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BENJAMIN BRITTEN

MEZZO-SOPRANO

compile'J by Dan Druden


BENJAMIN BRITTEN

MEZZO-SOPRANO

compiled by Dan DreJJen


INTRODUCTION EINLEITUNG

The operas of Benjamin Britten in the Boosey and Die Opern von Benjamin Britten im Katalog von
Hawkes· library probably comprise the most Boosey and Hawkes bilden die wahrscheinlich
consequential body of operatic literature from the konsequenteste Sammlung der Opernliteratur des
twentieth century. This is certainly true if one 20. Jahrhunderts. Dies gilt sicherlich mit Blick auf
considers only operas written in the English die englische Opernliteratur. Der Sinn dieser
language. The objective of this anthology of arias is Anthologie der Opernarien ist es, ein Teil dieser
to make more accessible for singers, teachers, wunderbaren Musik fur Sanger, Lehrer,
coaches and accompanists some of this Korrepetitor und Begleiter zuganglicher zu machen.
wonderful music. It is interesting to note that as the Es ist interessant zu beobachten, daB je naher das
twentieth century reaches its conclusion, we find 20. Jahrhundert seinem Ende ruckt, wir desto
access to the arias from its most important operas weniger Zugang zu den Arien seiner wichtigsten
less readily available than those of Puccini, Verdi Opern im Vergleich mit denen von Puccini, Verdi
and Mozart, or even Gluck, Weber and Massenet. und Mozart - oder gar Gluck, Weber und Massenet
This anthology is an important step in remedying haben. Diese Anthologie soll auch dazu dienen,
this situation. dieser Situation Abhilfe zu schaffen.
The editor sees the value of this volume of arias Der Herausgeber schatzt den Wert dieses
for those looking for recital or audition material. Arienbandes fur diejenigen, die Repertoire fur
Many of the operas represented here have entered Liederabende oder zum Vorsingen benotigen. Viele
the standard repertory of professional companies der hier vertretenen Opern gehoren inzwischen zum
and opera workshops where selections from the Standardrepertoire professioneller Opernensembles
opera and composer are frequently requested in und Opernwerkstatten. Deshalb werden Auszuge
auditions. This collection can also serve as a handy daraus haufig zum Vorsingen gewahlt. Diese
resource for students and teachers wishing to use a Sammlung kann ebenfalls als handliches Werk fur
Britten aria simply for study. Studenten und Lehrer dienen, die eine Britten-Arie
This edition solves the problem of extracting arias lediglich studieren mochten.
from largely through-composed opera scores. All Diese Ausgabe lost das schwierige Problem, aus
accompaniments have also been arranged for one einer weitgehend durchkomponierten Oper einzelne
pianist; some complex orchestrations had to be Arien herauszulosen folgendermaBen: samtliche
reduced and sometimes melodic material sung by a Begleitungen wurden fur Klavier 2-handig
second character was placed in the accompaniment. transkribiert; einige komplexe Orchestrierungen
Dan Dressen muBten jedoch reduziert und manches
melodische Material, das von einer zweiten Person
Novemher 1991
gesungen wurde, in die Begleitung eingefugt

werden.
Dan Dressen
Im Novemher 1991

Cover design by 4-nette Williamson.


ContenLJ

Doctor Jessop's Midwife


Doktor Jessops Hebamme
from Albert Herring

What Would Missus Herring Say? 9


Was wird Missus Herring tun?
from Albert Herring

Ah! Blackguards! 12
Ach ! Schurken !
from The Little Sweep

Give Him This Orchid 17


Gib ihm die Blume
from The Rape of Lucretia

Quint, Peter Quint 23


Quint, Peter Quint
from The Turn of the Screw

I Know a Bank Where the Wild Thyme Blows 28


Wo siiss der Duft wilden Thymians weht
from A Mid.mmmer Night'.J Dream

© Copyright 1993 by Boosey & Hawkes Music Publishers Ltd.


FOREWORD

by Eric Crozier by Nancy EvallJ

I was privileged to work with Benjamin Britten My first experience of Benjamin Britten and his
during one of the most active periods of his music was in 1946, when I shared the role of
amazingly creative life. He was twenty-eight when I Lucretia at Glyndebourne with Kathleen Ferrier.
first knew him. and he already had twenty~eight This was a most exciting and stimulating
published works to his credit, plus a great deal of opportunity: Britten's standards musically, vocally
unpublished music. It was then, in 1943, that he and dramatically extended the abilities of all his
began work on his first large-scale opera. He asked performers. His word-setting, the pacing of his
me to read and criticise the libretto Montagu Slater recitatives, and his rhythmic vitality demanded very
had written for him, and from then on I worked high standards, and by working with the composer
regularly with them both. I staged the world himself, and with such admirable colleagues as Peter
premiere of Pder Grinzu in London in 1945 and the Pears and Joan Cross, I acquired a new awareness
American premiere at Tanglewood in summer 1946. of his genius. He insisted upon an absolute respect
I staged Britten's second opera, The Rape of Lucretia, for the setting and phrasing of words and a true
at Glyndebourne in 1946, then wrote the libretto for feeling for rubato and colour.
A/J,erl Herring. Meantime, we had set up our own Britten never admired a beautiful voice for its
opera company, The English Opera Group, and one own sake: always he called for a subtle feeling for
year later we launched the first Aldeburgh Festival character and situation based on a true legato line
of Music and the Arts, the opening concert of which which would make full use of the dramatic colours
presented our new cantata, Saint Nico!M. inherent in the music and the drama. He greatly
-1
Looking back now, fifteen years after Ben's relished Purcell's dramatic vitality, his individual
untimely death, I marvel at the immensely wide rhythmic style, and his use of elaborate melisma in
range of his interests and sympathies - wider than such essentially individual scenas as MaJ But1. The
those of anybody I have ever known. Throughout enduring quality of his own operas is shown in the
life, he learned from his friends - from W.H. Auden host of splendid operatic parts that he created,
in America, from Peter Pears, from myself, from which inspire all singers with opportunities to
William Plamer, from Myfanwy Piper and many enhance their repertoires with musically and
others. He accepted challenges beyond any other dramatically fulfilling roles.
composer of his time - settings of Rimbaud's In 1947, when Britten composed his comic opera
visionary prose-poems, song-cycles based on the A/J,ert Herring, the part of Nancy was written for me
Michelangelo sonnets and the convoluted Holy and even named after me. Other Britten roles which
SonnetJ of John Donne; his work embraced a whole I was fortunate enough to create were Polly in his
•·
~

galaxy of English poets with profoundest affection - version of The Beggar'.! Opera, and Dido in his
Francis Quarles, Thomas Hardy, Wilfred Owen, realisation of Purcell's Dido anJ AeneaJ. He also
Edith Sitwell and T.S. Eliot. composed for me his song-cycle, A Charm
Nowhere is the extent of Britten's creative vitality of Lullahie.J.
more apparent than in the thirteen operas he
composed between 1941 (Paul Bunyan) and 1976
(Death in Venice), and all admirers of his achievement
will welcome this series of volumes in which Dan
Dressen offers anthologies of Britten arias each
designed for a particular type of voice. ©Copyright 1992 Eric Crozier & Nancy Evans.

@Copyright 1993 Eric Crozier & Nancy Evans.

:--
------- --------------~

Doctor Jessop's Midwife


from Albert Herring
Words by
ERIC CROZIER
German translation by
Fritz Schroder
'J Ill r
Music by
BENJAMIN BRIITEN

Quick and heavy J = 144 Florence gets her household book and pencil, and notes her latest instructions.
{Allegro e pesante) Florence nimmt Tagebuch und Bleistift und notiert die letzen Anordnungen.

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Man klopft an die Tare zum Wintergarten. Florence bricht ab und offnet.

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9

What Would Missus Herring Say?


from Albert Herring
Words by Music by
ERIC CROZIER BENJAMIN BRITIEN
German translation by
Fritz Schroder
Rather Slow
(Andante) 7

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wie tut mir das

©Copyright 1948, 1950, 1993 by Hawkes & Son (London) Ltd.


Copyright renewed. Printed in U.S.A.
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heit! Oh, wie tut mir das le id!

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Safe and sound in life and limb. Mis-sus Her-ring's heart will break ...
un - ver-sehrt, ge-szmd und heil! Mis-sis Her-ring's Herz zer-bricht, -
3
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we should - n't, we should n't have done!


wie tut mir, wie tut mir das leid!
12

Ah! Blackguards!
from The Little Sweep f·-

Words by Music by
ERIC CROZIER
~ lw E (~Ei BENJAMIN BRIITEN
German translation by
Bettina Hiirlimann-Kiepenheuer

Quick (J = 136) MISS BAGGOIT


Allegro f> >

Ah! Black-guards! Black-guards!


Ach! Schur-ken! Schur-ken!
!.---

Adagio
>
,~;·-

l
Black - a-moors! Brutes! Oh! my poor feet! Ah!_ Ah!_
Schur-ken Ihr! Pfui! Oh weh, mein Fu/5! Pfui! _ Pfui! -

r.-i

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.ffz ============--~- pp
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The ver min! All the way toSnape and back! Oh! __ my joints!
Ge-sin de/! Ging den Weg in 's Dorf um-sonst! Oh! _ _ mein Knie!

r.-i

""CJ"
.ffz ============--~-
I":"..

© Copyright 1949, 1950, 1993 by Hawkes & Son (London) Ltd.


Copyright renewed. Printed in U.S.A.
13
a tempo
> >

Ne - ver! ne - ver! 111 all my horn days .. .


Nie me/Jr! Nie mchr! So - fang ll'll' ich /ch' .. .

ad lib. co11 forza


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"Come back," says I, "Come back," says I, "and fin - ish your law - ful work"
,,Zu - riick ", rief ich, ..zu - riick '', rief ich, ,,jetzt Zltr Ar - beit und zur Pflicht!"

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drat _ _ __ the sweeps!


Die Flii-che! Schreck _ __ die Kerls!

For they _ _ __ that


Denn der, _ _ __ der
> _ _ _ _ _ __

sempre stacc. e mare.


con Ped.
14
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good _______ shall tram - pie them un der


From men tre - ten ilm mil dem
>

~Quick
~Allegro crcsc.
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.(

The in - suits! The in - suits! Ac - cused me of hi - ding their beast - ly


Der Liig-ner! Der Liig-ner! Klagt mich an: Ver-steckthatt' ich ih - ren

cresc.

1;
> >

I'll hide him! I'll hide him! I'll hide him!


Das werd'ich! Das werd'ich! Das werd'ich!

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on him!
Wenn je ich soil - te fan - gen ihn!

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ad lib.

Cur - rains crook-ed, Ro-wan! Care-less-ness! Slap-dash-er - y! Help me up!


Schmutz'-ger Vor-hang, Of - ga! Lie - der-lich! Un - or-dent-lich! He/ft mir au(!

The children assist her to rise, and she moves slowly around the room inspecting it.
Die Kinder sind ihr beim Aufsteh'n behilflich u. sie geht musternd im Zimmer umher.
Measured (J. = 55)
Andante p

Look at rhe crea - ses in rhe cur-rain! Look at rhe foor-prints


Seht, wie zer-knit - tert die Gar-di - nen! Seht au( dem Tep - pich

You have n't ri died up, that's cer - rain.


Ihr habt nicht au( ge-riiumt da drin-nen:

Look ar rhar fil - rhy cup-board door! Fire-place is grub-by, fen - der co - vered!
Seht nur den Schmutz hier an_ der Tiir! Hier vor dem 0 - fen, an _ der Bank da!
Smud-ges of
Flek - ken von

Miss Baggott is about to open the toy cupboard where the Little Sweep is hiding, when suddenly Juliet collapses.
Fri. Baggott will gerade den Spielzeugschrank offnen, in dem sich der Kleine Schornsteinfeger versteckt halt,
als Julia plotzlich zusammenbricht.
17

Give Him This Orchid


from The Rape Of Lucretia
·Words by
RONALD DUNCAN
(II
.. I
Music by
BENJAMIN BRITIEN
German translation by
Elisabeth Mayer

un poco piu largamente


ff impetuoso
poch rall LUCRETIA ---..,,
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© Copyright 1946, 1947, 1993 by Boosey & Hawkes Ltd.


Copyright renewed. Printed in U.S.A.
18
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tell the mes - sen - ger to Yes!


Bring' dem Bo - ten mei - ne ]a,
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Und ei - le, ei - le, ei - le, ei - le, ei - le,

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Blu - men sind m je - dem Jahr _ _ ganz gleich vol/ - kom - men;

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grief To hide my shame and be my wreath.
ganz die tie - fe Scham, und seid mein Kranz.
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23

Quint, Peter Quint


from The Turn of the Screw
Words hy Music by
MYFANWY PIPER BENJAMIN BRITTEN
German translation by
Ludwig Landgraf

Slow and Broad {J -- 48)


f\ ll
... MRS GROSE pp,
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Quint, Pe-ter Quint! The Mas-ter's


Quint, Pe-ter Quint! des Her- ren

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with movement

va - let. Left here in charge. It was not for me to say, Miss,


Die-ner. Wardann selbst Herr. Mich gings u - ber-haupt nichts an, ... Miss,

.,
in time marked

no in - deed, had on ly to see to the house. But I saw things,


gar nichts an, denn ich sorg - te ja nur fiir das Haus. Dach ich sah vie/,

©Copyright 1955, 1957, 1993 by Hawkes & Son (London) Ltd.


Copyright renewed. Printed in U.S.A.
24
> >

else-where, when Quint was free with ev - 'ry - one, with


man-ch es, der Quint nahm sich zu vie/ her - aus, au ch

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lit - tie Mas-ter Miles! Hours they spent to - ge - ther.


ge - gen Ma-ster Miles! Stets mit ihm zu - sam-men.

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Yes, Miss. He made free with her, too, with love - ly Miss Jes - sel,
]a, Miss. Er war frech auch mit ihr, der scho-nen Miss Jes - sel,

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Go - ver - ness to those pets, those an-gels, those in - no - cent


da - mals Gou-ver - nan-te, der En-gel, der un-schul-di - gen

-- cresc.

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25

hahes _ _ __ And she a la - dy, _ _ __ so far a - bove him. _ _


zwei _ _ __ zmd ei - ne Da-me, _ _ __ vie/ h6 her ste - hend. _ _

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But he had ways to twist them round his lit - tle fin - ger. He liked them pret - ty, I can
Dach er ver-stand, sie kir - re sich und zahm zu ma - ch en. Er liebt das Hiib-sche, das be -

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tell you, Miss, morn-ing and night. The


zeug' ich, Miss, zmd er fand sein Ziel, mar - gens undnachts. Er
3,,--.

p
PP express. -===
26
gradually louder and more agitated
. - - - .1 -----, . - - 3-----, .--- 3-----,

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a tempo
fi in time (J = 48)
l. - •

No, Mr. _ Quint, I did not like your ways!_ And then she went. She could-n't
Nein,Pe - ter Quint, ich liebt' nicht dei - ne Art!_ Dann ging sie fort. Kein Blei - ben

dim. 1=--P

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stay- not then. She went a - way- to die. Quint died too. Fell_
gab 's- dann nicht. Sie ging dann fort- und starb. Quint starb au ch. Fie/_

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27

on the i - cy roac.l- struck his hea<l- lay there, _ _


au( der eis '-gen Stra/f- Scha - del-bruch- lag dort, _ _

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dead! Dear God, IS


tot! Mein Gott, wann

Agitated (~ =~)

there no end to his dread ful ways?


en - det end lich sem ho ser Weg?

~ i- -J
28

I Know a Bank Where the Wild Thyme Blows


from A Midsummer Night's Dream
Words by Music by
WILLIAM SHAKESPEARE
German translation by
~~ "' F BENJAMIN BRITIEN

A. W. van Schlegel
adapted by
Ernst Roth

Quietly (tranquil/a)
(J = about 44) (rit.) pp ...--......
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·- know
....

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a
·1

bank where the


'
11
I

wild
I
thyme_ blows,_
- I

Wo siif5 der Duft wil - den Thy - mians _ weht, _

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where Ox - lips_ and the nod-ding, nod-ding


Die Pri - me/_ und das nik-kend, nik-kend

- o- let grows, Quite o - ver-


chen steht, Das iipp' - ge

--- __.....,..

....___________ ____...
© Copyright 1960, 1993 by Hawkes & Son (London) Ltd.
Copyright renewed. Printed in U.S.A.
29

--------------
cious Wood-bine, ______With sweet _ _ _ _ _ musk -
can - o-pied with lus
Gei/5 - blatt wolbt dun kel sein _ Griin, Die Hek ken -

ro - ses, - - - - - - - - - and with Eg - Ian-tine;


ro - se - - - - - - - - - - glanzt und E - glan-tin:

Gently flowing (scorrevole) J = 66


simply (einfach) ~

ta nia, some - time of the night,


ta nia ha/ be Na ch te fang,

clan - ces and de light:


Tan - zen und Ge
30
more animated than before
[fil (come sopra, ma piu animato)
I'\ I ~ -

...
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........ '·
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And there--------------------
Die
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the snake hersn - am-mel'd


ge dart bun-ter noch zu
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skin, wide e - no ugh, weed wide e - no ugh to


sein, Aus ih - rer Haut, aus ih - rer Hautund

rall. @] Flowing (scorrevole)


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wrap a Fai - ry m. And with the JUICe of


Elf - ch en sch/Upft da - rein. !ch netz' ihr Aug' mit

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32

then - ian la - dy is in love With a dis dain ful youth: a - noint his
Mad-chen wird mit spr6-dem Stolz Von ei - nem ar gen Mann durch-aus ver -

~-

(~=~)

eyes, But do it next thing he es-pies May be the La - dy. Thoushalt know the
schmaht. Salb' du ihn, er - wa-chend er er-spaht das gu-te Mad-ch en. An A - thens Ge-

Mysterious (misterioso)

man, _ By the A- then - ian gar - ments he hath on.


wand _Wird oh - ne Muh' der Mann von dir er - kannt.

===--

sim.
-=:::: :::::>-
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