The Greek Passion
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| Title: | Greek passion |
| Original title: | The Greek Passion |
| Shape: | Opera in four acts |
| Original language: | English |
| Music: | Bohuslav Martinů |
| Libretto : | Bohuslav Martinů |
| Literary source: | Nikos Kazantzakis : Ο Χριστός ξανασταυρώνεται |
| Premiere: | June 9, 1961 |
| Place of premiere: | City Theater Zurich |
| Playing time: | approx. 2 ¼ hours |
| Place and time of the action: | Lykovrissi in a mountainous area of Greece, at the time of the Turkish occupation around 1922 |
| people | |
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Zurich version
In the first version in London also:
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The Greek Passion ( Eng .: Greek Passion , cz .: Řecké pašije , H. 372) is an opera in four acts by Bohuslav Martinů (music) with its own libretto . The text is based on the novel Ο Χριστός ξανασταυρώνεται ( Christ crucified again ) by Nikos Kazantzakis . After a planned performance of the first version in Covent Garden had been canceled, Martinů fundamentally revised the opera. This second version was premiered on June 9, 1961 in the Stadttheater Zurich . The premiere of the first version did not take place until July 20, 1999 in the Festspielhaus Bregenz .
action
The background to the plot is formed by the waves of migration and " ethnic cleansing " that took place in the early 1920s during the Greco-Turkish War and that the Greeks perceived as a "Asia Minor catastrophe". A passion play is being prepared in a wealthy Greek village that has not yet been affected by these events. The actors are selected early on and identify more and more with their roles. Parallels to the biblical events emerge, as is indicated by the literally translated original title of the novel ( Christ crucified again ). At the same time, a group of refugees arrives who have been driven from their homeland by the Turkish occupiers. While the village priest Grigoris refuses to help them, they are supported by the Passion Play actors Manolios and Katerina. They are building a new village on Mount Sarakina. Nevertheless, they get into trouble and several children starve to death. When they turn up again in the village seeking help, violence breaks out among the villagers, in which the character of Christ, Manolios, is killed by the character of Judas. The refugees have no choice but to move on.
The following table of contents is based on the libretto of the Zurich version from 1959.
first act
Lykovrissi village square on the slopes of Mount Sarakina with a church and Kostandis' café
Scene 1. On a sunny Easter Sunday, the villagers leave the church after the service. Among them are the village elders, the priest Grigoris, the rich Patriarcheas and the stingy Ladas. Grigoris names the performers for next year's Passion Play and gives them some admonitions along the way: The landlord Kostandis, who will represent the apostle James , should not mix barley in the coffee, go to church more often and not beat his wife. Kostandis replies that it is the other way around, that it is his wife who beat him. The dealer Yannakos is supposed to play Peter - and not to cheat his customers. Yannakos suggests that Christ ride his donkey. Patriarcheas' son Michelis will play Johannes , and the young widow and village prostitute Katerina will play Maria Magdalena . The blacksmith Panait was chosen for the role of Judas , who only reluctantly accepts the role. The shepherd Manolios is supposed to take on the main role of Christ. He is delighted but does not consider himself worthy to bear the burden of the cross. Grigoris blesses the elect and leaves the place with the villagers. Only the actors Yannakos, Kostandis, Michelis and Manolios remain behind.
Scene 2. The four actors ask themselves how they can prepare their roles and live exemplary in the following year. Yannakos, Kostandis and Michelis leave.
Scene 3. Lenio urges her fiancé Manolios not to postpone the wedding any longer. Manolios does not respond. The refugees singing can already be heard behind the scene. The characters from the apostles and the villagers return and watch the refugees move in with the singing of psalms. At their head is the priest Fotis, next to him is a man with a banner on which a golden cross of St. George is embroidered. The newcomers settle down exhausted. Fotis encourages you: you will find a new home here. Katerina arrives with a green scarf. Panait tries to send her away. Katerina asks him if he doesn't feel sorry for the hungry and insults him as "Judas". Meanwhile, the refugee woman Despinio sinks to the ground from weakness. The village priest Grigoris finally appears. Fotis tells him the story of the refugees: The Turks plundered their village and drove them from their homeland. But Grigoris shows no pity. He asks Fotis to tell him what sin they committed to lose God's favor. Fotis, the newcomers and also the villagers ask him to allocate land to the refugees. At this moment Despinio dies. Grigoris claims it is cholera - God's answer to their demands. Fotis and the refugees assure that Despinio was not sick but starved to death. Overcome with compassion, Katerina gives them her scarf against the cold. Panait blames her for this. Manolios and Kostandis suggest that the refugees settle on Mount Sarakina, where there is water, partridges and firewood.
Second act
Outside Yannakos' hut. Its donkey is nearby. Opposite are the house and the garden of Katerina, in the background Mount Sarakina
Scene 1. Yannakos quotes the biblical parable of the fourfold field . He congratulates his donkey on having a role in the upcoming Passion Play too. Katerina wants to know how he can keep his mood even though he lives alone. You yourself are plagued by bad dreams. Yannakos advises her to be kind. Next year she will be in the company of Christ as Magdalena.
Scene 2. Ladas persuades Yannakos to offer the refugees food at inflated prices in order to get their jewelry. They want to share the proceeds. He gives Yannakos an advance of three gold pieces.
At noon outside the village at the source of St. Basil
Scene 3. While Manolios draws water, Katerina approaches him. She seems to have fallen in love with him and compares him to an angel who wants to take her soul. Manolios shows no interest in her.
A desolate place on Mount Sarakina, where Fotis and his people have settled
Scene 4. Fotis and the refugees are planning to build their new village. An old man remembers the founding of three villages that were subsequently abandoned because of epidemics, earthquakes or the Turks. Yannakos initially observes those present unnoticed. The old man lays a sack of bones in a freshly dug pit to bless the new village. Yannakos steps forward, confesses his agreement with Ladas to Fotis and remorsefully gives him the three gold pieces that he is supposed to use for the children. The old man has since died. Fotis explains that he should rest in the foundations of the village - much like the early Christians would have done in the catacombs .
Third act
In the evening in Manolios' hut on Mount Panagia
Scene 1. Manolios asks the shepherd boy Nikolio to play him on the flute. He falls asleep and dreams of his problems with Lenio, Grigoris, Katerina and Yannakos. Finally, a woman dressed in black appears who bends over him and finally reveals himself to be Katerina. Manolios wakes up with a scream.
Scene 2. Lenio enters the hut. She accuses Manolios of neglecting her and declares that she can find a better husband. Lenio leaves the hut. Nikolio starts playing the flute. Lenio is drawn to the sounds as if by magic and returns. Nikolio lunges at her and throws her to the ground.
A small room in Katerina's house
Scene 3. Katerina is sitting at her window in the dark. Manolios knocks on the door. Katerina hopes he has finally discovered his love for her. But Manolios calls her his "sister" and asks her to forget him. She accepts his wish and declares that she will follow him.
The road to Sarakina. Bright sunny day
Scene 4. While Yannakos is eating his meal, Katerina appears with a bundle, a sheep and a goat that she wants to bring to the refugees. She tells him that she has only now recognized the importance of her role as Mary Magdalene. The angry voices of Grigoris and the village elders can be heard from the village, who are upset about the preaching Manolios.
Scene 5. Patriarcheas, Ladas, Panait and Grigoris decide to silence Manolios and banish him from the village. Manolios appears with a group of followers. He is now completely absorbed in his role as Christ and convinces the barber Andonis and other villagers to donate part of their income. Grigoris steps in and sends them away. Michelis reports that Lenio has turned away from Manolios and now wants to marry Nikolio. Nikolio confirms this. He is surprised that Manolios is not angry with him. Manolios continues to preach. He joins his friends. Together they feel the presence of Christ. Katerina comments on her behavior from the side.
Fourth act
The village square and the church as in the first act
The villagers celebrate Lenio and Nikolio's wedding. Grigoris appears in the church door and explains that God struck them all with blindness. If a sheep is sick, you have to drive it out of the stable so that it doesn't infect the others. One such sheep is Manolios, who rebelled against God. He excommunicated Manolios and - as they stood by him - Michelis, Yannakos and Kostandis.
Manolios comes out of the church. In a longer monologue he explains his divine insights. At first he only pretended to be thinking of Christ, but actually only had Katerina in mind. Now he knows that God works in silence without haste. Meanwhile, the refugees from Sarakina approach to beg the villagers for help, since several of their children have starved to death. Manolios insists on helping them. Grigoris incites the inhabitants against him. Fights ensue in which the Judas actor Panait kills Manolios. Finally the procession of refugees reaches the church. Your priest Fotis, the refugees and the inhabitants beg God for mercy. Katerina gives a parable farewell speech for Manolios. Fotis encourages its people to look for a new home. They start the Kyrie eleison , which Katerina and the villagers conclude with an amen .
layout
Instrumentation
The cast of the London first version of the opera includes the following instruments:
- Woodwinds: three flutes (also piccolo), three oboes (also cor anglais), three clarinets in Bb, three bassoons
- Brass: four horns in F, three trumpets in C, three trombones, tuba
- two timpani, drums (at least three players)
- Harp, harpsichord
- Strings: violins I and II, viola, cello, double bass
- Stage music: soprano, alto and tenor recorder, clarinet in C, accordion, violin
The following instruments are provided for in the Zurich second version:
- Woodwind: three flutes, three oboes, three clarinets, three bassoons
- Brass: four horns, three trumpets, three trombones, tuba
- Timpani, drums
- Harp, piano, accordion
- Strings
music
The large choral movements at the beginning and the end are among the most expressive parts. In order to add local flavor to the score, Martinů used Greek folk tunes and Byzantine church music. Nevertheless, the musical style corresponds more to that of the Czech cantatas by Miloslav Bureš from the 1950s. Bohemian sages, for example, appear in the wedding scene at the beginning of the fourth act. Turkish elements, on the other hand, are almost completely avoided. The composer's late diatonic style pervades the entire opera, especially in the choral movements towards the end. There are also a number of recurring motifs that represent certain ideas and characters. The arios recitatives are accompanied by modal and tonal harmonies, but occasionally also pervaded by sharper bitonal sounds. In some places, obligatory solo instruments such as the English horn or a violoncello are added. The duet in the third act, in which Manolios and Katerina renounce their love, is framed by a waltz played by the accordion. Martinů used particularly iridescent colors for Manolios' dream scene at the beginning of the third act.
Work history
In the late summer of 1954, Martinů initially intended to write an opera on a Czech or Slovak theme. Then, however, he met Nikos Kazantzakis and his novel Alexis Sorbas . Kazantzakis convinced him to use his 1948 Greek Passion (Ο Χριστός ξανασταυρώνεται or Christ again crucified ) instead of Alexis Sorbas as the basis of his new work. For the libretto, Martinů used an English translation of the novel by Jonathan Griffin. He worked on the text together with Kazantzakis between August and October 1954 in southern France and from November 1955 to January 1956 in New York. Martinů largely removed the motif of foreign rule, clearly recognizable in the novel, and the socially critical tendencies of Manolios, thus depoliticizing the work.
Martinů wrote most of the music between February 1956 and January 1957, then paused until February 1958 and finished the first version on January 15, 1959. During this time, Rafael Kubelík of the Royal Opera House Covent Garden in London and Herbert von Karajan had showed interest in the work for the Vienna State Opera . The planned premiere at Covent Garden, however, was rejected on the grounds that the opera contained too much spoken text. The program commission also gave other nonsensical reasons. The British public cannot put themselves in the hierarchy of the Orthodox Church in Greece. There was also no Viennese performance.
Martinů then fundamentally revised the score by January 1959 and gave away the score pages of the first version in parts to his friends. In the new version, he reduced the spoken parts to the small role of Ladas. He replaced the originally almost continuous recitative style with Ariosi. The dramaturgical focus also shifted. In the original version, the inner conflicts and the transformation of the main character Manolios were depicted more realistically. In the new version he looks more like a romantic opera hero. The dramatic passages and the orchestral interludes clearly stand out from the more static and contemplative parts in the first version. The second version, on the other hand, appears more musically consistent.
Martinů made the biggest changes in the final. Here he added to the final chorus of the refugees moving on. In the original version, the story was extended to Christmas. The villagers greet the birth of Christ with an alleluia , while Fotis and the refugees pray for Manolios and only then leave.
The first performance of the new version took place two years after the composer's death on June 9, 1961 in the Stadttheater Zürich under the musical direction of Paul Sacher and the direction of Herbert Graf in a German translation by Helmut Wagner and Karl Heinz Füssl . The stage design came from Teo Otto . Sandra Warfield (Katerina), Glade Peterson (Manolios), Robert Kerns (Kostandis), Heinz Borst (Fotis) and James Pease (Grigoris) sang the leading roles.
Several performances followed in various cities in Czechoslovakia, but also in Linz (1962), Bielefeld (1963) and Antwerp (1969). In Cardiff in 1981, the first British performance was a new English version by Brian Large .
The Martinů researcher Aleš Březina finally succeeded in reconstructing the original version from the scattered fragments. It was premiered on July 20, 1999 as part of the Bregenz Festival in the Bregenz Festival Hall . Ulf Schirmer was the musical director of the Vienna Symphony Orchestra and the Moscow Chamber Choir . The staging was by David Pountney . It sang u. a. Esa Ruuttunen (Grigoris), Christopher Ventris (Manolios), John Daszak (Yannakos), Adrian Clarke (Kostandis), Douglas Nasrawi (Panait), Nina Stemme (Katerina), Jonas Kaufmann (Nikolio) and Anat Efraty (Lenio). It was a co-production with the Covent Garden Opera, where it was re-enacted in 2000 under the direction of Charles Mackerras . Since then the opera has been able to hold its own in the repertoire in the German, Czech and English-speaking areas.
Another setting of the material is the opera Ecce homo by Sándor Szokolay , which premiered in Budapest in 1986.
Recordings
- June 1981 (Zurich second version, abridged?, Also as the soundtrack of an opera film): Charles Mackerras (conductor), Brno State Philharmonic Orchestra, Prague Philharmonic Choir . John Tomlinson (Grigoris), David Gwynne (Patriarcheas and Old Man), Michael Geliot (Ladas), John Harris (Michelis), Phillip Joll (Kostandis), Arthur Davies (Yannakos), John Mitchinson (Manolios), Catherine Savory (Nikolio and Old Woman), Jeffrey Lawton (Andonis and Panait), Helen Field (Katerina), Rita Cullis (Lenio), Geoffrey Moses (Fotis), Jana Jonásová (Despinio). Supraphon 10 3611-2 632 (2 CDs), Supraphon 4755205 (DVD).
- 1999 (live from the Bregenz Festival , London first version, slightly shortened): Ulf Schirmer (conductor), David Pountney (staging), Wiener Symphoniker , Moscow Chamber Chorus. Esa Ruuttunen (Grigoris), Eric Garrett (Patriarcheas), McCallum (Ladas and Spokesman), Robert Wörle (Michelis), Adrian Clarke (Kostandis), John Daszak (Yannakos), Christopher Ventris (Manolios), César Gutiérrez (Nikolio), Ray M. Wade (Andonis), Nina Stemme (Katerina), Douglas Nasrawi (Panait), Anat Efraty (Lenio), Marina Proudenskaia (old woman), Egils Silins (Fotis), Lolita Semenina (Despinio), Greg Ryerson (old man) , Andrej Kryzhanovskiy (Dimitri), Richard Angas (captain), Terry Jenkins (schoolmaster). Koch 3-6590-2 (2 CDs).
- April 29, 2000 (live from London, London first version): Charles Mackerras (conductor), orchestra and choir of the Covent Garden Opera . Gregory Yurisich (Grigoris), Jeremy White (Patriarcheas), McCallum (Ladas), Peter Auty (Michelis), Roderick Earle (Kostandis), Timothy Robinson (Yannakos), Jorma Silvasti (Manolios), Peter Wedd (Nikolio), Alasdair Elliot ( Andonis), Marie McLaughlin (Katerina), Robin Leggate (Panait), Jenny Grahn (Lenio), Elizabeth Sikora (old woman), Gwynne Howell (Fotis), Hilary Taylor (Despinio), Grant Dickson (old man), James Bobby ( Dimitri).
- April 13, 2006 (live from the Prague National Theater , London first version): Jiří Bělohlávek (conductor), Orchestra of the Prague National Theater. Luděk Vele (Grigoris), Aleš Hendrych (Patriarcheas), Václav Knop (Ladas), Pavel Černoch (Michelis), František Zahradníček (Kostandis), Jan Vacík (Yannakos), Tomás Cerný (Manolios), Karel Černoch (Nikolartio), Jan Markvart (Andonis), Maida Hundeling (Katerina), Jaroslav Březina (Panait), Petra Nótová (Lenio), Lenka Šmidová (old woman), Roman Janál (Fotis), Hana Jonášová (Despinio), Miroslav Podskalsky (old man).
- 2016 (live from the Graz Opera House , first version in London): Dirk Kaftan (conductor), Graz Philharmonic Orchestra , choir and extra choir of the Graz Opera, choir of the Graz University of Art. Wilfried Zelinka (Grigoris), Ivan Oresvanin (Patriarcheas), Tino Sekay (Ladas), Martin Fournier (Michelis), Dariusz Perczak (Kostandis), Manuel von Senden (Yannakos), Rolf Romei (Manolios), Dshamilja Kaiser (Katerina), Taylan Reinhard (Panait), Tatjana Miyus (Lenio), Yuan Zhang (old woman), David McShane (voice in the crowd), Markus Butter (Fotis), Sofía Mara (Despinio), Konstantin Sfiris (old man), Benjamin Plautz (commentator ). Oehms OC 967 (2 CDs).
literature
- Siglind Bruhn : Christ as an opera hero. Edition Gorz, Waldkirch 2007, ISBN 3-938095-03-2 , pp. 137–164 ( limited preview on Google Books )
Web links
- Libretto (Czech / English, PDF) from Supraphon
- Plot from The Greek Passion at Opera-Guide
- Bohuslav Martinů (1890-1959): Řecké pašije. Work information on klassika.info
Individual evidence
- ↑ Harry Halbreich : Bohuslav Martinů. Catalog of works and biography. Second, revised and expanded edition. Schott, Mainz 2007, ISBN 978-3-7957-0565-7 , p. 187.
- ↑ a b c The Greek Passion. In: Reclam's Opernlexikon. Philipp Reclam jun., 2001. Digital Library, Volume 52, p. 1087.
- ↑ a b Bohuslav Martinu - The Greek Passion. Universal Edition Performance Material Notes , accessed March 28, 2016.
- ↑ Bohuslav Martinu - The Greek Passion. Universal Edition Performance Material Notes , accessed March 28, 2016.
- ↑ a b c d e f Jan Smaczny: Greek Passion, The. In: Grove Music Online (English; subscription required).
- ↑ a b c d e f g h i Ulrich Schreiber : Opera guide for advanced learners. The 20th century III. Eastern and Northern Europe, branch lines on the main route, intercontinental distribution. Bärenreiter, Kassel 2006, ISBN 3-7618-1859-9 .
- ↑ Greek Passion. In: Harenberg opera guide. 4th edition. Meyers Lexikonverlag, 2003, ISBN 3-411-76107-5 , p. 493 f.
- ^ Sigrid Riemer: The Greek Passion. Information on the production at the Aalto-Theater 2015 at theatergemeinde-metropole-ruhr.de , accessed on March 29, 2016.
- ↑ a b Siglind Bruhn : Christ as an opera hero. Edition Gorz, Waldkirch 2007, ISBN 3-938095-03-2 , pp. 137–164 ( limited preview on Google Books ).
- ↑ network information on martinu.cz , accessed on 30 March 2016th
- ↑ a b c Bohuslav Martinu. In: Andreas Ommer: Directory of all opera complete recordings. Zeno.org , volume 20.
- ↑ Review of the performance in London 2000 on musicweb-international.com , accessed on March 29, 2016.
- ↑ Volker Tarnow: Eternal injustice. CD review. In: Opernwelt from August 2017, p. 26.