Eruditos – Classical Music ♫

Franz Liszt (1811 – 1886)

Le Forgeron for Soloists, Male Chorus and Piano, S. 81 [1845]

János Tóth (Baritone); Sándor Boros (Tenor); Honved Ensemble Male Choir; Gergely Bogányi (Piano); András Tóth (Conductor)

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Giuseppe Verdi (1813 – 1901)

La Traviata [1853]
Libretto: Francesco Maria Piave

Violetta Valéry……….Joan Sutherland (Soprano)
Alfredo Germont……….Luciano Pavarotti (Tenor)
Giorgio Germont…….Matteo Manuguerra (Baritone)
Flora Bervoix……….Della Jones (Mezzo-soprano)
Annina………….Marjon Lambriks (Mezzo-soprano)
Gastone……………….Alexander Oliver (Tenor)
Barone Douphol………Jonathan Summers (Baritone)
Marchese d’Obigny…………John Tomlinson (Bass)
Dottore Grenvil……………Giorgio Tadeo (Bass)
Giuseppe………………..Ubaldo Gardini (Tenor)
Commissioner………William Elvin (Bass-baritone)
Flora’s servant….David Wilson-Johnson (Baritone)

National Philharmonic Orchestra; Richard Bonynge (Conductor)

Act 1
01. Prelude
02. Dell’ invito trascorso è già l’ora
03. Brindisi: Libiamo, ne’ lieti calici
04. Che è cio?
05. Un dì felice, eterea…Si ridesta in ciel l’aurora
06. E strano! – Ah, fors’è lui
07. Follie! Delirio vano è questo! – Sempre libera

Act 2
01. Lunge da lei
02. De’ miei bollenti spiriti…Annina, donde vieni?
03. O mio rimorso!…Alfredo?
04. Pura, siccome un angelo…Un dì, quando le veneri
05. Dite alla giovine…Non amarlo ditegli
06. Dammi tu forza, o ciel!…Ah, vive sol quel core
07. Di Provenza il mar…Né risponde d’un padre…
08. No, non udrai rimproveri
09. Avrem lieta di maschere la notte…Di Madridi
10. Alfredo! Voi!…Or tutti a me…Ogni suo aver
11. Di sprezzo degno…Alfredo, Alfredo, di questo core

Act 3
01. Prelude – Annina? Comandate?
02. Tenesta la promessa – Attendo, né a me giungon mai – Addio del passato
03. Baccanale: Largo a quadrupede
04. Signora… Che t’accade?
05. Parigi, o cara…Ah! Gran Dio!
06. Ah, Violetta!…Se una pudica vergine

Libretto (Deutsch – Français – Italiano – English)

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Alberto Ginastera (1916 – 1983)

String Quartet No. 3 for Soprano and String Quartet, Op. 40 [1973]
I. Contemplativo (La música by Juan Ramón Jiménez)
II. Fantastico
III. Amoroso (Canción de Belisa by Federico García Lorca)
IV. Drammatico (Morir al sol by Rafael Alberti)
V. Di nuovo contemplativo (Ocaso by Juan Ramón Jiménez)

Claudia Montiel (Soprano); Cuarteto Latinoamericano

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Charles Ives (1874 – 1954)

Symphony No. 4 [1912 – 1918 ; 1924 – 1926]
I. Prelude: Maestoso
II. Allegretto
III. Fugue: Andante moderato con moto
IV. Very slowly – Largo maestoso

Cleveland Orchestra; Cleveland Orchestra Chorus; Christoph von Dohnányi (Conductor)

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Karol Szymanowski (1882 – 1937)

Symphony No. 3 for Tenor, Chorus and Orchestra The Song of the Night, Op. 27 (M36) [1914 - 1916]
I. Moderato assai
II. Vivace scherzando
III. Largo

Jon Garrison (Tenor); City of Birmingham Symphony Orchestra; CBSO Chorus; Simon Rattle (Conductor)

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Hildegard von Bingen (1098 – 1179)

Lyrics (Latin/English)

“Columba aspexit presents a vision of Saint Maximinus as a celebrant at Mass. The Holy Ghost hovers (symbolised by the dove and the lattice. Hildegard explains the latter symbol in the Scivias as the window of God’s mercy through which shines the perfect revelation of the New Testament) as Maximinus celebrates; flooded with grace he is a building – Saint Paul’s edifice of the temple which is in the devout heart. God’s love, represented in biblical fashion by the heat of the sun, blazes in the dark sactuary. The ‘stone’ of Stanza 4 is the altar – these lines are rich in imagery drawn from the liturgy for consecrating and anointing an altar (lapis); as he moves to it in his celebration, Maximinus is like the hart of Psalm 41 (42 in the Authorised Version). Stanza 5 turns to be the clergy who surround Maximinus in the ceremony. The ‘perfume-makers’ (perfume is a metaphor of Devine Grace) are the clerics of Trier: Maximinus was the patron of the Benedictine abbey there and Hildegard probably wrote this sequence for them. The ‘holy sacrifice with the rams’ was required by God in the ordination of Aaron’s sons to the priesthood (Exodus 29), but the ‘rams’ may also be the choirboys at Trier (Scivias, 2:5:45).
Ave generosa is a testemony to Hildegard’s devotion to the Virgin. The imaginary is frequently erotic.
O ignis spiritus is Hildegard’s apostrophe to her Muse, the Pentecostal fire which settled upon her and imparted knowledge of the major biblical books.
O Ierusalem celebrates Saint Rupert. Hildegard re-founded his monastery in 1150 and moved there with her nuns. The original buildings were destroyed by the Normans (the ‘fools’ of the Sequence), providing Hildegard with a potent but implicit comparison between her monastery and Jerusalem, destroyed on Earth and re-built in Heaven (Revelations 21, whence some of the imagery of this sequence is derived
O Eucharie, like Columba aspexit, was almost certainly written for the clergy at Trier. Saint Eucharius was a third-century missionary who became the bishop of the city. Stanza 1 evokes his years as an itinerant preacher (during which he performed miracles). The ‘fellow-travellers’ of stanza 2 are presumably Valerius and Maternus, his companions in the missionary work. The ‘three shrines’ of stanza 5 (compare Matthew 17:4) represent the Trinity and perhaps, if we follow the Glossa Ordinaria, the triple piety of words, thoughts and deeds. The ‘old and the new wine’ of stanza 6 represent the Testaments: Ecclesia savours both, but the Synagogue, like the ‘old bottles’ of Christ’s parable, cannot sustain the New. Hildegard closes the sequence with a prayer that the people of Trier may never revert to the paganism in which Eucharius found them, but may always re-enact the redemptive sacrifice of Christ in the form of the Mass.
With superb control Hildegard in O viridissima virga elaborates the image of Mary as the branch of Jesse. Mary’s fertility endows the animal and vegetable kingdoms with new life and brings mankind to God through the sheer joy of contemplating the Devine agency.
O presul celebrates Saint Disibod, the patron of the monastery where Hildegard was raised. She composed this sequence in response to Abbot Cuno of Disibodenberg who wrote to her asking for a copy of anything “that God reveals to you about our patron”. She centainly sent him this poem; we do not know whether it was accompanied by the music. Hildegard evokes the itinerant hermit’s life that brought Disibod to the place later to be the site of the monastery, and emphasises his founder’s role by a stream of architectural, cloistral imagery.
O Ecclesia celebrates Saint Ursula who, according to legend, was martyred with eleven thousand virgins at Cologne. Ursula, a woman who had rejected an earthly marriage for a heavenly one, who had died in Cologne, and who led a company of Christian women, naturally occupied a special place in Hildegard’s devotion. There were relics of Ursula at Disibodenberg where Hildegard had been raised, and Elizabeth of Schonau (a mystic whom Hildegard knew) created a stir in 1156/1157 with her visions of Ursula and her companions. Hildegard does not appear to have been directly influenced by these visions, but this is her most sustained response to a legend that was clearly popular and much in the minds of clerics and laymen.”

Eine Feder auf dem Odem Gottes
1. Columba aspexit (Sequentia de Sancto Maximino)
2. Ave generosa (Ymnus de Sancta Maria)
3. O ignis spiritus (Sequentia de Spiritu Sancto)
4. O Ierusalem (De sancto Ruperto)
5. O Euchari (De sancto Euchario Sequentia)
6. O viridissima virga (De sancta Maria)
7. O presul yere civitas (Sequentia de Sancto Dysibodo)
8. O Ecclesia (De Undecim Milibus Virginibus)

Excerpt from Columba aspexit (Sequentia de Sancto Maximino):

Excerpt from Ave generosa (Ymnus de Sancta Maria):

Excerpt from O Ierusalem (De sancto Ruperto):

Excerpt from O presul yere civitas (Sequentia de Sancto Dysibodo):

Emma Kirkby (Soprano); Gothic Voices; Christopher Page (Conductor)

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Franz Schubert

Winterreise, D. 911 (Op. 89)

01. Gute Nacht
02. Die Wetterfahne
03. Gefrorne Tränen
04. Erstarrung
05. Der Lindenbaum
06. Wasserfluth
07. Auf dem Flusse
08. Rückblick
09. Irrlicht
10. Rast
11. Frühlingstraum
12. Einsamkeit
13. Die Post
14. Der greise Kopf
15. Die Krähe
16. Letzte Hoffnung
17. Im Dorfe
18. Der stürmische Morgen
19. Täuschung
20. Der Wegweiser
21. Das Wirtshaus
22. Mut!
23. Die Nebensonnen
24. Der Leiermann

Poems

Dietrich Fischer-Dieskau (Baritone); Jörg Demus (Piano); Wilhelm Müller (Poems)

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Wim Mertens

Platinum Collection

Disc 1
01. Close Cover
02. 4 Mains
03. Their Duet
04. Hufhuf
05. No Testament
06. Naviamente
07. Maximizing the Audience
08. Multiple 12
09. To Keep Them from Falling
10. A Sandy Shore
11. 2 and 3 Equals 1
12. In 3 or 4 Days

Disc 2
01. Wound to Wound
02. The Paths Not Taken
03. With All Its Might
04. Un Respiro
05. The Personell Changes
06. The Scene
07. Often a Bird
08. The Fosse
09. What that One Does
10. Not at Home
11. Gorf
12. Song 6

Disc 3
01. Struggle for Pleasure
02. Alef
03. Birds for the Mind
04. Humility
05. Yes, I Never Did
06. Passend (reprise)
07. Hors-nature
08. Zutzig
09. Al
10. La Fin de la Visite
11. Iris
12. MP4

Wim Mertens (Piano)

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Johann Sebastian Bach

Mass in F Major, BWV 233
I. Kyrie (Chorus)
II. Gloria: Gloria In Excelsis Deo (Chorus)
III. Gloria: Domine Deus (Bass)
IV. Gloria: Qui Tollis Peccata Mund (Soprano)
V. Gloria: Quoniam Tu Solus Sanctus Quoniam (Contalto)
VI. Gloria: Cum Sancto Spiritu (Chorus)

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Ludwig van Beethoven

Symphony No. 9 in D minor Choral, Op. 125 [1817 - 1824]
I. Allegro ma non troppo, un poco maestoso
II. Molto vivace
III. Adagio molto e cantábile
IV. Presto – “O Freude, nicht diese Tone!” – Allegro assai

Berliner Philharmoniker; Irmgard Seefried (Soprano); Maureen Forrester (Contralto); Ernst Haefliger (Tenor); Dietrich Fischer-Dieskau (Baritone); Chor der St. Hedwigs-Kathedrale; Ferenc Fricsay (Conductor)

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Johann Sebastian Bach

Mass in B minor, BWV 232
I. Kyri: Chorus Kyrie Eleison
II. Kyri: Duet Christe Eleison
III. Kyri: Chorus Kyrie Eleison
IV. Gloria: Chorus Gloria In Excelsis
V. Gloria: Chorus Et In Terra Pax
VI. Gloria: Aria Laudamus Te
VII. Gloria: Chorus Gratias Agimus Tibi
VIII. Gloria: Duet Domine Deus
IX. Gloria: Chorus Qui Tollis Peccata Mundi
X. Gloria: Aria Qui Sedes Ad Dextram Patris
XI. Gloria: Aria Quoniam Tu Solus Sanctus
XII. Gloria: Chorus Cum Sancto Spiritu
XIII. Credo: Chorus Credo In Unum Deum
XIV. Credo: Patrem Omnipotentem
XV. Credo: Duet Et In Unum Dominum
XVI. Credo: Chorus Et Incarnatus Est
XVII. Credo: Chorus Crucifixus
XVIII. Credo: Chorus Et Resurrexit
XIX. Credo: Aria Et In Spiritum Sanctum
XX. Credo: Chorus Confiteor (attacca)
XXI. Credo: Chorus Et Exspecto Resurrectionem
XXII. Sanctus: Chorus Sanctus
XXIII. Sanctus: II Osanna In Excelsis
XXIV. Sanctus: Aria Benedictus, Qui Venit
XXV. Sanctus: I Osanna (da capo)
XXVI. Agnus Dei: Aria Agnus Dei
XXVII. Agnus Dei: Chorus Dona Nobis Pacem

Nancy Argenta (Soprano); Michael Chance (Countertenor); Mary Nichols (Mezzo-soprano); Wynford Evans (Tenor); Howard Milner (Tenor); The English Baroque Soloists; Monteverdi Choir; Sir John Eliot Gardiner (Conductor)

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Hector Berlioz (1803 – 1869)

Requiem Grande Messe des Morts, Op. 5 [1837]
I. Requiem aeternam – Kyrie
II. Dies Irae – Tuba mirum
III. Quid sum miser
IV. Rex tremendae
V. Quaerens me
VI. Lacrymosa
VII. Domine Jesu Christe
VIII. Hostias et preces
IX. Sanctus – Hosanna in excelsis – Sanctus – Hosanna in excelsis
X. Agnus Dei

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Johann Sebastian Bach

Cantata Wachet auf, ruft uns die Stimme (Sleepers, Wake), BWV 140
I. Chorus: Wachet auf, ruft uns die Stimme (Wake up, the voice calls us )
II. Recitative: Er kommt (He comes )
III. Aria (duet): Wann kommst du, mein Heil? (When will you come, my salvation? )
IV. Chorale: Zion hört die Wächter singen (Zion hears the watchmen singing )
V. Recitative: So geh herein zu mir (So come in with me )
VI. Aria (duet): Mein Freund ist mein! (My friend is mine! )
VII. Chorale: Gloria sei dir gesungen (May Gloria be sung to you )

The English Baroque Soloists; Monteverdi Choir; Sir John Eliot Gardiner (Conductor)

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Arnold Schönberg

Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire (Pierrot in the Moonlight), Op. 21
I. Mondestrunken (Moon-drunk)
II. Colombine
III. Der Dandy (The Dandy)
IV. Eine blasse Wäscherin (A Faded Laundress)
V. Valse de Chopin (Waltz of Chopin)
VI. Madonna
VII. Der kranke Mond (The Sick Moon)
VIII. Nacht (Passacaglia) (Night)
IX. Gebet an Pierrot (Prayer to Pierrot)
X. Raub (Theft)
XI. Rote Messe (Red Mass)
XII. Galgenlied (Gallows Song)
XIII. Enthauptung (Beheading)
XIV. Die Kreuze (The Crosses)
XV. Heimweh (Homesick)
XVI. Gemeinheit! (Mean Trick!)
XVII. Parodie (Parody)
XVIII. Der Mondfleck (The Moonfleck)
XIX. Serenade
XX. Heimfahrt (Barcarole) (Journey Home)
XXI. O Alter Duft (O Old Perfume)

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Ludwig van Beethoven

Mass in D major Missa Solemnis, Op. 123 [1823]
I. Kyrie
II. Gloria
III. Credo
IV. Sanctus
V. Benedictus
VI. Agnus Dei

Rosa Mannion (Soprano); Birgit Remmert (Contralto); James Taylor (Tenor); Cornelius Hauptmann (Bass); Choir de la Chapelle Royale et du Collegium Vocale; Orchestre des Champs Elysées; Phillipe Herreweghe (Conductor)

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Richard Strauss

Sechs Lieder
I. An die Nacht
II. Ich wollt ein Sträußlein binden
III. Säusle, liebe Myrthe
IV. Als mir dein Lied erklang
V. Amor
VI. Lied der Frauen

Eilenn Hulse (Soprano); Royal Scottish National Orchestra; Neeme Järvi (Conductor)

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Ludwig van Beethoven

Mass in C major, Op. 86 [1807]
I. Kyrie
II. Gloria (Qui tollis – Quoniam)
III. Credo
IV. Sanctus (Benedictus – Osanna)
V. Agnus Dei (Dona nobis pacem)

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Sergei Prokofiev

“Alexander Nevsky”
01. Prelude
02. 13th Century
03. Plescheyevo Lake (Song about Alexander Nevsky)
04. Pskov in Flames
05. “Death to the Blasphemer!” (Peregrinus expectavi)
06. Arise, People of Russia
07. The Teutonic Camp (Peregrinus expectavi)
08. Nevsky’s Camp: Night before the Battle
09. Battle on the Ice: April 5, 1242
10. Battle on the Ice: Fight for Russia!
11. Battle on the Ice: Spears and Arrows (Peregrinus expectavi)
12. Battle on the Ice: Duel with the Grand Master
13. Battle on the Ice: The Battle is Won
14. Battle on the Ice: The Ice Breaks
15. The Field of the Dead
16. Pskov: Procession of the Fallen & Judgement of the Prisoners
17. “And Now Let’s Celebrate!”
18. Final Chorus

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Franz Schubert

“Die schöne Müllerin”, D. 795 (Op. 25)

01. “Der Dichter, Als Prolog”
02. “Das Wandern”
03. “Wohin?”
04. “Halt!”
05. “Danksagung An Den Bach”
06. “Am Feierabend”
07. “Der Neugierige”
08. “Ungeduld”
09. “Morgengruss”
10. “Des Mullers Blumen”
11. “Tranenregen”
12. “Mein!”
13. Pause
14. “Mit Dem Grunen Lautenbande”
15. “Der Jager”
16. “Eifersucht Und Stolz”
17. “Die Liebe Farbe”
18. “Die Bose Farbe”
19. “Trockne Blumen”
20. “Der Muller Und Der Bach”
21. “Des Baches Wiegenlied”
22. Epilog

Dietrich Fischer-Dieskau (Baritone); Gerald Moore (Piano); Wilhelm Müller (Poems)

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Johann Sebastian Bach

Obra em alemão e em inglês.

Johannes-Passion (St. John Passion), BWV 245

Part One
No. 1 Chorus: “Herr Unser Herrscher”
No. 2 Evangelista, Jesus, Chorus: “Jesus ging mit seinen Juengern ..” – “Jesum von Nazareth” – “Jesus spricht zu ihnen” – “Jesum von Nazareth” – “Jesus antwortete”
No. 3 Choral: “O große Lieb, o Lieb ohn’ alle Maße”
No. 4 Evangelist, Jesus: “Auf daß das Wort erfüllet wurde”
No. 5 Choral: “Dein Will gescheh, Herr Gott zugleich”
No. 6 Evangelist: “Die Schar aber”
No. 7 Aria (Alt): “Von den Stricken meiner Sünden”
No. 8 Evangelist: “Simon Petrus aber folgete Jesu nach”
No. 9 Aria (Soprano): “Ich folge dir gleichfalls”
No. 10 Evangelist, Ancilla, Petrus, Jesus, Servus: “Derselbige Jünger war dem Hohenpriester bekannt”
No. 11 Choral: “Wer hat dich so geschlagen”
No. 12 Evangelist, Chorus, Evangelist, Petrus, Servus: “Und Hannas sandte ihn gebunden”
No. 13 Aria (Tenor): “Ach mein Sinn”
No. 14 Choral: “Petrus, der nicht denkt zurück”

Part Two
No. 15 Choral: “Christus, der uns selig macht”
No. 16 Evangelist, Pilatus, Chorus: “Da führeten sie Jesum”
No. 17 Choral: “Ach großer König, groß zu allen Zeiten”
No. 18 Evangelist, Pilatus, Jesus, Chorus, Evangelist: “Da sprach Pilatus zu ihnen”
No. 19 Arioso (Bass): “Betrachte, meine Seele”
No. 20 Aria (Tenor): “Erwäge, wie sein blutgefärbter Rücken”
No. 21 Evangelist, Pilatus, Jesus, Chorus: “Und die Kriegsknechte flochten”
No. 22 Choral: “Durch dein Gefängnis, Gottes Sohn”
No. 23 Evangelist, Pilatus, Chorus: “Die Jüden aber schrieen und sprachen”
No. 24 Aria (Bass) – Chor: “Eilt ihr angefochtnen Seelen”
No. 25 Evangelist, Chorus, Pilatus: “Allda kreuzigten sie ihn”
No. 26 Choral: “In meines Herzens Grunde”
No. 27 Evangelist, Chorus, Evangelist: “Die Kriegsknechte aber”
No. 28 Choral: “Er nahm alles wohl in acht”
No. 29 Evangelist, Jesus: “Und von Stund an”
No. 30 Aria (Alt): “Es ist vollbracht”
No. 31 Evangelist: “Und neigte das Haupt und verschied”
No. 32 Aria (Bass) – Chorus: “Mein teurer Heiland”
No. 33 Evangelist: “Und siehe da”
No. 34 Arioso (Tenor): “Mein Herz, indem die ganze Welt”
No. 35 Aria (soprano): “Zerfließe, mein Her”
No. 36 Evangelist: “Die Juden aber”
No. 37 Choral: “O hilf, Christe, Gottes Sohn”
No. 38 Evangelist: “Darnach bat Pilatum”
No. 39 Chorus: “Ruht wohl, ihr heiligen Gebeine”
No. 40 Choral: “Ach Herr, laß dein lieb Engelein”

Peter Kooy (Bass); Barbara Schlick (Soprano); William Kendall (Tenor); Howard Crook (Tenor); Peter Lika (Bass); Catherine Patriasz (Controalto); Gent Collegium Vocale; La Chapelle Royale; Philippe Herreweghe (Conductor)

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Anton Bruckner

Mass No. 1 in D minor
I. Kyrie
II. Gloria
III. Credo
IV. Sanctus
V. Benedictus
VI. Agnus Dei

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Franz Jospeh Haydn

Mass No. 11 in D minor, “Missa in Angustiis” (“Mass in Troubled Times”) – “Nelson Mass”, Hob. XXII-11
I. Kyrie
II. Gloria:
Gloria in excelsis Deo
Qui Tollis
Quoniam
III. Credo:
Credo in unum Deum
Et incarnatus est
Et resurrexit
IV. Sanctus
V. Benedictus
VI. Agnus Dei:
Agnus Dei qui tollis
Dona Nobis Pacem

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Béla Bartók (1881 – 1945)

O Castelo do Barba Azul (em húngaro A kékszakállú herceg vára, O Castelo do Príncipe Barba Azul) é uma ópera húngara do compositor Béla Bartók. Obra de 1911, revisada em 1912 e 1917, tem apenas um ato e dois cantores em cena. Com libretto de Béla Balázs, poeta amigo de Bartók, que demorou dois anos para escrevê-lo, foi pela primeira vez representada no ano de 1918, em Budapeste, com Oszkár Kálmán e Olga Haselbeck em cena.

A ópera dura um pouco mais de uma hora, e conta com os personagens Barba Azul e sua mulher, Judith, em seu castelo, onde ela vai pela primeira vez.

Tradicionalmente, o cenário é apenas o escuro hall rodeado por 7 portas, cada uma com um cor simbólica. Uma lenta introdução orquestral é feito para servir de fundo a um prólogo falado, independente da obra. Ele alerta o público que a moral da história pode ser aplicada no mundo real também. Frequentemente esse prólogo é omitido nas performances.
A característica mais saliente da música de O Castelo de Barba Azul é a importância do semitom, um intervalo repetidamente usado tanto nas passagens rápidas quanto nas lentas, evocando perigo/choque ou tristeza, respectivamente. Ele é usado sempre que Judith presencia sangue no castelo.
A ópera começa em Fá sustenido maior, passa por Dó maior, antes de voltar para o Fá sustenido maior. O enredo nesses três momentos principais sugere que a dissonância entre Fá sustenido maior- Dó maior represente escuridão/luz.

A parte vocal é um desafio por ser altamente cromática e ter o estilo de Bartók, além de o libretto ser escrito em húngaro, o que torna a missão de artistas que não tem esta língua como sua materna. O papel de Barba Azul é interpretado por baixo ou baixo-barítono e o de Judith, por uma soprano ou mezzo-soprano.
Devido a profunda parte psicológica da obra, Bartók decidiu-se por uma grande orquestra: 4 flautas, 2 oboés, corne inglês, 3 clarinetas e Lá maior e Sí-bemol maior, 4 fagotes, 4 trompa, 4 trompetes em Sí-bemol maior, 4 trombones, tuba, tímpano, bumbo, gongo, pratos, xilofone, triângulo, 2 harpas, orgão, celesta e cordas.

A obra rica e simbolista de Bartók recebe diferentes influências, como Richard Wagner, além de Liszt e Debussy, o que, juntando-se ao estilo da música nacional húngara, deixa uma orquestral altamente original, e faz de O Castelo de Barba Azul uma grande ópera.

Libretto em húngaro e em inglês

Roteiro:
O roteiro é baseado na lenda do Barba Azul, mas com uma pesada repaginação psicológica. A obra se passa em um grande e escuro hall de um castelo, com sete portas fechadas. No começo, Judith e Barba Azul chegam ao seu castelo. Ele pergunta se ela deseja ficar, ou se quer ir embora; ela se decide pela primeira opção. Por ser o castelo muito escuro, Judith insiste em que todas as portas sejam abertas, para que a luz entre no interior do castelo. Barba Azul não aceita, dizendo que eles têm lugares privados para que não sejam explorados por outros, e pede que Judith o ame sem questionamentos. Judith continua insistindo, e ele, enfim, rende-se ao seu pedido.
A primeira porta se abre e mostra uma câmara de tortura, cheia de sangue. Judith a fecha. Atrás da segunda porta, existe um armazém com armas, e atrás da terceira, um armazém de riquezas. Na quarta, há um jardim secreto de incrível beleza. Atrás da quinta, há uma janela com visita para o vasto reino de Barba Azul. Ele implora, pedindo para ela parar, dizendo que o castelo está tão iluminado quanto pode estar, mas recusa-se a parar depois de ter ido tão longe, e abre a sexta porta, que é a do primeiro cômodo onde não há sangue. Há apenas um lago, ‘lago das lágrimas’. Barba Azul pede a Judith que apenas o ame, e diz que a última porta deve permanecer fechada para sempre. Mas ela insiste, e o questiona sobre suas esposas anteriores, acusando-o de tê-las matado, sugerindo que seu sangue estaria nos quartos, suas lágrimas teriam preenchido o lago e que seus corpos estariam atrás da última porta.Atrás da porta estão as três esposas anteriores de Barba Azul, mas ainda vivas, cobertas de jóias. Ele então a cobre de jóias, que são excessivamente pesadas para ela. E fecha a sétima porta, e termina sozinho na total escuridão.

Kékszakállú Herceg Vára (Duke Bluebeard’s Castle), BB 62 (Op. 11; Sz. 48) [1911]
01. Megerkeztunk [We Have Arrived]
02. Ez a Kekszekallu Vara! [This Is Bluebeard’s Castle!]
03. Nagy Csukott Ajtokat Latok [I See Large Closed Doors]
04. Jaj! (1. Ajto) [Oh! (Door 1)]
05. Mit Latsz? (2. Ajto) [What Do You See? (Door 2)]
06. O Be Sok Kincs! (3. Ajto) [Oh, How Much Treasure! (Door 3)]
07. Oh! Viragok! (4. Ajto) [Oh! Flowers! (Door 4)]
08. Nezd, Hogy Derul Mar a Varam (5. Ajto) [See How My Castle Brightens (Door 5)]
09. Csendes Feher Tavat Latok (6. Ajto) [I See a Silent White Lake (Door 6)]
10. Az Utolsot Nem Nyitom Ki [I Won’t Open the Last One]
11. Tudom, Tudom, Kekszakallu [I Know, I Know, Bluebeard]
12. Lasd a Regi Asszonyokat (7. Ajto) [Look at the Women of the Past (Door 7)]

Gustav Belacek (Bass); Andrea Melath (Mezzo-soprano); Bournemouth Symphony Orchestra; Marin Alsop (Conductor)

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