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L'UPUPA UND DER Overview

TRIUMPH DER Cast
Introduction
SOHNESLIEBE
Ticket order
Prices and maps
Sung in German
Commissioned by the Salzburg Festival

First performance

2 h 30 Min inkl. 1 Intermission

Co-production with Deutsche Oper Berlin and Teatro

Real, Madrid

Kleines Festspielhaus

Performances
Tuesday, August 12, 8.00 pm Premiere
Saturday, August 16, 3.00 pm
Wednesday, August 20, 8.00 pm
Tuesday, August 26, 8.00 pm

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> SUMMER 2003 > OPERA > L'UPUPA UND DER TRIUMPH DER SOHNESLIEBE

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L'UPUPA UND DER FURTHER PIECES:

TRIUMPH DER Overview

Cast
SOHNESLIEBE Introduction

Conductor Ticket order

Markus Stenz Prices and maps

Stage director
Dieter Dorn

Stage sets and costumes

Jrgen Rose

Lighting design
Tobias Lffler

Chorus master
Rupert Huber

Dramaturg
Hans-Joachim Ruckhberle

Badi'at el-Hosn wal Dschamal

Laura Aikin

Der Dmon
John Mark Ainsley

Der alte Mann

Alfred Muff

Malik
Hanna Schwarz

Dijab
Gnter Missenhardt

Al Kasim
Matthias Goerne

Adschib
Axel Khler

Gharib
Anton Scharinger

Concert Association of the Vienna State Opera Chorus

Vienna Philharmonic

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> SUMMER 2003 > OPERA > L'UPUPA UND DER TRIUMPH DER SOHNESLIEBE

WHITSUN 2003 SUMMER 2003

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L'UPUPA UND DER FURTHER PIECES:

TRIUMPH DER Overview

Cast
SOHNESLIEBE Introduction

Beauty is not tangible, courage is rewarded, treason Ticket order

punished and there is a music that beats, kicks and Prices and maps
humiliates if one does not find the right magical words
for it.

Hans Werner Henzes "German comedy" is both one

and many fairy-tales, present and faraway. Its basis is
poetry, contemporary language and the firm conviction
that heroes are still found in fairy-tales and that giving
up, failure, forgetting and shutting up are things that
should never ever happen. The same goes for an
artistic programme, an outline of the possibilities of
composing and writing, of contemporary music-theatre.

An old man tells the story about the loss of the Upupa,
a bird of happiness from the family of the hoopoe, and
how people go looking for it, how it is found and
allowed to go free again. There is a flying demon, three
sons, three old rulers, three wonderful treasures:
Upupa with golden feathers, a Jewish princess, a
musical magic-box and the happy return for the one
who goes along the path of no return.

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Wednesday, August 13, 2003

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L' Upupa und der Triumph der Sohnesliebe Performances

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Commissioned by Salzburg Festival co-produced with Deutsche Oper Berlin, Teatro Real
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Category Dramatic Works Musicroom.com classical

3(afl,picc:bfl,picc).3(ca:bob)3(bcl).3(cbn)/4331/timp.5perc/2hp.2pn department
Orchestration
(cel)/str/tp and wind band on stage (3fife.3tp.3tb.3perc)
Soprano, Tenor, Baritone, Mezzo Soprano, Basso profundo, High Contact Us
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Heldenbariton, Counter Tenor, Buffo Bass Email
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Programme Note
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Dramatis personae
1. Badiat el-Hosn wal Dschamal, a Jewish girl Soprano
2. The Demon Tenor
3. The Old Man (Al Radshi, known as the Eccentric Widower), Grand Vizier of Manda, the
Island of the Black Baboons Baritone
4. Malik, the ancient Sultan of Pati Mezzo
5. Dijab, the old tyrant of Kipungani Basso profundo
6. Al Kasim (the Sharer), the Grand Viziers youngest son (who follows the path that
leads away and that knows no return) High Heldenbariton
7. Adschib (the Wayward), a good-for-nothing (who does not follow the prescribed path
of the action that divides) Counter Tenor
8. Gharib (the Untrustworthy), a sly fox (who does not follow the prescribed path of the
great fire) Buffo Bass
9. Invisible and unheard: the nameless Dictator

Small mixed chorus: Gardeners, Flowers, Guards, Nubian Soldiers, Henchmen

Orchestra: 3(afl,picc:bfl,picc).3(ca:bob)3(bcl).3(cbn)/4331/timp.5perc/2hp.2pn(cel)/str/tp

Occupants of the Miraculous Chest: 3 pipers, 3 trumpeters, 3 trombonists, 3 drummers

Synopsis
Tableau 1: The Old Man
An old man, Al Radshi (baritone), is the Grand Vizier of Manda, the Island of the Black
Baboons. Also known as the Eccentric Widower, he lives at the top of the tallest building
on the island. He is unhappy and has been in a state of profound depression since the
evening, some time ago, when he inadvertently injured his beautiful hoopoe, the upupa
that was his only joy. He has sent out his three sons to find the missing creature.

Tableau 2: The Sons

1) Adshib (the Wayward) is a good-for-nothing (countertenor) who does not follow the
prescribed path of the action that divides.
2) Gharib (the Untrustworthy) is a sly fox (basso leggero) who does not follow the
prescribed path of the great fire.

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 L' Upupa und der Triumph der Sohnesliebe by Hans Werner Henze at ChesterNovello.com

3) Al Kasim (the Sharer) is the Grand Viziers youngest son (high Heldnenbariton). He
follows the path that leads away and that knows no return. Al Kasim is the hero, and out
of the love that he feels for his father he throws caution to the four winds. This is a
matter of life and death.

The three brothers set out on their three difference paths, Al Kasim pressing purposefully
ahead, while the other two slow down and finally come to a halt by the Great Gate. They
sit down for a picnic and play cards. They decide to follow neither of the two dangerous
paths but, rather, to wait here.
Tableau 3: The Demon
On a barren mountain Al Kasim meets his Demon (tenor). Trust and friendship spring up
between them. The Demon warns Al Kasim of the dangers in store and advises him to
turn back. But Al Kasim will not be dissuaded and succeeds in bending the Demon to his
will. The Demon spreads his wings and carries Al Kasim to the Kingdom of Peril, where
the missing hoopoe is now living in the garden of the ancient Malik.

Tableau 4: On the Island of Pati

A) On his tower in Manda, old Al Radshi has a terrible dream about Al Kasim and the
dangers that threaten him.
B) The Demon reaches Pati and sets Al Kasim down close to the forbidden garden.
C) Al Kasim climbs over the wall into the garden. Scent of gardenias and dames violets
(the flowers sing). The Demon shows Al Kasim where to find the gilded cage containing
the hoopoe, but at that very moment the Demon sneezes so violently that the hoopoe
wakes and screams in alarm. The creatures of the garden are startled and the gardeners
rush up, followed by the courtiers and finally Malik, the ancient Sultan (mezzo soprano).
Al Kasims Demon has disappeared.
D) Al Kasim is questioned and succeeds in touching the Sultans heart with his tale of his
grief-stricken father. The Sultan gives our hero the cage with the golden hoopoe.
But everything has its price. He desires a gift in return. Old Malik loves a beautiful Jewish
girl by the name of Badiat el-Hosn wal Dshamal (soprano). She has been captured and
abducted, says old Malik, and is now held prisoner in a fortress in the land of Kipungani,
importuned by immoderate gifts from the tyrant Dijab, who would gladly call her his own.
But the girl, Malik says, loves no one but him, and Al Kasim must rescue her from the
fortress and fly back with her to Pati and to the arms of her old but lusty bridegroom.
As always Al Kasim says yes, adding that failure is inconceivable.

Tableau 5: Conflict
The Demon and Al Kasim on a country road. Early morning. They are carrying the cage
with the hoopoe. An argument breaks out: the Demon does not want to go to Kipungani
but prefers to return home with Al Kasim and abandon their attempt to rescue Badiat. He
has had enough, he says yet. Al Kasim finally persuades the Demon to fly with him to
Kipungani.

End of Part One

Part Two

Tableau 6: Kipungani
Silently and cautiously Al Kasim and his Demon enter the garden of the old tyrant Dijab
(basso). Serenade of birds, frogs and cicadas. Al Kasim finds Badiat asleep on a bench in
the garden and falls in love with her at first sight. Love duet (with Badiat half asleep). We
hear the Demons warning songs from above, perhaps from a tree. Al Kasim is about to
kiss Badiat when she wriggles free and screams. Torches, lanterns, impressively tall
Nubian soldiers with halberds. Dijab the tyrant enters and soon turns out to be a friendly,
mild-mannered old chap. But not at once. Badiat, Al Kasim and the Demon are arrested.
Dijab forgives them, but attaches a condition to their pardon: on their way home, the
three of them (with the hoopoe) must make a detour to the Princedom of Matandoni and
steal a large chest, the contents of which are unknown. This they must bring back with
them to Kipungani. Only then will they be free to return to Manda.

Tableau 7: The Old Man II

The old man on the tower at Manda has a second nightmare.

Tableau 8: A Predatory Raid

The Demon is sitting on the chest that he has stolen in Matandoni (it is coated in black

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 L' Upupa und der Triumph der Sohnesliebe by Hans Werner Henze at ChesterNovello.com

lacquer and has silver edges and handles). Badiat and Kasim bathe the wounds that he
has suffered while obtaining it. We learn of his rescue by his friends, Badiat and Al Kasim.

The little caravan sets off. (No attempt is made to take the chest to Kipungani!). The
Demon holds a parasol over Badiat and with his other arm shoulders the chest. The lady
holds a parasol over Al Kasim, who is carrying the cage containing the hoopoe, which in
turn may be shielded by a miniature parasol.

Tableau 9: A Reunion
A) By the Great Gate. Broad Daylight. Adshib and Gharib are sitting in the shade by the
edge of a well and, as always, passing their time by playing cards.
Al Kasim and his little group of followers enter. Friendly reunion. The Demon takes his
leave of Al Kasim. (He is not allowed to accompany him beyond the Great Gate.) Under
the pretext of needing some drinking water, the wicked brothers lower Al Kasim into the
well, then cut the rope. Badiat leaps in after him.
B) Al Kasim and Badiat in the well.
C) The Demon has heard their voices and comes back. He releases them from the well.
They thank him warmly and ask what they can do in return. He has a single wish: he
would like to see (and eat) one of the red apples that grow on Al Kasims island of Manda
and that symbolise eternal fruitfulness, wisdom, love and joy. The roundness of the fruit
reminds us of integrity, wholeness and perfection.

Tableau 10: The Magic Chest

A) Manda. Grand reception hall in Al Radshis palace. The wicked brothers bring in the
golden hoopoe but also report the terrible news that Al Kasim has been killed in single
combat. The old man is beside himself with despair. He opens the cage and releases the
hoopoe. Adshib and Gharib drag in the chest (which has become bigger and heavier with
time). Thrice they utter the magic words Habari mzuri. With a loud bang a door opens
in the chest. Drummers, pipers and trumpeters emerge in orderly fashion, playing music
that is initially soft-toned but which then becomes louder and more violent, while the two
wicked brothers are beaten, trampled and humiliated by it. They have forgotten the
second magic word or else they never knew it. They scream out in desperation and pain.
B) Just as the situation threatens to get out of hand and the two villains look as though
they may be killed, Al Kasim and Badiat enter the hall, hand in hand. Needless to say,
they know the magic word shoulim, which they pronounce three times, and the music
stops, and the musicians quickly disappear back inside the chest in an orderly manner.

Al Radshi embraces Al Kasim and welcomes the girl. The two villains are banished to
some provincial backwater and condemned to work in the municipal sewers for the rest of
their lives.

The old man wants the marriage to take place the very next day, but Al Kasim asks for a
delay: first he has to ride back to the Great Gate and redeem his promise to bring his
Demon the apple from the Tree of Life.

Tableau 11: The Twilight Hour

The Old Man and Badiat (with the golden hoopoe feather in her hand) are sitting quietly
high on their tower and watching the camel rider grow smaller and smaller until at last he
vanishes in the evening light.

Hans Werner Henz

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Orchestra 2
Hans Werner Henze Dramatic Works 1
(b.1926) Solo Keyboard 2
Hans Werner Henze was born in Gtersloh, Westphalia, in 1926 Complete Works 5
and began composing at the age of twelve. He studied at the
Brunswick State Music School and, after military service, at the Related Information
Institute for Church Music in Heidelberg and with Wolfgang
Fortner. He attended the early Darmstadt International Summer Printable Work List
Schools for New Music, where he met Ren Leibowitz, studying Discography
serial technique with him both there and in Paris. Of Henze's huge Performances
catalogue of works the earliest acknowledged date from 1946: the View Portrait
Kammerkonzert for piano, flute and strings, and the sonata for
violin and piano. The following year brought the first string Hire or Buy Online
quartet, violin concerto and symphony. In 1948 he produced his
first opera, the one-act Das Wundertheater, premiered in Hire Works by this Composer
Heidelberg, and in 1949 his first acknowledged ballet, Ballett- Richard Haughton
Musicroom.com Classical
Variationen. His first full-scale opera, Boulevard Solitude, an
Department
updating of the Manon Lescaut story, was successfully launched in
Hanover in 1952, but a year later Henze abandoned postwar
German society to settle in Italy, where he still lives. His next Contact Us
opera, Knig Hirsch, and a whole series of pieces reflect the
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warming influence on him of the Italian environment. He
memorably described himself as 'a north German contrapuntal Tel. +44 (0)20 7434 0066
temperament projected into the arioso south'; and the modernist, Fax +44 (0)20 7287 6329
Schoenbergian and Stravinskyan influences of his earlier work
now submitted to the tender sway of a sensuous lyricism clearly Free Email Updates
evident in the ballet Ondine, the Fnf neapolitanische Lieder for
baritone and chamber orchestra, the Nachtstcke und Arien for Enter e-mail
soprano and large orchestra. To this rich synthesis was added a
more austere classical strain in works such as Cantata della fiaba submit
estrema for soprano, chamber chorus and instruments, or Ariosi
for soprano, violin and orchestra; while a constructivistic
approach was brought to bear on such pieces as Antifone for solo
strings, wind and percussion, the cantata Novae de infinito
laudes, and the Kleist-based opera Der Prinz von Homburg.
Henze's operatic career reached a pitch of boldness and acclaim
with The Bassarids, a two-hour single act conceived as a four-
movement symphony, premiered in Salzburg in 1966; while his
45-minute second piano concerto of 1967 was a peak of his more
abstract writing. But with the oratorio Das Floss der Medusa, and
more conspicuously the Versuch ber Schweine for baritone-
Sprechgesang and orchestra, both of the following year, and the
exuberant, aleatory sixth symphony of 1969, a complete change
came over Henze's work. Political protest, deep-dyed into the
very fabric of the music - and indicated by his periods of
residence in Cuba - marks his output of the 1970s, as attested by
the revolutionary 'recital for four musicians' of El Cimarrn,
followed by a concerto for viola and small orchestra, entitled
Compases, the quasi-theatrical second violin concerto, and the
'actions for music' We come to the River, a stage work to a
libretto by Edward Bond. Since the appearance of this work, first
performed at Covent Garden in 1976, the political ferment of
Henze's creativity has tended to subside. Revolutionary ideals
invariably lead to disillusion; but he does count the foundation
that same year of the Cantiere Internazionale d'Arte - a people's

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Henze, Hans Werner at ChesterNovello.com

arts festival - in the Tuscan town of Montepulciano as 'one of my

few political successes'. Subsequent operas include two other
Bond collaborations, however: the comic parable of The English
Cat and the ballet Orpheus; and if in the most recent two, Das
verratene Meer and Venus und Adonis, both to a libretto by Hans-
Ulrich Treichel, attention is focused on personal and psychological
experience - as it also is in the seventh symphony or the
instrumental (wordless) Requiem - the cantata-like Symphony No
9, 'dedicated to the heroes and martyrs of German antifascism', is
there to remind us that vehement political protest still looms large
in Henze's imagination. He has completed a tenth symphony, and
his recent orchestral work Scorribanda Sinfonica, commissioned
by NDR was premiered on June 29, 2001 in Hamburg. Currently
he is working on an opera for the 2003 Salzburg Festival. He has
received innumerable honours. He was the first composer-in-
residence of the Berlin Philharmonic and has twice been composer-
in-residence at the Tanglewood Festival. Many festivals have been
devoted to his music, amongst others one at London's South Bank
Centre in March 2001. Paul Driver

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