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Bluebeard's Castle

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Duke Bluebeard's Castle(Hungarian:A kkszakll herceg vra; literally: The Castle of the

Blue-Bearded Prince) is a one-act opera byHungariancomposerBla Bartk. The libretto waswritten byBla Balzs, a poet and friend of the composer. It is inHungarian, based on the

French fairy taleBluebeardbyCharles Perrault. The opera lasts only a little over an hour and

there are only two singing characters onstage: Bluebeard (Kkszakll), and his new wife Judith(Judit); the two have just eloped and Judith is coming home to Bluebeard's castle for the first

time.

Bluebeard's Castle was composed in 1911 (with modifications made in 1912 and a new endingadded in 1917) and first performed on May 24, 1918 inBudapest. Universal published the vocal

(1921) and full score (1925). The Boosey & Hawkes' full score includes only the GermanandEnglish singing translations while the Dover edition reproduces the Universal EditionHungarian/German vocal score (with page numbers beginning at 1 instead of 5). A revision of

the UE vocal score in 1963 added a new German translation by Wilhelm Ziegler, but seems not

to have corrected any errata.

Contents

[hide]

1 Composition history 2 Performance history 3 Roles 4 Synopsis 5 Staging 6 Music and instrumentation 7 Translations 8 Recordings 9 See also 10 External links 11 References

o 11.1 Noteso 11.2 Bibliography

[edit] Composition history
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Balzs originally conceived the libretto for his roommateZoltn Kodlyin 1908, and wrote it

during the following two years. It was first published serially in 1910 with a joint dedication toKodly and Bartk, and in 1912 appeared with the prologue in the collection "Mysteries". Bartk

was motivated to complete the opera in 1911 by the closing date of the Ferenc Erkel Prize

competition, for which it was duly entered. A second competition, organised by the music

publishers Rzsavlgyi and with a closing date in 1912, encouraged Bartk to make somemodifications to the work in order to submit it to the Rzsavlgyi competition.

Little is known about the Ferenc Erkel Prize other than that Bluebeard's Castle did not win. The

Rzsavlgyi judges, after reviewing the composition, decided that the work (with only two

characters and a single location) was not dramatic enough to be considered in the category forwhich it was entered: theatrical music. It is thought that the panel of judges who were to look at

the musical (rather than the theatrical) aspects of the competition entries never saw Bartk's

entry.

In 1913 Balzs produced a spoken performance at which Bartk played some piano pieces on a

separate part of the program. A 1915 letter to Bartk's young wife, Mrta, (to whom he dedicatedthe opera) ends:

Now I know that I will never hear it in this life. You asked me to play it for youI am afraid I

would not be able to get through it. Still I'll try so that we may mourn it together.[1]

[edit] Performance history

The success of the balletThe Wooden Princein 1917 paved the way for the May 1918 premire

with the same conductor,Egisto Tango. Oszkr Klmn was the first Bluebeard and Olga

Haselbeck the first Judith. Following Balzs' exile in 1919 and the ban on his work there were no

revivals until 1936. Bartk attended rehearsals and reportedly sided with the new Bluebeard,Mihly Szkely, over the new conductorSergio Failoni, who was insisting on fidelity to the

printed score. On the Dorati recording Szkely displays an assured sense of parlando rubato; less

certain is whether Bartk sanctioned some of the changed pitches (or indeed if Szkely doesthem on another recording made with Jnos Ferencsik).

Bluebeard's Castle was first performed in Italy at theMaggio Musicale Fiorentinoon 5 May1938. The production was conducted bySergio Failoniand starredMikls Szkelyin the title

role andElla Nmethyas Judith. TheTeatro di San Carlomounted the opera for the first time on

19 April 1951 with contraltoIsa Malafunkand bassMario Petri. The work'sLa Scaladebut

occurred on 28 January 1954 with American sopranoDorothy Dowas Judith and Petri as

Bluebeard. This was followed by several other productions at major opera houses in Italy,including theTeatro Regio di Torino(1961),Teatro dell'Opera di Roma(1962),Teatro

Comunale di Bologna(1966),La Fenice(1967), and theTeatro Regio di Parma(1970).

The opera was first performed in the United States in a student production at Southern MethodistUniversityin 1946. The first professional American performance was for NBC radio in 1949 in a

performance conducted by Antal Dorati in Dallas, Texas. The first fully-staged American

production was at theNew York City Operaon 2 October 1952 with conductorJoseph
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dit&redlink=1http://en.wikipedia.org/wiki/Maggio_Musicale_Fiorentinohttp://en.wikipedia.org/w/index.php?title=Sergio_Failoni&action=edit&redlink=1http://en.wikipedia.org/wiki/Mih%C3%A1ly_Sz%C3%A9kelyhttp://en.wikipedia.org/wiki/Egisto_Tangohttp://en.wikipedia.org/wiki/The_Wooden_Princehttp://en.wikipedia.org/w/index.php?title=Bluebeard%27s_Castle&action=edit&section=2http://en.wikipedia.org/wiki/Bluebeard%27s_Castle#cite_note-0http://en.wikipedia.org/wiki/Zolt%C3%A1n_Kod%C3%A1ly


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Rosenstockand singersCatherine AyresandJames Pease.[2]

TheMetropolitan Operamounted

the opera for the first time on June 10, 1974 with conductorSixten Ehrlingand singersDavidWardandShirley Verrett.

Bluebeard's Castle received its French premiere on 17 April 1950 in a radio broadcast on

Radiodiffusion-Tlvision Franaise.Ernest Ansermetconducted the performance whichfeaturedRene Gillyas Judith andLucien Lovanoas Bluebeard. The first staged production of

the work in France was at theOpra national du Rhinon 29 April 1954 withHeinz Rehfussinthe title role,Elsa Caveltias Judith, and conductorErnest Bour. The first performance in Paris

was at theOpra-Comiqueon 8 October 1959 with sopranoBerthe Monmartand bassXavier

Depraz. The production was directed byMarcel Lamyand used a French translation byMichelDimitri Calvocoressi.

The London premire took place on 16 January 1957 at the Rudolf Steiner Theatre during the

English tour of Scottish composerErik Chisholmdirecting theUCTOpera Company whoseDsire TalbotwasJudith. A few years earlier,Erik Chisholmhad premired this work in South

Africa at the Little Theatre inCape Town. The opera's Austrian premiere took place at theSalzburg Festivalon the 4 August 1978 with conductorGeorge Alexander AlbrechtleadingsopranoKatalin Kaszaand baritoneWalter Berry.

[edit] Roles

Role Voice type

Premiere Cast,

24 May 1918

(Conductor:Egisto Tango)

Prologue of the Bard spoken

Bluebeard bassorbass-baritone Oszkr Klmn

Judith sopranoormezzo-sopranoOlga Haselbeck

Bluebeard's wives silent

Bartk includes the Castle on the dramatis person page.

[edit] Synopsis
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Illustration byGustave DorforPerrault's taleBluebeard

The basic plot is loosely based on the folk tale ofBluebeard, but is given a heavilypsychological

reworkingsome would saypsychoanalyticorpsychosexual, (seeBruno Bettelheimand The

Uses of Enchantment).

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

Judith and Bluebeard arrive at his castle, which is all dark. Bluebeard asks Judith if she wants tostay and even offers her an opportunity to leave, but she decides to stay. Judith insists that all thedoors be opened, to allow light to enter into the forbidding interior, insisting further that her

demands are based on her love for Bluebeard. Bluebeard refuses, saying that they are private

places not to be explored by others, and asking Judith to love him but ask no questions. Judithpersists, and eventually prevails over his resistance.

The first door opens to reveal a torture chamber, stained with blood. Repelled, but then intrigued,

Judith pushes on. Behind the second door is a storehouse of weapons, and behind the third a

storehouse of riches. Bluebeard urges her on. Behind the fourth door is a secret garden of great

beauty; behind the fifth, a window onto Bluebeard's vast kingdom. All is now sunlit, but bloodhas stained the riches, watered the garden, and grim clouds throw blood-red shadows over

Bluebeard's kingdom.

Bluebeard pleads with her to stop: the castle is as bright as it can get, and will not get any

brighter, but Judith refuses to be stopped after coming this far, and opens the penultimate sixthdoor, as a shadow passes over the castle. This is the first room that has not been somehow

stained with blood; a silent silvery lake is all that lies within, "a lake of tears". Bluebeard begsJudith to simply love him, and ask no more questions. The last door must be shut forever. But

she persists, asking him about his former wives, and then accusing him of having murdered

them, suggesting that their blood was the blood everywhere, that their tears were those that filledthe lake, and that their bodies lie behind the last door. At this, Bluebeard hands over the last key.
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Behind the door are Bluebeard's three former wives, but still alive, dressed in crowns and

jewellery. They emerge silently, and Bluebeard, overcome with emotion, prostrates himselfbefore them and praises each in turn, finally turning to Judith and beginning to praise her as his

fourth wife. She is horrified, begs him to stop, but it is too late. He dresses her in the jewellery

they wear, which she finds exceedingly heavy. Her head drooping under the weight, she follows

the other wives along a beam of moonlight through the seventh door. It closes behind her, andBluebeard is left alone as all fades to total darkness.

[edit] Staging

Traditionally, the set is a single dark hall surrounded by the seven doors around the perimeter. As

each door is opened, a stream of symbolically colored light comes forth (except in the case of thesixth door, for which the hall is actually darkened). The symbolic colors of the seven doors are as

follows:

1. (The torture chamber) Blood-red2. (The armory) Yellowish-red3. (The treasury) Golden4. (The garden) Bluish-green5. (The kingdom) White (the stage directions read: "in a gleaming torrent, the light streams

in", "blue mountains")

6. (The pool of tears) Darkness; the main hall is darkened, as if a shadow had passed over7. (The wives) Silvery (stage directions: "silver like the moon")

These lighting instructions are notably ignored in the movie (not staged) version{reference} ofthe opera, for which more elaborate, literal sets were constructed.

The slow orchestral introduction to the work is often preceded or overlapped by a spokenprologue, (also by Balzs, but published as "Prologue of the Bard" independently of the play).

This poses to the audience the questions "Where is the stage? Is it outside, or inside?" as well as

offering a warning to pay careful attention to the events about to unfold. The prologue warns theaudience that the morals of the tale can apply to the real world as well as to that of Bluebeard and

Judith. The character of the bard (or "regs" in the Hungarian language) is traditional in

Hungarian folk music, and the words of the prologue (notably its opening lines "Haj, reg,

rejtem") are associated with traditional Hungarian "regsnekek" (Regs songs), which Bartkhad previously studied. The prologue is frequently omitted from performances; to some it seems

heavy-handed and unnecessary, while to others it fits well with the reworked folktale

atmosphere.

The stage directions call also for occasional ghostly sighs that seemingly emanate from the castle

itself when some of the doors are opened. These have been implemented differently by differentproductions, sometimes clearly instrumentally, sometimes vocally and sometimes not easily

identifiable.

[edit] Music and instrumentation
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The most salient characteristic of the music fromBluebeard's Castle is the importance of the

minor second, an interval whose dissonance is used repeatedly in both slow and fast passages toevoke aching sadness/disquiet or danger/shock respectively. The minor second is referred to as

the 'blood' motif, for it is used whenever Judith notices blood in the castle. Overall the music is

not atonal, although it is often polytonal, with more than one key center operating simultaneously

(e.g. the leadup to the climactic opening of the fifth door). However, there are some passages (forexample, door 3) where the music is tonal and mostly consonant. Many critics have found an

overall key plan, as you would find in a tonal piece of music. The opera starts in a mode of F#,

modulating towards C in the middle of the piece (tonally, the greatest possible distance from F#),before returning to F# towards the end. The text and setting at these points has suggested to some

that the F#-C dichotomy represents darkness/light.

The vocal parts are very challenging due to the highly chromatic and speech-rhythm-inflected

style that Bartk uses. For non-native speakers, the Hungarian-language libretto can also be

difficult to master. These reasons, coupled with the static effect of the stage action, combine tomake staged performances of the opera a comparative rarity; it more often appears in concert

form.

To support the psychological undertones, Bartk calls for a large orchestra. The instrumentation

is as notated below:

4flutes(the last two double twopiccolos), 2oboes,cor anglais, 3clarinetsin A and B-flat (first

and second double two E-flat clarinets, third doublesbass clarinet), 4bassoons(last bassoon

doublescontrabassoon), 4French horns, 4trumpetsin B-flat, 4trombones,tuba,timpani,bassdrum,tamburo piccolo,tamtam,cymbals, suspendedcymbals,xylophone(originally a tastiera -

usually played by two players),triangle, 2harps,celesta,organ, andstrings.

Eight offstage brass players are also called for (4 trumpets and 4 trombones).

[edit] Translations

The original German translation by Wilhelm Ziegler appears in the 1921 first edition of the vocal

score. In 1963 a revised singing translation by Wilhelm Ziegler replaced it. The English

translation printed in the 1963 miniature score is by Christopher Hassall. The one in the fullscore is byChester Kallman,[citation needed] another singing translation is that made by John Lloyd

Davies for theScottish Operain 1989 (in British National Opera Guide #44, 1991). One might

expect the subtitling of filmed versions to be literal, but far more often one instead gets plenty of

subtext along with Balazs' dialogue. A reasonably faithful version in French is that of Natalia

and Charles Zaremba (L'Avant-Scne Opra, 1992)
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blue beard's castle

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