Die Verschworenen (The Conspirators)
Franz Schubert Die Verschworenen (The Conspirators)
also known as Der häusliche Krieg (Domestic Warfare)
A Singspiel in one act
Libretto by Ignaz Franz Castelli, after Aristophanes’ Lysistrata (c411 BC)
English translation by Gilly French and Jeremy Gray
Orchestral reduction by Tony Burke for Pocket Publications
The Pfeiffer Hall, Queen’s College, Harley St, London W1
19 and 20 March 2009
Cast
| Isella, in love with Udolin |
Katya Farkas (Queen’s College) |
| Udolin, in love with Isella |
Alice Sharman (Queen’s College) |
| Helene, newly married to Astolf |
Alexandra Soiza (Queen’s College) |
| Ludmilla, the Baroness | Theodora Hand (Queen’s College) |
| Herbert, the Baron |
Edmund Connolly |
| Astolf, husband of Helene | Tom Raskin |
| Queen’s College Chamber Choir Jessica Mackney, Daisy Hilliard, Katie Levine, Lily Worcester, Ella Clayton, Tyro Heath, Akua Appiah Gilfillian, Hannah Stewart, Frances Good, Liza Bergman, Eleanor Re’Em, Philippa Millward, Tim Lello, Nick Flower, Martin Amherst Lock, Keith Conway |
|
| with the Orchestra of Bampton Classical Opera | |
| Conductor | Gilly French |
| Director | Jeremy Gray |
Synopsis
The Baron’s messenger, Udolin, unexpectedly returns home from a year away fighting and is rapturously received (well, on the whole) by his girlfriend Isella (duet: “It’s you; it’s him!”). Isella tells him that the Baroness is convening a special meeting for all the women, and Udolin resolves to dress as a girl in order to spy on the proceedings.
Helene is miserable and is missing her new husband Astolf (Romanze: “Without you life is not the same”). The Baroness holds her meeting (Chorus: “We’ve hurried here at your suggestion”) and encourages the women to find a way to keep their men-folk from a life of violence. Her “cunning little plan” is not met with great enthusiasm, however, as it involves the women withholding their sexual favours until the men promise to give up fighting – but they swear an oath of solidarity nevertheless (Chorus: “Yes, we promise!”).
The men return home triumphant from their slaughter and warfare (March: “A soldier’s life for me!”). Udolin reports on what he has found out through his spying (Chorus: “I have discovered something grave”) and the men decide to retaliate by playing the women at their own game – they too will refuse any affection.
The women temptingly greet the men (Chorus: “We’re very glad to greet you”) but are perturbed when their own plan is forestalled by the men’s complete indifference – the men prefer to go drinking instead. The Baroness finds it difficult to keep the women to their promise, and sends Isella to spy on the men, also requesting a meeting with the Baron.
Astolf and Helene are reunited (Duet: “I’ll wait no longer”) and although she tries to refuse his advances, much against her will, he persuades her that her marriage vows invalidate her later vow of chastity. Nevertheless she momentarily outwits him.
The Baron, who has been drinking with his men, has a difficult interview with his wife (Ariette: “I’ve risked all I have” and Ariette “I know you have risked all”). Isella, collaborating with Udolin, tricks the Baroness into trying on men’s ‘armour’. Thus attired, she is caught by surprise by the Baron (Finale: ”I really can’t believe my eyes”). The women return and, having been duped by Udolin, they also bear arms, believing that this is the only way to win back their men’s affection. Thus they betray their own conspiracy. The Baroness sadly realises she has been outwitted and admits defeat, but the men too graciously acknowledge they have been conquered by love, and relinquish their arms. The true ‘conspirators’, Isella and Udolin, are united “just as we planned”. Amidst general rejoicing, the Baron and his men advise the women to be gentle, and “leave the fighting to the men”.
Cast - Synopsis
Love wins through and peace is restored
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Love wins through and peace is restored…
Schubert is little known as an opera composer, despite his serious ambitions in this genre. Die Verschworenen was his sixth and final effort in Singspiel and, although written in 1823 (possibly in merely three weeks) it was only performed privately with piano in his lifetime, waiting until 1861 for a full performance. Thereafter it became immensely popular, but is now unaccountably rarely heard.
The music is immensely attractive and shows Schubert’s mature lyricism at its height. Its rich parody and wit may anticipate Gilbert and Sullivan, but there is also great seriousness in the extraordinarily beautiful music for Helene, accompanied by Mozartian clarinet obbligato. The warring Baron and Baroness are brilliantly characterised and the ensembles and choruses are treated with breathtaking vitality and variety. However easy on the ear are the charming melodies, the sophisticated rhythmic and harmonic language and the always apt word-setting demonstrate Schubert’s supreme mastery.
Although perhaps problematic to perform in a girls’ school, when the opera concerns a battle of the sexes (and with a deeply anti-feminist outcome), this is nevertheless an ideal work for young voices. The choruses and ensembles are effective and memorable, the solos and duets lyrical without demanding undue stamina or virtuosity. It should be remembered in any case that professional singers in the classical period were often young and with light but clear voices, balanced with small orchestras and venues. Luisa Laschi who sang the first Countess in The Marriage of Figaro was 21 and Maria Malibran sang Rosina in The Barber of Seville in London aged 17. More surprisingly the first Leonore in Beethoven’s Fidelio, now considered one of the most taxing and mature of roles, was the 19yr old Anna Milder-Hauptmann, and a subsequent Leonore was only 17. Anna Gottlieb – whom the musicologist Richard Wigmore describes as “the Charlotte Church of her day” (her subsequent career proved more illustrious) – was just 12 when she sang Barbarina in the premiere of Figaro, and still only 17 when she created Pamina in the Magic Flute. And most of Schubert’s Lieder would, in his lifetime at least, have been sung by amateurs not professionals.
Aristophanes wrote his comedies to entertain the Athenians, but also to raise serious questions. When he produced the Lysistrata in 411 B.C., Athens had been fighting a disastrous war against Sparta. This comedy presented the Athenians with the idea of the women of both cities going on a sex strike to force their men to make peace. The joke was ridiculous, but it not only gave the audience some light relief from their anxieties: the play urged them to consider peace on terms that would be acceptable to both sides. Schubert’s librettist Castelli updated the action to the Crusades, and made the theme significantly more polite than in the original; in the anti-emancipatory Biedermeier period in which he lived, he also deprived the women of their ultimate victory. But since Love wins though and peace is restored, perhaps he can be forgiven.
The Conspirators is the fifth and most developed education collaboration between Queen’s College and Bampton Classical Opera. These productions enable talented teenagers to work as equals alongside professionals, singing major roles and giving both parties great insight in to how the other works; this has unfailingly raised the standards of the girls’ singing and proved life-enhancing to the professionals.
Cast - Synopsis
Love wins through and peace is restored
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