Tiefland (opera)

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Tiefland (or The Lowlands) is an opera with a prologue and three acts by Eugen d'Albert to a libretto in German by Rudolph Lothar. Based on the 1896 Catalan play Terra baixa by Àngel Guimerà, Tiefland was d'Albert's seventh opera, and is the one which is now the best known.

Contents 1 Performance History 2 Principal Roles 3 Brief Synopsis 4 Notable Recordings 5 References

[edit] Performance History

Tiefland was first performed on November 13, 1903 at the Neues Deutsches Theater in Prague, with only limited success. It was then revised by D'Albert and revived in Hamburg and Berlin in 1907, where it played to long runs. ^[1] Its American premiere took place at the Metropolitan Opera in New York on November 23, 1908 with Emmy Destinn and Erik Schmedes in the two leading roles.^[2]

The opera is fairly regularly performed in Germany and Austria, with recent new productions at the Hessiches Staatstheater in Wiesbaden in April 2007, the Volksoper Wien in October 2007 and at Deutsche Oper Berlin, with Torsten Kerl as Pedro and Nadja Michael as Marta, in November 2007. Performances outside German speaking countries have tended to be more sporadic. However, Tiefland received a major revival at Washington Opera in 1995 with its first major US production for 81 years, conducted by Heinz Fricke and directed by Roman Terleckyj.^[3]

In addition to Schmedes and Destinn, notable past performers have included: Kirsten Flagstad who made her stage debut in 1913 at the age of 18 singing the role of Nuri at the National Theater in Oslo; the young Maria Callas who sang the role of Marta at the Olympia Theatre in Athens during the 1945/1946 season; Montserrat Caballé who, like Callas, sang Marta early in her career; and the Danish tenor, Vilhelm Herold who was considered by d'Albert to have been the ideal Pedro.^[4]

The best-known film adaptation of the opera was by the German director Leni Riefenstahl, with Riefenstahl herself playing Marta. The film, begun in 1940, but not released until 1954, used Roma slave labor from a German transportation camp for some of the extras, many of whom were sent to Auschwitz following the production.^[5]

[edit] Principal Roles

• Sebastiano, a rich landowner (baritone)
• Marta, a servant and ward of Sebastiano, loved by both Sebastiano and Pedro (soprano)
• Pedro, a shepherd in Sebastiano's service (tenor)
• Nuri, a servant of Sebastiano and Marta's friend (soprano)
• Tommaso, an elderly man in the district (bass)
• Pepa, a servant of Sebastiano (soprano)
• Antonia, a servant of Sebastiano (mezzo-soprano)
• Rosalia, a servant of Sebastiano (alto)
• Moruccio, a miller in Sebastiano's service (bass)
• Nando, a shepherd in Sebastiano's service (tenor)

[edit] Brief Synopsis

Prologue

The Pyrenees Mountains. Years earlier, Marta, the daughter of a strolling player, had been induced to live with Sebastiano, a wealthy landowner in exchange for the gift of a mill to her father. Sebastiano is about to marry a wealthy heiress. In order to keep his mistress, Marta, nearby and continue their affair, he plans to have her marry Pedro, one of his shepherds. He brings Marta to Pedro and informs him that he must come down to the Lowlands to marry her. Marta is reluctant to even look at Pedro.

Act I

The interior of the village mill. Pedro arrives at the mill in the Lowland village, where his marriage is to take place. Not knowing that Marta is actually Sebastiano's mistress, he is puzzled as to why the villagers are making fun of him. After the wedding, Marta does not go to her chamber or accompany Pedro, which puzzles him still more.

Act II

The interior of the village mill. Marta is now beginning to fall in love with Pedro. However, unable to stand the teasing and persecution of the villagers, he tells her he is going back to the mountains. She begs him to take her with him and tells him the truth about her and Sebastiano. In a jealous rage, Pedro advances towards her with a knife, but overcome by remorse and his love for her, decides to take her with him. Sebastiano enters with the villagers and makes advances to Marta. Pedro furiously objects and is dragged outside.

Act III

The interior of the village mill. Sebastiano has been rejected by the heiress whom he had hoped to marry and again makes advances to Marta. She calls Pedro for help. He rushes at Sebastiano with a knife, but seeing that he is unarmed, throws the knife down and strangles him. Carrying Marta in his arms, Pedro exclaims to the villagers: "Far up, far up in the mountains! To sunshine and freedom and light." He and Marta escape to the mountains.

[edit] Notable Recordings

1983 Marek Janowski, Münchner Rundfunkorchester (ARTS 47501-2)

• Sebastiano: Bernd Weikl
• Marta: Eva Marton
• Pedro: René Kollo

2003 Bertrand de Billy, Vienna Radio Symphony Orchestra (Oehms OC 312)

• Sebastiano: Falk Struckmann
• Marta: Lisa Gasteen
• Pedro: Johan Botha

[edit] References

Footnotes

Bibliography

• Bach, S. 2007. Leni: the Life and Work of Leni Riefenstahl. New York: Knopf.
• Dassanowsky, R. von. 1995/96. 'Leni Riefenstahl's self-reflection and romantic transcendence of Nazism in Tiefland', Camera Obscura 35,^{[citation needed]}.
• Hein, M. 1996. Liner notes for Prima Voce: Vilhelm Herold, Nimbus Records NI7880. (accessed 28 April 2007)
• Lace, I. 1999. Review of Tiefland (Münchner Rundfunkorchester; Marek Janowski; ARTS 2CD 47501-2), Music Web International (accessed 28 April 2007)
• Libretto of Tiefland (accessed 28 April 2007)
• Maria Callas Official Website Photo of Callas as Marta in Tiefland, Athens 1945 (accessed 28 April 2007)
• Melitz, Leo. 1921. The Opera Goer's Complete Guide (Translated by Richard Salinger). New York: Garden City Publishing Company. (accessed April 28, 2007)
• Rothstein, E. 1995. 'After 81 Years, a New Look at d'Albert's Tiefland'. The New York Times (March 20).
• Taylor, S. and R. Pullen. 1994. Montserrat Caballe - Casta Diva. London: Victor Gollancz Ltd.
• Upton, G. 1928. The Standard Operas Their Plots and Their Music, (enlarged and revised by Felix Borowski). Chicago: A.C. McClurg & Co.