오페라 Mozart's first Songspiel "Bastien und Bastienne" 서막(Intrada)

[피터정]

K. 50/46b

Bastien und Bastienne

Singspiel in one act

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Origin: Vienna, 1768
Author: Friedrich Wilhelm Weiskern, Johann Müller, and Johann Andreas Schachtner, after Jean-Jacques Rousseau, and Charles Simon Favart and Marie-Justine-Benoîte Favart, with Harny de Guerville

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Bastien und Bastienne is Mozart's first German Singspiel. This genre, with sung arias and ensembles interspersed with spoken dialogue, seems to have more in common with the modern Broadway musical than 18th-century Italian opera. It was a form which Mozart would significantly develop, and the one which would reward him during his lifetime with his most popular stage works: Die Entführung aus dem Serail (K. 384) and Die Zauberflöte (K. 620).

The authors' credits may seem somewhat extensive for such a slight work. The story was first given shape by Rousseau, who wrote an operetta titled Le Devin du village (The Village Soothsayer), performed in Paris in 1752. It assumed its current form, after various permutations, under the direction of Count Giacomo Durazzo, the Genoese ambassador to Vienna, in 1764. Durazzo ordered a parody of the work to be performed at the Burgtheater, and it was duly translated by actor Friedrich Wilhelm Weiskern from a version known to Viennese audiences as Les Amours de Bastien et Bastienne.

The result was popular enough to engage the attention of Viennese physician and "magnetist" Dr. Anton Mesmer, a friend of Leopold Mozart and, later, a patron of Leopold's son. Mesmer commissioned the young composer to write a one-act Singspiel based on Weiskern's translation for performance at his home. (As an adult, Mozart would parody the "magnetic doctor" to wonderful effect in Così fan tutte, K. 588).

No one knows if Bastien und Bastienne ever was performed for Mesmer's household. The first documented performance wasn't until 1890, in Berlin; the first documented Salzburg performance was given in the 1950s, in Russian, by a children's troupe from the U.S.S.R. (As William Mann comments in The Operas of Mozart, "the mind boggles.")

Even today, performances are all too rare. That's too bad, especially since Bastien und Bastienne would be relatively easy to stage: It requires only three singers and the parts are not demanding. But the songs are lovely nonetheless. Unlike La finta semplice (K. 51), Bastien und Bastienne is unforced and unpretentious; we are easily convinced that it was written by a precocious 12-year-old. Of all Mozart's juvenile works, it is the most playful and carefree.

A final note, on the overture to this little work: Many commentators have noticed a distinct similarity between its main theme and that of the first movement of Beethoven's Symphony No. 3, "Eroica." The similarity is striking, but probably pure coincidence. Beethoven wouldn't be born for another two years, and it is unlikely that he ever heard Mozart's music for Bastien und Bastienne.

Dramatis personae:

• Bastienne, a shepherdess (soprano)
• Bastien, her beloved (tenor)
• Colas, a putative magician (bass)

Synopsis:

The action takes place in a village, looking out upon open meadows.

Intrada

Bastien und Bastienne

© 1987 Philips Classics Productions

422 527-2

Bastienne, a shepherdess, fears that her "dearest friend," Bastien, has forsaken her for another pretty face, and decides to go into the pasture to be comforted by her flock of lambs.

But her departure is interrupted by Colas, the village soothsayer, who arrives to the sound of bagpipes. Bastienne asks him to use his magic arts to help solve her problem. Colas, of course, is aware of Bastienne's plight and reassures her that her Bastien is not being unfaithful: His head has been temporarily turned by "the lady of the manor." He advises Bastienne to feign indifference; if she does that, Bastien will return.

They hear Bastien approaching, so Bastienne hides. He enters confidently, loudly declaring his love for Bastienne. Colas stops him cold with the news that he's too late: Bastienne has found another lover. Bastien is dumbfounded. How can he win her back?

Diggi, daggi

Bastien und Bastienne

© 1987 Philips Classics Productions

422 527-2

Colas consults his book of magic and finds the following spell: "Diggi, daggi, shurry, murry, horum, harum, lirum, larum, rowdy, mowdy, giri, gari, posito, besti, basti, saron froh, fatto, matto, quid pro quo." He assures Bastien that the spell has taken effect and all his problems are solved. Joyfully, Bastien searches for Bastienne.

But Bastienne decides to give Bastien his comeuppance, and plays her part of the spurned lover to the hilt. In fact, she plays the part so well that Bastien threatens to return to the lady in the manor. No problem, Bastienne retorts: She herself can easily find admirers in the town. Bastien hints at suicide. "Have a good time!" she responds. He threatens to drown himself. "Enjoy your cold bath!" But here he hesitates, admitting that he's a bad swimmer.

But by now the lovers' tiff has played itself out. The pair, reconciled, is joined by Colas and they all sing the magician's praises in a final chorus.

Recommended recordings:

• Mozart: Bastien und Bastienne, Philips 422 527-2
• Mozart: Bastien & Bastienne, Sony SK 45 855

References:

• Einstein, Alfred. Mozart, His Character, His Work. New York, 1962.
• Giegling, Weinmann and Sievers, eds. Chronologisch-thematisches Verzeichnis samtlicher Tonwerke Wolfgang Amadé Mozarts, 6th edition. Wiesbaden, 1964.
• Mann, William. The Operas of Mozart. New York, 1977.
• Osborne, Charles. The Complete Operas of Mozart. New York, 1983.
• Zaslaw, Neal, and Cowdery, William, eds. The Compleat Mozart. New York, 1990.

[순수]

에고.... 한국말로 소개해주셈 요거이 모차르트가 무쟈게 어렸을 때 작곡한 징슈필(노래극)이라는디... ^^ 갑자기 고상해진 피터정 님.... 왠지 내는 낯설다 카카칵 ..... 혼나기전에 줄행랑=33333

[祉炫]

크게 보기를 하니 기돈 크레머와 빈 필의 협연이 기다리고 있네요. 완벽한 곡을 완벽하게 연주해내는 이들에게 경의를...... 징슈필은 단순소박한 모짜르트의 심성이 아주 잘 나타난 18세기 독일의 노래극, 여기서 시작해 19세기 오페라가 탄생했다더군요. 캄사합니다.