Test – CellOpéra

Piotr Ilich Tchaikovsky: Eugene Onegin, Prince Gremin Aria (Lyubvi fse vozrastï pokornï)

Notes (by Michel-Alexandre Broekaert)

Before becoming the subject of an opera by Tchaikovsky, the story of Eugene Onegin was already well known in Russia and beyond, through the eponymous novel by Alexander Pushkin. The libretto of the opera, elaborated by the composer himself, is strongly inspired by the novel, and finds its strength in the depth of the psychological development of the central characters as well as in the incisive and uncompromising view of the society of the time.

It is at the heart of this rather dark and melancholic opera that we find the aria of Prince Gremin, an ode to happiness and to the power of love that knows no age. The scene takes place in the middle of a ball of the high society of Saint Petersburg, at the edge of the 18th century. Close-up on Eugene Onegin who, after many years of exile, contemplates the emptiness of his existence and remains tortured by his past actions. Then he recognizes Tatyana among the guests, a former neighbour he had once looked up to; but here she is transformed, elegant and with the bearing of a queen. Bewitched, Onegin tries not to let anything show while the lady’s husband, a former close friend and none other than Prince Gremin himself, spontaneously launches into an unbridled profession of love. 

He has been bathed in happiness since his meeting with Tatyana and does not stop sharing his happiness. Renewed hope, renewed enthusiasm, that’s how he compares her to an angel who came to rescue him from his gloom, like a ray of sunshine in the mist of his existence.

This piece is a moment of grace that escapes from this opera with an undeniable dramatic charge.

Libretto

Love is no respecter of age,
its transports bless alike
those in the bloom of youth
yet unacquainted with the world
and the grey-headed warrior
tempered by experience!
Onegin, I shan’t disguise the fact
that I love Tatyana to distraction!
My life was slipping drearily away;
she appeared and brightened it
like a ray of sunlight in a stormy sky,
and brought me life and youth, yes, youth and happiness!
Among these sly, poor-spirited,
foolish, pampered children,
these scoundrels both absurd and boring,
dull, fractious arbiters,
among the pious coquettes
and sycophantic slaves,
amid affable, modish hypocrisy
courteous, affectionate  infidelities,
amid the icy censure
of cruel-hearted vanity,
amid the vexing vacuity
of calculation, thought and conversation,
she shines like a star
in the night’s darkest hour, in a pure, clear sky,
and to me she always appears
in the radiant,
radiant nimbus of an angel!

Gabriel Fauré: Trois mélodies Op.7, No.1, Après un rêve

Notes (by Michel-Alexandre Broekaert)

Après un rêve is one of Gabriel Fauré’s most popular melodies, and for good reason! Emblematic of the romantic and accessible style that characterizes his early works, this melody is distinguished by its supple and luminous melodic line, supported by enveloping and deeply evocative harmonies. The work has since been adapted many times for various instrumental ensembles, which has greatly contributed to its fame. Indeed, although Fauré’s setting of Romain Bussine’s poem is admirable in every way, the piece -here adapted for cello- loses none of its evocative power, quite the contrary. One is easily carried away by the happy marriage of timbres, while our thoughts escape to the dreamlike universe of dreams. 

Since this album is based on adaptations of opera arias for the cello-piano formation, we are well aware that the introduction of a humble melody constitutes a slight departure from our unifying concept, and yet we happily decided to make this exception because, on the one hand, the atmosphere of this charming work fits naturally with that of our album and on the other hand, because it is this very work that triggered our curiosity to explore the sumptuous universe of opera, full of extraordinary melodies and captivating stories.

Libretto

In sleep made sweet by a vision of you

I dreamed of happiness, fervent illusion,

Your eyes were softer, your voice pure and ringing,

You shone like a sky that was lit by the dawn;

You called me and I departed the earth

To flee with you toward the light,

The heavens parted their clouds for us,

We glimpsed unknown splendours, celestial fires.

Alas, alas, sad awakening from dreams!

I summon you, O night, give me back your delusions;

Return, return in radiance,

Return, O mysterious night!

Translations by Richard Stokes, from A French Song Companion (Oxford, 2000)

Ludwig van Beethoven, Variations “Bei Männern welche Liebe fuhlen”, aria from Mozart’s opera “The Magic Flute” 

Notes (by Michel-Alexandre Broekaert)

Beethoven had a great admiration for Mozart, who was fourteen years older. He was particularly fascinated by his numerous operas, and this fascination led to the writing of four cycles of variations for various instruments. The cycle that interests us here was inspired by the opera The Magic Flute, which Beethoven had just attended in Vienna in 1801. It is therefore the work of a young Beethoven, still full of humour and tenderness, personality traits that emanate from this theme and variations, all in finesse and bonhomie. The original aria is a duet sung by Pamina, the daughter of the Queen of the Night, and Papageno, a fowler. Meaning “Among men who know the feeling of love,” it praises the idea of love, bestowing upon it every virtue: 

“We want to sing the joy of love, 

we live only of love.

Love softens all pain, 

All creation is dedicated to love.

It gives salt to every day of our life

And makes the wheel of nature turn.”

This timeless theme of love, carried by Beethovenian mastery, ensures the durability of this work filled with surprises and moments of beauty.

Libretto

Pamina:

Men who feel the call of love

Do not lack a gentle heart.

Papageno:

To share these sweet desires

Is women’s first duty.

Both:

We shall rejoice in love,

We live for love alone.

Pamina:

Love sweetens every sorrow,

All creatures pay it homage.

Papageno:

Love adds spice to our days on earth,

Love is at work throughout all nature.

Both:

Its exalted goal is manifest:

Nothing is nobler than man and wife.

Man and wife, and wife and man,

Attain divinity.

Translations by Richard Stokes, author of The Book of Lieder (Faber, 2005)