Amph The music! The drama! The 100 Greatest Operas (number 1 revealed inside!)

70 - Un ballo in maschera by Giuseppe Verdi

Un ballo in maschera (A Masked Ball), is an opera in three acts by Giuseppe Verdi with text by Antonio Somma. The opera's first production was at the Teatro Apollo, Rome, 17 February 1859.

The opera is based on the assassination of King Gustav III of Sweden, but is not historically accurate. During its composition, Verdi was asked by government censors to make many changes to the opera due to its politically sensitive subject matter. Among these changes is a transportation of the setting to Boston, Massachusetts.

Today the opera can be performed both set in Stockholm, Sweden or Boston, Massachusetts, and the names differ between versions, so for once I'll give the role list first.

Roles
Riccardo, Earl of Warwick and governor of Boston(or Gustavo, King of Sweden) - tenor
Renato (or Count Anckarström), husband of Amelia andR iccardo's secretary, best friend and confidant - baritone
Amelia, wife of Renato (Anckarström) in love with Riccardo (Gustavo) - soprano
Oscar, page of Riccardo/Gustavo - soprano
Ulrica Arvidsson, a fortune teller - contralto
a judge - tenor
Silvano (or Christano)- bass
Amelia's servant - tenor
Samuel (or Count Ribbing) - bass
Tom (or Count Horn) - bass

Synopsis

Place, Sweden or Boston, Massachusetts.
Time, Sweden: 1792, or Boston: the end of the 17th century.[4]

[edit] Act 1

Scene 1: A public audience at Riccardo/Gustavo?s palace, attended by his supporters, but also by his enemies who hope for his downfall

Riccardo/Gustavo reviews the list of guests who will attend an upcoming masked ball. He is elated to see on the list the name of the woman he loves ? Amelia, the wife of his friend and advisor, Renato/Anckarström. When Renato/Anckarström arrives, he tries to warn Riccardo/Gustavo about the growing conspiracy against him , but Riccardo/Gustavo refuses to listen to his words.

Next, Riccardo/Gustavo is presented with a complaint against a fortune-teller named Ulrica, accused of witchcraft. A magistrate calls for her banishment, but Oscar the page defends her. Riccardo/Gustavo resolves to investigate for himself and tells the members of the court to disguise themselves and to meet him at Ulrica?s lodging later that day.

Scene 2: At Ulrica?s dwelling

Ulrica summons her magical powers. Disguised as a fisherman, Riccardo/Gustavo arrives before the others. He makes the fortune of a sailor named Silvano/Christano come true by spiriting a document of promotion into his pouch, convincing the crowd of the truth of Ulrica's powers. When he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo/Gustavo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo/Gustavo resolves to be there when she does so. Amelia leaves.

Now Riccardo/Gustavo presents himself again, along with all of the courtiers, and asks to have his fortune told. Ulrica reveals that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato/Anckarström arrives and shakes Riccardo/Gustavo's hand in greeting. Riccardo/Gustavo?s true identity is now revealed and he is acclaimed by the people.

Act 2

On the outskirts of the town, at the gallows-place. Midnight

Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her. She is surprised by Riccardo/Gustavo, who has come to meet her. Now the two finally declare their love for each other.

Unexpectedly, Renato/Anckarström arrives, and Amelia covers her face with her veil before he can recognize her. Renato/Anckarström explains to Riccardo/Gustavo that the conspirators are pursuing him, and his life is in danger. Riccardo/Gustavo leaves, making Renato/Anckarström promise to escort the veiled woman safely back to town, not asking her identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia?s veil drops. Renato/Anckars

 

We had a king, Gustav III, who was assasinated at a masked ball, by a man called Anckarström (my relative). It was all part of a conspiracy among the nobility. Gustav III had managed to get rid of the parliament, which during the time before his ascendancy to the throne had been very powerful. In fact the king, Gustav's father, had been reduced to just having his name on a stamp that the parliament used. That was of course very popular among the higher classes.

Gustav III had also been involved with quite a failed war against Russia, in fact the first conspiracy against him had been found out during that war. Anckarström was involved also during that time. In the early 1790's there was miscontent with the king, add to that the news about what happened in France and you had a group of people who saw getting rid of the king as the answer to their problems. Add to this that Anckarström was quite a failure in life, and happy to blame the king for his destiny. Involved in the plot was also two persons with the name Ribbing and Horn.

In the end Anckarström shot the king at a masked ball. Gustav didn't die instantly but rather a couple of weeks later due to infections in the his wound. Anckarström was found out after some nice detective work by the chief constable in Stockholm and was executed. There were a lot of people involved in the plot though, it's even possible that Gustav's brother Karl was involved as well. It is a bit mysterious that when Karl became regent, Gustav's own son was too young, he pardoned most people involved and put a lid on the investigation. In the end Anckarström was the only one who was executed, one man was sent to prison and Ribbing and Horn were kicked out of the country.

 

He is a bit controversial, since it's hard to say if everything that he did was good for the country or not, especially when it comes to his wars with Russia. He was very much a proponent for enlightened absolutism, but what he did for science and art is still evident in Sweden today, he started many of the academies that handle the Noble prizes for example. I think he was born in a country that was a bit too small and too poor for him, and he also lived during the end of an era, and in some ways he was not able to move forward.

I think this quote from his English wiki article is a pretty good summary of him. "Although he may be charged with many foibles and extravagances, Gustav III is regarded one of the leading sovereigns of the 18th century."

He was also shot before anything really disastrous happened to the country. It would have been interesting to see how he would have acted in the Napoleonic wars, his son mismanaged everything so bad that he was forced to abdicate and leave the country.

 

Yes, the brother took over after Gustav's son Gustav Adolf had been forced down through coup. Just like with the assassination of his brother Karl seems to have been aware of what was happening, but not involved directly. Karl and his wife were childless and elderly so from the time when he ascended the throne it was evident that they needed to find a suitable person that could be adopted. The first choice was a Danish prince, the deal was almost done when he fell from his horse and died, probably due to a stroke. The Danish prince had been very popular, in fact so many people thought that he had been murdered that they rioted during his funeral as a protest. The rioters managed to kill Axel von Fersen, Marie Antoinette's old lover, but nothing more. Without any clear-cut candidates a lieutenant Mörner was sent down to France to ask Bernadotte if he would like to be king of Sweden. He accepted, so that's why we still have a Bernadotte on the throne here.

I have a bit of a problem taking this whole thing seriously since I've was part of a "spex" production about these events. A spex is traditional student show, a bit like an English pantomime.

Here's our version of Karl

(I played the commander that gave up Finland to Russia in exchange for vodka and Russian boys)

 

I'm impressed by your knowledge of Swedish history.

Gustav Adolf had a daughter who was married in to one of the German royal families. In the end of the 19th century Gustav V (or rather future Gustav V), great grandson of Jean-Baptiste Bernadotte/Karl XIV Johan, married Victoria of Baden, due to the fact that she was great granddaughter to Gustav Adolf, and in that way the Bernadotte dynasty could get at least a couple of drops of the bloodline that had ruled Sweden 1520-1809. It wasn't the same dynasty the whole time but until 1809 they had always found a relative of some sort when it was needed.

It should be said that that Gustav's and Victoria's marriage was probably one of the most unluckier royal marriages that we've had.

 

She was very much pro-German, she even had her own regiment back in in her home country. She also made the king very much a friend of Germany, which almost got us into WWI. Thankfully our parliament was strong enough by then so that they managed to avoid both the war and abdication of the king. She also had health problems that made her spend the whole year in Italy, except or a few weeks when she had to be in Sweden. The health problems were really that her marriage was so unhappy and she had her lover, the famous dr. Munthe, down in Italy, where they lived togeter on the island of Capri.

One can't blame her though, the king was never interested in her, and after they had produced the necessary amount of children he went back to the boys club where he preferred to be.

 

To be honest I haven't heard that one, but it's not unrealistic. There was a movement in Germany in the end of th 19th century that believed that the body could take care of itself and that one shouldn't remove/wash away what was on it.

 

So we leave Swedish history for a while, and instead go to what might have happened in a country that's quite often confused with Sweden: Switzerland

69 - Guillaume Tell by Gioachino Rossini

Guillaume Tell is an opera in four acts by Gioachino Rossini to a French libretto by Etienne de Jouy and Hippolyte Bis, based on Friedrich Schiller's play Wilhelm Tell. It was first performed at the Théâtre de l'Académie Royale de Musique on August 3, 1829. Based on the legend of William Tell, this opera was Rossini's last, even though the composer lived for nearly forty more years.

Synopsis
Place: Switzerland
Time: fourteenth century

Prior to the start of the opera, Arnold, son of the Swiss leader Melcthal, has rescued Mathilde, an Austrian princess, from drowning. In spite of the political situation, Arnold and Mathilde have fallen in love.

Act 1

It is the day of the Shepherd Festival, in May, near Lake Lucerne. Per tradition, Melchtal blesses the couples at the celebration. However, Arnold excludes himself from this privilege, as he is torn between his love for his country and his love for Mathilde. Horn fanfares interrupt the festival, and herald the arrival of Gesler, the Austrian Governor, whom the Swiss detest. Leuthold then enters, pursued by Gesler's forces. One of Gesler's soldiers has attempted to assault Leuthold's daughter, and Leuthold killed the soldier to defend her. He wishes to escape, and the lake is the only route. William Tell offers his assistance. Gesler?s guards arrive, led by Rodolphe. Leuthold manages to escape with the help of Tell, but as reprisal, Gesler's guards take Melchtal prisoner.

Act 2

In a valley by a lake, Arnold and Mathilde meet and again pledge their love. Tell and Walter arrive, and inform Arnold that Gesler has ordered the execution of Melcthal. Arnold vows vengeance. Arnold, Tell and Walter swear an oath to liberate Switzerland. They inspire the cantons to unite in this quest.

Act 3

At the market-place in Altdorf, the day is the hundredth anniversary of Austrian rule in Switzerland. In commemoration, Gesler has had his hat placed on top of a pole and the Swiss are ordered to pay homage to the hat. Tell arrives with his son Jemmy. Tell refuses to honour the hat. Gesler recognises Tell as the man who saved Leuthold, and wants to punish him somehow. He orders Tell to shoot an apple from Jemmy?s head, in the hope that Tell will harm his son. Tell is successful in piercing the apple, and tells Gesler that had the shot failed, he would have used his next arrow against him. Gesler orders Tell to be arrested.

Act 4

A Swiss rebel army arrives, and battle ensues. Tell kills Gesler with an arrow through the heart. The Swiss emerge victorious. Mathilde and Arnold, secure in their love, reunite at the close.

Roles
Guillaume Tell - Baritone
Hedwige, his wife - mezzo-soprano
Jemmy, his son - soprano
Mathilde, a Habsburg princess - soprano
Arnold Melcthal - tenor
Melcthal, his father - bass
Gesler, the Austrian governor of Uri and Schwyz - bass
Walther Furst - bass
Ruodi, a fisherman - tenor
Leuthold, a shepherd - bass
Rodolphe, captain of Gesler's guard - tenor
a hunter - baritone
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The full opera is rarely performed, it's loooong and the role of Arnold requires a tenor with a great range. I would actually say that the reason why the opera is on this list is mostly because of the very famous ouverture, or rather the last part of the ouverture. This is what I'm talking about. I can almost guarantee that you have heard it. There are some nice arias in the opera as well though, here is Arnold's aria Asile hereditaire, sung by Marcello Giordano, and Mathilde's sombre forêt, sung by Hasmik Papian.

 

To me Muti has a tendency to speed things up, but it works because he can get a brilliant sound from the orchestra, no matter how fast they are playing.

 

68 - A kékszakállú herceg vára by Béla Bartók

Duke Bluebeard's Castle (Hungarian: A kékszakállú herceg vára; literally: The Castle of the Blue-Bearded Prince) is a one-act opera by Hungarian composer Béla Bartók. First performed in 1918.

Synopsis
Place: A huge, dark hall in a castle, with seven locked doors.
Time: Not defined.

Judith and Bluebeard arrive at his castle, which is all dark. Bluebeard asks Judith if she wants to stay and even offers her an opportunity to leave, but she decides to stay. Judith insists that all the doors be opened, to allow light to enter into the forbidding interior, insisting further that her demands are based on her love for Bluebeard. Bluebeard refuses, saying that they are private places not to be explored by others, and asking Judith to love him but ask no questions. Judith persists, and eventually prevails over his resistance.

The first door opens to reveal a torture chamber, stained with blood. Repelled, but then intrigued, Judith pushes on. Behind the second door is a storehouse of weapons, and behind the third a storehouse of riches. Bluebeard urges her on. Behind the fourth door is a secret garden of great beauty; behind the fifth, a window onto Bluebeard's vast kingdom. All is now sunlit, but blood has stained the riches, watered the garden, and grim clouds throw blood-red shadows over Bluebeard's kingdom.

Bluebeard pleads with her to stop: the castle is as bright as it can get, and will not get any brighter, but Judith refuses to be stopped after coming this far, and opens the penultimate sixth door, as a shadow passes over the castle. This is the first room that has not been somehow stained with blood; a silent silvery lake is all that lies within, "a lake of tears". Bluebeard begs Judith to simply love him, and ask no more questions. The last door must be shut forever. But she persists, asking him about his former wives, and then accusing him of having murdered them, suggesting that their blood was the blood everywhere, that their tears were those that filled the lake, and that their bodies lie behind the last door. At this, Bluebeard hands over the last key.

Behind the door are Bluebeard's three former wives, but still alive, dressed in crowns and jewellery. They emerge silently, and Bluebeard, overcome with emotion, prostrates himself before them and praises each in turn, finally turning to Judith and beginning to praise her as his fourth wife. She is horrified, begs him to stop, but it is too late. He dresses her in the jewellery they wear, which she finds exceedingly heavy. Her head drooping under the weight, she follows the other wives along a beam of moonlight through the seventh door. It closes behind her, and Bluebeard is left alone as all fades to total darkness.

Roles
Bluebeard - bass
Judith - mezzo-soprano
Bluebeard's wives - silent roles
the castle
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The opera is loosely based on the fairytale of Bluebeard, but true to the early 20th century it has been transformed into a psychological drama, where the doors unlocks Bluebeard's inner emotions and secrets. There have been a number of interpretations of the opera, from most field of psychology, I don't know enough to say anything about those though. It's also considered to be Hungary's national opera. If you search for Bartok and Bluebeard on youtube you can find complete versions of the opera, it's not even an hour long. Unfortunately they are all in Hungarian, without subtitles. Here is the final scene in one of the versions, conducted by sir Georg Solti. I must say it's a very haunting scene. I would love to know what they are singing about. It makes me actually wanting to see the full opera, but I'm not sure if I'd be willing to experience almost an hour with Hungarian.

 

Too bad it's not one of the telecasts that are available on Metplayer.

 

67 The turn of the screw by Benjamin Britten

The Turn of the Screw is a 20th century English chamber opera composed by Benjamin Britten with a libretto by Myfanwy Piper, based on the novella The Turn of the Screw by Henry James.

Synopsis

Time: The middle of the nineteenth century

Place: Bly, an English country house

Prologue

A singer known as Prologue tells about a young governess (who remains unnamed throughout the opera) he once knew who cared for two children at Bly House. She had been hired by their uncle and guardian, who lived in London and was too busy to care for them. After hiring her, he laid three stipulations on the Governess: Never to write to him about the children, never to inquire about the history of Bly House, and never to abandon the children.

Act 1

The Governess is apprehensive about her new position. When she arrives at Bly House, the housekeeper, Mrs. Grose, and the children greet her. When the Governess sees Miles, the little boy, their eyes lock and the Governess feels as if she has a strange connection with Miles. Mrs. Grose interrupts their reverie and leads the Governess off to explore the beautiful land around the house. The Governess sings that all her fears are now gone. A letter from Miles' school arrives, advising the Governess that the boy has been expelled for threatening other children. The Governess is sure that Miles, like his sister Flora, is too innocent to have done such wicked things. Encouraged by Mrs. Grose, she decides to ignore the letter.

The Governess sings about her wonderful position at the house and the beautiful children she has in her care. But she is troubled by footsteps she has heard outside her door and cries in the night. Suddenly, she spots a pale-faced man perched on a tower of the house. When the man disappears, she becomes frightened and wonders if she has seen a ghost. Her mind is put at ease by the playing of the children, and their singing of the nursery rhyme Tom, Tom, the Piper's Son. The Governess doubts that she saw anything, but decides to confront Mrs. Grose. The housekeeper tells the Governess about Peter Quint, the former valet at Bly House. Mrs. Grose implies that Quint was a pederast who preyed on Miles, and that he had a sexual relationship with Miss Jessel, the young and beautiful previous governess. Mrs. Grose also also implies that Miss Jessell, too, had sexual relations with the children. The housekeeper could do nothing, as Quint cleverly intercepted her mail and threatened her with physical harm. But when Miss Jessel became pregnant and her depravity was exposed, she abandoned the children and fled, soon thereafter dying alone. Shortly thereafter, Quint died under mysterious circumstances on an icy road near Bly House. The Governess rededicates herself to protecting the children. The next morning, the Governess teaches Miles Latin when he enters into a trance-like state and sings a song which reveals that he has been a victim of Quint's depravity.

Later that day, the Governess sits by the side of a lake with Flora. Flora recites the names of the seas of the world, finishing with the Dead Sea. Flora's comparison of the Dead Sea with Bly House unsettles the Governess. As Flora plays on the shore with her doll, the Governess suddenly sees a strange woman across the lake who seems to be watching Flora. The horrified Governess realizes that the woman is a ghost?the ghost of Miss Jessel, who has returned to claim Flora. The Governess hurries Flora home to safety.

That night, Miles and Flora slip out into the woods to meet Miss Jessel and Peter Quint. The children fantasize about a world where dreams come true. The Governess and Mrs. Grose arrive as the children are about to be possessed, and the spirits depart. Miles sings a haunting song about how he has been a bad boy.

Act 2

The ghosts of Peter Quint and Miss Jessel reappear. They argue about who harmed whom first when they were alive, and accuse one another of not acting quickly enough to possess the children. In her room, the Governess worries about the evil she feels in