Everything about Die Feen totally explained
Die Feen (
The Fairies) is an
opera in three acts by
Richard Wagner. The German
libretto was written by the composer after
Carlo Gozzi's
La donna serpente.
Die Feen was Wagner's first completed opera, but remained unperformed in his lifetime. It has never established itself firmly in the operatic repertory although it receives occasional performances, on stage or in concert, most often in Germany. The opera is available in multiple versions on CD; however, it has never been available on video. Additionally, the overture has an independent life as an orchestral piece.
Although the music of
Die Feen shows the influences of
Carl Maria von Weber and other composers of the time, commentators have recognised embryonic features of the mature Wagnerian opera. The fantasy plot also anticipates themes such as redemption that were to reappear in his later works.
Background and composition
Die Feen was Wagner's first completed
opera, composed in
1833, when he was 20 years old and working as a part-time chorus master in
Würzburg.
Wagner revised the score of
Die Feen in 1834, when he hoped for a production. Among the changes in the 1834 version was the rewriting from scratch of Ada's grand scene
Weh' mir, so nah' die fürchterliche Stunde. The libretto also introduced a fantastic theme that wasn't in the original play. It is the only Wagner
opera that hasn't been
recorded for
broadcast television or
video. There are some audio recordings, the one with the best known performers being a live performance conducted by
Wolfgang Sawallisch as part of the celebrations of the centenary of the composer's death.
The
English premiere was in
Birmingham on
May 17 1969 The opera continues to receive performances, particularly in Germany, for example a strongly cast concert performance in 2003, and two new productions opening within a week of each other in Germany in 2005.
Roles
| Role |
Voice type |
Premiere Cast, June 29, 1888
(Conductor: Franz Fischer)
|
| The Fairy King |
bass |
Victorine Blank
|
| Ada, a fairy |
soprano |
Lili Dressler
|
| Zemina, a fairy |
soprano |
Pauline Sigler
|
| Farzana, a fairy |
soprano |
Marie Sigler
|
| Arindal, King of Tramond |
tenor |
Max Mikorey
|
| Lora, his sister |
soprano |
Adrienne Weitz
|
| Morald, her betrothed |
baritone |
Rudolf Fuchs
|
| Gunther, a courtier from Tramond |
tenor |
Heinrich Herrmann
|
| Gernot, Arindal's friend |
bass |
Gustav Siehr
|
| Drolla, Lora's friend |
soprano |
Emilie Herzog
|
| Harald, General of Groma the magician |
bass |
Kaspar Bausewein
|
| A messenger |
tenor |
Max Schlosser
|
| Voice of Groma the Magician |
bass |
|
Synopsis
Act 1
While other fairies amuse themselves in a fairy garden, Zemina and Farzana discuss how their mistress Ada, a half-fairy, has renounced her immortality to spend her life with the mortal whom she loves. The fairy-king has set a condition which Farzana believes that Arindal won't fulfil even with the help of the magician Groma. Nevertheless, they get the other fairies and spirits to pledge their help in separating Ada from the mortal.
In a rocky wilderness Morald and Gunther meet Gernot. The former pair have been sent to find out what has happened to Arindal, who disappeared eight years ago. In the mean time his father, the king, has died from grief and the kingdom is being attacked by their enemy Murold who demands they surrender Arindal's sister Lora as his wife. Gernot relates how he and Arindal had hunted a beautiful doe to a river where it vanished. They heard a voice and jumped into the river where they found a beautiful woman in luxurious surroundings. She declared her love for Arindal and said they could stay together provided Arindal could go eight years without asking who she is. But the day before he did ask her, and Arindal and Gernot found themselves in the wilderness. Morald and Gunther depart before Arindal can know of their presence. Arindal appears and sings of his grief at the loss of Ada (
Wo find ich dich, wo wird mir Trost?). Gernot tries to argue him round to believing that Ada is a sorceress who has abandoned him and that he should return to his kingdom. He sings of an evil witch who had disguised herself as a beautiful woman (
War einst 'ne böse Hexe wohl). Gunther returns, disguised as a priest, and continues the attempt to persuade Arindal that he'll be turned into a wild beast by the witch unless he returns at once; Morald similarly disguises himself as the ghost of Arindal's father and announces that his kingdom is threatened. Each disguise is magically destroyed just as Arindal is about to be convinced. However, the three are finally able to persuade him of his country's need. They agree to depart in the morning, although Arindal fears he won't see Ada again. When he's left alone he falls into an enchanted sleep.
The scene changes again to a fairy garden with a palace in the background out of which Ada comes. She sings of how she's willing to sacrifice her immortality and pay the price, however hard it is, necessary to win Arindal (
Wie muss ich doch beklagen). Arindal awakens and declares his joy at seeing Ada again, but she announces that he'll abandon her the next day. Gernot, Gunther and Morald arrive with companions to fetch Arindal. Those who have not seen her before are struck by Ada's beauty and fear Arindal won't come. A procession of fairies comes out of the palace and Zemina and Farzana tell Ada that her father has died and she's now queen. Ada tells Arindal that they must part now but she'll see him tomorrow. She asks him to swear that whatever happens he won't curse her. He swears it even though she takes back her request. She expresses her fear that that'll both go under as a result of his breaking the oath.
Act 2
The people and warriors in Arindal's capital are panicking because they're under attack. Lora berates them, saying that she herself stands firm even though she's lost father, brother and lover. She reminds them of Groma's prophecy that the kingdom won't fall if Arindal returns, but the chorus express doubts. Just as she begins to fear that they're right (
O musst du Hoffnung schwinden), a messenger arrives to announce that Arindal is on his way. The new king is greeted joyously by his people, but Arindal himself expresses his fears that he isn't strong enough for battle. Meanwhile Morald and Lora express their mutual love.
Ada is with Zemina and Farzana. She complains to them of how they heartlessly drive her on. They, however, express hope that she'll renounce Arindal and remain immortal. She sings (
Weh' mir, so nah' die fürchterlische Stunde) of her fears that Arindal will be cursed with madness and death, and she with being turned to a statue, but then expresses hope that Arindal's love will prove strong.
Gernot and Gunther talk of the terrible omens of the night and morning. Gernot asks Gunther if Drolla is still beautiful and still loyal to him. Gunther says he believes so but says Gernot should ask her himself as she's nearby. Gernot and Drolla test each other with stories of the many people who love them. Each becomes jealous before they realise that they both truly love each other.
Battle is raging outside. Arindal is anxious and refuses to lead the army out. Morald does so instead. Ada appears with her two children by Arindal. She seems to throw them into a fiery abyss. Meanwhile defeated warriors rush in. Ada refuses to console Arindal saying she's come to torment him instead. More defeated warriors arrive with reports that Morald has disappeared, captured or dead. Then Harald, who was sent to bring reinforcements, comes. He reports that his army was defeated by one led by Ada. Arindal curses her. Zemina and Farzana express joy that Ada will remain immortal. But she sorrowfully explains that the fairy-king had required as a condition of her renouncing her immortality, that she conceal her fairy background from Arindal for eight years and on the last day torment him as best she can. If he cursed her, she'd remain immortal and be turned to stone for a hundred years while he'd go mad and die. In truth, Morald isn't dead, the army Harald led was full of traitors, and the children are still alive. Already Arindal can feel his sanity slipping.
Act 3
A chorus hail Morald and Lora as the King and Queen who have brought them peace. The couple say they can't rejoice, because of Arindal's fate. All pray for the curse to be lifted.
Arindal is hallucinating that he's hunting a doe. As it's killed, he realises it's his wife. He continues to experience visions (
Ich seh' den Himmel) before falling asleep. The voice of the petrified but weeping Ada is heard calling for him. Then the voice of Groma calls to him too. A sword, shield and lyre appear which Groma says can win Arindal victory and a greater reward. Zemina and Farzanal, enter. The former expresses her pity for Arindal while the latter says he deserves punishment for seeking to take Ada from them. They wake him and announce that'll lead him to Ada to rescue her. He expresses his willingness to die for her. The two fairies hope this will actually happen.
They lead Arindal to a portal guarded by earth spirits. He is about to be defeated when the voice of Groma reminds him of the shield. The earth spirits disappear when he holds it up. The fairies express their surprise but are sure he won't triumph again. Meanwhile he thanks Groma's power. Next they encounter bronze men who guard a holy sanctuary. The shield fails Arindal but when Groma advises him to hold up the sword, the bronze men vanish. The fairies again express their surprise whilst Groma's spirits urge Arindal on. They now have reached a grotto where Ada has been turned to stone. The two fairies taunt Arindal with the threat that failure will mean that he too is turned to stone. But the voice of Groma urges him to play the lyre. When he does so (
O ihr, des Busens Hochgefühle), Ada is freed from the stone. The two fairies realise that Groma is responsible.
The scene changes to the fairy king's throne room. He has decided to grant Arindal immortality. Ada invites him to rule her fairyland with her. Arindal grants his mortal kingdom to Morald and Lola. Everyone rejoices; even Zemina and Farzana are happy now that Ada remains immortal.
The music
As a
German Romantic opera,
Die Feen imitated the musical style of
Carl Maria von Weber. According to Danilo Prefumo's notes to one of the recordings available, it also showed the influence of Italian opera,
grand opera and
opéra comique.
In
The New York Times, critic
John Rockwell acknowledges the presence of passages imitative of Weber and Marschner but says that there are "wonderfully original pasages too... Some of the instrumental writing is exquisite. And especially in the final two acts, there are ensembles and scenes of undeniable strength of personality. This isn't some quaint antiquarian resurrection, but an opera that can work for today's audiences on stage."
The Weberian overture in E Major, the key in which the opera begins and ends, includes many of the opera's principal themes.
The work as a whole doesn't have the complex chains of
melody and
chromatic harmony that distinguished the composer's mature works. However, there's already a tendency in the opera to move away from a strict numbers form and to present the singers with long challenging passages. Recurring themes or simple
leitmotifs associated with characters and situations already show a tendency towards something that Wagner would later use in a far more sophisticated manner in his mature works.
Another anticipation of the composer's mature manner is how orchestra often carries the tune while vocal parts are declamatory.
Of the various arias, Blyth picks out Ada's "huge Act 2 scene, which calls for a genuine dramatic soprano" noting that
Birgit Nilsson had recorded it. He sees the ensembles as anticipating
Tannhauser and
Lohengrin but picks out "the delightful buffo duet for Gernot... and Drolla", saying it looks forward more to
Das Liebesverbot "except that it surpasses in unassuming tunefulness anything in the following score".
Selected recordings
There are three recordings of
Die Feen available as of 2007, none of which were made in the studio.
Die Feen, conducted by Wolfgang Sawallisch, with a cast including John Alexander (Arindal), Linda Esther Gray (Ada), June Anderson (Lora), Cheryl Studer (Drolla), Kurt Moll (Fairy King) etc. live performance Munich Opera Festival (1983) (ORFEO C 062 833 F)
Die Feen, conducted by Gabor Ötvös with Raimo Sirkiä (Arindal), Sue Patchell (Ada), Arthur Korn (Gernot), Birgit Beer (Drolla) etc. live recording from Teatro Comunale di Cagliari (1998) (Dynamic CDS 217/1-3)
Conductors who have recorded the overture include Francesco D'Avalos (Asv Living Era B0000030XD), Marek Janowski (Angel B00005UVAN), Franz Konwitschny (Archipel ARPCD0239), Alexander Rahbari (Naxos B0001Z65J4), Alois Springer (Vox B000001KAH) and Hans Swarowsky (Vox B000001KD3).
Further Information
Get more info on 'Die Feen'.
|
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