London Symphony Orchestra

LSO Live

Stravinsky
Oedipus Rex
Apollon musagte
Sir John Eliot Gardiner

Jennifer Johnston
Stuart Skelton
Gidon Saks
Fanny Ardant
Monteverdi Choir
London Symphony Orchestra
 Igor Stravinsky (18821971) Page Index
Oedipus Rex (1927, rev 1948)
Apollon musagte / Apollo (1928, rev 1947) 2 Track listing
3 English notes
Sir John Eliot Gardiner conductor 5 French notes
Jennifer Johnston Jocasta Stuart Skelton Oedipus Gidon Saks Creon 7 German notes
Fanny Ardant narrator David Shipley Tiresias Gareth Treseder Shepherd 9 Composer biography
Alexander Ashworth Messenger Monteverdi Choir 10 Libretto
London Symphony Orchestra 14 Choir biography & personnel list
15 Conductor biography
Oedipus Rex 4901 Apollon musagte 3012 16 Soloist biographies
1 Prologue and Act I: i. Spectateurs, 711 Premier Tableau
20 Orchestra personnel list
21 LSO biography
vous allez entendre... 7 Naissance dApollon 410
2 Act I: ii. Voici Creon, beau-frre 653
ddipe Second Tableau
3 Act I: iii. Oedipe interroge la 819 8 Variation dApollon 257
fontaine de verite... 9 Pas daction 427
4 Act II: i. Gloria, gloria, gloria! 1152 10 Variation de Calliope 132
5 Act II: ii. Le temoin du meurtre sort 736 11 Variation de Polymnie 119
de lombre... 12 Variation de Terpsichore 141
6 Act II: iii. Et maintenant, vous allez 710 13 Variation dApollon 239
entendre... 14 Pas de deux 438
15 Coda 316
16 Apothose 333

Total time 7913

Recorded 25 April and 1 May 2013 live at the Barbican, London

Nicholas Parker producer & audio editor

Classic Sound Ltd recording and mastering facilities
Jonathan Stokes for Classic Sound Ltd balance engineer, mixing & mastering

Oedipus Rex 1927. Revised version Copyright 1949, 1950 by Boosey & Hawkes Music Publishers Ltd.
Apollon musagte Copyright 1928. Revised edition Copyright 1949 by Boosey & Hawkes Music Publishers Ltd.

2014 London Symphony Orchestra, London UK

P 2014 London Symphony Orchestra, London UK

2
 Igor Stravinsky (18821971)
Oedipus Rex: an opera-oratorio in two acts (1927, rev 1948)
The idea for an opera in Latin on the subject of a tragedy of
the ancient world, with which everyone would be familiar, was
essentially Stravinskys own, as is proved by a letter to Jean Cocteau
of October 1925, setting out the terms of their collaboration.
Hitherto all his sung theatre works except Pulcinella where the
Italian text was part of the received material had been in Russian,
which may seem natural enough until we remember that Stravinsky
always knew perfectly well that the audience for these works
would be French. The Latin text was apparently a distancing device,
perhaps also with a sacred dimension, as with the Latin of the
Mass, or the Old Slavonic of the Russian Orthodox liturgy in which
Stravinsky had been brought up.
The eventual form of Oedipus Rex suggests Baroque oratorio as a
model, with its alternation of recitative, aria and chorus. But his
whole attitude to the classical material has to be understood in the
light of his own recent music. Since Mavra (1922), he had composed
only instrumental music, entirely for piano or wind. Nearly every
work was accompanied by some kind of manifesto (not always
penned by Stravinsky but reflecting his ideas), urging the virtues
of form as an expressive category, denouncing such conventional
Romantic concepts as interpretation and a phrased espressivo. On
the contrary, cold, rational forms were seen as a virtue of classical
thought. Oedipus Rex, with its statue-like, masked dramatis personae
and two-dimensional setting, was simply this kind of neoclassicism
put on to the stage. Only, Stravinskys musical models are much
more varied than before: shades of Verdi (in the opening chorus),
Bellini (in Jocastas aria), perhaps Berlioz (in the bucolic music of
3
the Shepherd and the Messenger), and even Puccinis Turandot
(in the final scene). Stravinsky himself called the work a Merzbild
the Dada term for a picture made out of junk and was defensive
about some of its stylistic excesses.
The music is linked by a Speaker, who pretends to explain the
plot in the language of the audience, though in fact Cocteaus text
obscures nearly as much as it clarifies. Stravinsky came to loathe
these speeches for their obscurity and implied snobbishness,
but they are a crucial aspect of the works dramatic effect. Some
additional explanation may be helpful.
The Oracle warned King Laius of Thebes that he would be killed by
his own son; so, when a son was born, Laius and his wife, Jocasta,
exposed him on a mountainside, piercing his feet with leather
thongs. There he was found and brought up by a shepherd of the
Corinthian King Polybus. Polybus, being childless, adopted the boy
and named him; later, Oedipus was taunted about his parentage,
and, when he consulted the Oracle, was told that he would kill his
father and marry his mother. To avoid these crimes, and naturally
taking them to refer to Polybus and his wife, he left Corinth for
Thebes, and on the way killed an old man he met at a crossroads,
not recognising him as King Laius. At Thebes he solved the riddle
of the Sphinx, who was laying waste the city, winning thereby the
throne and the hand of the now-widowed Queen Jocasta. It is
crucial that, even when he begins to suspect that he is the murderer
of King Laius and thus the cause of the plague in Thebes, Oedipus
still does not realise he is Laius son. He simply believes his crime
to be usurping the marital bed of a man he has killed. Finally, the
listener needs to know that when, after the scene with Jocasta,
the witness to the murder emerges from the shadow, this is not
the Messenger but the Shepherd, who had been the one member
of Laius retinue to escape. On returning to Thebes and finding
Oedipus installed as King, he had requested transfer to remote
pastures, but has now returned at Oedipus summons for the
inquest into Laius death.
Oedipus Rex was first performed at the Thtre Sarah-Bernhardt
in Paris in May 1927 as part of Diaghilevs Ballets Russes season,
but as a concert performance. Stravinsky himself conducted.
The first staging was in Vienna on 23 February 1928, followed
two nights later by the famous Kroll Opera production in Berlin,
conducted by Klemperer.
Igor Stravinsky (18821971)
Apollon musagte / Apollo (1928, rev 1947)
Completed in January 1928, Apollo was the first ballet Stravinsky
wrote for a company other than Diaghilevs, and his first work to
a commission from the United States. The invitation from the
Library of Congress specified a pantomime for three or four dancers
and small orchestra on a subject of the composers choice, to
which Stravinsky responded with the first of his abstract, plot-less,
ballets and his first ever work for string orchestra. When he started
composing in July 1927, he seems to have envisaged parts for harp
and piano as well, and he already knew the subject, if not the
details, of the scenario which, indeed, seem never to have
assumed great importance for him, if we are to believe his remark
in a Paris interview that Apollo contains no argument, and that
this is the key to the mystery of Terpsichore.
 Those who commission works of art usually have some mental
picture of what might result, no doubt more often disappointed
than not. But Apollo must surely have come as one of the biggest
artistic surprises in history. Here was the great bogeyman of
modern music, still best known for The Rite of Spring but with
a recent reputation among the culturally up-to-date for steely
formalism backed up by an arid theoretical anti-expressionism,
suddenly coming up with a melting, graceful score for strings that
sounded suspiciously like an attempt to revive the French Romantic
ballet of Adam and Delibes. At the time, Oedipus Rex was nearing
completion; would this astonishing mixture of Handel and Verdi
have made Apollo any easier to predict? No easier, perhaps, than
to have predicted Stravinskys next work, The Fairys Kiss, a ballet
on themes by Tchaikovsky, after hearing Apollo.
an unvarying background metre. Such variations had always
been fundamental to Stravinskys rhythmic technique; but in
Apollo they occur discreetly, without the violent emphasis of his
earlier ballet. This careful presentation of method is typical of his
neoclassical phase. He also claimed that Apollo was important for
its sense of long line, already a feature of Mavra and the Octet,
but accentuated by the sustaining powers of the string orchestra.
And while this is chiefly about melody, it also breeds rich
counterpoint, notably in the four-part canon of the Pas daction.
Programme Notes Stephen Walsh

Technically, if not aesthetically, Apollo fits well enough into the

period that began with the little opera Mavra (192122) and the
wind Octet (192223) a period self-consciously concerned with
the relation between form and expression. The very subject of the
ballet, such as it is, is a dramatised version of this issue. Apollo,
the leader of the Muses and god of formal perfection, is born,
grows to maturity, and enters Parnassus at the head of the Muses,
Calliope, Polyhymnia and Terpsichore: poetry, mime and dance.
He and they perform a series of statuesque but vigorous dances,
modelled on the formulae of French Romantic ballet, but plainly
arguing the virtues of classical restraint and artifice in the modes
of intellectual, emotional and physical expression.

Stravinsky claimed that the rhythms of Apollo were based on

the idea of versification. Each dance is a variation on an iambic
pattern, perhaps in the manner of Paul Valrys vers donn, where
a whole poem may be made out of minute fluctuations against
4
 Igor Stravinsky (18821971)
dipus Rex, opra-oratorio en deux actes (1927, rv. 1948)
Lide dun opra en latin, sur le sujet dune tragdie antique qui
soit familire tous, est due essentiellement Stravinsky, comme
le montre une lettre Jean Cocteau doctobre 1925 qui tablit
les termes de leur collaboration. Jusque-l, toutes les uvres
scniques chantes de Stravinsky avaient t composes en
russe lexception de Pulcinella, dont le texte italien faisait
partie du matriau emprunt ; cela semblerait couler de source
si lon faisait abstraction du fait que Stravinsky eut toujours
parfaitement conscience que ces uvres sadresseraient au
public franais. Le livret en latin tait semble-t-il un moyen dtablir
une distance, peut-tre galement de donner une dimension sacre,
comme cest le cas du latin dans une messe, ou du slavon dans
la liturgie orthodoxe russe o Stravinsky avait t lev.
Dans la forme dfinitive ddipus Rex, on devine le modle de
loratorio baroque, avec lalternance de rcitatifs, dairs et de
churs. Mais lattitude de Stravinsky par rapport au matriau
ancien doit tre examin la lumire des ses uvres les plus
rcentes. Depuis Mavra (1922), il navait compos que de la
musique instrumentale, exclusivement pour piano ou pour vents.
La plupart des pices saccompagnaient de sortes de manifestes
(pas toujours de la plume de Stravinsky mais refltant ses ides),
mettant en exergue les vertus de la forme comme concept
expressif, dnonant des notions conventionnelles et romantiques
telles que linterprtation et un espressivo loquent. Au contraire,
les formes froides, rationnelles taient considres comme une
vertu de la pense classique. dipus Rex, avec ses dramatis
person masqus et marmorens et ses dcors en deux dimensions,
ntait ni plus ni moins que cette sorte de no-classicisme port
5
la scne. Mais les modles musicaux de Stravinsky y sont
beaucoup plus varis quauparavant : il y plane lombre de Verdi
(dans le chur initial), de Bellini (dans lair de Jocaste), voire de
Berlioz (dans la musique bucolique du Berger et du Messager) et
mme de Turandot de Puccini (dans la scne finale). Stravinsky
lui-mme parlait de son ouvrage comme dun Merzbild un
terme dadaste dsignant une image faite de bric--brac et se
montrait susceptible concernant certains de ses excs stylistiques.
Le lien entre les plages musicales est assur par le Rcitant, qui
prtend expliquer lintrigue dans la langue du public, bien que le
texte de Cocteau soit en fait plus obscur quclairant. Stravinsky
en arriva dtester ces discours en raison de leur caractre
obscur et de leur snobisme latent, mais ils contribuent de
manire cruciale lefficacit dramatique de luvre. Quelques
explications supplmentaires peuvent se rvler utiles.
LOracle a mis en garde le roi Laos de Thbes : il serait tu par
son propre fils ; par consquent, lorsque leur nat un fils, Laos
et son pouse, Jocaste, lexposent sur le flanc dune montagne,
perant ses pieds pour y passer des lanires de cuir. Le nourrisson
est recueilli et lev par un berger du roi de Corinthe, Polybe. Polybe,
nayant pas de descendance, adopte lenfant et lui donne son
nom. Plus tard, dipe est raill sur ses origines, et, consultant
lOracle, apprend quil tuera son pre et pousera sa mre. Afin
dchapper ces crimes, et pensant bien sr que lOracle fait
rfrence Polybe et sa femme, il quitte Corinthe pour Thbes.
En chemin, il tue un vieillard rencontr la croise de deux routes,
ne reconnaissant pas en lui le roi Laos. A Thbes, dipe rsout
lnigme du Sphinx, qui semait la dsolation dans la ville ; il gagne
ainsi le trne et la main de la reine Jocaste, devenue veuve. Fait
essentiel, mme lorsquil commence souponner quil est le
meurtrier du roi Laos et quil est donc responsable de la peste
qui frappe Thbes, dipe ne prend toujours pas conscience quil
est le fils de Laos. Il se contente de penser que son crime est
dusurper le lit conjugal dun homme quil a tu. Il sera galement
utile lauditeur de savoir que lorsque le tmoin du meurtre
sort de lombre , aprs la scne avec Jocaste, il ne sagit pas du
Messager mais du Berger, qui a t lunique membre de la suite
de Laos schapper. Rentrant Thbes et trouvant dipe la
tte du royaume, il a demand tre transfr vers de lointains
pturages, mais est revenu la demande ddipe afin denquter
sur la mort de Laos.
dipus Rex fut cr au Thtre Sarah-Bernhardt, Paris, en mai
1927, dans le cadre de la saison des Ballets russes de Diaghilev,
mais dans une version de concert. Stravinsky tait lui-mme au
pupitre. La premire reprsentation scnique eut lieu Vienne le
23 fvrier 1928, et deux soirs plus tard tait prsente la clbre
production de lOpra Kroll de Berlin, sous la direction de Klemperer.
Igor Stravinsky (18821971)
Apollon Musagte / Apollo (1928, rv. 1947)
Achev en janvier 1928, Apollon Musagte est le premier ballet
que Stravinsky a crit pour une compagnie autre que celle de
Diaghilev, et sa premire commande venue des Etats-Unis. La
demande de la Library of Congress portait sur une pantomime
pour trois ou quatre danseurs et petit orchestre, sur un sujet
laiss au choix du compositeur ; Stravinsky rpondit par le premier
de ses ballets abstraits, sans argument, et sa premire partition
pour orchestre cordes. Lorsquil se lana la composition en
 juillet 1927, il semble avoir envisag dinclure galement une harpe
et un piano ; il connaissait alors dj le sujet, si ce nest les dtails
de largument celui-ci semble ne jamais avoir revtu une grande
importance ses yeux, en croire la remarque quil fit lors dune
interview Paris selon laquelle Apollon Musagte ne contenait pas
dargument et que telle tait la clef du mystre de Terpsichore .
Les commanditaires duvres dart se font gnralement une
ide du rsultat attendu, et nen point douter ils sont plus souvent
dus que linverse. Mais Apollon Musagte constitua certainement
lune des plus grandes surprises artistiques de lhistoire. Voil que
le grand pouvantail de la musique moderne, dont la notorit
reposait encore largement sur Le Sacre du Printemps mais qui
commenait se faire un nom parmi les tenants du dernier courant
culturel en vogue, un formalisme inflexible sappuyant sur un
anti-expressionisme thortique et aride, voil que ce musicien,
soudain, prsentait une partition pour cordes onctueuse, gracieuse,
qui sonnait de manire suspecte comme une tentative de faire
renatre le ballet franais romantique dAdam et Delibes. A lpoque,
dipus Rex tait presque termin ; est-ce quil aurait t plus facile,
la lumire de cet trange panachage entre Haendel et Verdi, de
prvoir Apollon Musagte ? Pas plus facile, peut-tre, que de prvoir
louvrage suivant de Stravinsky, Le Ballet de la fe, un ballet sur
des thmes de Tchakovski, la lumire dApollon Musagte.
Techniquement, si ce nest esthtiquement, Apollon Musagte
trouve assez bien place dans la priode qui dbute avec le petit
opra Mavra (192122) et lOctuor vent (192223) une priode
dont la proccupation dlibre est la relation entre forme et
expression. Le vritable sujet du ballet est la mise en forme thtrale
de cette interrogation. Apollon Musagte, guide des Muses et
dieu de la perfection formelle, nat, grandit, mrit et entre au
6
Parnasse la tte des Muses Calliope, Polymnie et Terpsichore
(posie, mime et danse). Ces personnages excutent une srie
de danses majestueuses mais pleines de vigueur, qui prennent
modle sur les formules du ballet romantique franais tout en
dfendant clairement les vertus de la retenue et de lartifice
classiques dans les diffrents modes de lexpression intellectuelle,
motionnelle et physique.
Stravinsky dclara que les rythmes dApollon Musagte reposaient
sur lide de la versification. Chaque danse est une variation sur
un schma ambique, peut-tre la manire du vers donn de
Paul Valry, chez qui un pome entier peut surgir de minuscules
fluctuations sur un mtre immuable larrire-plan. Depuis
longtemps dj, ce type de procds tait fondamental dans la
technique rythmique de Stravinsky ; mais, dans Apollon Musagte,
ces variations se manifestent discrtement, sans lemphase
violente quelles peuvent avoir dans ses ballets antrieurs. Ce
genre dexposs soigneux de la mthode est caractristique de la
priode noclassique.
Stravinsky dclara en outre que limportance dApollon Musagte
rsidait dans son sens de la longue ligne, un trait dj sensible
dans Mavra et dans lOctuor, mais accentu par la capacit de
lorchestre cordes soutenir le son. Et si cette qualit concerne
essentiellement la mlodie, elle nourrit galement un riche
contrepoint, en particulier le canon quatre voix du Pas daction .
Notes de programme Stephen Walsh
 Igor Strawinski (18821971)
Oedipus Rex: ein Opern-Oratorium in zwei Akten
(1927, bearb. 1948)
Die Idee einer Oper auf Lateinisch ber das Sujet einer antiken
Tragdie, die jedem bekannt sein drfte [bersetzung aus dem des Hirten und des Boten) und sogar Puccinis Turandot (in der
Englischen, d. .] kam im Wesentlichen von Strawinski selber,
was ein Brief an Jean Cocteau vom Oktober 1925 beweist, der
die Bedingungen ihrer Zusammenarbeit aufgefhrt. Bisher waren
alle Bhnenwerke Strawinskis mit Gesang auer Pulcinella, wo
der italienische Text zum bernommenen Material gehrte auf
Russisch, was vllig natrlich erscheinen mag, bis man sich
daran erinnert, dass sich Strawinski immer ber das franzsische
Publikum fr diese Werke im Klaren war. Der lateinische Text
sollte offenbar eine Distanz schaffen, womglich auch mit einer
religisen Dimension, wie beim Lateinischen der Messe oder dem
Altkirchenslawischen in der russisch-orthodoxen Liturgie, mit der
Strawinski aufwuchs.
Die letztlich geschaffene Form des Oedipus Rex erinnert mit ihrem
Wechsel von Rezitativ, Arie und Chor an ein barockes Oratorium.
Aber die gesamte Haltung zu dem klassischen Material muss im
Licht von Strawinskis eigener Musik aus jener Zeit gesehen werden.
Seit Mavra (1922) hatte der Komponist nur Instrumentalmusik fr
ausschlielich Klavier oder Blser geschaffen. Fast jedes Werk
kam mit einer Art Manifest (das nicht unbedingt aus Strawinskis
eigener Feder stammte, aber seine Gedanken widerspiegelte),
in dem die Vorteile der Form als Ausdrucksmittel gepriesen und
solche konventionellen romantischen Konzepte wie Interpretation
und phrasiertes Expressivo angeprangert wurden. Stattdessen hielt
man kalte, rationale Formen fr eine Tugend klassischen Denkens.
Oedipus Rex war mit seinen standbildhaften, maskierten Dramatis
7
Personae und dem zweidimensionalen Bhnenbild einfach ein
auf die Bhne gebrachter Neoklassizismus dieser Art. Nur sind
Strawinskis musikalische Vorlagen hier sehr viel abwechslungsreicher
als zuvor: Anflge von Verdi (im einleitenden Chorsatz), Bellini
(in Iokastes Arie), vielleicht Berlioz (in der bukolischen Musik
abschlieenden Szene). Strawinski selber nannte das Werk ein
Merzbild ein Begriff der Dadaisten fr ein Bild aus Abfallstcken
und wich Stellungnahmen zu seinen stilistischen Exzessen aus.
Die musikalischen Teile werden durch einen Sprecher verbunden,
der so tut, als ob er die Handlung in der Sprache des Publikums
erklrt, obwohl Cocteaus Text eigentlich fast so viel verschleiert
wie er klrt. Strawinski sollte diese Reden wegen ihrer Unklarheit
und ihres impliziten Snobismus hassen, aber sie tragen entscheidend
zur theatralischen Wirkung des Werkes bei. Ein paar zustzliche
Erklrungen mgen hilfreich sein.
Das Orakel warnte Laios, Knig von Theben, vor der Ermordung
durch seinen eigenen Sohn. Als Laios dann ein Sohn geboren wurde,
setzten der Knig und seine Frau Iokaste dieses Kind in einem
Gebirge mit durchstochenen und mit Leder zusammengebundenen
Fukncheln aus. Dort wurde das Kind gefunden und von
einem Hirten des korinthischen Knigs Polybos aufgezogen. Der
kinderlose Polybos adoptierte den Jungen und gab ihm einen
Namen. Spter wurde dipus wegen seiner Herkunft verspottet.
Als er daraufhin das Orakel befragte, bekam er zu hren, dass er
seinen Vater tten und seine Mutter heiraten wrde. Um diese
Straftaten zu vermeiden er ging natrlich davon aus, dass sich
das Orakel auf Polybos und seine Frau bezieht verlie er Korinth
und wandte sich nach Theben. Auf dem Weg dahin ttete er einen
alten Mann, den er an einer Wegkreuzung getroffen und nicht als
Knig Laios erkannt hatte. In Theben lste dipus das Rtsel der
Sphinx, die die Stadt verwstete. Dafr erntete er den Thron und
die Hand der nunmehr verwitweten Knigin Iokaste. Entscheidend
ist, dass dipus selbst nach Einsetzen des Verdachts, er habe den
Knig Laios ermordet und damit die Seuche in Theben verursacht,
noch immer nichts ber seine Herkunft als Sohn von Laios wei.
Er glaubt einfach, sein Verbrechen bestnde in der widerrechtlichen
bernahme des Ehebetts von einem Mann, den er gettet hat.
Schlielich muss der Hrer Folgendes wissen: Wenn nach der
Szene mit Iokaste der Zeuge des Mordes aus dem Schatten
tritt, ist es nicht der Bote, sondern der Hirte, der als Einziger aus
Laios Gefolge fliehen konnte. Als jener zurck nach Theben kam
und dipus dort als Knig auf dem Thron sah, hatte er um eine
Versetzung zu fernen Weiden gebeten. Jetzt war er jedoch auf
dipus Ladung zu einer gerichtlichen Untersuchung der Ursache
von Laios Tod zurckgekehrt.
Oedipus Rex wurde im Thtre Sarah-Bernhardt in Paris im Mai 1927
whrend der Spielzeit von Djaghilews Ballets Russes uraufgefhrt,
wenn auch nur konzertant. Strawinski dirigierte selber. Die erste
Inszenierung erfolgte am 23. Februar 1928 in Wien, gefolgt zwei
Abende spter von der berhmten Inszenierung an der Berliner
Krolloper, die von Klemperer geleitet wurde.
Igor Strawinski (18821971)
Apollon musagte / Apollo (1928, bearb. 1947)
Apollon musagte wurde im Januar 1928 abgeschlossen und
war das erste Ballett, das Strawinski nicht fr Djaghilews Truppe
komponierte. Dieses Werk war auch Strawinskis erster Auftrag
 aus den USA. Er kam von der Library of Congress und bat um eine
Pantomime ber ein wahlfreies Thema fr drei oder vier Tnzer
und kleines Orchester. Auf diesen Auftrag reagierte Strawinsky mit
seinem ersten abstrakten, handlungsfreien Ballett und allerersten
Werk fr Streichorchester. Als Strawinski im Juli 1927 zu komponieren
begann, zog er anscheinend auch den Einsatz von Harfe und Klavier
in Erwgung. Fr das Sujet hatte er sich schon entschieden, auch
wenn er sich ber die Einzelheiten der Handlung noch nicht im
Klaren war. Tatschlich ma er der Handlung offenbar nie groe
Bedeutung bei, wenn man seiner Bemerkung in einem Pariser
Interview Glauben schenken darf, in dem er behauptete, Apollon
musagte enthalte keine dramaturgische Entwicklung [argument],
und das sei gerade der Schlssel zum Geheimnis der Terpsichore
[bersetzung aus dem Englischen, d. .].
Leute, die ein Kunstwerk in Auftrag geben, erwarten gewhnlich
ein gewisses Resultat, auch wenn sie sicher nicht selten enttuscht
werden. Apollon musagte lieferte jedoch gewiss eine der grten
knstlerischen berraschungen aller Zeiten. Hier war das groe
Schreckgespenst moderner Musik den meisten noch immer
wegen seines Le sacre du printemps [Das Frhlingsopfer] bekannt,
auch wenn es den Kulturinteressenten auf der Hhe ihrer Zeit
unlngst durch seinen stahlharten und durch trockenen theoretischen
Anti-Expressionismus gerechtfertigten Formalismus aufgefallen
war und legte pltzlich eine schmelzende, anmutige Partitur fr
Streicher vor, die verdchtig danach klang, als ob sie versuchte,
das franzsische romantische Ballett eines Adams und Delibes
wiederzubeleben. Zu jenem Zeitpunkt war Oedipus Rex fast
abgeschlossen. Htte man den Apollon musagte nach dieser
erstaunlichen Mischung aus Hndel und Verdi eher voraussehen
knnen? Ebenso unwahrscheinlich wie die Voraussage von
8
Strawinskis nchstem Werk, Le Baiser de la fe [Der Kuss der durch ein Gefhl langer Linien auszeichnet. Zwar gab es so etwas
Fee], ein Ballett ber Themen von Tschaikowski, nach dem Hren schon in der Mavra und dem Oktett. In Apollon musagte wurde
von Apollon musagte. dieser Eindruck jedoch dank der Mglichkeiten eines Streichorchesters
zum Aushalten eines Tons noch verstrkt. Dieser Ansatz mag sich
Kompositionstechnisch, wenn nicht sogar sthetisch, passt hauptschlich um Melodie drehen, er bereitet aber auch einen
Apollon musagte recht gut in die Schaffensphase, die mit der guten Nhrboden fr Kontrapunkt, besonders in dem vierstimmigen
kleinen Oper Mavra (192122) und dem Blseroktett (192223) Kanon in der Szene: Apollon und die Muse.
begann und in der sich Strawinski bewusst mit der Beziehung
zwischen Form und Ausdruck auseinandersetzte. Schon allein das Einfhrungstext Stephen Walsh
Sujet des Balletts, wie begrenzt es auch sein mag, ist eine auf die
Bhne gebrachte Fassung dieses Themas. Apollon, der Anfhrer
der Musen und Gott formaler Perfektion kommt zur Welt, wird
erwachsen und erreicht den Parnass als Herr der Musen Kalliope,
Polyhymnia und Terpsichore: Dichtung, Pantomime und Tanz. Er
und sie fhren eine Reihe standbildhafter, wenn auch kraftvoller
Tnze aus, die sich an den Konventionen des franzsischen
romantischen Balletts orientieren, aber offenbar die Vorteile
klassischer Zurckhaltung und Knstlichkeit in den Formen des
intellektuellen, emotionellen und physischen Ausdrucks preisen.
Strawinski behauptete, die Rhythmen von Apollon musagte
beruhen auf dem Prinzip der Versbildung. Jeder Tanz ist eine
Variation ber einen jambischen Versfu, vielleicht in der Art von
Paul Valrys Vers donn, wo ein ganzes Gedicht aus minuzisen
Abweichungen von einem unvernderten, im Hintergrund wirkenden
Metrum besteht. Solche Verschiebungen hatten in Strawinskis
rhythmischer Technik schon immer eine entscheidende Rolle gespielt,
aber in Apollon musagte tauchen sie diskret, ohne die gewaltsame
Betonung in seinen frheren Balletten auf. Diese sorgfltige Umsetzung
der Methode ist fr Strawinskis neoklassizistische Phase typisch.
Strawinski gab zudem zu verstehen, dass sich Apollon musagte
 Igor Stravinsky (18821971)
The son of the Principal Bass at the Mariinsky Theatre, Stravinsky
was born at the Baltic resort of Oranienbaum near St Petersburg
in 1882. Through his father he met many of the leading musicians
of the day and came into contact with the world of the musical
theatre. In 1903 he became a pupil of Rimsky-Korsakov, which
allowed him to get his orchestral works performed and as a result
he came to the attention of Sergei Diaghilev, who commissioned
a new ballet from him, The Firebird.
The success of The Firebird, and then Petrushka (1911) and The
Rite of Spring (1913) confirmed his status as a leading young
composer. Stravinsky now spent most of his time in Switzerland
and France, but continued to compose for Diaghilev and the
Ballets Russes: Pulcinella (1920), Mavra (1922), Renard (1922),
Les Noces (1923), Oedipus Rex (1927) and Apollo (1928).
Stravinsky settled in France in 1920, eventually becoming a French
citizen in 1934, and during this period moved away from his
Russianism towards a new neo-classical style. Personal tragedy
in the form of his daughter, wife and mother all dying within eight
months of each other, and the onset of the Second World War
persuaded Stravinsky to move to America in 1939, where he lived
until his death. From the 1950s, his compositional style again
changed, this time in favour of a form of serialism. He continued
to take on an exhausting schedule of conducting engagements
until 1967, and died in New York in 1971. He was buried in Venice
on the island of San Michele, close to the grave of Diaghilev.
Profile Andrew Stewart
9
Igor Stravinsky (18821971)
Fils dune basse principale du Thtre Mariinski, Stravinsky est
n dans la station balnaire dOrianenbaum, sur la Baltique, prs
de Saint-Ptersbourg, en 1882. Grce son pre, il rencontra
nombre des musiciens les plus en vue du moment et noua des
contacts avec le monde du thtre lyrique. En 1903, il devint
llve de Rimski-Korsakov, qui rendit possible lexcution de ses
uvres orchestrales ; Stravinky veilla ainsi lattention de Serge
Diaghilev, qui lui commanda un nouveau ballet, LOiseau de feu.
Le succs de cet ouvrage, puis de Petrouchka (1911) et du Sacre
du Printemps (1913) confirma son statut de compositeur majeur
de la jeune gnration. Stravinsky passait dsormais lessentiel
de son temps entre la Suisse et la France, tout en continuant
composer pour Diaghilev et les Ballets russes : Pulcinella (1920),
Mavra (1922), Renard (1922), Les Noces (1923), dipus Rex (1927)
et Apollon Musagte (1928).
Stravinsky sinstalla en France en 1920, prenant finalement la
nationalit franaise en 1934 ; durant cette priode, sa musique
sloigna de son caractre russe pour sorienter vers un
nouveau style no-classique . Une succession de tragdies
personnelles le dcs de sa fille, de sa femme et de sa mre
huit mois dintervalle et lclatement de la Seconde Guerre
mondiale le persuadrent de partir pour lAmrique en 1939 ;
il y vcut jusqu sa mort. A partir de 1950, son style changea
de nouveau, cette fois pour une sorte de srialisme. Il continua
accepter de nombreux engagements comme chef dorchestre
jusquen 1967 et mourut New York en 1971. Il fut inhum
Venise, sur lle de San Michele, proximit de la tombe de Diaghilev.
Portrait Andrew Stewart
Traduction :Claire Delamarche
Igor Strawinsky (18821971)
Strawinsky wurde 1882 im Ostseebad Oranienbaum (heute
Lomonossow) in der Nhe von St. Petersburg als Sohn des
am Mariinski-Theater angestellten fhrenden Basssolisten
geboren. Durch seinen Vater traf Igor viele bedeutende Musiker
jener Zeit und lernte die Welt des Musiktheaters kennen. 1903
wurde er Schler von Rimski-Korsakow, mit dessen Hilfe seine
Orchesterwerke Auffhrungen erlebten. Durch diese wurde
Sergei Djaghilew auf ihn aufmerksam, der bei ihm ein neues
Ballett in Auftrag gab, Loiseau de feu [Der Feuervogel].
Der Erfolg des Feuervogels und spter von Ptrouchka [Petruschka]
(1911) und Le sacre du printemps [Das Frhlingsopfer] (1913)
strkten Strawinskys Ruf als bahnbrechenden jungen Komponisten.
Er verbrachte nun den Groteil seiner Zeit in der Schweiz und
in Frankreich, komponierte aber weiterhin fr Djaghilew und die
Ballets Russes: Pulcinella (1920), Mawra (1922), Renard (1922), Les
Noces (1923), Oedipus Rex (1927) und Apollo (1928).
Strawinsky whlte 1920 Frankreich zu seinem stndigen Wohnsitz
und nahm 1934 auch die franzsische Staatsbrgerschaft an. In
dieser Zeit wandte er sich von seinem russischen Stil ab und einem
neuen neoklassischen Stil zu. Die tragischen Ereignisse in Form
von Todesfllen seiner Tochter, seiner Frau und seiner Mutter im
Abstand von acht Monaten sowie der Beginn des Zweiten Weltkrieges
veranlassten Strawinsky 1939 zur Umsiedelung nach Amerika, wo
er bis zu seinem Tod lebte. In den 1950er Jahren begann sich sein
Kompositionsstil erneut zu verndern, diesmal zugunsten einer
Form der Zwlftontechnik. Er verpflichtete sich bis 1967 immer
wieder zu einem erschpfenden Arbeitsschema als Dirigent
und starb 1971 in New York. Er liegt in Venedig auf der Insel San
Michele begraben, in enger Nachbarschaft zu Djaghilews Grab.
Kurzbiographie Andrew Stewart
bersetzung aus dem Englischen: Elke Hockings
 LIBRETTO Vale, Creo! Kito, kito. Hail, Creon! Speak, speak!
Audituri te salutant. We hearken and greet you.
PROLOGUE PROLOGUE Audimus, audimus. We are listening.

Le Speaker Narrator Le Speaker Narrator

1 Spectateurs, vous allez entendre une version latine 1 Spectators, you are about to hear a Latin version of 2 Voici Cron, beau-frre ddipe. Il revient de consulteur 2 Creon, the brother-in-law of Oedipus, has returned from
ddipe-Roi. King Oedipus. loracle. Loracle exige quon punisse le meurtre de Laus, Delphi, where he consulted the oracle. The oracle demands
lassassin se cache dans Thbes ; il faut le dcouvrir cote that Laius murderer be punished. The assassin is hiding in
Afin de vous pargner tout effort doreilles et de mmoire This version is an opera-oratorio; based on the tragedy by que cote. dipe se vante de son adresse deviner les Thebes; at whatever cost, he must be discovered. Oedipus
et comme lopra-oratorio ne conserve des scnes quun Sophocles, but preserving only a certain monumental aspect nigmes. Il dcouvrira et chassera lassassin. boasts of his skill in dealing with the powers of darkness.
certain aspect monumental, je vous rappellerai, au fur of its various scenes. And so (wishing to spare your ears He will discover and drive out the assassin.
et mesure, le drame de Sophocle. and your memories) I shall recall the story as we go along.
Exit. Narrator exits.
Sans le savoir, dipe est aux prises avec les forces qui Oedipus, unknown to himself, contends with supernatural
nous surveillant de lautre ct de la mort. Elles lui tendent, powers: those sleepless deities who are always watching us Creo (Cron) Creon
depuis sa naissance, un pige que vous allez voir se from a world beyond death. At the moment of his birth a Respondit deus: The God has replied:
fermer l. snare was laid for him and you will see the snare closing. Laium ulkiski, skelus ulkiski. Avenge Laius, avenge the crime.
Reperire peremptorem. Seek out the murderer.
Voici la drame: Now our drama begins. Thebis peremptor latet. The murderer hides in Thebes.
Latet peremptor regis: The murderer of the King is in hiding:
Thbes se dmoralise. Aprs le Sphinx, la peste. Thebes is prostrate. After the Sphinx, a plague breaks out. Reperire opus istum, He must be discovered,
Le chur supplie dipe de sauver sa ville. The chorus implores Oedipus to save his city. Luere Thebas a labe. To purge Thebes of its stain.
dipe a vaincu le Sphinx, il promet. Since Oedipus has vanquished the sphinx, he promises. Kaedem regis ulkiski, Avenge the murder of the King,
Regis Laii perempti, The slain King Laius,
Exit. The narrator exits. Quem depelli deus jubet peremptorem, The God decrees: expel the murderer,
Peste infikit Thebas. Who brought the plague upon Thebes.
Apollo dixit deus. The God Apollo has spoken.
Acte Un ACT ONE
Oedipus (dipe) Oedipus
Chorus (Chur) Chorus Non reperias vetus skelus. You cannot solve this ancient crime.
Kaedit nos pestis, Theba peste moritur. The plague is upon us, Thebes is dying of the plague. Thebas eruam, I will turn Thebes upside down,
E peste serva nos, serva, e peste qua Theba moritur. Save us from the plague of which Thebes is dying. Thebis incolit skelestus. The criminal dwells in Thebes.
Oedipus, adest pestis, kaedit nos pestis, Oedipus, the plague is upon us, the plague is destroying us,
Oedipus, e peste serva nos, serva, Oedipus, Oedipus, save us from the plague, save us, Oedipus, Chorus (Chur) Chorus
E peste libera urbem, and deliver the city from the plague, Deus dixit, tibi dixit. God has spoken, he has spoken to you.
Urbem serva morientem. deliver our dying city.
Oedipus (dipe) Oedipus
Oedipus (dipe) Oedipus Tibi dixit. God has spoken to you.
Liberi, vos liberabo, Citizens, I will deliver you, Mihi debet se dedere. He is obliged to give himself up to me.
Liberabo vos a peste. I will deliver you from the plague. Opus vos istum deferre. You must deliver him to me.
Ego clarissimus Oedipus, I, distinguished Oedipus, Thebas eruam. I will turn Thebes upside down,
Ego Oedipus vos diligo, I, Oedipus, will deliver you, Thebis pellere istum. To drive that man from Thebes.
Ego Oedipus vos servabo. I, Oedipus, will save you. Vetus skelus non reperias. You cannot solve this ancient crime.

Chorus (Chur) Chorus Chorus (Chur) Chorus

Serva nos adhuc, serva urbem, Oedipus, Save us once more, save our city, Oedipus! Thebis skelestus incolit. The criminal dwells in Thebes.
Serva nos, clarissime Oedipus, Save us, far-famed Oedipus,
Quid fakiendum, Oedipus, What is to be done, Oedipus, Oedipus (dipe) Oedipus
Ut liberemur? That we may be delivered? Deus dixit. God has spoken.
Sphynga solvi carmen solvi, I solved the riddle of the Sphinx,
Oedipus (dipe) Oedipus Ego divinabo, iterum divinabo, I will solve, I will solve this once again,
Uxoris frater mittitur, The Queens brother has been sent Clarissimus Oedipus, Illustrious Oedipus,
Oraculum consulit, To consult the oracle, Thebas iterum servabo, Again I will save Thebes,
Deo mittitur Creo, Creon has been sent to the God, Ego, Oedipus carmen divinabo. I, Oedipus, will solve the riddle.
Quid fakiendum consulit. To ask what is to be done,
Creo ne commoretur. May Creon not tarry long. Chorus (Chur) Chorus
Solve, solve, solve! Solve it, solve it, solve it!
Creo apparit. Creon appears.
Oedipus (dipe) Oedipus
Chorus (Chur) Chorus Pollikeor divinabo. I promise that I will solve it.
Vale, Creo! Audimus. Hail, Creon! We hearken.
10
 Chorus (Chur) Chorus Inter vos peremptor est, The murderer is among you,
Solve, Oedipus, solve! Solve it, Oedipus, solve it! Apud vos peremptor est, The murderer is near you,
Cum vobis, vobiscum est. He is with you, he is one of you.
Oedipus (dipe) Oedipus Regis est rex peremptor. The Kings murderer is a King,
Clarissimus Oedipus, likeor divinabo. I, most brilliant Oedipus, promise that I will solve it. Rex kekidit Laium, A King killed Laius,
Rex kekidit regem, A King killed the King,
Le Speaker Narrator Deus regem acusat; The God accuses a King;
3 dipe interroge la fontaine de vrit : Tirsias, le devin. 3 Oedipus questions that fountain of truth: Tiresias, the seer. Peremptor rex! The murderer is a King!
Tirsias vite de rpondre. Il nignore plus qudipe Tiresias will not answer. He already realises that Oedipus is a Opus Thebis pelli regem. You must drive this King from Thebes.
est jou par les dieux sans cur. Ce silence irrite plaything of the heartless gods. This silence angers Oedipus, Rex skelestus urbem foedat, A wicked King pollutes the city,
dipe. Il accuse Cron de vouloir le trne et Tirsias who accuses Creon of desiring the throne for himself, and Rex, rex peremptor regis est. The Kings murderer is a King.
dtre son complice. Rvolte par cette attitude injuste, Tiresias of being his accomplice. Revolted by the injustice of
Tirsias se dcide. La fontaine parle. this attitude, Tiresias decides the fountain speaks. Oedipus (dipe) Oedipus
Voici loracle : Lassassin du roi est un roi. This is the oracle: the assassin of the King is a King. Invidia fortunam odit. Envy hates fortune,
Creavistis me regem. You made me King.
Exit. Narrator exits. Servavi vos carminibus I saved you by answering the riddles
Et creavistis me regem. And you made me King.
Chorus (Chur) Chorus Solvendum carmen, cui erat? Who should the riddle have been solved by?
Delie, exspectamus, God of Delos, we are waiting, Tibi, homo clare, vates; By you, celebrated man, prophet;
Minerva filia Jovis, Minerva, daughter of Jupiter, A me solutum est But it was solved by me
Diana in trono insidens. Diana enthroned. Et creavistis me regem. And you made me King.
Et tu, Phaebe insignis iaculator, And you, Phoebus Apollo, distinguished archer, Invidia fortunam odit. Envy hates fortune.
Succurrite nobis. Hasten to our aid. Nunc, vult quidam munus meum, Now, there is one who desires my office,
Ut praekeps ales ruit malum For winged evil swiftly rushes down Creo vult munus regis. Creon desires the office of Kingship.
Et premitur funere funus And death is followed by death Stipendiarius es,Tiresia! You are his accomplice, Tiresias!
Et corporibus corpora inhumata. And corpses lie, unburied, upon each other. Hoc fakinus ego solvo! I will unravel this evil plot!
Expelle, expelle everte in mare Drive out, overturn into the sea Creo vult rex fieri. Creon desires to be king.
Atrokem istum Martem That cruel Mars Quis liberavit vos carminibus? Who saved you from the riddle?
Qui nos urit inermis Who consumes us, we who are unarmed, Amiki, ego Oedipus clarus, ego. Friends, it was I, illustrious Oedipus.
Dementer ululans. Shrieking madly. Invidia fortunam odit. Envy abhors fortune.
Et tu, Bakke, And you, Bacchus, Volunt regem perire, They desire that the King should die,
Cum taeda advola nobis Fly to us with torches, Vestrum regem perire, They desire that your King should die,
Urens infamem inter deos deum. Burning up this God, who is notorious among all Gods. Clarum Oedipodem, vestrum regem. Great Oedipus, your King!

Tiresias apparit. Tiresias appears. Jocasta apparit. Jocasta appears.

Chorus (Chur) Chorus Chorus (Chur) Chorus

Salve, Tiresia, homo clare, vates! Hail, Tiresias, renowned man, prophet! Gloria, gloria, gloria! Glory, glory, glory!
Dic nobis quod monet deus, Tell us what God demands, Laudibus regina Jocasta All praise to Queen Jocasta
Dic kito, sacrorum docte, Speak quickly, you who is learned of holy things, In pestilentibus Thebis. In plague-stricken Thebes.
Dic, dic! Speak, speak! Gloria, gloria, gloria! Glory, glory, glory!
In pestilentibus Thebis In plague-stricken Thebes,
Tiresias (Tirsias) Tiresias Laudibus regina nostra. Give praise to our Queen.
Dikere non possum, I cannot speak, Gloria, gloria, gloria! Glory, glory, glory!
Dikere non liket, I am not allowed to speak, Laudibus Oedipodis uxor. All praise to Oedipuss wife.
Dikere nefastum, To speak is a sin, Gloria, gloria, gloria! Glory, glory, glory!
Oedipus, non possum. Oedipus, I cannot speak.
Dikere ne cogas! Do not force me to speak!
Cave ne dicam! Beware, lest I speak! ACTE DEUX ACT TWO
Clarissime Oedipus, Illustrious Oedipus,
Takere fas, Oedipus. Allow me to be silent, Oedipus. Chorus (Chur) Chorus
4 Gloria, gloria, gloria! 4 Glory, glory, glory!
Oedipus (dipe) Oedipus Laudibus regina Jocasta All praise to Queen Jocasta
Takiturnitas tacusat: Your silence accuses you: In pestilentibus Thebis. In plague-stricken Thebes.
Tu peremptor. You are the murderer. Gloria, gloria, gloria! Glory, glory, glory!
In pestilentibus Thebis In plague-stricken Thebes,
Tiresias (Tirsias) Tiresias Laudibus regina nostra. Give praise to our Queen.
Miserande, dico, Deplorable man, I speak, Gloria, gloria, gloria! Glory, glory, glory!
Quod me acusas, dico. Since you accuse me, I speak. Laudibus Oedipodis uxor. All praise to Oedipuss wife.
Dicam quod dixit deus: I speak what God has said: Gloria, gloria, gloria! Glory, glory, glory!
Nullum dictum kelabo. I will conceal no word.
11
 Narratus introit. The narrator enters. Oracula mentiuntur, The oracles lie,
Semper oracula mentiuntur. The oracles always lie.
Le Speaker Narrator Oedipus, cave oracula. Oedipus, beware the oracles.
La dispute des princes attire Jocaste. Vous allez lentendre The dispute of the princes attracts Jocasta. You will hear Domum kito redeamus. Let us return home swiftly.
les calmer, leur faire honte de vocifrer dans une ville her calm them, shame them for raising their voices in a Cave oracula Beware the oracles
malade. Elle ne croit pas aux oracles. Elle prouve que les stricken city. She proves that oracles lie. For example,
oracles mentent. Par exemple on avait prdit que Laus an oracle predicted that Laius would perish by the hand Oedipus (dipe) Oedipus
mourrait par un fils delle; or Laus a t assassine par des of a son of hers; whereas Laius was murdered by thieves, Pavesco, maxime pavesco, I am afraid, I am greatly afraid,
voleurs au carrefour des trois routes de Daulie et de Delphes. at the crossing of three roads from Daulis and Delphi. Pavesco subito, Jocasta, I am suddenly afraid, Jocasta,
Pavor magnus, Jocasta, A great fear, Jocasta,
Trivium ! Carrefour ! Retenez bien ce mot. Three roads crossroads mark well those words. In me inest. Is within me.
Il pouvante dipe. Il se souvient quarrivant de Corinthe, They horrify Oedipus. He remembers how, arriving from Subito pavesco, uxor Jocasta. I am suddenly afraid, Jocasta, my wife.
avant se rencontre avec le sphinx, il a tu un vieillard a Corinth before encountering the Sphinx, he killed an old Nam in trivio kekidi, senem kekidi; For I killed an old man, I killed him at the crossroads;
u carrefour des trois routes. Si cest Laus, que devenir ? man where three roads meet. If Laius of Thebes were that Pavor magnus, Jocasta, A great fear, Jocasta,
Car il ne peut retourner Corinthe, loracle layant menac man what then? Oedipus cannot return to Corinth, having In me inest subito. Is suddenly within me.
de tuer son pre et dpouser sa mre. Il a peur. been threatened by the oracle with a double crime: killing Volo consulere I wish to speak
his father and marrying his mother. He is afraid.
Jocasta (Jocaste) Jocasta
Exit. Narrator exits. Non est consulendum. There is no truth there.
Oedipus, domum kito redeamus; Oedipus, let us return home swiftly;
Jocasta (Jocaste) Jocasta Cave oracula quae semper mentiantur, Beware the oracles, which always lie,
Nonn erubeskite, reges, Are you not ashamed, princes, Cave oracula. Beware the oracles.
Clamare ululare in aegra urbe To raise your voices, in a stricken city,
Domestikis altercationibus? Howling in domestic strife? Oedipus (dipe) Oedipus
Clamare vestros domestikos clamores, To air your domestic grievances, Consulendum est, Jocasta, I wish to speak, Jocasta,
Coram omnibus domestikos clamores, Your personal quarrels, before all, Volo videre pastorem. I wish to see the shepherd.
In aegra urbe, reges, nonn erubeskite? In a stricken city, princes, are you not ashamed? Skeleris super est spectator, The witness of the crime still lives,
Ne probentur oracula Nothing is proved by oracles, Jocasta, consulendum, Jocasta, Jocasta, I wish to speak to him, Jocasta.
Quae semper mentiantur. Which always lie. Volo consulere. I wish to consult with him.
Oracula, mentita sunt oracula. The oracles, they have lied. Skiam! I must know!
Cui rex interfikiendus est? By whom was the King to be slain?
Nato meo. By my son. Le Speaker Narrator
Age rex peremptus est. Well, the King was murdered. 5 Le tmoin du meurtre sort de lombre. Un messager 5 The witness of the murder steps from the shadows. A
Laius in trivio mortuus. Laius died at the crossroads. annonce dipe la mort de Polybe et lui rvle messenger, announcing that King Polybus of Corinth is dead,
Ne probentur oracula The oracles are not to be trusted, quil ntait que son fils adoptif. Jocaste comprend. reveals to Oedipus that he is only an adopted son of the
Quae semper mentiantur. The oracles, who always lie. Elle tente de tirer dipe en arrire. Elle se sauve. King. Jocasta understands. She tries to draw Oedipus back
Laius in trivio mortuus. Laius died at the crossroads. dipe la croit honteuse dtre une femme de parvenu. in vain. She flees. Oedipus supposes that she is ashamed
Cet dipe, si fier de deviner tout ! Il est dans le pige. of being the wife of an upstart. O, this lofty, all-discerning
Chorus (Chur) Chorus Il est le seul ne pas sen apercevoir. La vrit le frappe Oedipus! He is in the snare. He alone does not know it.
Trivium, trivium The crossroads, the crossroads sur la tte. Il tombe. Il tombe de haut. And then the truth strikes him. He falls. He falls headlong.

Jocasta (Jocaste) Jocasta Exit. Narrator exits.

Cave oracula! Beware the oracles!
Pastor et Nuntius intrant. The Shepherd and The Messenger enter.
Chorus (Chur) Chorus
trivium, trivium! the crossroads, the crossroads Chorus (Chur) Chorus
Adest omniskius pastor The all-knowing shepherd arrives
Oedipus (dipe) Oedipus Et nuntius horribilis. And the messenger of bad tidings.
Pavesco subito, Jocasta, Suddenly I am afraid, Jocasta,
Pavesco maxime. I am greatly afraid. Nuntius et Chorus (Le Messager et Chur) Messenger and Chorus
Jocasta, audi: Jocasta, listen: Mortuus est Polybus. Polybus is dead.
Locuta es de trivio? Did you speak of the crossroads? Senex mortuus Polybus. The aged Polybus is dead.
Ego senem kekidi, I killed an old man,
Cum Corintho exkederem, When I was coming from Corinth, Nuntius (Le Messager) Messenger
Kekidi in trivio, Jocasta, senem. I killed an old man at the crossroads, Jocasta. Polybus non genitor Oedipodis; Polybus was not the father of Oedipus;
A me keperat Polybus, Polybus adopted him through me,
Jocasta (Jocaste) Jocasta Ego attuleram regi. I took him to the King.
Oracula mentiuntur, The oracles lie,
Semper oracula mentiuntur. The oracles always lie. Chorus (Chur) Chorus
Oedipus, cave oracula Oedipus, beware the oracles, Verus non fuerat pater Oedipodis. He was not the true father of Oedipus.
Quae mentiantur. For they lie.
12
 Nuntius (Le Messager) Messenger Pastor, Nuntius et Chorus (Le Berger, Le Shepherd, Messenger and Chorus
Falsus pater, His adoptive father, Messager et Chur)
Pater per me! A father by my doing! Coniux Jocastae parentis! The husband of his mother Jocasta!

Chorus (Chur)
Falsus pater,
Pater per te!
Nuntius (Le Messager)
Reppereram in monte puerum Oedipoda,
Derelictum in monte parvulum Oedipoda
Foratum pedes, vulneratum pedes.
Attuleram pastori puerum Oedipoda.
Chorus Pastor et Nuntius (Le Berger et Le Messager) Shepherd and Messenger
His adoptive father, Utinam ne dikeres, If only you had not spoken,
A father by my doing! Oportebat takere, It would have been better to remain silent,
Nunquam dikere istud: Never to have spoken this
Messenger
I found the child Oedipus in the mountains, Pastor, Nuntius et Chorus (Le Berger, Le Shepherd, Messenger and Chorus
Abandoned in the mountains, the little Oedipus, Messager et Chur)
His feet pierced, his feet wounded. A Jocasta derelictum Abandoned by Jocasta,
I took the child Oedipus to the shepherd. In monte reppertus est. He was found on the mountains.

Chorus (Chur) Chorus Pastor et Nuntius exeunt. Shepherd and Messenger move away.
Reskiturus sum monstrum, We are about to learn of a marvel,
Monstrum reskiskam. We are to learn of a misfortune. Oedipus (dipe) Oedipus
Deo claro Oedipus natus est, Oedipus was born of a great God, Natus sum quo nefastum est, Sinful was my begetting,
Deo et nympha montium Of a God and a nymph of the mountain, Concubui cui nefastum est, Sinful was my marriage,
In quibus repertus est. On which he was found. Kekidi quem nefastum est. Sinful was my shedding of blood.
Reskiturus sum monstrum, We are about to learn of a marvel, Lux facta est! All is made clear!
Monstrum reskiskam. We are to learn of a misfortune.
Oedipus exit. Nuntius apparit. Oedipus exits. The Messenger steps forward.
Pastor (Le Berger) Shepherd
Oportebat takere, nunquam loqui. I ought to have remained silent, I should never have spoken. Le Speaker Narrator
Sane repperit parvulum Oedipoda. Indeed, he found the child Oedipus. 6 Et maintenant, vous allez entendre le monologue illustre 6 And now you will hear that famous monologue
A patre, a matre in monte derelictum, Deserted in the mountains by his father and mother, << La tte divine de Jocaste est morte >>, monologue The divine Jocasta is dead, a monologue in
Pedes laqueis foratum. His feet pierced by chains. o le messager raconte la fin de Jocaste. which the messenger describes Jocastas doom.
Utinam ne dikeres, If only you had not spoken,
Hoc semper kelandum This always ought to have remained hidden Il peut peine ouvrir la bouche. Le chur emprunte son He can scarcely open his mouth. The chorus takes his part
Inventum esse in monte That the abandoned child, rle et laide dire comment la reine sest pendue et and helps him to tell how the queen has hanged herself, and
derelictum, parvulum, parvum Oedipoda. Little Oedipus, was found on the mountain. comment dipe sest crev les yeux avec son agrafe dor. how Oedipus has pierced his eyeballs with her golden pin.
Oportebat takere, nunquam loqui. I ought to have remained silent, I should never have spoken.
Ensuite cest lpilogue : Then comes the epilogue:
Jocasta exit. Jocasta exits.
Le roi est pris. Il veut se montrer tous, montrer la bte The King is caught. He would show himself to all: as a
Oedipus (dipe) Oedipus immonde, linceste, le parricide, le fou. On le chasse avec filthy beast, an incestuous monster, a father-killer, a fool.
Nonne monstrum reskituri, Surely these are not ominous tidings, une extrme douceur. Adieu, adieu, pauvre dipe ! His people drive him (gently, very gently) away. Farewell,
Quis Oedipus? Concerning Oedipus? Adieu dipe ! On taimait. farewell, poor Oedipus! Farewell, Oedipus we loved you.
Genus Oedipodis skiam. I will discover Oedipuss lineage.
Pudet Jocastam, fugit. Jocasta is ashamed, and she flees. Nuntius (Le Messager) Messenger
Pudet Oedipi exulis, She is ashamed of the exiled Oedipus, Divum Jocastae caput mortuum! The divine Jocasta is dead!
Pudet Oedipodis generis. She is ashamed of Oedipuss lineage.
Skiam Oedipodis genus, I shall discover the heritage of Oedipus, Chorus (Chur) Chorus
Genus meum skiam, I shall find out my heritage, Mulier in vestibulo The woman was in her chamber
Nonne monstrum reskituri, Surely these are not ominous tidings, Comas lakerare. Tearing out her hair.
Genus Oedipodis skiam, genus exulis mei. I shall discover the heritage of Oedipus, the origin of my exile. Claustris occludere fores, She closed the door with bolts,
Ego exul exsulto. I, an exile, exult. Occludere exclamare. Lamenting in seclusion.
Et Oedipus irrumpere And Oedipus burst in,
Pastor et Nuntius (Le Berger et Le Messager) Shepherd and Messenger Et pulsare, ululare. Banging on the doors, howling.
In monte reppertus est, He was found in the mountains,
A matre derelictus; Abandoned by his mother; Nuntius (Le Messager) Messenger
A matre derelictum Abandoned by his mother, Divum Jocastae caput mortuum! The divine Jocasta is dead!
In montibus repperimus. We found him in the mountains.
Laio Jocastaque natus! He is the son of Laius and Jocasta! Chorus (Chur) Chorus
Et ubi evellit claustra, When he tore open the doors,
Chorus (Chur) Chorus Suspensam mulierem omnes conspexerunt. They all saw the Queen hanging there.
Natus Laio et Jocasta! He is the son of Laius and Jocasta! Et Oedipus praekeps ruens And Oedipus ran to her,
Illam exsolvebat, illam collocabat; Loosened the cord, and laid her down;
Pastor et Nuntius (Le Berger et Le Messager) Shepherd and Messenger Illam exsolvere, illam collocare. He untied her to lay her down.
Peremptor Laii parentis! The murderer of his father Laius! Et aurea fibula, et avulsa fibula And snatching a golden pin,
13
 Oculos effodire;
Ater sanguis rigare.
Nuntius (Le Messager)
Divum Jocastae caput mortuum!
Chorus (Chur)
Sanguis ater rigabat prosiliebat;
Et Oedipus exclamare
Et sese detestare.
Omnibus se ostendere.
Beluam vult ostendere.
Aspikite fores pandere,
Aspikite spectaculum
Omnium atrokissimum.
Nuntius (Le Messager)
Divum Jocastae caput mortuum!
Oedipus apparit. Nuntius exit.
Chorus (Chur)
Ekke! Regem Oedipoda,
Foedissimum monstrum monstrat,
Foedissimam beluam.
Ellum, regem okkeaetum!
Rex parrikida, miser Oedipus,
Miser rex Oedipus carminum coniector.
Adest! Ellum! Regem Oedipoda!
Vale, Oedipus, Te amabam, te miseror.
Miser Oedipus, oculos tuos deploro.
Vale, vale Oedipus,
Miser Oedipus noster,
Te amabam, Oedipus.
Tibi valedico, Oedipus,
Tibi valedico.
14
He scratched out his eyes;
The dark blood flowed.
Messenger
The divine Jocasta is dead!
Chorus
The dark blood flowed forth;
And Oedipus cried out
And cursed himself.
He showed himself to all.
He wanted to show the horror.
Behold, the gates are opening,
Behold a sight,
Of all sights the most terrible.
Messenger
The divine Jocasta is dead!
Oedipus appears. The Messenger exits.
Chorus
Behold! Oedipus the King,
Shows himself the foulest of monsters,
The most loathsome beast.
Behold! The blinded King!
Wretched Oedipus, the King who slayed his father,
Wretched King Oedipus, the solver of the riddle.
He is here! Look! King Oedipus!
Farewell, Oedipus, we loved you, we pity you.
Unfortunate Oedipus, we lament for your eyes.
Farewell, farewell, Oedipus,
Our poor Oedipus,
We loved you, Oedipus.
We bid you farewell, Oedipus,
We bid you farewell.
Monteverdi Choir
Patron HRH The Prince of Wales
The Monteverdi Choir, founded in 1964, is famous for its passionate, committed and virtuosic
singing. Over the past 49 years it has been consistently acclaimed as one of the best choirs
in the world, noted for its ability to switch composer, language and idiom with complete
stylistic conviction. The Choir is also a fertile training ground for future generations of choral
and solo singers: choir members often step out to sing solo parts and many former choristers
have gone on to spectacular solo careers. Since 2007, the Monteverdi Apprentice Scheme
has added an exciting new dimension to its profile.
The Choir has undertaken a number of trail-blazing tours. The most ambitious was the Bach
Cantata Pilgrimage in 2000 during which they performed all 198 of J S Bachs sacred cantatas
in more than 60 churches throughout Europe, to celebrate the 250th anniversary of the
composers death. The entire tour was recorded and released by the companys record
label, Soli Deo Gloria. The Choir has more than a hundred recordings to its name and has
won numerous prizes. It regularly participates in staged opera productions, and is currently
involved in a five-year residency at the Opra Comique in Paris, through which they appeared
in Der Freischtz (Weber), LEtoile (Chabrier) and Carmen (Bizet).
In 2012/13, the Choir took part in a variety of projects across varied repertoires from a
cappella English renaissance music, to a tour of Beethoven Missa Solemnis along with the
Orchestre Rvolutionnaire et Romantique. It was involved in collaborations with the Orchestre
National de France and Choeur de Radio France, and with the Berlin-based Mahler Chamber
Orchestra and the Leipzig Gewandhaus Orchestra in Schumanns Manfred, all under the direction
of Sir John Eliot Gardiner. This work (Oedipus Rex) marks the Choirs second collaboration
with the LSO, following acclaimed performances of Beethoven Ninth Symphony last year.
Recent touring engagements have included various Bach programmes (St John Passion, the
B Minor mass, Easter and Ascension Oratorios and more) in Lucerne, Barcelona, Cologne,
Paris, Aldeburgh, Braunschweig and Versailles; a performance of the Handel / Mozart oratorio
Alexanders Feast at the Salzburg Summer Festival, and Bach Oratorios at the BBC Proms.
The choir celebrates its 50th annivesary in 2014 with a series of concerts recreating the historic
performance of Monterverdis Vespers (1610) that it gave in its first ever concert in the Chapel
of Kings College, Cambridge.
Singers on this recording
Tenors Basses
Ben Alden Tom Appleton
Peter Davoren Alexander Ashworth
Ed Hastings Richard Bannan
Nicholas Keay Christopher Borrett
William Kendall Robert Davies
Graham Neal George Dye
Nick Pritchard Sam Evans
Benedict Quirke Rupert Reid
Tom Raskin Ed Saddington
Nicholas Robertson Jonathan Sells
Ben Thapa David Shipley
Gareth Treseder Lawrence Wallington

Sir John Eliot Gardiner conductor
Sir John Eliot Gardiner, one of the most versatile conductors of our
time, is acknowledged as a key figure in the early music revival.
Founder and artistic director of three ensembles the Monteverdi
Choir, the English Baroque Soloists, and the Orchestre Rvolutionnaire
et Romantique he also appears regularly with Europes most
important symphony orchestras, including the LSO, Bayerischer
Rundfunk, Royal Concertgebouw, Czech Philharmonic, and the
Orchestre National de France, as well as at the Royal Opera House
(London), and La Fenice (Venice). The extent of Gardiners repertoire
is illustrated by over 250 recordings he has made for major record
companies, and by numerous international awards including
Gramophones Special Achievement Award for live recordings of
the complete church cantatas of Johann Sebastian Bach, released
on the label Soli Deo Gloria (SDG) that he established in 2006. SDGs
catalogue now includes recordings of, among others, Bachs St John
Passion, Brandenburg Concertos, and complete Motets, a Brahms
symphony cycle, and a cappella recordings with the Monteverdi Choir.
15
Sir John Eliot Gardiners numerous awards and honours include
Honorary Doctorates from the University of Lyon and the New
English Conservatory of Music in Boston, Honorary Fellowships
of Kings College, London, and of the Royal Academy of Music,
Commandeur dans lOrdre des Arts et des Lettres, Chevalier de la
Lgion dHonneur, and Germanys Verdienstkreuz (first class). He
received a knighthood in the 1998 Queens Birthday Honours List.
Sir John Eliot Gardiner, lun des chefs au talent le plus clectique
de notre temps, est reconnu comme lune des figures clefs dans
le renouveau de la musique ancienne. Fondateur et directeur
artistique de trois ensembles le Monteverdi Choir, les English
Baroque Soloists et lOrchestre rvolutionnaire et romantique ,
il se produit par ailleurs rgulirement la tte des principaux
orchestres symphoniques dEurope, notamment le LSO, lOrchestre
de la Radio bavaroise, lOrchestre du Concertgebouw, lOrchestre
philharmonique tchque et lOrchestre national de France, ainsi
qu Couvent Garden (Londres) et la Fenice (Venise). Ltendue du
rpertoire de Gardiner est illustre par plus de 250 enregistrements,
raliss pour les plus grandes maisons de disques, et par de
nombreuses rcompenses internationales notamment un prix
spcial de Gramophone pour lenregistrement en concert de
lintgralit des cantates sacres de Johann Sebastian Bach, publi
sous le label Soli Deo Gloria (SDG) quil a fond en 2006. Le catalogue
de SDG comporte aujourdhui, entre autres, la Passion selon saint
Jean, les Concertos brandebourgeois et lintgralit des motets de
Bach, les symphonies de Brahms et des disques a cappella avec
le Monteverdi Choir. Parmi les nombreux prix et distinctions de
Sir John Eliot Gardiner, citons les titres de docteur honoris causa
de luniversit de Lyon et du New English Conservatory of Music
de Boston, Honorary Fellowships du Kings College et de la Royal
Academy of Music Londres ; il est galement commandeur dans
lOrdre des Arts et des Lettres, chevalier de la Lgion dhonneur,
et a reu lordre du Mrite de la Rpublique fdrale dAllemagne
(premire classe). Il a t fait chevalier sur la Liste dhonneur de
lanniversaire de la Reine en 1998.
Sir John Eliot Gardiner gehrt zu den vielseitigsten Dirigenten
unserer Zeit und trug bekanntermaen entscheidend zur Renaissance
Alter Musik bei. Er ist Grnder und knstlerischer Leiter von drei
Ensembles dem Monteverdi Choir, den English Baroque Soloists und
dem Orchestre Rvolutionnaire et Romantique und trat regelmig
mit den bedeutendsten Sinfonieorchestern Europas auf wie zum
Beispiel dem London Symphony Orchestra, Symphonieorchester
des Bayerischen Rundfunks, Koninklijk Concertgebouworkest, der
esk filharmonie und dem Orchestre National de France. Zudem
dirigierte er am Royal Opera House, Covent Garden und am Teatro
La Fenice (Venedig). Der Umfang von Gardiners Repertoire spiegelt
sich in den 250 Einspielungen wieder, die der Dirigent bei den
groen Plattenfirmen aufgenommen hat. Seine Scheiben erhielten
zahlreiche internationale Auszeichnungen wie zum Beispiel den
von der britischen Musikzeitschrift Gramophone verliehenen
Special Achievement Award [Preis fr besondere Leistung] fr die
Liveaufnahmen der gesamten Kirchenkantaten Johann Sebastian
Bachs, die bei dem von Gardiner 2006 gegrndeten Label Soli Deo
Gloria (SDG) erschienen. Der Katalog von SDG umfasst mittlerweile
unter anderem Bachs Johannespassion, die Brandenburgischen
Konzerte und alle Motetten Bachs, eine Gesamtaufnahme der
Sinfonien von Brahms und Aufnahmen mit dem Monteverdi Choir
a cappella. Zu Sir John Eliot Gardiners zahlreichen Preisen und
Auszeichnungen gehren Ehrendoktortitel von der Universit
de Lyon und dem New English Conservatory of Music in Boston,
Positionen als Honorary Fellow [Ehrendozent] am Kings College
London und an der Royal Academy of Music, die Ernennungen zum
Commandeur dans lOrdre des Arts et des Lettres und Chevalier
de la Lgion dHonneur sowie Deutschlands Verdienstkreuz
(Erster Klasse). 1998 wurde ihm bei den jhrlichen Ehrungen
zum Geburtstag der britischen Knigin die Ritterwrde verliehen.
 Richard Ecclestone
Jennifer Johnston mezzo-soprano Jocasta
Jennifer Johnston is a BBC New Generation Artist, was named by
the Financial Times (UK) as the face to watch in opera, and is
the recipient of numerous awards, including Second Prize in the
Montserrat Caball International Singing Competition, two Susan
Chilcott Scholarships, and a Wingate Scholarship. She has appeared
in operas at the Salzburg Festival, the Edinburgh International
Festival, the Festival dAix-en-Provence, Opera de Lille, the Aldeburgh
Festival, Scottish Opera, and Opera North, with roles including
Fricka (Der Ring des Nibelungen), Suzuki (Madame Butterfly), Mrs
Herring (Albert Herring), and the title roles of Dido and Aeneas,
Hnsel und Gretel, Lucretia, and Agrippina.
She has appeared with many orchestras, including the BBC Symphony,
Royal Philharmonic, Philharmonia, BBC National Orchestra of
Wales, Hall, English Concert, and the Akademie fr Alte Musik,
with conductors including Bernard Haitink, Sir John Eliot Gardiner,
Jaap van Zweden, Harry Bicket, Leonard Slatkin, and Martyn Brabbins.
A noted recitalist, she has appeared at Wigmore Hall (London), and
at the Cheltenham, City of London, Perth, and Aldeburgh festivals,
and broadcasts regularly on BBC Radio 3. Her discography includes
Britten songs with Malcolm Martineau and Thuille songs with
Joseph Middleton.
16
Jennifer Johnston est Artiste de la nouvelle gnration de la BBC Jennifer Johnston gehrt zu den mit dem Frderprogramm des
et a t distingue par le Financial Times (Royaume-Uni) comme Radiosenders BBC Radio 3 [New Generation Artists] ausgezeichneten
le visage suivre lopra ; elle a remport de nombreux prix, jungen MusikerInnen. Die Financial Times (Grobritannien) nannte
notamment un second prix au Concours international de chant sie das Gesicht in der Oper, das man sich merken sollte. Sie
Montserrat-Caball, deux bourses Susan-Chilcott et une bourse erhielt zahlreiche Auszeichnungen wie zum Beispiel den Zweiten
Wingate. Elle sest produite sur scne au Festival de Salzbourg, au Preis beim Internationalen Gesangswettbewerb Montserrat Caball,
Festival international dEdimbourg, au Festival dAix-en-Provence, zwei Susan-Chilcott-Stipendien und ein Wingate-Stipendium. In
lOpra de Lille, au Festival dAldeburgh, lOpra dEcosse et der Oper war sie bei den Salzburger Festspielen, beim Edinburgh
lOpera North, dans des rles comme Fricka (LAnneau du Nibelung), International Festival und Festival dAix-en-Provence, in der Opra
Suzuki (Madame Butterfly), Mrs Herring (Albert Herring) et les de Lille, beim Aldeburgh Festival, in der Scottish Opera sowie in
rles titres de Didon et Ene, Hnsel et Gretel, Le Viol de Lucrce der Opera North zu hren. Dabei sang sie solche Rollen wie die
et Agrippina. Fricka (Der Ring des Nibelungen), Suzuki (Madam Butterfly), Mrs.
Herring (Albert Herring) und die Titelrollen in Dido and Aeneas,
Elle a chant avec de nombreux orchestres, notamment lOrchestre Hnsel und Gretel, Lucretia sowie Agrippina.
symphonique de la BBC, lOrchestre royal philharmonique, le
Philharmonia, lOrchestre national de la BBC du Pays de Galles, Sie trat mit vielen Orchestern auf wie zum Beispiel dem BBC
lOrchestre Hall, lEnglish Concert et lAkademie fr Alte Musik, Symphony Orchestra, Royal Philharmonic Orchestra, Philharmonia
sous la direction de chefs comme Bernard Haitink, Sir John Eliot Orchestra, BBC National Orchestra of Wales, Hall Orchestra,
Gardiner, Jaap van Zweden, Harry Bicket, Leonard Slatkin et Martyn English Concert und der Akademie fr Alte Musik unter der Leitung
Brabbins. Excellant galement en rcital, elle sest produite au solcher Dirigenten wie Bernard Haitink, Sir John Eliot Gardiner, Jaap
Wigmore Hall (Londres) et aux festivals de Cheltenham, City of van Zweden, Harry Bicket, Leonard Slatkin und Martyn Brabbins
London, Perth et Aldeburgh ; on peut lentendre rgulirement sur auf. Als beachtete Konzertsolistin sang sie in der Wigmore Hall
les ondes de la BBC Radio 3. Sa discographie inclut des mlodies (London) und bei den Festivals in Cheltenham, City of London,
de Britten avec Malcolm Martineau et des mlodies de Thuille Perth und Aldeburgh. Fr das BBC Radio 3 nimmt sie regelmig
avec Joseph Middleton. auf. Zu ihrer Diskographie gehren Lieder von Britten, die sie mit
Malcolm Martineau eingespielt hat, und Lieder von Thuille mit
Joseph Middleton.
 John Wright
Stuart Skelton tenor Oedipus
Stuart Skelton has emerged as one of the finest heroic tenors of
his generation with performances on leading concert and operatic
stages from his native Australia to Asia, Europe, and North America.
His repertoire encompasses many of operas most challenging
roles, including Wagners Erik and Siegmund, Beethovens Florestan
(Fidelio), Saint-Sans Samson (Samson et Dalila), and the title roles
in Peter Grimes, Parsifal, and Lohengrin. More recently he has
performed in Das Lied von der Erde, Wozzeck, Der Freischtz,
Die Frau ohne Schatten, and Der Fliegende Hollnder.
Closely associated with Siegmund in Die Walkre, Skelton has
performed the role at Seattle Opera, Opra National de Paris, and
the Metropolitan Opera. His portrayal of Peter Grimes has been
presented at the BBC Proms conducted by Edward Gardner, at
the Opera de Oviedo, and in Toyko at the New National Theatre.
He has worked with, among others, Sir Simon Rattle, James Levine,
Daniel Barenboim, Michael Tilson Thomas, Daniele Gatti, Fabio Luisi,
and Jonathan Nott, at venues including the Metropolitan Opera,
Staatsoper Hamburg, Opernhaus Zrich, and Berlin State Opera.
17
Stuart Skelton sest impos comme lun des plus grands tnors Stuart Skelton gehrt nunmehr zu den besten Heldentenren seiner
hroques de sa gnration, se produisant sur les principales Generation mit Auftritten auf fhrenden Konzert- und Opernbhnen
scnes de concert et dopra de son pays natal, lAustralie, angefangen in seinem Heimatland Australien bis zu Asien, Europa
mais aussi dAsie, dEurope et dAmrique du Nord. Il chante und Nordamerika. Sein Repertoire umfasst viele der schwierigsten
de nombreux rles parmi les plus redoutables du rpertoire, Rollen wie zum Beispiel Wagners Erik und Siegmund, Beethovens
notamment Erik (Le Vaisseau fantme) et Siegmund (La Walkyrie) Florestan (Fidelio), Saint-Sans Samson (Samson et Dalila) und
de Wagner, Florestan (Fidelio de Beethoven), Samson (Samson et die Titelrollen in Peter Grimes, Parsifal und Lohengrin. In jngster
Dalila de Saint-Sans) et les rles titres de Peter Grimes, Parsifal Zeit war er im Lied von der Erde, Wozzeck, Freischtz, der Frau
et Lohengrin. Plus rcemment, on a pu lentendre dans Le Chant ohne Schatten und dem Fliegenden Hollnder zu hren.
de la terre, Wozzeck, Le Freischtz et La Femme sans ombre.
Stuart Skelton wird gern mit dem Siegmund aus Wagners Walkre
Siegmund est lun de ses rles ftiches ; il la chant lOpra de assoziiert, hat er diese Rolle doch sowohl an der Seattle Opera als
Seattle, lOpra national de Paris et au Metropolitan Opera de auch an der Opra National de Paris sowie an der Metropolitan
New York. Il a incarn Peter Grimes aux BBC Proms sous la direction Opera interpretiert. Sein Portrt des Peter Grimes wurde bei den
dEdward Gardner, lOpra dOviedo et au Nouveau Thtre BBC Proms unter der Leitung von Edward Gardner, an der pera
national de Toyko. Il a travaill notamment avec Sir Simon Rattle, de Oviedo und am Neuen Nationaltheater in Tokio vorgestellt. Stuart
James Levine, Daniel Barenboim, Michael Tilson Thomas, Daniele Skelton arbeitete unter anderem mit Sir Simon Rattle, James Levine,
Gatti, Fabio Luisi et Jonathan Nott, sur des scnes comme le Daniel Barenboim, Michael Tilson Thomas, Daniele Gatti, Fabio
Metropolitan Opera, la Staatsoper de Hambourg, lOpra de Zurich Luisi und Jonathan Nott zusammen und war zum Beispiel an der
et la Staatsoper de Berlin. Metropolitan Opera, Hamburgischen Staatsoper, im Opernhaus
Zrich und an der Berliner Staatsoper zu hren.
 Johan Persson
Gidon Saks bass-baritone Creon
Born in Israel and raised in South Africa, Gidon Saks trained at the
Royal Northern College of Music and the University of Toronto. He
was a member of the Ensemble of the Canadian Opera, received
a full scholarship to the Zurich Opera Studio, and has appeared
in many worldwide opera houses, including the Berlin Staatsoper,
Royal Opera House, Covent Garden, English National Opera, La
Fenice, and Welsh National Opera. His stage highlights include Nick
Shadow (The Rakes Progress), Kaspar (Der Freischtz), Fasolt
(Das Rheingold), Duke Bluebeards Castle, Hagen (Gtterdmmerung), (LOr du Rhin), le Duc (Le Chteau de Barbe-Bleue), Hagen (Le
and Boris Godunov.
He has created roles such as George Moscone (Stewart Wallaces
Harvey Milk), Hamilcar (Fnlons Salammb with Bastille Opera), Wallace), Hamilcar (Salammb de Fnelon lOpra-Bastille) et le
and the Messenger (Alexander Goehrs Arianna) for the Royal Opera
House (London), and his critically acclaimed performance as Claggart
(Billy Budd) with the LSO won a Grammy Award (2010). Other
recordings include Abbot (Brittens Curlew River), the Gravedigger
(Weills Silbersee), and title roles in Handels Hercules and Saul,
the latter winning a Gramophone Award. Gidon Saks is also active
as a director/designer and is visiting Professor of Voice at the
Conservatoire of Ghent in Belgium.
18
N en Isral et lev en Afrique du Sud, Gidon Saks a fait ses tudes
au Royal Northern College of Music (Manchester) et lUniversit
de Toronto. Il a t en troupe au Canadian Opera, a reu une
bourse complte de lOpra-Studio de Zurich, et sest produit dans
les principaux thtres mondiaux, tels la Staatsoper de Berlin, lOpra
royal de Covent Garden, lEnglish National Opera, la Fenice et lOpra
national du Pays de Galles. Parmi ses rles de prdilection, citons
Nick Shadow (The Rakes Progress), Kaspar (Der Freischtz), Fasolt
Crpuscule des dieux) et Boris Godounov.
Il a cr des rles comme George Moscone (Harvey Milk de Stewart
Messager (Arianna dAlexander Goehr lOpra royal de Covent
Garden) et a obtenu un grand succs critique en Claggart (Billy Budd)
avec lOrchestre symphonique de Londres, production rcompense
dun Grammy Award (2010). Parmi ses autres enregistrements, citons
Abbot (La Rivire aux courlis de Britten), le Fossoyeur (Le Lac
dargent de Weill) et les rles titres dHercules et Saul de Haendel,
ce dernier ouvrage recevant un Gramophone Award. Gidon Saks
travaille galement comme metteur en scne/dcorateur et est
professeur de chant invit au Conservatoire de Gand (Belgique).
Gidon Saks wurde in Israel geboren und wuchs in Sdafrika auf. Er
studierte am Royal Northern College of Music und an der University
of Toronto. Er gehrte zum Ensemble der Canadian Opera Company
und erhielt ein volles Stipendium fr das Internationale Opernstudio
des Opernhauses Zrich. Er trat in Opernhusern der ganzen Welt
auf wie zum Beispiel an der Berliner Staatsoper, am Royal Opera
House/Covent Garden, an der English National Opera, am Teatro
La Fenice und an der Welsh National Opera. Zu seinen Hhepunkten
auf der Bhne zhlen der Nick Shadow (Rakes Progress [Der
Wstling]), Kasper (Der Freischtz), Fasolt (Das Rheingold), der
Herzog (A kkszakll herceg vra [Herzog Blaubarts Burg]), Hagen
(Die Gtterdmmerung) und die Titelrolle in Boris Godunow.
Gidon Saks gestaltete auch solche Rollen wie den George Mascone
(Stewart Wallaces Harvey Milk), Hamilcar (Fnlons Salammb
an der Opra Bastille) und den Boten (Alexander Goehrs Arianna
[Ariadne]) fr das Royal Opera House/Covent Garden. Seine von
den Rezensenten gepriesene Interpretation des Claggarts (Billy
Budd) mit dem London Symphony Orchestra brachte ihm einen
Grammy Award ein (2010). Zu seinen Einspielungen gehren der
Abt (Brittens Curlew River [Fluss der Mwen oder Der Brachvogel-
Fluss oder Am Mvenfluss]), ein Totengrber (Weills Silbersee)
und die Titelrollen in Hndels Hercules [Herakles] und Saul. Die
letztgenannte Aufnahme bescherte Gidon Saks einen Preis der
britischen Musikzeitschrift Gramophone. Gidon Saks ist auch als
Regisseur und Designer aktiv und Gastdozent fr Gesang am
Hogeschool Gent Conservatorium in Belgien.
 Fanny Ardant narrator
Fanny Ardant has enjoyed a 40-year acting career, and is equally
at home in films, television or on stage. Born in Saumur, she spent
her childhood travelling to Sweden, Spain, and Great Britain, before
settling with her family in Monaco. She studied at the Institute of
Political Sciences in Aix-en-Provence then worked at the Office of
Foreign Affairs in London, before returning to Paris and joining a
drama course. Her first stage appearance was at the 1974 Festival
du Marais, playing Pauline in Pierre Corneilles tragedy Polyeucte.
Her credits include Alain Resnais Life is a Bed of Roses, lAmour
mort, and Mlo, Franois Truffauts Confidentially Yours, Claude
Lelouchs Les Uns et les Autres, and a number of television projects,
including Nina Companezs Les dames de la cte the series that
led to her discovery by Truffaut and casting in The Woman Next
Door (with Grard Depardieu), which established her as one of
Frances leading actresses. In the late 1990s she was highly prolific,
appearing in the film Beyond the Clouds and Sydney Pollacks
Sabrina, making her return to the theatre, and proving herself
a skilled comedienne in Pdale douce (Csar Award Best
Actress). Recently she reunited with Depardieu in Hello Goodbye,
and returned to television in Nos retrouvailles and Raspoutine.
19
Aussi laise au cinma, au thtre ou la tlvision, Fanny Ardant Fanny Ardant kann auf eine 40-jhrige Schauspielkarriere zurckblicken
fait carrire depuis prs de quarante ans. Ne Saumur, elle a vcu und fhlt sich im Film, Fernsehen und auf der Bhne gleichermaen
dans son enfance en Sude, en Espagne et en Grande-Bretagne zu Hause. Sie wurde in Saumur geboren und verbrachte ihre Kindheit
avant que sa famille sinstalle Monaco. Elle a fait ses tudes in Schweden, Spanien und Grobritannien, bis sich ihre Familie
lInstitut de sciences politiques dAix-en-Provence puis travaill in Monaco niederlie. Sie studierte am Institut dtudes politiques
au ministre des Affaires trangres Londres, avant de rentrer (Institut fr politische Studien) in Aix-en-Provence und arbeitete dann
Paris et de suivre des cours dart dramatique. Sa premire apparition im Office of Foreign Affairs [britischen Auenministerium] in London,
sur les planches fut en 1974 au Festival du Marais, o elle incarnait worauf sie nach Paris zurckkehrte und ein Schauspielstudium
Pauline dans Polyeucte, la tragdie de Pierre Corneille. begann. Ihr erster Bhnenauftritt erfolgte 1974 beim Festival du Marais,
wo sie die Pauline in Pierre Corneilles Tragdie Polyeucte spielte.
Elle a tourn notamment dans La vie est un roman, LAmour
mort et Mlo dAlain Resnais, Vivement dimanche ! de Franois Zu ihren erfolgreichen Engagements gehren Alain Resnais La
Truffaut, Les Uns et les Autres de Claude Lelouch et de nombreux Vie est un roman [Das Leben ist ein Roman], lAmour mort [Liebe
tlfilms comme Les Dames de la cte de Nina Companeez la bis in den Tod] und Mlo, Franois Truffauts Vivement dimanche!
srie qui la rvle Truffaut et lui a valu dtre engage dans La [Auf Liebe und Tod], Claude Lelouchs Les Uns et les Autres [Ein
Femme d ct (aux cts de Grard Depardieu), qui la consacre jeglicher wird seinen Lohn empfangen...] und eine Reihe von
comme une des actrices franaises majeures. A la fin des annes Fernsehprojekten wie zum Beispiel Nina Companez Les dames
1990, elle sest montre particulirement prolifique, apparaissant de la cte [Die Damen von der Kste] die Reihe, bei der sie von
au cinma dans Par-del les nuages de Michelangelo Antonioni Truffaut entdeckt wurde sowie ihr Auftritt in La Femme d ct
et Wim Wenders et dans Sabrina de Sydney Pollack, faisant son [Die Frau nebenan] (mit Grard Depardieu), der ihren Ruf als fhrende
retour sur les planches, et se montrant une comdienne talentueuse franzsische Hauptdarstellerin begrndete. In den 1990er Jahren
dans Pdale douce (Csar de la Meilleure actrice). Rcemment, war sie sehr aktiv. Sie trat unter anderem im Film Al di l delle
elle a retrouv Depardieu dans Hello Goodbye, et la tlvision nuvole [Jenseits der Wolken] und in Sydney Pollacks Sabrina auf,
avec Nos Retrouvailles et Raspoutine. mit der sie sich wieder dem Theater zuwandte. Sie bewies auch
ihr Talent fr Komdie in Pdale douce [Auch Mnner mgens
hei!] (Csar-Preis beste Hauptdarstellerin). Vor Kurzem arbeitete
sie in Hello Goodbye [Hello Goodbye Entscheidung aus Liebe]
erneut mit Depardieu zusammen und war im Fernsehen in Nos
retrouvailles und Raspoutine zu sehen.
 Orchestra featured on this recording:

First Violins Violas Flutes Horns Timpani

Tomo Keller LEADER Edward Vanderspar * Gareth Davies * ^ Timothy Jones * ^ Antoine Bedewi * ^

David Alberman Gillianne Haddow Siobhan Grealy ^ Angela Barnes ^

Elizabeth Pigram Malcolm Johnston Hugh Sisley ^ Percussion
Harriet Rayfield German Clavijo Piccolo Jonathan Lipton ^ Sam Walton * ^
Sylvain Vasseur Anna Green Sharon Williams * ^ Daniel Curzon ^ David Jackson ^
Maxine Kwok-Adams Richard Holttum ^
Nigel Broadbent Robert Turner ^ Oboes Trumpets Harp
Ginette Decuyper ^ Heather Wallington Christopher Cowie ** ^ Roderick Franks * ^ Bryn Lewis * ^

Jrg Hammann ^ Jonathan Welch ^ Holly Randall ^ Gerald Ruddock ^

Laurent Quenelle Fiona Dalgliesh ^ Bo Fuglsang ^ Piano
Colin Renwick ^ Cor Anglais Robert Smith ^ John Alley * ^

Ian Rhodes ^ Cellos Christine Pendrill * ^

Gerald Gregory ^ Rebecca Gilliver * Trombones

Gabrielle Painter ^ Alastair Blayden Clarinets Byron Fulcher ** ^
Daniel Gardner Chris Richards * ^ James Maynard ^ * Principal
Second Violins Minat Lyons Lorenzo Iosco ^ ** Guest Principal
Thomas Norris * Eve-Marie Caravassilis Bass Trombone
Sarah Quinn Hilary Jones E-flat Clarinet Paul Milner * ^ ^ Oedipus Rex only
Miya Visnen Jennifer Brown ^ Chi-Yu Mo * ^
Matthew Gardner Mary Bergin ^ Tuba
Richard Blayden Amanda Truelove ^ Bassoons Patrick Harrild * ^

Philip Nolte Fredrik Ekdahl ** ^

Paul Robson Double Basses Joost Bosdijk ^

Louise Shackelton Colin Paris *
Ingrid Button ^ Nicholas Worters Contrabassoon
Oriana Kriszten ^ Patrick Laurence Dominic Morgan * ^

Stephen Rowlinson ^ Matthew Gibson

Raja Halder ^ Thomas Goodman ^

Jani Pensola ^

20
 London Symphony Orchestra
Patron
Her Majesty The Queen
Principal Conductor
Valery Gergiev
Principal Guest Conductors
Daniel Harding
Michael Tilson Thomas
Conductor Laureate
Andr Previn KBE
The LSO was formed in 1904 as Londons
first self-governing orchestra and has been
resident orchestra at the Barbican since
1982. Valery Gergiev became Principal
Conductor in 2007 following in the footsteps
of Hans Richter, Sir Edward Elgar, Sir Thomas
Beecham, Andr Previn, Claudio Abbado
and Michael Tilson Thomas among others.
Sir Colin Davis had previously held the
position since 1995 and from 2007 became
the LSOs first President since Leonard
Bernstein. The Orchestra gives numerous
concerts around the world each year,
plus more performances in London than
any other orchestra. It is the worlds most
recorded symphony orchestra and has
appeared on some of the greatest classical
recordings and film soundtracks. The LSO
also runs LSO Discovery, its ground-breaking
education programme that is dedicated to
introducing the finest music to young and old
alike and lets everyone learn more from the
Orchestras players. For more information
visit lso.co.uk
Premier orchestre autogr de Londres,
le LSO fut fond en 1904. Il est en rsidence
au Barbican depuis 1982. Valery Gergiev a
t nomm premier chef en 2007, succdant
Hans Richter, Sir Edward Elgar, Sir Thomas
Beecham, Andr Previn, Claudio Abbado
et Michael Tilson Thomas, entre autres.
Sir Colin Davis occupait auparavant le
poste depuis 1995 et, en 2007, il devint
le premier prsident du LSO depuis
Leonard Bernstein.Chaque anne, lOrchestre
donne de nombreux concerts travers
le monde, tout en se produisant plus
souvent Londres que nimporte quel autre
21
orchestre. Cest lorchestre au monde qui a
le plus enregistr, et on le retrouve sur
des enregistrements devenus de grands
classiques, ainsi que sur les bandes son
des films les plus clbres. Grce LSO
Discovery, lOrchestre est galement un
pionnier en matire de pdagogie; ce
programme sattache faire dcouvrir les
plus belles pages du rpertoire aux enfants
comme aux adultes, et permettre chacun
de senrichir au contact des musiciens de
lOrchestre. Pour plus dinformations, rendez
vous sur le site lso.co.uk
Das LSO wurde 1904 als erstes
selbstverwaltetes Orchester in London
gegrndet und ist seit 1982 im dortigen
Barbican beheimatet. Valery Gergiev wurde
2007 zum Chefdirigenten ernannt und trat
damit in die Fustapfen von Hans Richter,
Sir Edward Elgar, Sir Thomas Beecham,
Andr Previn, Claudio Abbado, Michael
Tilson Thomas und anderen. Sir Colin
Davis hatte diese Position seit 1995 inne
und wurde 2007 zum ersten Prsidenten
des London Symphony Orchestra seit
Leonard Bernstein erkoren. Das Orchester
gibt jedes Jahr zahlreiche Konzerte in aller
Welt und tritt darber hinaus hufiger in
London auf als jedes andere Orchester.
Es ist das meistaufgenommene Orchester
der Welt und hat einige der bedeutendsten
klassischen Schallplattenaufnahmen und
Filmmusiken eingespielt. Daneben zeichnet
das LSO verantwortlich fr LSO Discovery, ein
bahnbrechendes pdagogisches Programm
mit dem Ziel, Jung und Alt die schnste
Musik nahe zu bringen und mehr von den
Musikern des Orchesters zu lernen. Wenn Sie
mehr erfahren mchten, schauen Sie bei uns
herein: lso.co.uk
For further information and licensing
enquiries please contact:
LSO Live
London Symphony Orchestra
Barbican Centre,
London EC2Y 8DS
T 44 (0)20 7588 1116
E lsolive@lso.co.uk
Also available on LSO Live
Rachmaninov Symphonic Dances & Stravinsky Symphony in Three Movements
Valery Gergiev
LSO Live
SACD (LSO0688) or download
55th Annual GRAMMY Award Nomination Best Orchestral Performance
***** Audiophile Audition (US)
how beautifully blended and responsive they [LSO] are under Gergievs direction ... there
is much to enjoy here, not least an orchestra that is at the very top of its game under its
Rachmaninov charismatic conductor
Symphonic Dances International Record Review (UK)
Stravinsky Symphony in Three Movements
Valery Gergiev
London Symphony Orchestra
Bartk Bluebeards Castle
Valery Gergiev, Elena Zhidkova, Sir Willard White
SACD (LSO0685) or download
LSO Live
Opera Choice of the Month & Essential Work BBC Music Magazine (UK)
Bartk
Bluebeards Castle
ffff Tlrama (France)
Valery Gergiev La Clef ResMusica (France)
Elena Zhidkova
Sir Willard White Disc of the Month Opera Magazine (UK)
London Symphony Orchestra
Debussy La mer, Jeux, Prlude laprs-midi dun faune
LSO Live Valery Gergiev
SACD (LSO0692) or download
Performance **** Recording *****
the brass entries in the climaxes to the first and last movements of La mer have rarely
sounded so good on disc: superlative SACD recording
BBC Music Magazine (UK)
Jeux turns out to be Valery Gergievs game, set and match. The ambiguity and transience
Debussy
La mer | Jeux of the music are captured with fleet-footed energy, wit and real piquancy
Prlude laprs-midi dun faune
International Record Review (UK)
Valery Gergiev
London Symphony Orchestra
Prokofiev Romeo & Juliet
Valery Gergiev
2SACD (LSO0682) or download
LSO Live
Disc of the Year & Best Orchestral Album BBC Music Magazine Awards (UK)
Prokofiev Choice of the Month Orchestral & Essential Work BBC Music Magazine (UK)
Romeo & Juliet
Valery Gergiev Editors Choice Gramophone (UK)
London Symphony Orchestra
Editors Choice Classic FM Magazine (UK)
Clef de ResMusica ResMusica (France)
Rachmaninov Symphony No 2
Valery Gergiev
SACD (LSO0677) or download
LSO Live
Editors Choice
Rachmaninov Gergiev has his finger firmly on the pulse of this great Romantic symphony ... The risks
Symphony No 2
Valery Gergiev and challenges that live performances invite are taken and negotiated with aplomb,
London Symphony Orchestra
discretion and vitality throughout this interpretation
BBC Music Magazine (UK)
Supersonic Award Pizzicato (Luxembourg)
***** Gergiev seems to communicate a darker side to this music
Audiophile Audition (US)