DANCE - STRAVINSKY: THE SOLDIER'S TALE - PREVIEW

The acclaimed, influential opera and stage director Ruth Berghaus, who died in 1996, directs a performance of Stravinsky’s jazz-inspired theatre piece The Soldier’s Tale, with soloists Kolja Blacher as the Soldier, Brigitte Scherzer as the Soul, Clemens Tichy as the Devil and Lilly Scheuermann as the Princess.

Histoire du soldat (sometimes written L'histoire du soldat; translated as The Soldier's Tale) is a 1918 theatrical work "to be read, played, and danced" ("lue, jouée et dansée") set to music by Igor Stravinsky. The libretto, which is based on a Russian folk tale, was written in French by the Swiss universalist writer C.F. Ramuz. It is a parable about a soldier who trades his fiddle to the devil for a book that predicts the future of the economy. The music is scored for a septet of violin, double bass, clarinet, bassoon, cornet (often played on trumpet), trombone, and percussion, and the story is told by three actors: the soldier, the devil, and a narrator, who also takes on the roles of minor characters. A dancer plays the non-speaking role of the princess, and there may also be additional ensemble dancers. The piece was written for small ensemble to compensate for the lack of players due to World War I (since so many were enlisted in the armed services).

The music is in the modernist style and is rife with changing time signatures. For this reason, it is commonly performed with a conductor, though some ensembles have elected to perform the piece without one. Much of the music – especially the concerto-like violin part – is considered virtuosic.

The work was premiered in Lausanne on 28 September 1918, conducted by Ernest Ansermet.

Stravinsky was assisted greatly in the production of the work by the Swiss philanthropist Werner Reinhart. Reinhart sponsored and largely underwrote the premiere. In gratitude, Stravinsky dedicated the work to Reinhart, and gave him the original manuscript. Reinhart continued his support of Stravinsky’s work in 1919 by funding a series of concerts of his recent chamber music. These included a concert suite of five numbers from The Soldier’s Tale, arranged for clarinet, violin, and piano, which was a nod to Reinhart, who was regarded as an excellent amateur clarinettist. The suite was first performed on 8 November 1919, in Lausanne, long before the better-known suite for the seven original performers became known.

The opera is rarely performed, but a ballet version has been given several significant performances in New York.

Balletmaster Peter Martins created the Suite from Histoire du Soldat for New York City Ballet. The premiere was at the New York State Theater, Lincoln Center on 30 January 1981 with the original cast consisting of Darci Kistler, Kyra Nichols, Ib Andersen, Heather Watts, Jean-Pierre Frohlich, Victor Castelli, Bart Cook, and Daniel Duell. The Martins ballet was given again May 1987  and revived in May 1999 when it was reviewed by Jack Anderson:

Part 1

As the work opens, Joseph, a Russian soldier, marches toward his hometown on leave, pack in tow. ("Marche du soldat"/"The Soldier's March") He rests by a stream and rummages through his pack. First he takes out his lucky St. Joseph medallion, then a mirror, then a photograph of his girlfriend. Finally, he finds what he was searching for: his fiddle. He begins to play. ("Petit airs au bord du ruisseau"/"Airs by a Stream") The devil appears disguised as an old man carrying a butterfly net, but Joseph does not notice him and continues to play. The devil sneaks up on Joseph from behind and startles him.

The devil asks Joseph to sell him his fiddle, and when Joseph refuses, he offers him a book that he says contains untold wealth. Joseph does not understand the book, but the devil convinces him that it's worth more than his cheap fiddle. Joseph then realizes the book contains events that happen in the future! The devil offers to take Joseph home for three days to teach him about the book if Joseph will teach him about the fiddle. After the devil describes the life of luxury he lives, Joseph accepts. After three days pass, the devil takes Joseph home. (Reprise: "Marche du soldat")

As Joseph walks the path towards his town, he notices something strange: everyone runs away as they see him. Finally, he arrives at his fiancée's house only to see her with her husband and children. Finally, he realizes that three years – not three days – have passed, and that the residents of the town think he's a ghost. ("Pastorale")

Joseph sees the devil in disguise as a cattle merchant and confronts him. The devil tries to calm Joseph by reminding him of the power of the book. Joseph started off as a peddler. With the knowledge he gained from the book, he quickly amassed great wealth. Soon, he realizes this material wealth means nothing, and all he wants is the things he had before – the things everyone else has. ("Petite airs au bord du ruisseau (reprise)") He realizes the poor have nothing in terms of material wealth, yet they have it all when it comes to happiness. He gets agitated and starts looking through the book for the solution, yet cannot find anything.

The devil arrives disguised as an old female peddler. He takes some things out to sell to Joseph: first, a lucky medallion; next, a mirror; then, a photograph of a woman; finally, a fiddle. Joseph immediately perks up and tries to buy the fiddle from the devil. The devil hands Joseph the violin, but he can no longer play: the violin makes no sound. ("Petite airs au bord du ruisseau (reprise)") Joseph hurls the violin away and tears the book up.

Part 2

Joseph leaves his home with nothing. He marches past his old hometown. ("Marche du soldat (reprise)") He arrives at an inn where he hears the news that the king's daughter is sick, and whoever can raise her from her bed will be given her hand in marriage.

When he arrives at the palace, the devil is already there disguised as a virtuoso violinist. Joseph turns over some cards and gets an air of confidence when they are all hearts. Suddenly, the devil makes his presence known, clutching the violin to his chest, and taunts Joseph. The narrator tells Joseph the reason the devil controls him is because Joseph still has the devil's money, and if Joseph loses all his money to the devil in a card game, he will finally be free.

The plan works: the devil falls, and Joseph is free. He takes the violin and plays. ("Petit concert"/"The Little Concert") He triumphantly marches into the princess's chambers and starts to play another tune. The princess is miraculously resurrected by the music, and begins to dance. ("Trois danses"/"Three Dances" "1. Tango; 2. Valse; 3. Ragtime")

Joseph and the princess embrace. The devil arrives, and for the first time he is not disguised. As Joseph protects the princess from the devil, he realizes he can defeat the devil by playing his violin. ("Danse du diable"/"The Devil's Dance") The devil cannot resist the music and begins to contort. Exhausted, he falls to the ground. The soldier takes the princess's hand, and together they drag the devil away, then fall into each others' arms. ("Petit choral"/"Little Chorale")

The devil pops his head in and begins to torment the couple, warning them that Joseph may not leave the castle or the devil will regain control of him. ("Couplets du diable"/"The Devil's Song")

Over the "Grand Choral" ("Great Chorale"), the narrator tells the moral of the story:

The work ends with Joseph crossing the frontier post - a boundary not to be crossed - after being tempted by the ideal of both having his wife and his mother. The devil is found waiting as Joseph turns back to find his bride, now gone. The final piece is "Marche triomphale du diable"/"The triumphal march of the devil" and features violin and percussion entwined in a rhythmic duel with the final measures played solely by the percussionist. The score is marked with a decrescendo to the end of the work from approximately rehearsal number 17. However, this is sometimes changed to a crescendo (especially if performing the Suite).

Source: Wikipedia

Ruth Berghaus (July 2, 1927 – January 25, 1996) was a German choreographer and opera and theatre director.

Berghaus was born in Dresden and studied Expressionist dance and Dance direction with Gret Palucca there and was an advanced student at the German Academy of Arts in Berlin. From 1951 to 1964 she worked as choreographer on many stages, including the Deutsches Theater Berlin, the Deutsche Staatsoper Berlin and the Berliner Ensemble. Her work as a director began with the Die Verurteilung des Lukullus of Paul Dessau and Bertolt Brecht at the Deutsche Staatsoper in 1951. Brecht's work would represent a major part of Berghaus's career. She became well-known for her choreography of the slaughter scenes in Brecht's adaptation of Shakespeare's Coriolanus at the Berliner Ensemble in 1964.

In 1954, Berghaus married the composer Paul Dessau, whose works for the theater she directed. Her association with the Berliner Ensemble culminated with her directorship of that theater until 1977.

From 1980 to 1987 Berghaus worked at the Frankfurt Opera. Her notable productions there included, in 1980 Die Zauberflöte of Wolfgang Amadeus Mozart, 1981 Mozart's Die Entführung aus dem Serail, 1982 Les Troyens of Hector Berlioz (Stage design by Hans-Dieter Schaal), V?c Makropulos of Janá?ek and Richard Wagner's Parsifal and 1985–87 Der Ring des Nibelungen. In 1992 she returned to Frankfurt to direct Der Rosenkavalier.

In 1985 in Prague, she directed Alban Berg's Wozzeck and in Dresden, Die Weise von Liebe und Tod des Cornets Christoph Rilke by Siegfried Matthus. In 1986, she debuted with the Wiener Staatsoper with the choreography of Hans Werner Henze's Orpheus. In Brussels Berghaus directed Berg's Lulu in 1988, and in that same year, Schubert's Fierrabras. In Zürich, her productions included Weber's Der Freischütz and Wagner's Der fliegende Holländer. Her final operatic production was Johann Strauss's Die Fledermaus, produced in Leipzig in 1995.

In 1989 she began a theatrical series of what she called 'related texts', with a production of Büchner's Danton's Death and in 1991 a production of Brecht's In the Jungle at the Thalia Theater in Hamburg.

 Berghaus died in 1996 in Zeuthen, Berlin due to complications from cancer. She was buried at the Dorotheenstädtischer Cemetery in Berlin-Mitte.

Source: Wikipedia