Love and war – libretti
Prologue – Pagliacci (Leoncavallo)
Tonio
Excuse me!
Ladies and gentlemen,
forgive me for appearing alone.
I am the Prologue.
Since the author is putting on the stage
again the old Comedy of Masks,
he would like to revive
some of the old customs,
and so sends me out again to you.
But not to say, as of old,
"The tears we shed are feigned!
Do not alarm yourselves at our sufferings
and our torments!"
No.
The author instead has sought to paint
for you a scene from real life.
He simply takes the maxim
that an artist is a man
and that he must write for men.
His inspiration was a true story.
A horde of memories
was one day running through his head,
and he wrote, shedding real tears,
with sobs to mark the time!
So you will see love,
as real as human beings love:
You will see the sad fruit of hate.
You will hear agonies of grief,
cries of rage and bitter laughter!
So think then, not of our poor
theatrical costumes
but of our souls,
for we are men of flesh and blood.
Breathing the air of this lonely world
Just like you!
I have told you his plan.
Now hear how it is unfolded.
Come. Let's begin!
Qual fiamma/Stridono lassù – Pagliacci
Nedda
What fire there was in his look!
I lowered my eyes
for fear he should read
my secret thoughts.
Oh! If he caught me …
He's so brutal …
But enough: no more.
These are idle, fearful dreams!
Oh, how glorious is the August sun!
I feel full of life, and, my senses glowing
with secret desire, I know not what I long for!
Oh what a flight of birds,
and what a chatter!
What do they seek? Where are they going?
Who knows? …
My mother, who could tell fortunes,
understood their warbling,
and sang this song to me as a child:
Hey!
The birds chirp up aloft,
freely launched in flight like arrows.
They defy the clouds and the burning sun
and onward they fly
through the boundless sky.
Let them roam through the atmosphere,
ever eager for the glorious infinite blue:
They too follow a dream,
a chimaera, as onward they fly
Through the gilded clouds.
Though the wind freshen
and the tempest roar,
with wings spread they brave all dangers;
rain or lightning, nothing deters them,
and onward they fly
over abysses and oceans.
Onward they go to some strange land
of which perhaps they dream
and which they seek in vain.
But the bohemians of the sky
follow the mysterious power
which draws them …
onward … ever onward!
Nedda/Silvio duet – Pagliacci
SILVIO
Nedda!
NEDDA
Silvio! At this hour,
what folly …
SILVIO
Bah! You can be sure
that I'm taking no risk.
I saw Canio and Peppe in the tavern
from far off! …
But I came here with care, through
the wooded path I know.
NEDDA
Had you been a moment sooner
you'd have run into Tonio.
SILVIO
Oh! Tonio the fool!
NEDDA
The fool can be dangerous.
He loves me …
SILVIO
Ah!
NEDDA
He told me so just now …
and in his bestial frenzy,
trying to kiss me, he dared to rush on me …
SILVIO
By Heaven!
NEDDA
But with the whip
I cooled the ardour of the filthy dog.
SILVIO
Will you live forever amid these worries?
Nedda! Nedda! Decide my fate.
O stay here, Nedda!
As you know, the fair is over
and everyone will be gone tomorrow.
Nedda!, Nedda!
And when you too have left here,
what will become of me …
Of my life?
NEDDA
Silvio!
SILVIO
Nedda, Nedda, answer me.
If it is true that you love Canio no more,
if it is true that you hate
the nomadic life you lead,
if your great love is not a fiction,
let us go tonight!
Nedda, fly with me.
NEDDA
Do not tempt me!
Do you want to ruin my life?
Hush, Silvio, no more …
It is folly, it is madness!
I trust in you,
to whom I have given my heart.
Do not take advantage of me,
of my feverish love!
Do not tempt me! Pity me!
Ah!
SILVIO
Ah! Let’s flee!
No, you no longer love me!
NEDDA
What!
Yes, I love you, I do!
SILVIO
Yet you leave tomorrow morning? …
Then tell me why you have bewitched me
if now without pity you wish to leave me?
Why did you give me those kisses
in that burning ecstasy of pleasure?
Even if you forget those fleeting hours,
I cannot, and I still want
that burning ecstasy, those ardent kisses
which filled my heart with such fever!
NEDDA
I have forgotten nothing;
this love that shines in your eyes
has thrown me into confusion.
I want to live close by your side,
in the spell of a life of calm
and peaceful love.
I give myself to you:
You alone shall rule me, and I take you
and yield myself completely
Let us forget everything!
SILVIO
Let us forget everything!
NEDDA
Look into my eyes!
Kiss me! Let us forget everything!
SILVIO
I look at you and kiss you.
Let us forget everything!
Tre sbirri – Tosca (Puccini)
SCARPIA
Three men and a carriage … Quick, follow
wherever she goes! And take care!
Where do we meet?
Farnese Palace!
Go,Tosca!
Now Scarpia digs a nest within your heart!
Go, Tosca. Scarpia now sets loose
the roaring falcon of your jealousy!
How great a promise in your quick suspicions!
Now Scarpia digs a nest within your heart!
Go, Tosca!
CHORUS
Adjutorum nostrum in nomine Domini
Qui fecit coelum et terram
Sit nomen Domini benedictum
Et hoc nunc et usque in saeculum.
SCARPIA
My will takes aim now at a double target,
the rebel's head is not the bigger prize …
Ah, to see the flame of those imperious eyes
grow faint and languid with passion …
For him, the rope,
and for her, my arms …
CHORUS
Te Deum laudamus,
Te Deum confitemur!
SCARPIA
Tosca you make me forget God!
Te aeternum
Patrem omnis terra veneratur!
Quanto/Vissi d’arte (duet) – Tosca
TOSCA
How much?
SCARPIA
How much?
TOSCA
What is your price?
SCARPIA
Yes, they say that I am venal, but it is not
for money that I will sell myself
to beautiful women. I want other recompense
if I am to betray my oath of office.
I have waited for this hour.
Already in the past I burned
with passion for the Diva.
But tonight I have beheld you
in a new role I had not seen before.
Those tears of yours were lava
to my senses and that fierce hatred
which your eyes shot at me, only fanned
the fire in my blood.
Supple as a leopard
you enwrapped your lover. In that instant
I vowed you would be mine!
Mine! Yes, I will have you …
TOSCA
I'll jump out of the window first!
SCARPIA
I hold your Mario in pawn!
TOSCA
Oh, wretch
Oh, ghastly bargain …
SCARPIA
I do you no violence. Go. You are free.
But your hope is vain: the Queen would merely
grant pardon to a corpse
How you detest me!
TOSCA
Ah! God!
SCARPIA
Even so, even so, I want you!
TOSCA
Don't touch me, devil! I hate you, hate you!
Fiend, base villain!
SCARPIA
What does it matter?
Spasms of wrath or spasms of passion …
TOSCA
Foul villain!
SCARPIA
You are mine!
TOSCA
Wretch!
SCARPIA
Mine!
TOSCA
Help! Help!
A distant roll of drums draws slowly near, then fades again into the distance.
SCARPIA
Do you hear?
It is the drum that leads the way
for the last march of the condemned. Time passes!
Are you aware of what dark work is done
Down there? They raise a gallows. By your wish,
Your Mario has but one more hour to live.
TOSCA
I lived for art. I lived for love:
Never did I harm a living creature! …
Whatever misfortunes I encountered
I sought with secret hand to succour …
Ever in pure faith,
my prayers rose
in the holy chapels.
ever in pure faith,
I brought flowers to the altars.
In this hour of pain, why,
why, oh Lord, why
dost Thou repay me thus?
Jewels I brought
for the Madonna's mantle,
and songs for the stars in heaven
that they shone forth with greater radiance.
In this hour of distress, why,
why, oh Lord,
why dost Thou repay me thus?
Udite – L’elisir d’amore (Donizetti)
Dulcamara
Hear, hear, oh ye people;
Be careful, do not breathe.
I already suppose and imagine
that you know me
and what a great doctor I am.
I’m called Dulcamara,
whose virtues are preeminent.
And my infinite miracles
are known to the universe ... and in other places.
Benefactor of men,
healer of the sick.
In a few days, I clear,
I sweep the hospitals empty.
And this health, to sell
to the whole world, I want.
Buy it, buy it,
I'll sell it to you for a tiny price.
This is the odontalgic
wonderful liquor,
of mice and bedbugs
the mighty destroyer.
Whose authentic certificates,
everyone can touch, see and read.
With this sympathetic, prolific, prescription of mine,
a septuagenarian man,
who wasn’t in great health,
a grandfather to ten grandchildren
he just became.
For this reason "Touch and be healed"
and in a short week
all distressed widows
will stop crying.
Or you rigid matrons,
do you crave to turn back the years?
Your wrinkles unpleasant,
with it you can erase.
Do you want, damsels,
to have smooth skin?
You, young gallant men,
to be forever having lovers?
Buy my prescription,
I'll sell it to you for a tiny price.
The paralyzed will move;
it stirs the apoplectic,
the afflicted, the asthmatic,
the hysteric, the diabetic,
it heals tinnitus, scrofula and rickets,
and also liver disease
which has become fashionable.
Buy my prescription,
I'll sell it to you for a tiny price.
I bought it from a thousand miles away.
And I hear you asking: how much does it cost?
How much is the bottle worth?
One hundred scudi? ... thirty? ... twenty? ...
No ... nobody should be alarmed.
To prove my happiness
Yes, welcome friend,
I want you, oh good people,
to only pay one scudo!
Here it is: this stupendous,
healing elixir.
All of Europe knows that I won’t sell it
for less than nine lira:
But as it is evident,
I was born in this country,
for three lire I’ll give it to you:
only three lire of you do I ask.
Its as clear as the sun,
to whoever wants it you’ll be saving a scudo.
Ah! What the sweet love of home
great miracles can do!
Quanto amore (duet) – L’elisir d’amore
ADINA
(How much love! And I, ruthless,
tormented that noble heart!)
DULCAMARA
(She is also in love:
she needs my liquor.)
ADINA
So ... now ... it's Nemorino
who’s lucky in love!
DULCAMARA
The entire female sex is going
crazy over that young man!
ADINA
And which woman is favoured by him?
Who is his favourite among them all?
DULCAMARA
He is the cock of the roost,
All he chases, all he pecks.
ADINA
(And I alone, foolish me,
possessed that noble heart!)
DULCAMARA
(She is also in love:
she needs liquor.)
Lovely Adina! Wait a moment ...
Closer ... lift up your head.
You're smitten ... I can see it
by your afflicted and sad air…
If you want? ...
ADINA
If I want? What?
DULAMARA
Raise your head, you fussy one!
If you want, I have the recipe,
that can cure your illness.
ADINA
Ah, Doctor, it may be perfect,
But for me, it won’t work.
DULCAMARA
Do you want to see a thousand lovers
in spasms, languishing at your feet?
ADINA
I would not know what to do with so many;
my heart only asks for one.
DULCAMARA
Do you want to make crazy with jealousy
women, widows, and girls?
ADINA
It does not appeal to me, I do not like it
to disturb the peace of another.
DULCAMARA
Would you like to conquer a rich man?
ADINA
Riches don’t bother me.
DULCAMARA
A Count? A Marquis?
ADINA
No, I only want Nemorino.
DULCAMARA
Go on take my elixir,
It will have a great effect.
ADINA
Ah, Doctor, it may be perfect,
but for me, it won’t work.
DULCAMARA
Wretched girl! And you would have the heart
to deny its value?
ADINA
I respect the elixir,
but for me there is a greater one:
Nemorino, leaving all others,
all mine, mine will be mine.
DULCAMARA
(Oh, Doctor! She’s too cunning:
she’s cleverer than you.)
ADINA
A tender eye,
a smile, a caress,
can win those who are the most obstinate,
those who despise us the most.
I have seen so, so many
seized in agonising love,
that not even Nemorino can flee from me.
The recipe is my little face,
In my eyes is the elixir.
DULCAMARA
Ah, I see it, o wily girl,
You know all about my art;
That lovely mouth is the provider of love’s spice:
You have a still and you have an oven
hotter than Vesuvius,
to distil the love you want,
to burn and incinerate.
Ah! I’d be glad to exchange my elixirs with all of yours.
Largo al factotum – Il barbiere di Siviglia (Rossini)
La ran la le ra la ran la la.
Make way for the factotum of the city.
La ran la la, etc.
Rushing to his shop
for dawn is here.
La ran la la, etc.
What a merry life,
what gay pleasures
for a barber
of quality.
Ah, bravo Figaro,
bravo, bravissimo, bravo!
La ran la la, etc.
Most fortunate of men,
indeed you are!
La ran la la, etc.
Ready for everything
by night or by day,
always in bustle,
in constant motion.
A better lot
for a barber,
a nobler life
does not exist.
La la ran la la ran la, etc.
Razors and combs,
lancets and scissors,
at my command
everything's ready.
Then there are "extras"
part of my trade,
business for ladies
and cavaliers …
La la ran la …la …la.
Ah, what a merry life,
what gay pleasures,
for a barber
of quality.
All call for me,
all want me,
ladies and children,
old men and maidens.
“I need a wig”,
“I want a shave”,
“leeches to bleed me”,
“here, take this note”.
All call for me,
all want me.
Ho, Figaro, Figaro, Figaro, etc.
Heavens! what a commotion!
Heavens! What a crowd!
One at a time,
for pity's sake.
“Ho, Figaro!” - I am here!
Figaro here, Figaro there,
Figaro up. Figaro down.
Quicker and quicker
I go like greased lightning,
make way for the factotum of the city,
Ah, bravo, Figaro,
bravo, bravissimo,
On you good fortune
will always smile.
La la ran la, etc.
I am the factotum
of the city.
Dunque io son (duet) – Il barbiere di Siviglia
ROSINA
But is she pretty?
FIGARO
Oh, pretty, indeed!
I can give you her picture in two words:
a little plump, high-spirited,
dark hair (with overpriced blonde highlights), rosy cheeks,
sparkling eyes, enchanting hands.
ROSINA
And her name?
FIGARO
And her name too! Her name,
what a lovely name! She is called …
ROSINA
Well, what is she called?
FIGARO
Poor little dear! …
She is called R ... o …
ROSINA
Ro …
FIGARO
S ...i …si ...
ROSINA and FIGARO
Ro-si …
FIGARO
n … a … na … Rosina!
ROSINA
Rosina!
ROSINA
Then it is I … You are not mocking me?
Then I am the fortunate girl!
(But I had already guessed it,
I knew it all along.)
FIGARO
You are, sweet Rosina,
of Lindoro's love, the object.
(Oh, what a cunning little fox!
But she'll have to deal with me.)
ROSINA
But tell me, to Lindoro
how shall I contrive to speak?
FIGARO
Patience, patience, and Lindoro
soon your presence here will seek.
ROSINA
To speak to me? Bravo! Bravo!
Let him come, but with caution,
meanwhile I am dying of impatience!
Why is he delayed? What is he doing?
FIGARO
He is awaiting some sign,
poor man, of your affection;
send him but two lines
and you will see him here.
What do you say to this?
ROSINA
I shouldn't see him …
FIGARO
Come, courage.
ROSINA
I don't know …
FIGARO
Only two lines …
ROSINA
I am too shy.
FIGARO
But why? But why?
Quickly, quickly, give me a note.
ROSINA
A note? … Here it is.
FIGARO
(Already written … What a fool I am!
She could give me a lesson or two!)
ROSINA
Fortune smiles on my love,
I can breathe once more.
FIGARO
(in cunning itself
she could be a professor.)
ROSINA
Oh, you alone, my love,
can console my heart.
FIGARO
(Women, women, eternal gods,
who can fathom their minds?) etc.
ROSINA
Oh, you alone, my love,
can console my heart. etc.
ROSINA
Tell me, but Lindoro …
FIGARO
Is on his way. In a few minutes
he'll be here to speak to you.
ROSINA
Let him come, but with caution.
FIGARO
Patience, patience, he'll be here.
ROSINA
Fortune smiles on my love,
I can breathe once more.
Oh, you alone, my love,
can console my heart. etc.
FIGARO
(Women, women, eternal gods,
who can fathom their minds?) etc.
Opening Act III (duet) – La Bohème (Puccini)
MARCELLO
coming out of the tavern
Mimì!
MIMÌ
I was hoping to find you here.
MARCELLO
Yes, we've been here a month
at the innkeeper's expense.
Musetta teaches singing to the patrons,
I am painting those warriors
on the façade.
It's cold. Come inside.
MIMÌ
Is Rodolfo here?
MARCELLO
Yes.
MIMÌ
I can't go in, no, no!
MARCELLO
Why?
MIMÌ
Oh good Marcello, help me! Help me, do!
MARCELLO
What's happened?
MIMÌ
Rodolfo …Rodolfo loves me and avoids me;
my Rodolfo is consumed
with jealousy.
A step, a word,
a necklace, a flower
make him suspicious,
so that he is vexed and angry.
Sometimes at night I pretend to be asleep,
and I can feel him intently spying
on my dreams in my face.
He constantly cries:
you're no good to me;
find yourself another lover,
you're no good to me!
Alas! Alas!
It's the fury talking inside him,
I know, but what can I answer him, Marcello?
MARCELLO
Two people like you
shouldn't live together.
MIMÌ
You’re right; you're right;
we must part.
Help us, oh do help us;
we have tried …
…many times, but in vain.
MARCELLO
I'm easy going with Musetta, …
... and she with me, because ...
…we love lightheartedly.
Singing and laughter, these are the flowers
of lasting love!
MIMÌ
You're right, you're right, we must leave one another …
…Do what you can for the best.
MARCELLO
Right! I'll wake him now.
MIMÌ
Is he asleep?
MARCELLO
He landed here
an hour before dawn
and fell asleep on a bench.
Look.
Mimì coughs
What a cough!
MIMÌ
Since yesterday I've been chilled
to the bone. He left me last night,
saying: It's all over.
At daybreak I came out
and made my way in this direction.
MARCELLO
He's waking ... he's getting up ... he's looking for me . . . he's coming ...
MIMÌ
He mustn't see me!
MARCELLO
Go home now, Mimì, for goodness' sake!
Don't make a scene here!
Donde lieta – La Bohème
Mimi
Whence happily she came
at your call of love Mimì
will return to her lonely nest;
she'll return once again
to embroidering imitation flowers.
Goodbye; and no hard feelings.
Listen.
Gather up the few things I left about.
Shut in my drawer
is that little gold ring,
and my prayer book.
Bundle everything up in an apron
And I'll send the concierge.
Look, under the pillow
you'll find the pink bonnet.
If you want to, keep it as a souvenir of our love!
Goodbye, goodbye - without regret.
Ves’ tabor spit – Aleko (Rachmaninoff)
The whole camp is asleep.
The Moon is high and bright with midnight beauty.
Why then is my poor heart trembling? What sadness is bothering me?
Without care or regret I’m living this nomadic life,
away from the shackles of cultured society, I am free, like them.
I lived denying the power of fate, treacherous and blind.
But, God, how the passion rules my obedient soul.
Zemfira! How she used to love!
How tenderly, leaning against me, in the deserted silence she loved to spend her time.
How often with her dear sweet talk, and breath-taking kisses, my blues she could chase away in minutes.
I remember: with bliss and passion she then would whisper to me:
“I love you, I am in your power! I am yours, Aleko, forever!”
I used to forget everything when I was listening to her
and kissed madly her charming eyes, the locks of her hair, darker than night, her lips…
And she possessed by happiness and passion leaned on me and looked into my eyes…
And now? Zemfira is unfaithful!
My Zemfira’s forgotten me!
A Tal colpa (duet) – Un ballo in maschera (Verdi)
RENATO
For such an offence, tears are useless,
being powerless to efface it or excuse it.
Now all prayers are in vain;
Blood must flow, and you shall die.
AMELIA
But if the guilt, my guilt,
lies only in the fact which accuses me?
RENATO
Silence, adulterous woman.
AMELIA
Great God!
RENATO
Ask Him rather for mercy.
AMELIA
Does a single suspicion suffice for you?
And you want to kill me?
You insult me, no longer feeling
justice nor pity?
RENATO
Blood must flow, and you shall die.
AMELIA
For a moment, it is true, I loved him,
but I did not disgrace your name.
God knows this, that in my breast
no unworthy passion ever burned.
RENATO
You have finished; it is now too late –
blood must flow, and you shall die.
AMELIA
Ah! You would kill me! So be it, then.
One grace I pray –
RENATO
Not from me.
Address your prayers to Heaven.
AMELIA
Only one word more to you.
Hear me out, it will be the last time.
I shall die, but first, in kindness,
ah, let me at least
clasp to my breast
my only child.
And if to your wife
you deny this last favour,
do not refuse the prayer
of a mother’s heart.
I shall die, but let his kisses
console this body,
now that the end has come
to my brief life.
Once she is dead by his father’s hand
let him touch with his hand
these eyes of a mother
whom he will never see again.
RENATO
without looking at her, pointing towards the door
Arise; there is your son,
I permit you to see him. In the darkness
and the silence, there,
hide your blushes and my shame.
Amelia goes out.
It is not she, nor her breast
that I must strike.
Another’s blood must wash away the sin!
(gazing at the portrait of the King)
Your blood!
and my dagger,
avenger of my tears,
shall draw it from your traitor’s heart!
It was you who stained that soul;
which was the joy of my own,
who inspired my trust, then loathsomely
poisoned all life for me.
Traitor, who in such a way regarded
the faith of your dearest friend!
Oh sweetness, lost; O memory
of a heavenly embrace,
when Amelia, in her pure beauty,
lay on my breast, in the warmth of love!
all is finished – now only hate
and death live in my widowed heart!
Oh, sweetness lost, oh, hope of love!
Klänge der Heimat – Die Fledermaus (J Strauss)
Rosalinde
Sounds of my home country, you revive the yearning,
Let the tears brim in my eyes!
Hearing the old-time songs,
Draws me back, my Hungary, to you!
Oh homeland so beautiful,
With the sun gleaming so bright,
How green are your forests, how lush your fields,
Oh countryside, where I once was happily at home!
Yes, those cherished memories
Fill my heart to bursting,
Those cherished memories!
But though I am far from you now, so far,
ah, eternally consecrated to you
is the yearning of my heart!
Oh homeland so beautiful,
With the sun gleaming so bright,
How green are your forests, how lush your fields,
Oh my country, where once I was happily at home!
Fire, zest for life, fills the real Hungarians chest,
Hay! Hurry to the dancefloor! Czárdàs can be heard!
Suntanned maiden, come and dance with me;
Take my arm, you dark eyed child!
Thirsty customers reach for tankards,
Let them go round faster and faster
From hand to hand!
Relish the fire in the Tokay wine!
A toast to our nation! Hay!
Fire, zest for life, fills the real Hungarians chest,
Hay! Hurry to the dancefloor! Czárdàs can be heard!
La, la, la, la .....
Final scene (duet) – Eugene Onegin (Tchaikovsky)
The drawing room of Prince Gremin's house in St. Petersburg.
Tatyana enters holding a letter from Onegin declaring his love for her.
TATYANA
O, how distressed I am!
Once more Onegin has crossed my path
like a relentless apparition!
His burning glance
has troubled my heart
and reawakened my dormant passion
so that I feel like a young girl again
and as if nothing had ever parted us!
Enough, get up, I must
talk to you frankly.
Onegin, do you remember that time
when, in the avenue in our garden,
fate brought us together and I listened
so meekly to your lecture?
ONEGIN
O spare me, have pity!
I was so mistaken; I have been cruelly punished!
TATYANA
Onegin, I was younger then,
and a better person, I think!
And I loved you, but what, then,
what response did I find
in your heart? Only severity!
Am I not right in thinking, that
A simple young girl's love was no novelty to you?
Even now ... dear God, my blood runs cold
whenever I recall that cold look,
that sermon!
But I do not blame you ...
In that dreadful moment
you behaved honourably,
you acted correctly towards me.
At that time, I suppose, in the back of beyond,
far from the frivolity of social gossip,
you didn't find me attractive.
Why, then, do you pursue me now?
Why am I the object of such attentions?
Could it be because I now
frequent the highest circles,
because I am rich and of the nobility,
because my husband, wounded in battle,
enjoys, on that account, the favour of the court?
Could it not be that my disgrace
would now be generally remarked
and would confer upon you
the reputation of a seducer?
ONEGIN
Oh! My God!
Is it possible that in my humble pleading
your cold look sees nothing
but the wiles of a despicable cunning?
Your reproach torments me!
If you only knew how terrible
it is to suffer love's torments,
to endure and to constantly check
the fever in the blood by reason,
to long to clasp your knees
and, weeping at your feet,
pour out prayers, avowals, reproaches,
all, all that words can express!
TATYANA
I am weeping!
ONEGIN
Weep on, those tears are dearer
than all the treasures in the world!
TATYANA, ONEGIN
Happiness was within our reach,
so close! So close! So close!
TATYANA
But my fate has already been decided, and irrevocably!
I am married; you must,
I beg you, leave me!
ONEGIN
Leave you? Leave you! What! ... Leave you?
No! No!
To see you hourly,
to dog your footsteps, to follow
your every smile, movement and glance
with loving eyes,
to listen to you for hours, to understand
in my heart all your perfection,
to swoon before you in passionate torment
turn pale and pass away: this is bliss,
this is my only dream, my only happiness!
TATYANA
Onegin, your heart knows
both pride and true honour!
ONEGIN
I cannot leave you!
TATYANA
Eugene! You must. I beg you
to leave me.
ONEGIN
Oh, have pity!
TATYANA
Why hide it, why pretend?
Ah! I love you!
ONEGIN
What do I hear?
What was that word you spoke?
O joy! Oh, my life!
You are again the Tatyana of former days!
TATYANA
No! No!
You cannot bring back the past!
I am another's now,
my fate is already decided,
I shall always be true to him.
ONEGIN
Oh, do not drive me away; you love me!
And I will not leave you!
You will ruin your life for nothing!
This is the will of Heaven: you are mine!
All your life has been a pledge
of our union!
And be assured, I was sent to you by God,
I am your protector to the grave!
You cannot refuse me.
For me you must forsake
this hateful house, the clamour of society -
You have no choice!
TATYANA
Onegin, I shall remain firm; …
ONEGIN
No, you cannot ...
... refuse me ...
TATYANA
... to another by fate ...
... have I been given,
with him will I live and never leave him; ...
ONEGIN
... For me ...
... you must forsake all, all -
hateful house and social clamour!
You have no choice!
Oh, do not drive me from you, I implore!
You love me; you will ruin
your life for nothing!
You are mine, mine for ever!
TATYANA
... No, I must remember my vows!
Deep in my heart his desperate appeal
strikes an answering chord,
but having stifled the sinful flame,
honour’s severe and sacred duty
will triumph over the passion!
I leave you!
ONEGIN
No! No! No! No!
TATYANA
Enough!
ONEGIN
Oh, I implore you: do not go!
TATYANA
No, I am resolved!
ONEGIN
I love you! I love you!
TATYANA
Leave me!
ONEGIN
I love you!
TATYANA
Farewell for ever!
She leaves the room
ONEGIN
He stands stupefied for a moment, plunged in despair
Ignominy! ... Anguish! ...
Oh, my pitiable fate!
Love and War and Tragedy in the operatic world
A few days ago we enjoyed a most convivial evening with the operatic husband and wife duo, Louis and Tanya Hurst, enjoying food and wine together (something dear to both our hearts), and chatting about their operatic lives together, including their involvement in the ENO’s productions of Tosca and Yeomen of the Guard and gaining some insight in their motivation and choices for the ‘Love and War’ gala which, due to illness, we have unfortunately had to postpone to Friday, January 20th, 2023.
A few days ago we enjoyed a most convivial evening with the operatic husband and wife duo, Louis and Tanya Hurst, enjoying food and wine together (something dear to both our hearts), and chatting about their operatic lives together, including their involvement in the ENO’s productions of Tosca and Yeomen of the Guard and gaining some insight in their motivation and choices for the ‘Love and War’ gala which, due to illness, we have unfortunately had to postpone to Friday, January 20th, 2023.
Little did any of us know what devastation was to be wreaked by the announcement of the Arts Council England to withdraw funding from ENO and many other major arts institutions, threatening both the continuation of world class productions and concerts, as well as the livelihoods of literally thousands of professional musicians, actors and administrators in the business.
We are determined to support Louis and Tanya with their concert. Please read this interview to feel their dedication and passion for the opera world and make sure you book tickets to the gala concert to show your support for them and many others in similar circumstances.
Cast your mind back a couple of years to the late summer of 2020. The pandemic was still in full swing and, unless you were a Government minister of course, there were strict rules on how we could mix.
We weren’t allowed indoor gatherings, so St Paul’s Opera was unable to stage its regular summer opera festival inside the church. But we were allowed outdoor events, provided certain rules were adhered to.
And so, starved of months of operatic entertainment, the lower churchyard on that balmy September afternoon was packed with socially distanced groups ready to enjoy a thrilling gala concert. But what’s this? Two of the performers are most certainly not socially distancing… in fact, during their performance of the ‘rape’ duet between Tosca and Scarpia from Puccini’s Tosca they are acting very much like an unhappily married couple. He’s got his arms around her neck and, well, as in all good opera, it’s not going to end well.
So how was this close personal contact allowed? Simply that baritone Louis and soprano Tanya Hurst are a married couple and, despite on stage appearances, happily so.
Jump forward to year two of Covid restrictions and Tanya found herself at Iford Opera (Wiltshire-based opera company) singing a fund raising gala and the tenor fell sick, so Louis was drafted in, Tanya having convinced the producer that the repertoire was all the more rich and diverse than the standard Sop/Tenor regular numbers.
These performances sparked an idea: why not put together a gala concert of arias and duets that could be performed by a married couple, some loving, some sad… and a few verging on physical assault? This, as well as the chance to air some new material, as the couple continue their careers in the operatic arena, determined to keep their offering fresh and market-relevant.
So, the key question we were keen to find out was how this arrangement works for a husband and wife singing duo, in a practical sense?
“That depends on what the schedule is like for both of us,” Tanya tells us. “Currently we’re both London based and we work well together, finding our time and space to prepare for our various activities,” she adds. “But when we’re working elsewhere it can be pretty hard. Earlier this year I had some great opportunities working away, particularly when I was with Welsh National Opera (WNO) covering the title role of Jenufa. It was such a marvellous opportunity and I relished the chance to sing the role for myself (a dream fulfilled), but it was hard being away from home. Louis and I will talk every single day but I always miss home, being in my own bed, and doing domestic stuff like cooking!”
Tanya seems to be the more frequent traveller of the couple, having completed tours in recent years with companies such as English Touring Opera (ETO) and Opera North, amongst others. “I love being away with such great colleagues in these companies, and we’re well looked after, but even if it’s a long late drive home, getting in at say 4am, I’d often prefer that, with the bonus of breakfast with Louis, over a comfy Airbnb in a provincial town.
“But I mustn’t complain; I’ve had some great gigs and with that the opportunities to sing dream rep and roles, such as singing chorus in Macbeth with ETO then the chance to sing the Lady Macbeth role at the end of the same run.”
We’re curious to know what happens when the opportunities take you overseas, and maybe how has this experience worked post-Brexit.
“It’s certainly a major faff,” pipes up Louis. “There’s a lot of time you need to allocate to get visas and permits sorted out. Very often this is your responsibility and you just need to set aside the time (non-fee earning time, I might add) to get yourself to the relevant country’s embassy to queue sometimes all day to sort out the paperwork. Having said that, there are some opera houses in mainland Europe who will sort this admin for you – such as many of the German opera houses, who seem to be well versed in this sort of bureaucracy.
And is this the same for Tanya, who is, after all, an Aussie passport holder? “Yes to a degree, although I seem to slip under the Brexit radar and whilst I have to go through the immigration process, I don’t seem to see the same amount of admin, as I know most English colleagues have persistently long winded processes to balance.”
Now, we’ve been itching to ask this question: where did you two meet, and what brought you to the UK, Tanya?
“That’s an easy one. Having completed my post grad diploma from Melbourne, I did what masses of Aussies do and came to the UK to complete a vocal masters. I ended up at the Royal Northern College of Music (RNCM), met Louis and we’re still living the experience!”
And why did you head to Europe in the first place?
“Well, many of us Aussies have the view that Europe is bigger and better thank back home, and particularly for musicians. And when you get to the UK – let’s just say for a comparison, Manchester Uni had everything I needed!” Tanya has a certain cheeky grin whilst answering this one.
“Besides, there’s infinitely more work in the UK. However, we both knew that London was where we really needed to be as there is a vast amount of music making to take advantage of – session work, church singing, opera houses, and even the touring and festival companies, nine times out of ten, rehearse in London, at least to start.”
“Yes, and of course the European cities are usually just a couple of hours’ flight time away – think about the fact that one third of all opera in the world takes place in Germany!” adds Louis.
“The ‘business’ of music should really be given a major focus in the conservatoires. It’s an essential part of this lifestyle!”
So why aren’t you tempted to actually live in Germany, for instance, after all, there are numerous singers who’ve made the move, even SPO colleagues who’ve sung in previous productions.
Tanya’s turn to answer this one: “Well, to be completely honest, we both really enjoy London life, both from the work opportunities and the social and cultural side too. During lockdown, I did set myself a task of improving my German (I did the equivalent of an A level at the Goethe Institute), but of course you need to live in Germany to become fluent, which I guess would be possible, but London’s our home for now.”
Speaking of lockdown, what got you through?
“Wine,” says Louis, in a flash.
Riiiiiiight……..
“No it’s not what you think. I went to work for Majestic Wine and became the manager of the store in Muswell Hill (nearest to our home). And I did the Wine & Spirits Trust exams to improve my knowledge. Tanya was a great help with the practical learning.”
“What the Aussie wines? I had a local knowledge advantage, let’s say!”
And you, Tanya?
“At the outset, I was shielding as I’m diabetic, so I worked from home online, but then we realised that the fear factor wasn’t quite so limiting, so I picked up odd jobs here and there – catering, swabbing, I even worked in a bakery for a short while, but thankfully then the singing work started to reappear.”
You both demonstrate an amazing amount of resilience in finding work. As well as purely operatic work – whether it’s the touring work, cover work, chorus work with English National Opera (ENO)….
“We’re both in ENO’s Yeoman [of the Guard] currently, but there’s plenty of other work – teaching, running choirs, church singing.”
“Yes we’re both in ENO’s Yeoman [of the Guard] currently,” adds Louis, “but there’s plenty of other work – teaching, running choirs, church singing. It’s the classic portfolio career. To be honest, there are very few singers who purely work on the major operatic stages of the world. Roddy Williams is a prime example – yes he sings in operas, but also recitals and oratorios, he conducts, composes, teaches and also broadcasts – a superb all-rounder of the classical music world.”
“Actually,” chips in Tanya, “the ‘business’ of music should really be given a major focus in the conservatoires. It’s an essential part of this lifestyle!”
We’re curious about the repertoire choice so the conversation moves onto the specifics of the ‘War and Peace’ gala.
“Ah yes, all bangers!” is Louis’s response.
“But it’s more than this,’ adds Tanya. “Some might say it’s a rather self-indulgent choice, but from our point of view, we’re in a privileged position of having the opportunity of more rehearsal time as we live together. For a classic gala, there’s very often no time to rehearse some of these items as they’re not standard repertoire. So from our point of view it’s great to be able to sing something different, and from the audience’s point of view, they don’t have to listen to the same old numbers being banged out!”
“And as Tanya said earlier, we can explore the Soprano / Baritone rep, which again is not necessarily the standard for a gala (more often than not, it’s a Soprano / Tenor pairing),” explains Louis.
“In fact,” adds Tanya, “We’ve only sung two of these number before together, and the ‘[Eugine] Onegin’ is brand new for us both.
You said at the outset that you wanted to put the programme together as a way of preparing new material for auditions. Tell us more about this aspect.
Louis kicks the discussion off: “For my part, I want to be sure that I have enough in my repertoire to show my best ‘side’ when an audition comes up out of the blue – they do from time to time – so that, even when your feeling a bit rough (sometimes self-inflicted) you’ve got something up your sleeve to show your strengths that you can rattle off standing on your head.”
“Yes, and I feel I’ve got to an age and confidence now where I’m absolutely confident that I want to show an audition panel ‘this is my product’,” adds Tanya, “rather than trying to fit my square peg into a production’s round hole.
“Galas are really useful for polishing and extending repertoire. In this gala, we’ve got the less explored rep and language which works well for the two of us for future auditions.”
Quick Fire Questions
Tanya Louis
What’s your favourite audition aria?
Kát’a Kabanova Ves’ tabor spit - Aleko
Your favourite operatic role?
Jenufa Gianni Schicchi
The role you’d love to sing?
Marschallin / Der Rosenkavalier Flying Dutchman
Picture by Ali Wright
“I have to add one thing here,” offers Louis, “I’m going to reveal Tanya’s superpower – phonetics! She’s the most gifted natural language coach.”
“Ah yes,” admits Tanya. “I might not always have a total command of the nuance of a language, but I just seem to have a knack of getting my tongue round the language repertoire, especially Czech and Russian. I just love it!”
It’s a certainty that ‘Love and War’ will demonstrate this particular talent in its varied programme, and the thrill of hearing these two SPO friends filling an evening’s entertainment will be beheld by our audience.
‘Love and War’ – Friday 20th January, 2023
St Paul’s Church, Rectory Grove, Clapham, SW4 0DZ
