[1/1/2012] Why I'm crazy about "Die Fledermaus" (continued)

LET'S GET OUR PEOPLE TO ORLOFSKY'S

ADELE GETS A LETTER FROM HER SISTER

Of the three members of the Eisenstein household who find their way to Prince Orlofsky's ball, it's Adele who makes the largest leap of fantasy, having had the misfortune to be made by Mother Nature a mere maid. It's also Adele who by temperament whips up the greatest drama, because she is by temperament a performer. It hardly comes as a surprise when in disguise at the ball she fantasizes herself as an actress. Like a lot of disappointed-in-life folks I've known, she makes her life itself a performance.

She makes one of opera's more theatrical entrances, singing up a storm of hope and frustration.

Ha-ha-ha-ha! Yes!
Here writes my sister Ida,
she's in the ballet:
"Today, we will be at a villa
where all is off and running.
Prince Orlofsky, that rich fast fellow,
is giving a grand supper there this evening.
If you could filch an outfit
grom your noble mistress
and elegantly present yourself,
I will gladly escort you there.
Just get the night off and I'll bet
we'll have a lot of fun;
there is never boredom there."

Thus writes my sister Ida.
Ah, I believe it, I've no doubt
I'd love to be a part of it,
but it's a difficult business!
If only I could get away: if I only knew how!
Ah, if I were that little dove there,
I could fly about, hither and yon,
and in bliss and pleasure
wwing through that ethereal blue yonder.
Ah, Mother Nature, why did you make
me only a lady's chambermaid?

[in English] Patrice Munsel (s), Adele; Jan Peerce (t), Alfred; RCA Victor Orchestra, Fritz Reiner, cond. RCA, recorded c1950
Wilma Lipp (s), Adele; Philharmonia Orchestra, Otto Ackermann, cond. EMI, recorded June 1959

EISENSTEIN'S SUMMONS TO A SUPPER

Now here is Herr von Eisenstein, prison-bound this very evening, being seduced (I don't think there's any other word for it) by his supposed friend Doctor Falke to take a small detour this evening, to a little supper party he happens to know about.

DR. FALKE: Come with me to the supper party,
it is quite close by!
Before you, in that quiet chamber,
work off that hangover,
you must enjoy life,
be a loyal brother!
Ballerinas lightly floating
in the most dazzling attire,
gind you fast with chains of roses,
when the tempting polka sounds!
Old chap, believe me, that rejuvenates!
To rousing tunes
in the glittering ballroom.
With charming sirens
at the divine meal,
the hours will fly by
in desire and jest.
There you will recover
from all pain:
if prison is not to hurt you,
you must do something to distract yourself!
Do you see that?
EISENSTEIN: I see that!
But my wife must know nothing of this.
DR. FALKE: You will tenderly kiss her good-bye,
and say,"Farewell, my sweet kitten!"
EISENSTEIN: No, no, I'll say, "My little mouse,
my sweet little mouse!"
Then as a cat, I'll creep out myself,
out of the house.
DR. FALKE: Sweet little mouse!
Then you, as a cat, will creep
out of the house.
And while she is fast asleep,
you'll go, instead of to jail,
with me to the heavenly feast!
EISENSTEIN: With you to the heavenly feast!
DR. FALKE: I'll introduce you as a foreigner:
you'll be Marquis Renard [Marquis Fox] there!
Then no one will guess;
d you want to?
EISENSTEIN: Ah, I would be willing.
DR. FALKE: You must!
EISENSTEIN: If only . . .
DR. FALKE: You must allow yourself,
for it is necessary for your health.
EISENSTEIN: Yes, I think you are right.
As an excuse, it's not bad.
DR. FALKE: If prison is not to hurt you,
you must do something to distract yourself!
So you'll come?
EISENSTEIN: If prison is not to do me harm,
I must do something to distract myself!
Who can resist?
Yes, count me in!
DR. FALKE: To the devil with your glue-boiling!
BOTH: A supper party is beckoning us,
like one never seen before,
an array of beautiful girls;
boundlessly, we'll laugh and sing!
Lalala, lalala, etc.

[in English] Ljuba Welitsch (s), Rosalinde; Charles Kullman (t), Gabriel von Eisenstein; Lily Pons (s), Adele; Metropolitan Opera Orchestra, Eugene Ormandy, cond. Columbia/Sony, recorded Dec. 1950-Jan. 1951
[in English, abridged] Robert Merrill (b), Dr. Falke; James Melton (t), Gabriel von Eisenstein; RCA Victor Orchestra, Fritz Reiner, cond. RCA, recorded c1950
Walter Berry (b), Dr. Falke; Karl Terkal (t), Gabriel von Eisenstein; Philharmonia Orchestra, Otto Ackermann, cond. EMI, recorded June 1959

ROSALINDE'S ARRIVAL AT THE BALL WILL BE
A SURPRISE TO US, BUT SHE TOO HAS PLANS

Her summons comes between Acts I and II. But already she is highly aware of the presence of her hormonal ex-boyfriend Alfred, as we heard in Friday night's post. And so when the three members of the household take their mock-tearful leave of one another, the ladies in particular are giving performances worthy of enshrining on any stage.

Friday night we heard only two crucial snippets from the scene: Rosalinde's grief-laden opening lament, and the trio refrain in which we hear what's really on the characters' minds. I promised then that we would hear the whole scene today, and so we will. Note in particular the consolation announced by Adele: "Es gibt ein Wiedersehen,, literally "There will be an again-seeing" except that "Wiedersehen" is an exceedingly common German word -- bear in mind that "auf Wiedersehen" (to that again-seeing) is how Germans customarily say goodby.

ROSALINDE: So I must remain alone
eight days without you.
How should I describe to you
my suffering, so dreadful!
How will I bear it
That my husband has left me?
To whom shall I lament my suffering,
O God, how this stirs me!
I shall think of you
In the morning over coffee,
When I want to pour some for you,
And see the empty cup,
No greeting can I wave to you,
In misery shall I surely
Drink it black and bitter.
Alas!
EISENSTEIN: Ah, how this stirs me!
ALL THREE: O God, how this stirs me!
Oh dear, oh dear, how this stirs me!
ROSALINDE: Where will the homey group be
when midday comes around?
With the roast beef, as with the soup,
with the roast, no husband!
And when sinks the nightly veil,
it will again be torn for me,
my pain will be monstrous!
ALL THREE: Oh dear, oh dear, how this stirs me! etc.
EISENSTEIN: Of what benefit is the complaining?
I'm utterly losing my head!
ROSALINDE: My head is quite dizzy.
ADELE: I have mine right here.
EISENSTEIN: Farewell, I must go now!
ROSALINDE and ADELE: Farewell, now you (he) must go!
ALL THREE: Yet there remains one sweet consolation!
ADELE: There will be a reunion!
ALL THREE: There will be a reunion!
Oh God, how this stirs me!
Oh dear, oh dear, how this stirs me! etc.

[in English] Ljuba Welitsch (s), Rosalinde; Charles Kullman (t), Gabriel von Eisenstein; Lily Pons (s), Adele; Metropolitan Opera Orchestra, Eugene Ormandy, cond. Columbia/Sony, recorded Dec. 1950-Jan. 1951
Gerda Scheyrer (s), Rosalinde; Wilma Lipp (s), Adele; Karl Terkal (t), Eisenstein; Philharmonia Orchestra, Otto Ackermann, cond. EMI, recorded June 1959

AT THE BALL

ADELE IN HIGH-PERFORMANCE MODE

Despite their costumes, Adele recognizes her master, Eisenstein, or "Marquis Renard," who is so sure he recognizes his chambermaid that he calls her out. However, "Fräulein Olga" disabuses him witheringly -- our Adele is in high performance mode.

Die Fledermaus, Act II: Couplet, Adele, "Mein Herr Marquis"

ADELE: My dear Marquis, a man like you
should better understand that.
Therefore, I advise you to look more
closely at people!
This hand is surely far too fine, hahaha.
This foot so dainty and small, hahaha.
The manner of speaking which I have,
my waist, my bustle,
these would never be found
on a lady's maid!
You really must admit,
this mistake was very comical!
Yes, very comical, hahaha,
is this matter, hahaha.
So pardon me, hahaha,
if I laugh, haha a!
ADELE and GUESTS: Yes, very comical, hahaha,
is this matter, hahaha!
ADELE: You are very comical, Marquis!
With this profile in Grecian style
being a gift of nature;
if this face doesn't say enough,
just look at my figure!
Ah, just look through your lorgnette, ah!,
at this outfit, ah!,
it seems to me that love
has clouded your eyes!
The image of your chambermaid
has quite filled your heart!
Now you see her everywhere.
This is truly a very comic situation!
es, very comical, hahaha,
is this matter, hahaha,
so pardon me, hahaha,
if I laugh, hahaha!
ADELE and GUESTS: Yes, very comical, hahaha,
us this matter, hahaha.

Edita Gruberová (s), Adele; Vienna State Opera Chorus, Vienna Philharmonic, André Previn, cond. Philips, recorded 1990


ROSALINDE AS A HUNGARIAN COUNTESS

Eisenstein does not recognize his wife, who has been rigged out by Dr. Falke with the identity of a Hungarian countess. The lunk goes so far as to attempt to seduce the countess (I came close to including this wonderful duet), who I think it's fair to say is in even higher-performance mode than Adele. When the guests, led by none other than Adele, challenge her to take off her mask, and question her Hungarianness, she responds defends her Magyar identity with one of the great operatic showpieces.

(We've already heard Regina Resnik as Prince Orlofsky (in the Karajan-Decca recording), in her later career as a mezzo. I thought it would be fun to hear her as a soprano.

Die Fledermaus, Act II: Csárdás, Rosalinde, "Klänge der Heimat" ("Sounds of my homeland")

ROSALINDE: Sounds of my homeland,
you awaken my longing,
call forth tears
to my eyes!
When I hear you,
you songs of home,
you draw me back,
my Hungary, to you!
O homeland, so wonderful,
how clearly shines the sun there!
How green your forests!
How laughing the fields!
Oh, land where I was so happy!
Yes, your beloved image
entirely fills my soul,
your beloved image!
And though I am far from you, ah so far,
yours remains for all eternity
my soul, ever there,
dedicated to you alone!
Oh, homeland so wondrous,
how clearly shines the sun there!
How green your forests!
How laughing your fields!
Oh, land, where I was so happy!
Fire, zest for living,
swell the true Hungarian breast,
Hurrah! On to the dance,
the Csárdás sounds so brightly!
Brown girl,
you must be my dancer;
give me your arm quickly,
dark-eyed child!
Thirsty tipplers,
grasp the cup,
pass it in a circle
quickly from hand to hand!
Slurp the fire
in the Tokay,
give a toast
from the fatherland! Ha!
Fire, Zest for life
swell the true Hungarian breast,
Hurray! To the spirited dance
the csárdás sounds loud and clear!
La, la, la, la, la!

[in English, abridged] Regina Resnik (s), Rosalinde; RCA Victor Orchestra, Fritz Reiner, cond. RCA, recorded c1950
Kiri Te Kanawa (s), Rosalinde; Vienna State Opera Chorus, Vienna Philharmonic, André Previn, cond. Philips, recorded November 1990


AND EVENTUALLY THE ASSEMBLAGE IS REDUCED
TO PLEASINGLY SODDEN DRUNKENNESS

I have just this one more excerpt on tap for tonight, as Dr. Falke who proposes a slobbering toast. (In the English-language performance you'll notice a weird upward harmonic lurch when the others join. George London has been singing the solo in downward transposition, as he did in the complete German-language recording made at the same time.)

DR. FALKE: Little brothers, little brothers and sisters
we all want to be,
all will agree with me!
Little brothers, little brothers and sisters,
adress each other with the familiar "du"
for all eternity, just as today,
when we think about it again tomorrow!
First a kiss and then a "du."
Du, du, du, forever!
ALL: Little brothers, little brothers and sisters
we all want to be,
all will agree with me!
Little brothers, little brothers and sisters
Each address the other with the familiar "du"
for all eternity, just as today,
when we think about it again tomorrow!
First a kiss and then a "du."
Du, du, du, forever!
First a kiss and then a "du."
Du, du, du, du!
Duidu, duidu, lalalala, etc.

[in English] George London (bs-b), Dr. Falke; et al.; Vienna Volksoper Chorus, Vienna Symphony Orchestra, Oskar Danon, cond. RCA, recorded June 1963
Eberhard Wächter (b), Dr. Falke; et al.; Philharmonia Chorus and Orchestra, Otto Ackermann, cond. EMI, recorded June 1959


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