The Bassarids (in German: Die Bassariden) is an opera in one act and an intermezzo, with music by Hans Werner Henze to an English libretto by W. H. Auden and Chester Kallman, after Euripides's The Bacchae.
| The Bassarids | |
|---|---|
| Opera by Hans Werner Henze | |
 The composer in 1960 | |
| Native title | Die Bassariden |
| Librettist | |
| Based on | The Bacchae by Euripides |
| Premiere | 6 August 1966 |
The conflict in the opera is between human rationality and emotional control, represented by the King of Thebes, Pentheus, and unbridled human passion, represented by the god Dionysus.
Background
editThe opera is constructed like a classical symphony in four 'movements':[1]
- Movement I = sonata form
- Movement II = scherzo and trio
- Movement III = adagio and fugue
- Movement IV = passacaglia
Henze has noted that he quotes from Johann Sebastian Bach's St Matthew Passion and the English Suite No. 6 in D minor.[2] Auden and Kallman wrote of changes that they made to the Euripides original for the purposes of this opera.[3]
Performance history
editIt was first performed in a German translation by Maria Basse-Sporleder in Salzburg on 6 August 1966 conducted by Christoph von Dohnányi.
The first performance using the original English text was the US premiere, at the Santa Fe Opera on 7 August 1968. The composer conducted, and the staging was by director Bodo Igesz.[4] A concert scheduled to be given by the BBC in London on 22 September 1968 was cancelled, so the British premiere was at the English National Opera in October 1974, with the composer conducting.[5]
In October 1990, two concert performances sung in the original English were given at Severance Hall in Cleveland, Ohio, by the Cleveland Orchestra and Chorus with soloists Vernon Hartman, Kenneth Riegel, and, in the role of Agave, Anja Silja. Christoph von Dohnányi, who was married to Silja at the time, conducted. This same production was repeated at Carnegie Hall in November 1990 at the New York premiere, which was attended by the composer.[6]
In March 1968, The Bassarids was performed at Teatro alla Scala in Milan, conducted by Nino Sanzogno in an Italian translation by Fedele D'Amico. In June 2018, a production under the direction of Kent Nagano with the Vienna Philharmonic was performed in Madrid at the Auditorio nacional de musica before heading on to the Salzburg Festival for performances in July/August 2018.[7][8] These performances were in English.
Roles
edit| Role | Voice type | Premiere cast,[9] 6 August 1966[10] Conductor: Christoph von Dohnányi[11]) |
|---|---|---|
| Dionysus, voice and stranger | tenor | Loren Driscoll |
| Tiresias, an old blind prophet | tenor | Helmuth Melchert |
| Cadmus, founder and former king of Thebes | bass | Peter Lagger |
| Agave, his daughter, mother of Pentheus | mezzo-soprano | Kerstin Meyer |
| Beroe, an old slave, once nurse to Semele and Pentheus | contralto | Vera Little |
| Captain of the Royal Guard | baritone | William Dooley |
| Pentheus, king of Thebes | baritone | Kostas Paskalis |
| Autonoe, daughter of Cadmus | soprano | Ingeborg Hallstein |
| A female slave in Agave's household | silent | |
| Her daughter | silent | |
| Chorus of bassarids, citizens of Thebes, guards, servants | ||
Synopsis
editThe setting is ancient Thebes. Prior to the opera, Dionysus has stated that he intends to revenge himself upon Agave and the women of Thebes because they have denied his divinity.
At the start of the opera, Cadmus, King of Thebes, has abdicated his throne in favour of his grandson Pentheus. Pentheus has learned of the cult of Dionysus, which involves wild and irrational revelry. Pentheus plans to ban the cult from his city. A stranger arrives in town and seduces the citizens into increasingly frenetic celebration of the god Dionysus. Because Pentheus is unaware of his own irrational, "Dionysiac" impulses, or tries to suppress them, Dionysus can entrance Pentheus and intrude upon his nature to the point that Pentheus disguises himself as a woman, and goes to Mount Cytheron, where the revelry is occurring. In the course of events, the spell over the citizens extends to Agave, Pentheus' mother, and Autonoe, Pentheus' sister. Pentheus is killed and torn to pieces, and his city brought to ruin. Without realising it, Agave cradles the severed head of her son in her arms. The Stranger is revealed to be Dionysus himself.
Instrumentation
edit- Woodwind: 4 flutes (2nd with B foot, 3rd doubling piccolo, 4 doubling alto flute and piccolo), 2 oboes, 2 english horns, 4 clarinets (3rd and 4th doubling on alto saxophone, 4th also on E-flat clarinet), bass clarinet (also alto saxophone and tenor saxophone), 4 bassoons (4th doubling on contrabassoon)
- Brass: 6 horns, 4 trumpets (4th doubling on bass trumpet), 3 trombones, 2 tubas
- Percussion (8 players):
- timpani
- 3 cow bells, small triangle, pair of cymbals, 3 tamtams, snare drum, military drum (with and without snares), 3 tom-toms, 3 bongos, bass drum (with or without cymbals), maracas, whip, ratchet, metal blocks, glockenspiel, xylophone, vibraphone, marimba, finger cymbals, tubular bells, wood blocks, suspended cymbals
- 2 harps, 2 pianos, celesta, strings
- On-stage band: 4 trumpets (exchangeable with orchestra's trumpets), 2 guitars, 2 mandolins, 3 cow bells
- Prologue (ad. lib.): Dyonisus (tenor), timpani, legno, bass drum, vibraphone, marimba, harp, piano, tape
Recordings
edit- Gerd Albrecht, conductor; Kenneth Riegel, Andreas Schmidt, Michael Burt, Robert Tear, Karan Armstrong, Ortrun Wenkel, William B. Murray, Celina Lindsey; Berlin Radio Symphony Orchestra; 1986, Koch Schwann International (314-006)[12]
- Christoph von Dohnányi, conductor; Loren Driscoll, Kostas Paskalis, Peter Lagger, Helmut Melchert, William Dooley, Kerstin Meyer, Ingeborg Hallstein, Vera Little; Choir of the Vienna State Opera; Vienna Philharmonic; 2003, ORFEO International (C 605,032 I)
- Kent Nagano, conductor; Sean Panikkar, Russell Braun, Willard White, Nikolai Schukoff, Károly Szemerédy, Tanja Ariane Baumgartner, Vera-Lotte Böcker, Maria Dur; Choir of the Vienna State Opera; Vienna Philharmonic; 2018, Live from the Felsenreitschule, Salzburg Festival, Arthaus Musik.
References
edit- ^ Terry Apter, "Tristan and The Bassarids". Tempo, pp. 27, 28, 30 (1975).
- ^ "The Bassarids: Hans Werner Henze talks to Paul Griffiths". The Musical Times, pp. 831–832 (1974).
- ^ W. H. Auden and Chester Kallman, "Euripides for Today" (October 1974). The Musical Times, 115 (1580): pp. 833–834.
- ^ "Out of the Ashes". Time. 23 August 1968. Archived from the original on 29 October 2010. Retrieved 7 September 2007.
- ^ Dean, Winton, "Music in London: Opera – The Bassarids" (December 1974). The Musical Times, 115 (1582): pp. 1057–1064.
- ^ Rockwell, John (30 October 1990). "Henze's Bassarids, Dark Tale of Revenge". The New York Times. Retrieved 22 July 2018.
- ^ "Salzburger Festspiele 2018". Retrieved 19 August 2018.
- ^ Seth Colter Walls (17 August 2018). "Is The Bassarids an Operatic Masterpiece, or 'Strauss Turned Sour'?". The New York Times. Retrieved 19 August 2018.
- ^ Porter, Andrew, "Reports: Salzburg – Henze's Bassarids" (October 1966). The Musical Times, 107 (1484): pp. 882–887.
- ^ Casaglia, Gherardo (2005). "The Bassarids, 6 August 1966". L'Almanacco di Gherardo Casaglia (in Italian).
- ^ Helm, Everett (1967). "Current Chronicle". The Musical Quarterly. LIII (3): 408–415. doi:10.1093/mq/LIII.3.408. Retrieved 26 October 2007.
- ^ David E. Anderson, "Die Bassariden. Hans Werner Henze" (recording review). The Opera Quarterly, 9(3), 186–188 (1993).
