The Knot Garden | |
---|---|
Opera by Michael Tippett | |
Librettist | Tippett |
Language | English |
Premiere |
The Knot Garden is the third opera by composer Michael Tippett for which he wrote the original English libretto. The work had its first performance at the Royal Opera House, Covent Garden, on 2 December 1970 conducted by Sir Colin Davis and produced by Sir Peter Hall. There is a recording with the original cast.
The first American performance was in 1974 at Northwestern University, and the first German performance in 1987 at the Musiktheater im Revier in Gelsenkirchen. In 1984 Tippett authorised Meirion Bowen to create a reduced orchestration for a revival with the London Sinfonietta at the Wilde Theatre, conducted by Howard Williams. The reduced version has been revived six times, with productions in Britain, America, Australia, and Austria. There was a revival at the Royal Opera House in 1988, directed by Nicholas Hytner and, in 2005, Scottish Opera produced the opera for the Tippett centenary. [1]
Role | Voice type | Premiere cast, 2 December 1970 (Conductor: Sir Colin Davis) |
---|---|---|
Faber, a civil engineer | robust baritone | Raimund Herincx |
Thea, his wife, a gardener | dramatic mezzo-soprano | Yvonne Minton |
Flora, their ward, an adolescent girl | light high soprano | Jill Gomez |
Denise, Thea's sister, a freedom fighter | dramatic soprano | Josephine Barstow |
Mel, a black writer | lyric bass-baritone | Thomas Carey |
Dov, his white lover, a musician | lyric tenor | Robert Tear |
Mangus, a psychoanalyst | high tenor baritone | Thomas Hemsley |
The psychiatrist Mangus introduces the action. Thea enters, soon followed by the hysterical girl Flora, who rushes screaming into Thea's arms. Faber enters, and Thea sends Flora off with Mangus, then scolds Faber for (as she imagines) playing the lecher with Flora. Faber protests "I do not flirt with Flora; Flora screams before I...impossible!"
Mel and Dov enter dressed up as Ariel and Caliban from The Tempest . They are lovers, but Mel flirts with Thea, and out of jealousy Dov makes a play for Faber. This tense foursome is disrupted when Flora again rushes in screaming: Thea's sister Denise has arrived for a visit, and she is disfigured by torture. Denise introduces herself in a dramatic aria about her struggle for universal justice. This becomes an ensemble, and the act closes on Mel's soft rejoinder, "Sure, baby."
The second act is a dreamlike series of dialogues. In the score, the composer described his vision of the staging: "It appears as if the centre of the stage had the power to 'suck in' a character at the back of the stage, say, and 'eject' him at the front. During their passage through the maze, characters meet and play out their scenes. But always one of the characters in these scenes is about to be ejected while a fresh character has been sucked in and is whirled to the meeting point."
The first pair to appear are Thea and Denise, who speak in parallel, unable to meet. Thea is replaced by Faber, who does make some contact with the touchy Denise, but she is then replaced by Flora, who again reacts to Faber with screams. She is whirled offstage and Denise reappears with a horsewhip, followed by Dov, who continues his earlier flirtation. Faber is responsive, but is spun offstage and replaced by Mel, and the lovers share a duet acknowledging that their affair is ending. Dov now disappears to be replaced by Denise, who sees Mel as representing the oppressed of the earth (the tune to "We Shall Overcome" appears in the orchestra). Characters appear and disappear in quick succession until the sequence ends with Flora alone with Dov.
Dov comforts Flora by encouraging her to sing, and she performs "Die liebe Farbe" from Schubert's Die schöne Müllerin . Dov responds with the song that would later form the first part of the Songs for Dov cycle. The act ends on Mel's re-entry.
Mangus declares that his production of The Tempest has begun: "This garden is now an island," and the characters obligingly play out the roles Mangus assigns them. In addition to Mel and Dov as Caliban and Ariel, Faber becomes Ferdinand, Flora becomes Miranda, and Mangus is Prospero. Thea and Denise remain themselves and comment on the action, critical of Mangus's controlling and voyeuristic role as impresario of the drama. At the conclusion of the charade Mel and Denise leave together, followed by Dov, who is not yet able to let go. Flora goes off alone. Thea and Faber are reconciled.
Sir Michael Kemp Tippett was an English composer who rose to prominence during and immediately after the Second World War. In his lifetime he was sometimes ranked with his contemporary Benjamin Britten as one of the leading British composers of the 20th century. Among his best-known works are the oratorio A Child of Our Time, the orchestral Fantasia Concertante on a Theme of Corelli, and the opera The Midsummer Marriage.
Thomas Adès is a British composer, pianist and conductor. Five compositions by Adès received votes in the 2017 Classic Voice poll of the greatest works of art music since 2000: The Tempest (2004), Violin Concerto (2005), Tevot (2007), In Seven Days (2008), and Polaris (2010).
Robert Tear, CBE was a Welsh tenor singer, teacher and conductor. He first became known singing in the operas of Benjamin Britten in the mid-1960s. From the 1970s until his retirement in 1999 his main operatic base was the Royal Opera House, Covent Garden; he appeared with other opera companies in the UK, mainland Europe, the US and Australia. Generally avoiding the Italian repertoire, which did not suit his voice, Tear became known in leading and character roles in German, British and Russian operas.
Yvonne Fay Minton CBE is an Australian-born but mostly British-resident opera singer. She is variously billed as a soprano, mezzo-soprano or contralto.
The Royal Opera is an opera company based in central London, resident at the Royal Opera House, Covent Garden. Along with the English National Opera, it is one of the two principal opera companies in London. Founded in 1946 as the Covent Garden Opera Company, it was known by that title until 1968. It brought a long annual season and consistent management to a house that had previously hosted short seasons under a series of impresarios. Since its inception, it has shared the Royal Opera House with the dance company now known as The Royal Ballet.
Berenice is an opera in three acts by George Frideric Handel to a 1709 Antonio Salvi libretto, Berenice, regina d’Egitto, or Berenice, Queen of Egypt. Handel began the music in December 1736; the premiere took place at Covent Garden Theatre in London on 18 May 1737 — but was unsuccessful, with just three further performances. Set circa 81 B.C., Berenice traces the life of Berenice III of Egypt, daughter of Ptolemy IX, the main character in another Handel opera, Tolomeo.
Marie Elizabeth Collier was an Australian operatic soprano.
Joan Carlyle is an English opera singer. She was born in Upton on the Wirral, Cheshire. After auditioning for the Royal Opera House, Covent Garden, London, she was put under contract by the musical director Rafael Kubelík and made her debut in 1955, appearing also under him in The Magic Flute in 1956.
The Midsummer Marriage is an opera in three acts, with music and libretto by Michael Tippett. The work's first performance was at Covent Garden, 27 January 1955, conducted by John Pritchard. The reception of the opera was controversial, over perceived confusion as to the libretto and Tippett's use of symbols and psychological references. Nonetheless the opera has received at least ten more productions, including two further productions at the Royal Opera, in England, Wales, Scotland, Germany, Sweden and the United States.
The Tempest is an opera by English composer Thomas Adès with a libretto in English by Meredith Oakes based on the play The Tempest by William Shakespeare.
Meredith Oakes is an Australian playwright who has lived in London since 1970. She has written plays, adaptations, translations, opera texts and poems, and taught play-writing at Royal Holloway College and for the Arvon Foundation. She also wrote music criticism before leaving Australia for The Daily Telegraph in Sydney, and from 1988 to 1991 for The Independent, as well as contributing to a variety of magazines including The Listener.
Jonathan Kent CBE is an English theatre director and opera director. He is known as a director/producer alongside Ian McDiarmid at the Almeida Theatre from 1990 to 2002.
Jill Carnegy, Countess of Northesk is a Trinidadian and British soprano who enjoyed an active career on the operatic stage and in the concert hall in a wide repertoire, and has made many recordings.
George John Bennett (1800–1879) was for nearly 40 years a Shakespearian actor on the London stage, notably Covent Garden and Drury Lane.
The Tempest is a play by English playwright William Shakespeare, probably written in 1610–1611, and thought to be one of the last plays that Shakespeare wrote alone. After the first scene, which takes place on a ship at sea during a tempest, the rest of the story is set on a remote island, where the sorcerer Prospero, a complex and contradictory character, lives with his daughter Miranda, and his two servants—Caliban, a savage monster figure, and Ariel, an airy spirit. The play contains music and songs that evoke the spirit of enchantment on the island. It explores many themes, including magic, betrayal, revenge, and family. In Act IV, a wedding masque serves as a play-within-the play, and contributes spectacle, allegory, and elevated language.
Monica Sinclair was a British operatic contralto, who sang many roles with the Royal Opera, Covent Garden during the 1950s and 1960s, and appeared on stage and in recordings with Joan Sutherland, Luciano Pavarotti, Maria Callas, Sir Thomas Beecham, Sir Malcolm Sargent and many others. She had a great gift for comedy, and sang in recordings of many of the Gilbert and Sullivan operettas, as well as in recordings from the standard operatic repertory.
Thomas Carey was an American operatic baritone.
This is a summary of 1955 in music of all genres in the United Kingdom.
Anastasia is a ballet created by Kenneth MacMillan. The first version in one act was premiered in 1967 by the Deutsche Oper Ballet. In 1971 MacMillan expanded the work to three acts for the Royal Ballet; the original one-act version became the final act of the 1971 work.
The Exterminating Angel is an English-language opera in three acts, with music by Thomas Adès, and libretto by Tom Cairns in collaboration with Adès. The opera is based on the 1962 film of the same name by Luis Buñuel. The opera, Adès' third, was a joint commission between the Salzburg Festival, the Royal Opera House, Covent Garden, the Metropolitan Opera and the Royal Danish Opera.