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Oedipe
George Enescu
AN OPERA IN FOUR ACTS
Libretto by Edmond Fleg
Sinfonia da Camera Ian Hobson,
conductor
Oedipe
George Enescu
AN OPERA IN FOUR ACTS
Libretto by Edmond Fleg
Sinfonia da Camera Ian Hobson,
conductor
OedipeStefan Ignat
TirésiasRicardo Herrera
CréonBradley Robinson
Le BergerHarold Gray Meers
Le Grand PrêtreMichael York
PhorbasMichael York
Le VeilleurRicardo Herrera
ThéséeBen Jones
LaÔos Darren T. Anderson
JocasteAshmani Jha
La SphingeStephanie Chigas
AntigoneJan Patrice Helms
MéropeJennifer Proulx
Les EnfantsAlex DiFulvio
Therese Fassnacht
Eva T itlow
Les ThébainsDan Bahr
Harry Dankowicz
Elroy Friesen
Bethany Green
Jamie Hillman
Carly McIlvaine-Hall
Tom Mohr
Richard Schacht
Leann Sechrest
Les Vierges ThébainesKatharine Chandler
Erin Claxon
Bethany Green
Jasmine Jones
Laura Watson
Mar y Wuestenfeld
SupernumerariesMason Anders
David Bullock
Chloe Cooper
Mark Daly
John Hinrichs
Renata Sheppard
Crystal Mann
Thomas Uebele
ChorusUniversity of Illinois Chamber Singers
Ian Hobson
Music Director
Nicholas Di VirgilioDir ector
Fred StoltzfusChoral Dir ector
Philip T. JohnstonChoreographer
Sean C. MurphyProduction Manager
cast
OedipeStefan Ignat
TirésiasRicardo Herrera
CréonBradley Robinson
Le BergerHarold Gray Meers
Le Grand PrêtreMichael York
PhorbasMichael York
Le VeilleurRicardo Herrera
ThéséeBen Jones
LaÔos Darren T. Anderson
JocasteAshmani Jha
La SphingeStephanie Chigas
AntigoneJan Patrice Helms
MéropeJennifer Proulx
Les EnfantsAlex DiFulvio
Therese Fassnacht
Eva T itlow
Les ThébainsDan Bahr
Harry Dankowicz
Elroy Friesen
Bethany Green
Jamie Hillman
Carly McIlvaine-Hall
Tom Mohr
Richard Schacht
Leann Sechrest
Les Vierges ThébainesKatharine Chandler
Erin Claxon
Bethany Green
Jasmine Jones
Laura Watson
Mar y Wuestenfeld
SupernumerariesMason Anders
David Bullock
Chloe Cooper
Mark Daly
John Hinrichs
Renata Sheppard
Crystal Mann
Thomas Uebele
ChorusUniversity of Illinois Chamber Singers
Ian Hobson
Music Director
Nicholas Di VirgilioDir ector
Fred StoltzfusChoral Dir ector
Philip T. JohnstonChoreographer
Sean C. MurphyProduction Manager
cast CD 1
Acte I (Prologue)
1 Prélude d"Orchestre [4:19]
2 Choeur des Femmes Thébaines [2:17]
3 Choeur des Guerriers Thébains [:39]
4 Choeur des Bergers [:59]
5 Le Grand Prétre [1:34]
6 Défilé et Danse des Bergers [6:50]
7 Apparition des Vierges Thébaines [1:21]
8Invocation du Grand [2:48]
Prétre et des Choeurs
9 Jocaste, puis LaÔos [:59]
10 Tirésias [2:52]
11Lamento Choeurs [1:03]
12LaÔos [1:19]
Acte II
1er Tableau
13 Prélude d"Orchestre [1:39]
14Choeur invisible [2:44]
15 Phorbas [2:29]
16 Oedipe seul [:39]
17
Choeur invisible [1:30]
18Mérope, Oedipe [4:01]
19Oedipe seul [1:30]
20 Interlude d"Orchestre [2:44]2me Tableau
21 La flûte du Berger [:51]
22 Le Berger [2:03]
23 Oedipe [4:13]
24 Apparition de LaÔos sur son char [1:51]
3me Tableau
25Interlude d"Orchestre [1:24]
26 Les Veilleur [2:30]
27 Voix d"Oedipe au loin [1:44]
28Le Veilleur, Oedipe [2:34]
29 Le réveil de la Sphinge [:52]
30La Sphinge [3:06]
31 Oedipe [1:05]
32 Mort de la Sphinge [1:19]
33Arrivée des Th´bains [1:12]
34 Irruption de la foule sur la scène [1:26]
35Vierges Thébaines [:32]
36 Couronnement d"Oedipe [:57]
37 Cortège de Jocaste [2:18]
TOTAL TIME = 74:31
CD 2
Acte III
1 Choeurs, Cortèges mortuaires [4:05]
2 Oedipe, Le Grand Prêtre, La Foule [2:14]
3 Entrée de Créon [1:56]
4 Oedipe et La Foule maudissant [1:46]
le meurtrier de LaÔos
5Entrée de Tirésias [1:25]
6 Altercation d"Oedipe et de Tirésias [4:09]
7 Sortie de Tirésias [:29]
8Oedipe et Créon [:25]
9 Jocaste, apparaissant [1:33]
10 Sortie de Créon [1:10]
11Oedipe [:16]
12 Entrée timide du Berger [1:34]
13 Entrée de Phorbas [3:56]
14 Sortie de Jocaste [:35]
15Oedipe et le Berger [2:07]
16Sortie d"Oedipe, La Foule [:45]
17Apparition d"Oedipe, les yeux crevés [3:48]
18Antigone et sa soeur paraissent [2:17]
19 Créon, Oedipe, La foule [1:43]
20 Antigone [2:32]
21Sortie d"Oedipe. Choeurs [1:18]Acte IV
(Epilogue
22 Prélude d"Orchestre [2:17]
23 Vieillards Athéniens, Thésée [3:13]
24 Sotie des Vieillards. [5:43]
Entrée d"Oedipe et d"Antigone
25 Entrée de Créon avec quelques [3:53]
Thébains. Antigone
26 Lutte d"Antigone et de Créon. [:49]
Choeur des Vieillards Athéniens
qui se rapprochent
27 Antigone se jette aux peids de Thésée [4:04]
28 Les Euménides invisibles [2:47]
29 Oedipe, à Antigone [1:39]
30Oedipe, à Thésée [1:31]
31 Oedipe franchit le mur d"airain. [3:11]
Les Vieillards Athéniens
32 Disparition d"Oedipe près d"une grotte. [2:12]
Les Euménides, invisibles
TOTAL TIME = 71:37
TRACK INDEX
CD 1
Acte I (Prologue)
1 Prélude d"Orchestre [4:19]
2 Choeur des Femmes Thébaines [2:17]
3 Choeur des Guerriers Thébains [:39]
4 Choeur des Bergers [:59]
5 Le Grand Prétre [1:34]
6 Défilé et Danse des Bergers [6:50]
7 Apparition des Vierges Thébaines [1:21]
8Invocation du Grand [2:48]
Prétre et des Choeurs
9 Jocaste, puis LaÔos [:59]
10 Tirésias [2:52]
11Lamento Choeurs [1:03]
12LaÔos [1:19]
Acte II
1er Tableau
13 Prélude d"Orchestre [1:39]
14Choeur invisible [2:44]
15 Phorbas [2:29]
16 Oedipe seul [:39]
17
Choeur invisible [1:30]
18Mérope, Oedipe [4:01]
19Oedipe seul [1:30]
20 Interlude d"Orchestre [2:44]2me Tableau
21 La flûte du Berger [:51]
22 Le Berger [2:03]
23 Oedipe [4:13]
24 Apparition de LaÔos sur son char [1:51]
3me Tableau
25Interlude d"Orchestre [1:24]
26 Les Veilleur [2:30]
27 Voix d"Oedipe au loin [1:44]
28Le Veilleur, Oedipe [2:34]
29 Le réveil de la Sphinge [:52]
30La Sphinge [3:06]
31 Oedipe [1:05]
32 Mort de la Sphinge [1:19]
33Arrivée des Th´bains [1:12]
34 Irruption de la foule sur la scène [1:26]
35Vierges Thébaines [:32]
36 Couronnement d"Oedipe [:57]
37 Cortège de Jocaste [2:18]
TOTAL TIME = 74:31
CD 2
Acte III
1 Choeurs, Cortèges mortuaires [4:05]
2 Oedipe, Le Grand Prêtre, La Foule [2:14]
3 Entrée de Créon [1:56]
4 Oedipe et La Foule maudissant [1:46]
le meurtrier de LaÔos
5Entrée de Tirésias [1:25]
6 Altercation d"Oedipe et de Tirésias [4:09]
7 Sortie de Tirésias [:29]
8Oedipe et Créon [:25]
9 Jocaste, apparaissant [1:33]
10 Sortie de Créon [1:10]
11Oedipe [:16]
12 Entrée timide du Berger [1:34]
13 Entrée de Phorbas [3:56]
14 Sortie de Jocaste [:35]
15Oedipe et le Berger [2:07]
16Sortie d"Oedipe, La Foule [:45]
17Apparition d"Oedipe, les yeux crevés [3:48]
18Antigone et sa soeur paraissent [2:17]
19 Créon, Oedipe, La foule [1:43]
20 Antigone [2:32]
21Sortie d"Oedipe. Choeurs [1:18]Acte IV
(Epilogue
22 Prélude d"Orchestre [2:17]
23 Vieillards Athéniens, Thésée [3:13]
24 Sotie des Vieillards. [5:43]
Entrée d"Oedipe et d"Antigone
25 Entrée de Créon avec quelques [3:53]
Thébains. Antigone
26 Lutte d"Antigone et de Créon. [:49]
Choeur des Vieillards Athéniens
qui se rapprochent
27 Antigone se jette aux peids de Thésée [4:04]
28 Les Euménides invisibles [2:47]
29 Oedipe, à Antigone [1:39]
30Oedipe, à Thésée [1:31]
31 Oedipe franchit le mur d"airain. [3:11]
Les Vieillards Athéniens
32 Disparition d"Oedipe près d"une grotte. [2:12]
Les Euménides, invisibles
TOTAL TIME = 71:37
TRACK INDEX
George Enescu(1881-1955
nor theastern corner of Romania. His first violin lessons, when he was only four years old, were from a gypsy "lautar " (professional folk musician him to imitate by ear. At the age of seven, following the advice of composer and violinist Eduard Caudella, Enescu became a student at the Vienna Conservatoire. A neighbor who used to visit his violin teacher and landlord, Joseph Hellmesberger Jr., and to give advice to young Enescu was Brahms. In 1895 Enescu went to study composition first with Massenet then with Fauré at the Paris Conser vatoire, where he also won the first prize for violin in 1899. Enescu was one of the foremost violinists of the twentieth centur y. At the same time he was an accomplished pianist, a conductor (considered one of the possible successors of Toscanini as permanent conductor of the New York Philharmonic), and a pedagogue, among whose pupils one can count Yehudi Menuhin, Arthur Grumiaux, Ivry Gitlis, Christian Ferras, and Ida Haendel. His memory was legendary as exemplified in an episode witnessed by Menuhin: when asked to play Ravel"s new Sonata for Violin and Pianofor a publisher, Enescu performed the piece from memor y after only one reading. However, he always resented the time spent as a virtuoso performer, time he would have rather used to compose. Best known for his Romanian Rhapsodies(which he considered "the sins of my youth"), George Enescu wrote a number of remarkably original and intricate works that are still little known due mainly to his lack of self-promoting skills. Enescu had an unassuming personality and a proverbial generosity in sharing his time, talents, and money. He was influential in the establishment of the Philharmonia Orchestra of Bucharest and of a national opera company (whose first production, Lohengrin, herehearsed and conducted), and scores of Romanian composers and performers such as
Clara Haskil and Dinu Lipatti (his godson
advice. During the First World War he tirelessly performed in the unoccupied part of the countr y and later, during the rise of fascism in the 1930s, knew how to maintain his dignity. Loyal to the royal family, who had helped him from his youth, Enescu went into exile in 1946 when the Red Army installed a communist government in Romania. Twice, in 1947 and 1950, Enescu was in residence at the University of Illinois. In declining health, his life savings and property expropriated by the new government, he was too proud to accept the help Menuhin had arranged for him. George Enescu suffered a stroke and died 50 years ago last May in a tiny two-room basement apartment in Paris. In 1909 George Enescu saw a performance of Sophocles"
Oedipus Tyrannos (Oedipus
King) by a renowned French actor, Mounet-Sully. A photo of the 70-year old Enescu imitating Mounet-Sully at the moment when Oedipus blinds himself bears witness to the strong impression that performance made on him. The first sketches for the opera date from 1910; after an interruption caused by work on the libretto and by WWI, Enescu devoted himself to the project again in 1921. The piano reduction was finished in 1922 and the orchestration in 1931. The libretto, by Edmond Fleg, concentrates the two Sophocles plays,
Oedipus King
and Oedipus at Colonos, in the last two acts of the opera and precedes them with two more acts. The first one deals with the birth of Oedipus, son of king Laios and queen Jocasta of Thebes, and the prophecy that he will kill his father and become the husband of his mother. Horrified, Laios orders a shepherd to leave the infant in a ravine, his legs bound. The second act, in three scenes, depicts the events leading to the fulfillment of the prophecy. Saved from death and adopted by the royal family of Corinth, Oedipus, now a young man, is told by an oracle of his destiny. He decides to leave the city, believing his notesBY SEVER TIPEI
George Enescu(1881-1955
nor theastern corner of Romania. His first violin lessons, when he was only four years old, were from a gypsy "lautar " (professional folk musician him to imitate by ear. At the age of seven, following the advice of composer and violinist Eduard Caudella, Enescu became a student at the Vienna Conservatoire. A neighbor who used to visit his violin teacher and landlord, Joseph Hellmesberger Jr., and to give advice to young Enescu was Brahms. In 1895 Enescu went to study composition first with Massenet then with Fauré at the Paris Conser vatoire, where he also won the first prize for violin in 1899. Enescu was one of the foremost violinists of the twentieth centur y. At the same time he was an accomplished pianist, a conductor (considered one of the possible successors of Toscanini as permanent conductor of the New York Philharmonic), and a pedagogue, among whose pupils one can count Yehudi Menuhin, Arthur Grumiaux, Ivry Gitlis, Christian Ferras, and Ida Haendel. His memory was legendary as exemplified in an episode witnessed by Menuhin: when asked to play Ravel"s new Sonata for Violin and Pianofor a publisher, Enescu performed the piece from memor y after only one reading. However, he always resented the time spent as a virtuoso performer, time he would have rather used to compose. Best known for his Romanian Rhapsodies(which he considered "the sins of my youth"), George Enescu wrote a number of remarkably original and intricate works that are still little known due mainly to his lack of self-promoting skills. Enescu had an unassuming personality and a proverbial generosity in sharing his time, talents, and money. He was influential in the establishment of the Philharmonia Orchestra of Bucharest and of a national opera company (whose first production, Lohengrin, herehearsed and conducted), and scores of Romanian composers and performers such as
Clara Haskil and Dinu Lipatti (his godson
advice. During the First World War he tirelessly performed in the unoccupied part of the countr y and later, during the rise of fascism in the 1930s, knew how to maintain his dignity. Loyal to the royal family, who had helped him from his youth, Enescu went into exile in 1946 when the Red Army installed a communist government in Romania. Twice, in 1947 and 1950, Enescu was in residence at the University of Illinois. In declining health, his life savings and property expropriated by the new government, he was too proud to accept the help Menuhin had arranged for him. George Enescu suffered a stroke and died 50 years ago last May in a tiny two-room basement apartment in Paris. In 1909 George Enescu saw a performance of Sophocles"
Oedipus Tyrannos (Oedipus
King) by a renowned French actor, Mounet-Sully. A photo of the 70-year old Enescu imitating Mounet-Sully at the moment when Oedipus blinds himself bears witness to the strong impression that performance made on him. The first sketches for the opera date from 1910; after an interruption caused by work on the libretto and by WWI, Enescu devoted himself to the project again in 1921. The piano reduction was finished in 1922 and the orchestration in 1931. The libretto, by Edmond Fleg, concentrates the two Sophocles plays,
Oedipus King
and Oedipus at Colonos, in the last two acts of the opera and precedes them with two more acts. The first one deals with the birth of Oedipus, son of king Laios and queen Jocasta of Thebes, and the prophecy that he will kill his father and become the husband of his mother. Horrified, Laios orders a shepherd to leave the infant in a ravine, his legsquotesdbs_dbs17.pdfusesText_23
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