccolo, 2 oboes / cor anglais, 2 clarinets, bassoon, contrabassoon - 2 trumpets, 2 horns, 2 trombones - percussion, celesta, harmonium - harp - 2 violins, viola, violoncello, double bass
EA Amsterdam, April 1999
Donemus, Amsterdam 2003
2003: Miloš Štědroň and his son Miloš Orson Štědroň planned
for chamber orchestra
at Bärenreiter, Kassel
2006: Gustav Kuhn
for large orchestra: 4 flutes (also 2 piccolo flutes), 2 oboes, English horn, 3 clarinets (also bass clarinet), 4 bassoons (also contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, piatti, drums, Celesta, organ, xylophone, 2 harps, strings
EA January 26, 2007 in the Palais Garnier Paris with Béla Bartók's Duke Bluebeard's Burg Verlag Peters, Frankfurt 2007
2011: Zeev Steinberg
for eight instruments: violin, viola, violoncello, flute, oboe, clarinet, horn, harp
2017: Johannes Schöllhorn
for soprano, mezzo-soprano, piano, harp, 3 percussionists and string orchestra (5.5.4.3.2.) Premiered
March 23, 2018 in Berlin by Ensemble Resonanz under Emilio Pomàrico

Gideon Klein quoted number XIV of the cycle in 1939/40 in the third movement of his Divertimentos.

Recordings

The song cycle Diary of a Missing Person has appeared many times on sound carriers. The lexicon on leos-janacek.org lists 20 audio and some video recordings of the original version between 1944 and 2019, as well as several recordings of the various adaptations.

1944: Josef Válka, Ružena Hořáková, Josef Páleníček ; Esta P, Supraphon P

1950: Andrew Bielecky,?, Gerald Moore ; His Masters Voice P, RCA LP m

1954: Ernst Haefliger , Cora Canne Meyer, Felix de Nobel , German; Philips LP m, Epic LP m; GALA CD

1956: Beno Blachut , Štěpánka Štěpánová, Josef Páleníček ; Studio shot; Supraphon LP m, SU 0022-2 201

1969: TV film, Czechoslovak television, author: Václav Kašlík

1970: Miroslav Frydlewicz, Věra Soukupová , Kuhn Chorus Prague, Radoslav Kvapil ; Studio shot; Panton LP

1971: Robert Tear , Elizabeth Bainbridge, Philip Ledger , English; Argo LP st

1971: Matti Juhani Piipponen, Waltraud Pusch, Ute Starke, German; Since Camera Magna LP m

1977: Vilém Přibyl, Libuše Marová, Josef Páleníček ; Supraphon LP st

1977: Peter Schreier , Gertrud Lahusen-Oertel, Berlin soloists, Marián Lapšanský ; German; Studio shot; Eurodisc 1 LP, Eterna LP st, Berlin Classics CD

1979: Peter Keller, Clara Wirz, Mario Venzago ; Accord LP st, CD

1979: TV film, Czechoslovak television, author: Jaromil Jireš. Actors: Ivan Lutňanský and Iva Bittová

1983: Grayson Hirst, Shirley Love, Anton Kubalek; Arabesque LP st, CD

1984: Nicolai Gedda , Věra Soukupová , Prague Radio Women's Chamber Choir , Josef Páleníček ; Studio shot; Supraphon LP st, SU 0022-2 201

1994: Leo Marian Vodička, Jitka Zerhauová, Radoslav Kvapil ; Panton CD

1995: Philip Langridge , Jane Rigby, Graham Johnson ; Forlane CD

1998: Petr Straka, Dagmar Pecková , Marián Lapšanský ; Studio shot; Supraphon SU 3378-2 931 (1 CD)

2001: Ian Bostridge , Ruby Philogene, Thomas Adès ; with earlier versions of the two songs Nos. X and XIV; Studio shot; EMI CDC 5 57219 2

2004: with Ian Bostridge and Thomas Adès , direction and scenario: Dennis Marks, BBC and Czech TV

2006: Stephen Ng, Andrea Marie Baiocchi; Clear Note CD

2012: Lars David Kellner , LC 05699 CD; Recording of XIII (piano solo) based on the oldest source; live from the Gasteig Munich; also as a video

2019: Nicky Spence, Václava Housková, Julius Drake ; Hyperion CD

2019: Production of the Muziktheater Transparant Antwerp at the Armel Opera Festival from Müpa Budapest ; with additional works by Annelies Van Parys ; Director: Ivo van Hove; with Andrew Dickinson (tenor), Andrew Dickinson (mezzo-soprano), Wim van der Grijn (actor), Jonathan Ware (piano); Video stream at Arte Concert

Orchestral version by Ota Zítek and Václav Sedláček

1963: Ernst Haefliger , Kay Griffel, Bavarian Radio Symphony Orchestra and Women's Choir, Rafael Kubelík , German; Studio shot; DGG LP m, DGG CD 028946367223
1987: Philip Langridge , Brigitte Balleys, Berliner Philharmoniker , ladies of the RIAS Chamber Choir Berlin, Claudio Abbado ; DGG CD
1990: Tonald Hamilton, Elsbieta Ardam, Orchester Royal de la Monnaie Brussels, Sylvain Cambreling ; Ricercar CD
2003: Johannes Chum , Andrea Szántó, Vorarlberg Symphony Orchestra , Christoph Eberle , German; ORF CD (Bregenz Festival)