DEUS EX CLAVIER

Hando Nahkur, piano
Bach-Busoni, Tüür, Schubert, Schumann

Performance 6/6, sound 6/6, repertoire 5/6 (PIANONews). The Record of the Year 2010 (Zeit Online).

Bach. Chaconne, fragm, 4 min 12 sec, mp3
Tüür. Sonata, Mov III, fragm, 92 sec, mp3
Schumann. Symphonic Studies, Finale. Allegro brillante, fragm, 115 sec, mp3

Recorded in the USA and Estonia in 2009
Engineered by Corey Hale, Sam Stratton, Raul Aan, Priit Perend
Mastered by Tanel Klesment
Performed on Steinway & Sons pianos
Design by Mart Kivisild
Photos by Roger Hein
Liner notes by Inna Kivi
Translated by Tiina Jokinen
Co-produced by Peeter Vähi

Stereo
2010
ERP 3410
n©b

Press resonance

Hando Nahkur, born in Estonia, has distinguished himself as one of his country’s most promising young artists. He has garnered top prizes in both national and international piano competitions, including 1st prize in the Estonian National Piano Competition, 3rd prize in the Citta di Treviso International Piano Competition (Italy), 2nd prize in the Konzerteum International Piano Competition (Greece), 3^rd prize in the Chopin International Piano Competition (Estonia) and Golden Medal of Merit (Toronto). Hando Nahkur was a winner of the International Concerto Competition 2008 at the Piano Texas International Academy & Festival. At age sixteen, he made his debut with the Estonian National Symphony Orchestra. He has also appeared with the Orchestra of the Estonian National Opera, the Bergslagen Symphoniker, the St Andrew’s Festival Orchestra and the Fort Worth Symphony Orchestra.
 
Hando Nahkur has participated in numerous festivals, including the International Holland Music Sessions in the Netherlands, Klaver 2006 in Estonia, the Festival Internacional de Piano Reynosa in Mexico, the Aspen Music Festival and School, TCU-Cliburn Piano Institute, West Chester Piano Institute and Piano Texas International Academy & Festival in the United States. Hando Nahkur is also known as a music arranger. He has arranged many classic pop tunes for solo keyboard, including songs of D Foster, E John, F Sinatra, C Dion, F Mercury, M Moran and many others.
Since 2003 Hando Nahkur has lived in the USA. He holds a Bachelor’s of Music degree from the New England Conservatory of Music, where he studied with Gabriel Chodos, a Certificate in Performance and Master’s of Music degree from the Yale University School of Music, where he studied with Boris Berman and currently Hando Nahkur is continuing his postgraduate studies with Tamás Ungár at the Texas Christian University School of Music. In Estonia he studied with his father Toivo Nahkur, Prof Aleksandra Juozapénaité-Eesmaa, Prof Olav Ehala and Prof Ants Sööt.
A frequent solo performer, Hando Nahkur has performed at the Amsterdam Concertgebouw in the Netherlands, the Theater of Markopoulos Mesogeas (Greece), Hannes Reimann Hall (Switzerland), the Teatro Eden (Italy). And outside of Europe, he has performed at the Casa de la Cultura de Reynosa (Mexico), George Weston Hall (Toronto), Harris Concert Hall (Aspen), Isabella Stewart Gardner Museum, Jordan Hall (Boston), Steinway Hall (New York City), Ed Landreth Hall (Fort Worth) and The Museum of Fine Arts (St Petersburg, FL). In America, recitals and performances have taken him already through twenty-two States. In Europe Hando Nahkur has performed in Italy, Sweden, Germany, Switzerland, Greece, Denmark, Finland, Estonia, France, the Netherlands, Belgium and Czech Republic. He has also appeared with solo performances in Israel and Russia.

Worldwide distribution by Note 1 Music (Carl-Benz-Straße 1, 69115 Heidelberg, Germany, phone +49 6221 720351, fax +49 6221 720381, This email address is being protected from spambots. You need JavaScript enabled to view it. , www.note-1.de) / Naxos Global Logistics
Distribution in Estonia by Easy-Living Music, This email address is being protected from spambots. You need JavaScript enabled to view it. , phone +372 51 06058

See also other recordings of Hando Nahkur: Waltzing Mephisto by the Danube
See also other piano recordings by ERP: Keyboard Juggleress, Enter Denter, Heino Eller, Estonian Preludes, Northern Lights Sonata, The Well-tempered Clavier I, Sergei Rahmaninov. Piano Works, Toivo Nahkur, Neeme Järvi, Marginalia, Wiegenlieder der Schmerzen, Call of the Stars, Melancholy, Magic of Sound, Aleksandra Juozapénaité-Eesmaa, Resurrection of Mozart
See also other recordings of Erkki-Sven Tüür by ERP: Wallenberg, 100 Years Of Estonian Symphony, Paavo Järvi Conducts EUYO at Glesperlenspiel Festival

RENÉ EESPERE

DE SPE

... based on the Latin texts by Seneca, Ovidius, Martialis, Codex Vossianus and Codex Bernensis...

Invocatio, fragm, 3 min 22 sec, mp3

Performed by: François Soulet – tenor (1, 5), Jelena Voznesenskaya – soprano (2, 4, 6), Sauli Tiilikainen – baritone (3, 7), René Soom – baritone (8), Anu Lamp – narrator (6), Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra, Risto Joost – conductor

Recorded in 2006 in Tallinn Methodist Church
Engineered by Aili Jõeleht / Estonian Radio
Mastered by Marika Scheer / Estonian Radio
Booklet compiled by Inna Kivi and Mirje Mändla
Booklet edited by Tiina Jokinen
Design by Mart Kivisild
Photos by Fred Jüssi and Estonian TV
Co-produced by Peeter Vähi

© René Eespere 2009
ERP 2009
1909

Epigram I

Lyrics by Seneca

Omnia tempus edax depascitur,
omnia carpit,
omnia sede movet,
nil sinit esse diu.
Flumina deficiunt,
profugum mare litora siccat,
subsidunt montes
et iuga celsa ruunt.
Quid tam parva loquor?
Moles pulcherrima caeli
ardebit flammis tota repente suis.
Omnia mors poscit.
Lex est, non poena, perire.
Hic aliquo mundus tempore nullus erit.

Epigram II

Lyrics from Codex Vossianus

Vince mero curas
et quidquid forte remordet,
comprime deque animo
nubila pelle tuo.
Nox curam
si prendit, alit:
male creditur illi cura,
nisi a multo marcida facta mero.

Epigram III

Lyrics from Codex Vossianus

Spes fallax, spes dulce malum,
spes summa malorum,
solamen miseris,
quos fata sua trahunt.
Credula res, quam nulla potest
fortuna fugare.
Spes stat
in extremis officiosa malis.
Spes vetat aeternis mortis
requiescere portis
et curas ferro
rumpere sollicitas.
Spes nescit vinci,
spes pendet tota futuris,
mentitur, credi vult tamen
illa sibi.

Epigram IV (De somno / About a dream)

Lyrics from Codex Salmasianus

Sponte mea veniens varias
ostendo figuras.
Fingo metus vanos
nullo discrimine veri.
Sed me nemo videt,
nisi qui sua lumina claudit.

Epigramm V (De vino / About wine)

Lyrics from Codex Bernensis

Pulchrior me nullus
versatur in poculis unquam,
ast ego primatum
in omnibus teneo solus.
Viribus atque
meis possum decipere multos.
Leges atque iura per me
virtutes amittunt.
Vario me si quis haurire
voluerit usu,
stupebit ingenti
mea percussus virtute.

Epigram VI

Lyrics by Ovidius

Utendum est aetate,
cito pede labitur aetas.
Nec bona tam sequitur,
quam bona prima fuit...
Heu me nunc miserum!
Laxantur corpora rugis
et perit,
in nitido qui fuit ore, color.

Epigram VII

Lyrics by Martialis (?)

Nec volo me summis Fortuna
neque adplicet imis,
sed medium vitae
temperet illa gradum.
Invidia excelsos,
inopes iniuria vexat.
Quam felix vivit,
quiquis utraque caret.

Invocatio

Lyrics by Anne Lill

Vae, nubes atrae! Quo iit sol?
Quinam sciat suam sortem?
Quinam sciat diem venientem?
Quinam sciat portam adiacentem?
Id dictum breve, firme sonat:
homini via data, tempus datum
et ante portam gravem prius iter noscitur.
Quis audit atque quis respondit?
Cum rogem numquam sonum certum redit
et nihil mulcet grave cordis dolium.
Quinam sciat portam gravem?
Quinam sciat viam exeuntem?
Quinam sciat cursum finientem?
Iuvat nos usque vis amoris.
Horret nos atra vis doloris.
Quis audit atque quis respondit?
Cum rogem numquam sonum certum redit
et nihil mulcet tristem meam mentem.

Lux aeterna – spes quaerenda,
una spes videnda.
Sol cadens, delabens ...

Quam pulchra hora,
dat aqua sacra tibi firmitatem,
post hoc baptisma tu habebis
vitam beatam.
Abeunt horae
et tegunt sacra firma illum puerum
et amor eum cingit, felix est,
ecce quam tutus.
Cum venit bruma,
speculum amnis in natura,
tam pulchra rursus aqua invitat.
Puncto iactatur – gelidus finis.
Fluctus amnis numquam retinetur,
fluit deducens.
Fluctus amnis numquam retinetur.
Fluit, fluit, currit, currit,
vigor nos captat fluctus, fluctus
vehit in perpetuum,
vehit tamen nimis celer.
Fluctus celer amnis alti
numquam requiescit
numquam habet firmam, certam sedem:
sine sede, sine sede tamquam fugiturus.

Lux aeterna – spes quaerenda,
una spes videnda.

Spero tempus id levare,
praeterfluere dolores,
et aetas donat mi pacem.
Procedunt horae
et residet spiritus, cessit maestus.
Tamen est amor blandus,
tamen volat undique.
Dulce est alatum amoris munus, alatum.
Custos exspectat ad portam,
/Nascentes/
semel fores vident homines,
/crescunt herbae et flores.
tempore aestivo/
semel intrat vir:
hic est solum transitus unus.
/Vere omnia nata
autumno quiescunt, autumno./
Exspectat custos.
/Venit nunc tempus,
fores nunc clauduntur,
fores claudendae, claudendae./
Lux aeterna – spes quaerenda,
una spes videnda.

Spero tempus id levare,
praeterfluere dolores,
et tempus donat mi pacem.

Procedunt horae et residet spiritus,
cessit maestus.
Sol cadens, delabens ... Quo?

Iter umbratum
per silvam circumvolvitur opacam,
terminus eius est ad fontem,
ad aquam claram.
Ad aquam puram
pervenit senex cum nepote,
resident fessi atque requiescunt,
tam fatigati et sitientes.
Tum bibunt gelidam liquorem,
reficit aqua perditum vigorem.
Ecce videtur
cum patet porta fontinalis
et exit nympha bella tam vitalis,
dulce ridescit, aqua fulgescit.

Est dictum summum illud,
est dictum summum illud audiendum:
finem noscit modo ille,
finem sine in occulta esse,
finem noscunt modo abeuntes.

Mater rosae

Lyrics from Codex Bernensis

Pulchra in angusto
me mater concepit alvo
et hirsuta barbis
quinque conplectitur ulnis.
Quae licet parentum
parvo sim genere sumpta,
honor quoque mihi
concessus fertur ubique.
Utero cum nascor,
matri rependo decorem
et nullum infligo
parturienti dolorem.

The 21st cent sliding-by world, soaked with materialism, makes one ask oneself the same existential questions when confronted with death that can be found already in the texts of the epigrams of Ancient Greek and Roman philosophers. The answers to the everlasting existential questions are born depending on the religion or philosophy organizing one’s world in the important development phases, or are created from the preference to search for them in art. Composer René Eespere has found that his life credo has been voiced quite accurately by a Roman epigram classic Martialis – to avoid the presence of the great and the lowly, but in middle part of life will it keep a moderate pace.
The vocal music on René Eespere’s 7th author’s CD De spe (‘Of Hope’) is based on the Latin texts by Seneca, Ovidius, Martialis, Codex Vossianus and Codex Bernensis and on the dramatic-symbolic poem Invocatio by Anne Lill inspired by Franz Kafka’s parable Before The Law. The use of Latin takes us from the relatively straightforward daily world to the symbolist reflections of philosophers. Most of the CD is filled with Epigrams which are musically expressed in a nuance-rich language of impressionistic, operatic and sacred music elements.
The original versions of Epigrams (for voice and piano) were written for the Opera in the Town Hall concert series and have been premièring within the ancient walls of the Tallinn Town Hall in summer nights since 2001. Epigrams are dedicated to François Soulet, Elena Voznessenskaya and Sauli Tiilikainen whose interpretation of them is recorded on this album.
The philosophical meditation carrying us through Epigrams and Invocatio culminates in the last piece of the CD, Mater rosae, a musical parable of a rose, where the composer has succeeded in capturing in music an utterly human feeling – love.

François Soulet graduated from the conservatories of Sète and Montpellier. After winning an international competition in 1987 he started a singing career at the opera theatres of Europe, attracting the attention of critics and receiving a positive reception from the audience for his warm romantic timbre. He has sung Faust in Berlioz’ The Damnation Of Faust (at the Krakow Philharmonic), Alfredo in Verdi’s La Traviata (in the Verdi opera theatre in Sassari), Faust – in Gounod’s opera Faust (at the Opéra-Grand Casino in Vichy). François Soulet has performed at the Grand Theatre of Havana, the Hong Kong Philharmonic and the Champs-Élysées in Paris as well as the on the concert stages of France, Sweden, the Netherlands, Denmark, Italy, Russia, and Estonia.

Elena Voznesenskaya started her career as a pianist and continued her studies at the Ural State Conservatory in singing in the class of a well-known Russian baritone N Golyshev. After graduating from the Conservatory she undertook postgraduate studies and training with a distinguished French soprano Mady Mesple (1996).
Elena Voznesenskaya has won several prizes at different competitions: 1st prize in the Russian singing competition at Nizhny Novgorod (1993), a prize in the 1st Competition of Young Opera Singers in Russia. She has been a finalist in 2 competitons of Toulouse (1994, 1996) and received three special prizes in the Belvedere competition in Vienna (1997). Since 1995 Elena Voznesenskaya has been the leading soprano at the Yekaterinburg Academic Opera and Ballet Theatre. Her repertoire includes Violetta (Verdi’s La Traviata), Marguerite (Gounod’s Faust), Micaëla (Bizet’s Carmen), Marfa (Rimsky-Korsakov’s The Tsar’s Bride) and many others.
In 1997 she participated in the performance of Rachmaninoff’s The Bells at the Guildford Cathedral. Since the same year Elena Voznesenskaya is a soloist of the Bolshoi Theatre in Moscow and since 1999 a soloist of the Moscow music theatre Helikon.

Sauli Tiilikainen is a soloist of the Finnish National Opera. After graduating from the Sibelius Academy (1980) he studied at the Music Academy of Vienna.
Sauli Tiilikainen has repeatedly participated in the Savonlinna Opera Festival where he sang the title role of Sallinen’s opera The King Goes Forth to France, and Papageno in Mozart’s The Magic Flute. Sauli Tiilikainen has also sung the title role in the world premier of Werle’s Lionardo at the Folk Opera in Stockholm, he participated as a soloist at the performance of Sibelius’ Kullervo Symphony and in Brahms’ Ein deutsches Requiem at the Kennedy Centre in Washington. His repertoire includes the roles of Albert (Massenet’s Werther), Germont (Verdi’s La Traviata), Figaro (Rossini’s Il Barbiere di Siviglia), Marcello (Puccini’s La Boheme), Guglielmo (Mozart’s Cosi fan tutte), Belcore (Donizetti’s The Elixir of Love), leading roles in Puccini’s Gianni Schicchi and Tchaikovsky’s Eugene Onegin, the Count (Mozart’s The Marriage of Figaro), Eisenstein (J Strauss’ The Bat), the title role in Mozart’s Don Giovanni, Rodrigo (Verdi’s Don Carlos), etc.

René Soom has studied singing at the Georg Ots Tallinn Music Collage and at the Estonian Academy of Music and Theatre supervised by Virgilijus Noreika and Nadia Kurem.
Since 2005 René Soom is a soloist at the Estonian National Opera. His roles at the Estonian National Opera include Eugene Onegin (Tchaikovsky’s Eugene Onegin), Silvio (Leoncavallo’s Pagliacci), Dandini (Rossini’s Cinderella), Ben (Menotti’s The Telephone), Morales (Bizet’s Carmen), Sacristan (Puccini’s Tosca), Captain Castel-Jaloux (Tamberg’s Cyrano de Bergerac), Tanner (Tubin’s Barbara von Tisenhusen), Ottokar (Weber’s Der Freischütz), Baron Douphal (Verdi’s La Traviata), Marullo (Verdi’s Rigoletto), Henry Higgins (Loewe’s My Fair Lady). René Soom has also performed successfully as a chamber singer on several stages.

The Estonian Philharmonic Chamber Choir (EPCC) was founded in 1981 by Tõnu Kaljuste, who was its artistic director and chief conductor for 20 years. In the years 2001–07 the artistic director was Paul Hillier. Since 2008 the artistic director and chief conductor is Daniel Reuss.
The EPCC’s repertoire ranges from Gregorian chant to the 20th cent music. The choir has a close relationship with Estonian composers Veljo Tormis and Arvo Pärt, whose music has held a very special place in its repertoire for many years. The choir gives 60–70 concerts per season and tours regularly in Europe, the USA, Canada, and Japan.
The EPCC has worked with famous conductors and orchestras including Claudio Abbado, Helmuth Rilling, Eric Ericson, Iván Fischer, Ward Swingle, Neeme Järvi, Paavo Järvi, Andrew Lawrence-King, Roland Böer, Norwegian, Australian, Lithuanian Chamber Orchestra, Israel Philharmonic Orchestra, Stuttgart Chamber Orchestra, Berlin Rundfunk Orchestra, Concerto Copenhagen, Deutsche Kammerphilharmonie, etc.
The EPCC has been invited to participate in many famous music festivals all over the world, for instance BBC Proms, Edinburgh International Festival, Salzburg Festival, etc.
Besides the concerts the recordings for companies ECM, Virgin Classics, Carus, Harmonia Mundi hold an important place in the choir’s activity. The recordings have won several prizes, from which the Grammy award for Arvo Pärt’s Da Pacem recorded by the EPCC and Paul Hillier (2007, Harmonia Mundi) is the most remarkable. Besides, the choir’s recordings with Arvo Pärt’s, Erkki-Sven Tüür’s and Baltic composers’ music have received 8 Grammy nominations.

Worldwide distribution by Note 1 Music (Carl-Benz-Straße 1, 69115 Heidelberg, Germany, phone +49 6221 720351, fax +49 6221 720381, This email address is being protected from spambots. You need JavaScript enabled to view it. , www.note-1.de) / Naxos Global Logistics
Distribution in Estonia by Easy-Living Music, This email address is being protected from spambots. You need JavaScript enabled to view it. , phone +372 51 06058

See also other recordings of René Eespere produced by ERP: Februa, In dies, Eesti portreed, Locus amoenus
See also other recordings of Risto Joost produced by ERP: Maria Magdalena, A Chant Of Bamboo, Pilgrim’s Song, Cantus angelicus, In the Finnish Mode
See also other recordings of Tallinn Chamber Orchestra produced by ERP: A Chant Of Bamboo,

CON BRILLIO

Olga Shishkina, gusli

Brand new – released on Jan 2nd, 2010! “In Russian tradition, when it comes to playing gusli, men have always been considered superior. Olga however proves that to be wrong, showing with her virtuosity  that women can be equally as good.” (Moscow Gate)

#2, A Shirokov, Variations on a Russian Theme, fragm, 95 sec, mp3
#10, P Panin. Scherzo, fragm, 3 min 35 sec, mp3
#16, I Khandoshkin. Variations on a Russian Theme, fragm, 2 min 8 sec, mp3

Olga Shishkina, gusli (#1–18)
Nikolay Mazhara, piano (#3, 4, 11–14, 18) – the winner of the 4th International Prokofiev competition, the soloist of the St Petersburg Symphony Orchestra of the St Petersburg State Philharmonic named after Shostakovich, lecturer at St Petersburg State Rimsky-Korsakov Conservatoire
Alexander Kiskachi, flute (#6–9) – renowned Russian flutist whose main interest lies in the area of Baroque music, lecturer at St Petersburg State Rimsky-Korsakov Conservatoire and St Petersburg State University
Michael Troyan, baritone (#5, 17) – soloist of the St Petersburg Chamber Opera Company
Emil Yakovlev, violin (#16) – soloist of the Remolino Ensemble

Arrangements for gusli by Olga Shishkina (#1, 3, 4, 16, 17)
Recorded at St Petersburg Rimsky-Korsakov Conservatoire and St Petersburg Chamber Opera Company in 2004
Recording and mastering: Troyanna
Graphic design: Antti Tiainen
Photos: Hannu Koistinen
Co-produced by Peeter Vähi

© Olga Shishkina, Koistinen Kantele
n©b
2010
ERP 3310
Manufactured by Baltic Disc

Olga Shishkina (b 1985 in Leningrad) is a prominent internationally active gusli artist. She studied gusli at St Petersburg State Rimsky-Korsakov Conservatoire, in the meantime doing secondary studies in piano, organ and orchestral conducting. In 2008 she graduated from there with the highest honors diploma. In the same year she started her Master’s degree studies in Finnish concert-kantele at Sibelius Academy. Since 2008 Olga has been living and working in Helsinki. At the age of 16 she was awarded 2nd prize at the prestigious 6th All-Russian Competition for professional folk instruments artists (2001, Tver) becoming the youngest prize-winner in the competition’s history. Olga is also the laureate of the International Andreev Competition for young folk instruments players (1996, 1998, 2000, St Petersburg). During her musical career she has been awarded many grants, for example, the special grant from the Russian Ministry of Culture and the scholarship from the New Names Foundation directed by Vladimir Spivakov. In 2001 she was awarded the title Hope of Russia and also got the award from The Worldwide Club of Petersburgers. Apart from performing in Finland and Russia, Olga has given concerts as a soloist and a chamber musician in the USA, the UK, Sweden, Belgium, Estonia, Latvia and Lithuania. She has been playing with the most prestigious Russian folk instruments orchestras such as, for example, Osipov National Academic Orchestra, The State Russian Orchestra of St Petersburg and Smolensk Russian Folk Orchestra. Olga is also the first gusli artist who started to use gusli actively as a solo instrument with a symphony orchestra. She has played with Lithuanian National Symphony Orchestra, St Petersburg Cappella Symphony Orchestra and others. Olga participated in Mariinsky Theatre settings, having played a gusli part in the Rimsky-Korsakov’s opera The Legend of the Invisible City of Kitezh and the Maiden Fevronia (conducted by Valery Gergiev). In autumn 2008 she appeared in Finnish première of Rodion Shchedrin’s opera Enchanted Wanderer with Helsinki Philharmonic Orchestra (conducted by John Storgårds) where she played chromatic gusli. Olga has written a numerous amount of arrangements and transcriptions for gusli with different instrumental combinations where her main goal was to expand the potential of this instrument, bringing it to the new level of virtuosity and expressivity. She invented many new playing techniques for gusli and explored it’s rich timbral opportunities. Being an important part of her repertoire, Olga’s arrangements are still otherwise rarely played by other musicians because of their demanding nature.
 

Gusli is the oldest Russian string instrument which origins dates back to the 11th century. It may have derived from ancient Egyptian and later Greek lyres and kytharas. Instruments related to gusli can be found in many countries around the world – there is kantele in Finland, kannel in Estonia, kanklės and kokle in Lithuania and Latvia, autoharp in the USA... It’s Asian relatives are Chinese gǔzhēng and Japanese koto. All these instruments are important national symbols but altogether they represent our common global musical heritage. The instrument that you can hear on this CD is a 15 string wing-shaped gusli which is one of the three existing types of the instrument – the other ones are helmet-shaped and chromatic gusli. This model was developed in the beginning of the 20th century by O. Smolenski and N. Privalov who wanted to create a true concert instrument suitable for the acoustics of a big hall. The construction of gusli was changed, and the tension of the strings became much thicker enabling to produce loud sound resembling the bells. Personally, I feel gusli as a very powerful and at the same time sensitive instrument that can express all the richness of human emotions. Even though it has a diatonic scale, the amount of sound colours and technical opportunities is so vast that for me there are no longer any limitations! My goal has always been to make gusli a well-known instrument and I believe it will find more and more fans around the world in the next years. I hope you will enjoy the experience of gusli music as much as I do!

Olga Shishkina

More info: www.youtube.com/olgagusli, www.myspace.com/olga.shishkina
General distribution: www.koistinenkantele.com
Distribution in Estonia: Easy-Living Music, This email address is being protected from spambots. You need JavaScript enabled to view it.

CELESTIALS
Maarika & Kristjan Järvi
& Tallinn Chamber Orchestra

Flute concertos by
Peeter Vähi & Urmas Sisask

Maarika Järvi has recorded two excellent flute concertos by young conductors that ought, I think, to attain cult status (Ivan Moody, International Record Review)
Repertoirewert: 5/5. Noch ist der Schnee des 21. Jahrhunderts zu frisch, um darin schon deutliche Spuren zu finden. /.../ Bezeichnend ist, dass gerade aus Estland wieder ein entscheidender Impuls kommt. (Klassik Magazine, 29.05.03, Germany)

#1, Chant Of The Celestial Lake, fragm, 4 min 36 sec, mp3, 320 Kbps
#6, Leonides, fragm, 2 min 38 sec, mp3, 320 Kbps

Published by CultureWare Music Publ
Total time 54 min
DDD, Stereo
GEMA
01712
© 2003 CCn’C Records

Kristjan Järvi (b 1972, Tallinn, Estonia) is chief conductor of the Vienna Tonkünstler Orchestra. As a child he moved with his family to New York, where he studied piano and conducting at the Manhattan School of Music. He attended master classes in piano taught by Tatiana Nikolajeva in Salzburg. In New York in 1993, Kristjan Järvi founded the Absolute Ensemble, which today is one of the world’s leading chamber ensembles. CD recordings with Järvi and Absolute Ensemble have been nominated for a Grammy Award and won the German Record Critics’ Prize. As musical director of Absolute Ensemble, Järvi plays repertoire ranging from the 16th to the 21st century, from Baroque to rock. He is an avid explorer and advocate of contemporary music and has conducted the premières of numerous works by such conductors as  Daniel Schnyder, Erkki-Sven Tüür, Charles Coleman, and Peeter Vähi. From 1998 to 2000 Kristjan Järvi was assistant conductor of the Los Angeles Philharmonic and conducted a sensational debut with this orchestra in the Hollywood Bowl. Since the 2000-01 season, he has been Principal Conductor of the Norrlands Operan and Symphony Orchestra in Sweden. He appears world-wide as a guest conductor of such fine symphony orchestras as the Hallé Orchestra of Manchester, the BBC Philharmonic Orchestra, the Budapest Festival Orchestra, the Bamberg Symphony Orchestra, the WDR Symphony Orchestra of Cologne, the Radio Symphony Orchestras of Berlin and Frankfurt, the Stuttgart Philharmonic, the Royal Stockholm Philharmonic Orchestra, the RAI National Symphony Orchestra of Italy, the Adelaide Symphony and the Japan Philharmonic Orchestra.

Maarika Järvi began her musical studies at the Tallinn School of Music and at the Boston and New England Conservatory of Music. She graduated with a Master of music degree from the Carnegie Mellon University where she was a student of Julius Baker as well as his teaching assistant. She has attended Master Classes with the distinguished professionals of their field such as Walfrid Kujala, Julius Baker, Donald Peck, Jeffrey Khaner, Jeanne Baxtresser, Michel Debost and William Bennett. She has been a prize-winner in a number of competitions in Boston, Toronto, New York.
As a soloist Maarika Järvi has been invited to play with various orchestras such as the Japan Philharmonic Orchestra, Detroit Symphony Orchestra, Radio-Television Symphony Orchestra of Spain, Gothenburg Symphony in Sweden, Lyra Borealis Chamber Orchestra in Toronto, Presidential Symphony Orchestra in Turkey, Orquesta Sinfónica de Galicia, Orquesta Sinfónica del Principado de Asturias, Camerata “Arión” in Spain, Pärnu City Orchestra in Estonia, English Chamber Orchestra, and Orquestra Simfònica de Barcelona. Her work as a recitalist and chamber musician (Duo Martinika) has taken her to many countries of North America and Europe. She has recorded for the Spanish, Swedish and Estonian radios, with the Absolute Ensemble in New York, Radio Television Orchestra of Spain, a CD Méditations, Celestials, as well as for other labels like ASV, RTVE. She has premièred numerous compositions, and released the 2 solo albums, which includes two new concertos specially written for her.

Tallinn Chamber Orchestra was founded in 1993. The conductor Tõnu Kaljuste has bounded the widely well-known Estonian Philharmonic Chamber Choir with TCO’s activities. The members of the orchestra are all outstanding musicians, who often perform as soloists and are invited to perform with various other orchestras and ensembles.
TCO has performed in many prestigious music festivals: Bach Cantatas Festival in Milan, Bremen Music Festival, Huddersfield Festival of Contemporary Music, Glasperlenspiel, etc. Concert tours have taken the orchestra and the choir to Canada, the USA, Japan and to many European countries.
The orchestra’s instrumental programs have been prepared mainly together with guest conductors including Richard Tognetti, Terje Tonnesen, Patrick Strub, Valentin Zhuk, Silvio Barbato, Samuel Wong, Olari Elts and Paul Mägi. In 1995–96 the artistic director and chief conductor of the orchestra was Juha Kangas, from 1996–97 to 2000-01 it has been Tõnu Kaljuste, the present artistic director is Eri Klas.
In 1993, TCO and Estonian Philharmonic Chamber Choir recorded the CD Te Deum. For a year, this record has been on the world’s Top Ten list and has gained exalting appraisals from the critics. Crystallisatio by Erkki-Sven Tüür and Litany by Arvo Pärt were released by ECM in 1996, and another record by ECM Neenia released in 2001 is music for strings by Heino Eller.

Urmas Sisask, a conductor and amateur astronomer, was born in Rapla, Estonia, in 1960. He has studied composition with René Eespere in the Estonian Academy of Music. His main activities, besides composing serious music, include astronomic observations and numerous concert lectures in the Musical Planetarium in his native village of Jäneda. Urmas Sisask’s interest in shamanic activities was deepened during the so-called singing revolution, and he feels that rituals represent one of the most important forces that help us carry on. As a conductor, he has written for piano, ensembles, orchestras and choirs. Urmas Sisask has composed the music for several films, notably for Rein Maran’s nature documentaries, as well as for theatrical pieces. The central idea that permeates his works is the theme of the starry sky.
Meteor currents are caused by comets. When the solid nucleus of a meteor moves through the solar system, bigger and smaller particles detach themselves from it. The smaller particles are quickly blown away from the nucleus whereas the bigger ones follow its course, thus forming the current of particles. “Meteor current is like an invisible river the position of which to some extent is indicated by boatlight (comet) sailing along that river”, says Mihkel Jõeveer in his article Leonids can appear in the form of a shower of meteors (Tartu Observatory Calendar 2000).
Urmas Sisask: “Every year in November the Earth approaches the trajectory of Temple-Tuttle comet discovered in 1895. Thus it is possible to have in the average of ten wishes per minute from the 14th to the 21st of November every year (Leonids – a meteor current from the direction of Leo constellation). Due to the fact that Temple-Tuttle comet’s period of rotation is 33 years, the comet approaches the orbit of the Earth in every 33 years, the Leonids may appear in the form of a powerful shower of meteors. In the early morning of November 18, 1999, I together with about a hundred astronomy fans had the extreme luck, after having discarded the clouds with the help of a shaman drum, to observe gorgeous “fireworks” (approximately 500 wishes per hour!). One moment the total of seven meteors erupted from Leo constellation. One of them seemed to have the size of full moon. It looked like lightning without thunder.”
The current work of music is namely inspired by the observation of the last described phenomenon. At the beginning of the piece the background harmony of the string orchestra characterises the structure of Leo constellation, the dynamic scale is in accordance with the seeming brightness of Leo stars. The musical pattern, glissandos, the canonized scale and dynamics express the behaviour of meteors in the sky. The repetitions of the rhythm and sound image in bass amplify the shamanistic magic of the unique celestial phenomenon. The soloist embodies an observer fascinated by the celestial show. The principal theme for the soloist in its turn is inspired by Lepo Sumera’s famous piano work Piece from the Year 1981. Thus the work is written in memoriam Lepo Sumera.

Press resonance

Maarika Järvi has recorded two excellent recent flute concertos by young composers that ought, I think, to attain cult status. I was completely unfamiliar with the work of Peeter Vähi, but his Chant of the Celestial Lake is a quite captivating work. While in many respects it connects with the gentle undulations of other Estonian conductors such as Vasks and, not least, Pärt, it has an internal variety that gives it a character of its own. The gentle undulations are certainly there, most obviously in the third movement, Adagio, but the strange, almost middle-Eastern-sounding dance (presumably reflecting the work’s inspiration in ‘Asian legends’, as the minimal insert note tells us) that precedes it, and the slower, still Asiatic fourth movement, place it firmly in a particular narrative context which differentiates it utterly from Erkki-Sven Tüür, let alone Pärt. I’m not sure if the fifth and final movement really ends the work entirely satisfactorily in its ‘fizzling out’ – one longs for the work to step outside of itself in a far more dramatic fashion after what has gone before – but there is no doubt that it is as a whole a very fine piece indeed. Urmas Sisask, though younger, is somewhat better known outside Estonia. His concerto, whose title is of astronomical origin, was written in honour of the late Lepo Sumera, another great Estonian original, and builds its material from one of Sumera’s piano works. The notes refer to the ‘shamanistic magic’ of the piece, and that is not far from the truth; there is a captivating intentional transparency and naļveté about parts of the music and its depiction of celestial events which impress greatly in combination with its powerful rhythmic drive. Both works are beautifully played, with absolutely breathtaking sound, by Maarika Järvi, and accompanied to perfection by the Tallinn Chamber Orchestra under her brother Kristjan. To cap it all, the recorded sound is superb – a wonderful disc. (Ivan Moody, International Record Review)

Believe me, I’ve tried to be positive about this. It is just possible that one day somebody will come up with a convenient lable – like “neo-naivety”” – and it will all make sense. I have to concede that Maarika Järvi is an excellent flautist, with a pleasing tonal range, full command of a wide range of colouristic devices, and a general liveliness which does the music no harm at all. But without her I’m not sure that I’d have been able to listen to the end. Peeter Vähi’s insipid cod-orientalism – overlaid with a whole gallery of soft-modernist sound effects (singing into the flute while playing, tapping the body of the cello, etc) – tries the patience most of all. Urmas Sisask’s Leonides is at least more single-minded, concentrating exhaustively on a much smaller range of motifs and devices, but it rarely rises above the pleasantly picturesque. All this on a disc which promises “a glance of invisible worlds blinking in musical imagery”. Yes, there are times when it is “the gift to be simple”, but surely that doesn’t mean you have to rule out subtlety and ingenuity? (Stephen Johnson, BBC Music Magazine, 2001, UK)

Cool on the heels of that CD comes Celestials, another disc of flute concertos from Ms Järvi, brother Kristjan and the Tallinn Chamber Orchestra. It opens with five-movement Chant Of The Celestial Lake for flute and strings by Peeter Vähi, whose Buddhist beliefs are reflected in his orientalist music. For much of its length the flute rhapsodizes rag-like over gently chugging strings, spinning melodic lines that bear the stamp of Indian improvisation. (Mark Doran, Cambridge University Press, 2004, UK)

Repertoirewert: 5/5. Noch ist der Schnee des 21. Jahrhunderts zu frisch, um darin schon deutliche Spuren zu finden. /.../ Gerade in Mitteleuropa hat die ’Materialschlacht’ – der zwanghafte Drang nach Findung neuer musikalischer Mittel – die Musik immer mehr vom eigentlichen Ausdrucksbedürfnis befreit, und man kann mittlerweile schon wirklich von einem Mainstream innerhalb der ’Neuen Musik’ reden. /.../ Bezeichnend ist, dass gerade aus Estland (oder auch aus anderen Ländern außerhalb der europäischen Mitte) wieder ein entscheidender Impuls kommt. Arvo Pärt ist wohl der bekannteste Komponist aus dieser Region, und auch seine Musik eröffnet trotz aller Zurückgenommenheit – und gerade durch ihre Feinsinnigkeit und die große Religiosität – ganz neue Dimensionen. Vähis Flötenkonzert ist keine wirklich religiöse Musik. Denn sie drängt zu den eigenen Wurzeln, den Urstämmen des Landes, zurück, ist zwar sprituell, doch nicht einem konkret religiösen Inhalt verpflichtet. (Florian Wetter, Klassik Magazine, 29.05.03, Germany, whole article)

Die Flötenkonzerte der baltischen Komponisten Peeter Vähi und Urmas Sisask sind schwergängige, tiefgründige Stücke, beinahe in jeder Faser existenziell. (Fono Forum, 12/01, Germany)

... kaks flöödikontserti – üks Peeter Vähilt, teine Urmas Sisaskilt –, milles on nii mõndagi ühist. Mõlema partituur on kirjutatud kammerorkestrile, mõlemad on varustatud programmiliste pealkirjadega ja heakõlalise helikeele tõttu ka kuulajasõbralikud. Eriti Peeter Vähi /.../ “Chant Of The Celestial Lake”. Alguse Con anima, osadest kõige pikem, on orientaalse koloriidiga (india laadid) meditatiivne helipilt, kus flöödi teemaarendus toimub umbes samamoodi nagu india ragades. Teisisõnu, muusika on pikka aega quasi-improvisatsiooniline ja ka Maarika Järvi mängus on asjakohast spontaansust. Rütmiline elavnemine toimub ootuspäraselt osa lõpus, ainult et siinne rütmijoonis tekitab assotsiatsioone pigem hispaania tantsu kui india muusikaga. See quasi-improvisatsioonilisus kandub ka järgnevasse Rubatosse, milles olulist kujundlikku rolli kannavad madalate keelpillide ostinaatsed figuurid. Keskne Adagio mõjub aga kaunikõlalise ballaadina, olles igatahes “õhtumaisem” kui teose ülejäänud osad. Lõpueelne lühike Piu mosso on justkui sissejuhatuseks finaalile, kus flöödi ja keelpillide vahel areneb juba väljendusrikas muusikaline dialoog. Nii oma ülesehituselt kui kõlamuljelt on “Taevase järve laul” võrdlemisi ebatraditsiooniline – vormilt küll hästi tasakaalustatud, kuid samas klassikalistest vormiskeemidest mitmes mõttes möödavaatav teos.
Urmas Sisaski flöödikontsert “Leoniidid” op 78 on pühendatud Lepo Sumera mälestusele. Avaosa Tempo ad libitum algab ainult soleeriva flöödi korduvate repliikidega – minoorse meloodiajoonise arendus on siin variatsiooniline ning kõlab solistilt fantaasiarikaste tempolaiendustega. Muuseas, see muusika põhimotiiv pärineb Sumera “Klaveripalast aastast 1981”. Orkester lisandub alles järgmises osas Moderato – see tugineb ühelt poolt Sumera teemakujundile ning teisalt keelpillide mängitud vanamuusika stilisatsioonile. Flööt nende keskaegsete allusioonidega aga kaasa ei lähe, vaid säilitab oma “laadilis-virtuoosse” sõltumatuse. /.../ Teades teose pühendust, on finaali kätketud mõistagi filosoofiline üldistus ajast ja ajatusest, katkemisest ning kestmisest. (Igor Garšnek, Sirp, 25.01.02, Estonia)

See also other recordings of Urmas Sisask (Galaxies, Portraits Of Estonia), Peeter Vähi, Maarika & Kristjan Järvi.
Other recordings by ERP with Tallinn Chamber Orchestra: Musica triste, A Chant Of Bamboo, Enter Denter, Bassoon Concertos

Distribution in Estonia by Easy Living Music, This email address is being protected from spambots. You need JavaScript enabled to view it. , phone +372 51 06058
Distribution in Germany by DA Music, and amazon.de
Distribution in Japan by Amazon
Available for download: iTunes

CYRANO DE BERGERAC

Libretto in French

Probably the best known Estonian opera is Cyrano de Bergerac by Eino Tamberg (libretto by Jaan Kross after Edmond Rostand). The performers are best from the Estonian operatic world – conductor Paul Mägi, Symphony Orchestra of the Estonian National Opera, the singers being the elite from neighbouring Finland. A must for all opera lovers.

Romantic opera in three acts and an epilogue, op 45 (1974)
Libretto by Jaan Kross
Based on the play by Edmond Rostand
Translated by Tiina Alep

Act I

1. scène: introduction et monologue de Cyrano

Cyrano: Ah-hoo!

Face à mon épée, une troupe de tueurs à gages

peut-être bien cent hommes,

tremblant dans la nuit comme l’ombre effrayée du feu!

Victoire! Victoire!

J’ai bu à la victoire triomphante,

mais le goût amer m’est resté dans la bouche,

car que peut changer à mon destin,

la plus brillante figure à l’épée?!

Mon amour secret est un ange, le plus beau des anges

et moi laid comme seul je puis l’être...

aussi brillants que puissent être mon épée et mon esprit,

mon immonde nez leur fait ombrage,

mon immonde nez.

Pourtant à chaque éclair

Une lueur apaise ma chère mémoire,

et quand il s’éveille et monte comme l’escalier

de là haut que  verra-t-elle derrière ma gueule?

Disparaît, fol espoir!

Et il disparaît, baissant les yeux –

Cet espoir qui m’a effleuré.

Il disparaît aussitôt, si sur le mur,

A la lumière de la lune, je vois l’ombre de mon profil.

 

2. scène: kavatiin de Christian

Christian: La-la-laa

Deuxième semaine à Paris et déjà tombé follement amoureux,

Cette farce n’est pas fausse du tout d’ailleurs,

Deuxième semaine à Paris et déjà tombé follement amoureux,

Mon amour est sans bornes.

Elle s’appelle Roxane,

Jusqu’ici je ne l’ai vue qu’au théâtre.

Oh, cet amour m’a donné des cheveux blancs,

Car il me manque espoir et stratégie.

Elle est si exigeante et si distinguée

Que le moindre de mes gestes est une erreur.

Ma bravoure est mon unique arme,

Pourtant en amour je me décourage aussitôt.

D’où prendre les mots, d’où prendre l’esprit?

Je n’ai pas d’idées!

La-la-laa.

 

3. scène (Ragueneau, Lise)

Ragueneau: Eh, Lise!

Viens au secours et aide à ouvrir les lucarnes.

J’ai entendu parlé un soir que l’ami Cyrano

A l’idée de se mêler à un complot dangereux.

Lise: Quelle affaire?

Ragueneau: Tu connaîs le conte De Guiche –

Cet espèce de vieux bélier arrogant!

Il a été touché dans un pamphlet par la plume du poète Lignière,

Roxane de nouveau a renoncé à l’amour du conte De Guiche.

A cause du pamphlet, De Guiche a engagé cent hommes,

Qui ont ordre de tuer Lignière sur le chemin menant à la maison.

Et Cyrano s’est mis en tête de les en empêcher.

Lise: Ce Monsieur adore faire parler de lui,

Et si un jour il reçoit un coup dans le nez,

Je te dis, qu’il le mérite!

Pourquoi tu te fais des soucis?!

Fait vite maintenant, tes poètes de pacotille seront bientôt là.

 

4. scène (Ragueneau, dame de compagnie de Roxane)

Dame de compagnie: Sacrebleu! Se promener dans la nuit, ce n’est pas chose heureuse.

Où se niche-t-il, le cousin de la maîtresse de maison?

Bonjour, Sire Ragueneau!

Puis je rencontrer ici Monsieur Cyrano?

Ragueneau: A quel sujet?

Dame de compagnie: Je ne réponds pas à n’importe qui!

Je vous l’avoue: la maîtresse de maison m’envoie.

Ragueneau: Ah, mademoiselle Roxane?!

Dame de compagnie: Oui, mademoiselle Roxane.

Ragueneau: Et où est-elle, la demoiselle?

Dame de compagnie: A deux pas d’ici,

A l’office de nuit, à la chapelle, elle y prie.

Elle m’a envoyé, j’en reviens en courant,

afin de demander un rendez-vous avec son cousin.

Cela fait longtemps que je vous attends.

Elle sera là à sept heures.

 

5. scène: arioso et scène de Cyrano (Cyrano, Lise, Ragueuneau) 

Cyrano: Elle sera là à sept heures.

Quel bonheur et quelle peur.

Quel joie et quelle torture.

Quel que soit son désir, elle sait que je suis un pauvre mortel

Je me sens si fort que je pourrais retenir la voûte du ciel,

Roxane me demande un rendez-vous!

Je sens se ranimer la flamme déjà endormie sous les cendres,

Quel que soit son désir!

Ah, les mots.

Je ne peux les sortir de ma bouche devant Roxane,

Quoique j’en garde dans mon cour des millions!

Alors que sur le papier.

J’écrirai une lettre qui soit faite de telle façon

Que je saurais chaque ligne par cour évidemment.

Eh Ragueneau! J’attends quelqu’un,

Que personne ne vienne.

Lise: Mais mon bouffon de mari l’ayant permis,

Sa troupe d’insignifiants poètes sera bientôt là!

Croyez-moi, la pièce sera vide.

Cyrano: Oui! Emmène-les avant sept heures 

Et ferme bien toutes les portes d’entrées!

Donne-moi une plume, Ragueneau!

Ragueneau: Pour vous, une plume de cygne.

 

6. scène: (Lise Ragueneau, Cyrano, 3 poètes-clochards)

Lise: Tes chiffoniers sont arrivés!

Poètes: Cher collègue!

Génie, comme nous!

Génie de la cuisine!

Oui.ça sent bon ici!

Ça sent vraiment bon ici.

Salut, Apollo qui est ici le boulanger!

Ragueneau: Honorables collègues! Ah!

Comme je me sens bien parmi vous,

Je ne comprends pas pourquoi!

II poète: Nous étions un peu en retard en ta demeure si belle,

Car la foule nous a emporté vers les portes de Nesle.

Six rustres allongés par terre et partout des blessures d’épées.

Cyrano: Six, alors? Et pas cinq?

Poètes: Qui a pu faire ça, sûrement un brave homme!

Oui, vraiment un homme courageux!

Cyrano: J’aime.

Poètes: Un seul homme... C’est connu

... a battu cent hommes.

Toute la rue pleine de poignards et autres armes.

Ragueneau: Qui pourrait être ce brave homme?

Poètes: Personne ne sait! Personne!

Que de jurons et de plaintes sortant des antres des brigands!

Cyrano: J’aime vos cheveux.

Poètes: ...comme il était brave, ce gars,

unique en ce monde.

Cyrano: Dès que je vous vois,

Envahi par la peur, je perds la tête.

Celui qui signe, c’est votre plus fidèle amoureux.

Elle la recevra de mes mains –

Pas besoin de signature.

 

7. scène: arioso de Roxane et duo avec Cyrano

Roxane: Précipite-toi à la chapelle maintenant

Et pose un cierge allumé devant l’image de la Vierge Marie

Et prie, que monsieur Cyrano ne prenne ma sincérité pour folie.

Ah, mon pas est si lourd,

Tellement haut me semble la marche du seuil de cette boutique.

Tout ce qui naît de l’amour, est toujours sincère.

L’amour me soutient et m’encourage.

Cyrano: Enfin le moment béni est arrivé.

Qui vous amène ici?

Roxane: Ah, je me découvrirais devant vous,

Je devrais toujours voir en vous le frère,

Que vous étiez pour moi,

Qui a joué avec moi au bord du lac,

Qui dans mon enfance a joué

Tous les jours avec moi.

Cyrano et Ragueneau: Oui, jadis Bergerac était notre terrain de jeux

A l’époque vos épées poussaient dans les roseaux

Les cheveux de la poupée Gabrielle étaient de filasse,

C’était l’époque des jeux

Plein de fruits amers.

Cyrano: Quant vous répondiez encore à tous mes caprices,

Vous étiez seulement une enfant, vêtue d’une simple jupe.

Roxane: Etais-je belle?

Cyrano: Oui, si mignonne et étourdie.

Roxane: Quelque fois à l’escalade vos mains se blessaient,

Votre course joyeuse vous amenait chez moi,

J’ai joué à la maman et j’ai dit d’un air sévère :

Mon garçon, encore du sang sur tes mains! Est-ce une blague?

Oh, c’est déjà trop! Où vous êtes vous blessé?

Cyrano: Ah, près de Nesle. Le jeu m’a abîmé un peu la peau.

Roxane: Montrez-la moi, je la nettoierai.

La manche est aussi tâchée de sang. Ils étaient nombreux?

Cyrano: Ah, il n’était pas une centaine.

Roxane: Racontez, si’il vous plaît.

Cyrano: Non, dites-moi maintenant ce que

Vous n’avez pas osé me dire avant.

Roxane: Oui, du passé je tire beaucoup de courage,

Et j’ose le dire maintenant.

Oui, j’aime, j’aime follement quelqu’un.

Qui n’en sait rien encore,

mais doit bientôt l’entendre.

Qui de loin, de très loin

m’aime de façon muette et m’adore fièvreusement.

Et imaginez seulement – comme par hasard

que votre régiment soit son corps de troupe.

Et son bataillon est dans votre compagnie.

Il est si tendre et subtil, l’esprit illumine son front.

Il est aussi si fier, si hautain et beau!

Cyrano: Beau aussi?

Roxane: Oui. Qu’est-ce qui vous arrive?

Cyrano: Comment s’appelle-t-il?

Roxane: Christian de Neuvillette.

Cyrano: Pas dans notre compagnie de telle personne.

Roxane: Si. A partir de ce matin.

Cyrano: Et pourquoi avez-vous besoin de moi alors?

Roxane: Les gascons sont connus pour leur terrible manie

de provoquer chaque nouveau.

Et alors?

J’ai pensé... que vous,

le plus intimidant de nos héros à l’épée

l’aideriez à se soustraire à  ces duels...

Si vous le protègiez...

Cyrano: Votre petit baron est sous ma protection.

Roxane: Vous deviendrez son ami?

Cyrano: Je vais le devenir.

Roxane: Alors, il ne participera jamais aux duels?

Cyrano: Non, jamais.

Roxane: Je vous aime pour ­ça, mon amour.

Vous êtes si brave et si beau.

Et dites-lui s’il vous plaît,

qu’il s’avise de m’écrire.

Qu’il écrive bientôt.

Cyrano: Oui-oui.

Roxane: Le temps me presse, je dois partir.

Et de votre bataille,

Ondulant partout dans la ville comme une vague,

vous me raconterez aussi, mais une autre fois.

Et qu’il écrive, n’oubliez pas...

 

8. scène (Chœur des hommes, Cyrano, Ragueneau, De Guiche, Jaloux)

Chœur: Oh-hoo... Cyrano, Eh, Cyrano!

Notre héros, notre héros! Fantastique!

Intelligent! Audacieux! Tout un phénomène!

Hourraa! Encore et encore!

Nous sommes si fiers que notre Cyrano ait ensemble toutes ces qualités

langue bien affilée et grand virtuose de l’épée!

Le conte De Guiche arrive par là!

De Guiche: Votre tour de nuit –

oh-ho, a pu offrir un spectacle fort amusant.

Pour ça je vous apporte les éloges du maréchal,

Même l’orgueuil a son charme.

Sauf que l’écho en est ici trop amplifié.

Oui, beaucoup trop.

De Guiche: Etre poète, c’est du luxe de nos jours.

Ce ne serait pas un mal si vous veniez servir dans mon régiment

Cyrano: Non, monsieur. Je ne veux pas.

De Guiche: Votre esprit peut-être

amuserait mon oncle Richelieu.

Je vous recommenderais à lui.

Jaloux: Tu deviendras célèbre!

De Guiche: Et la rime de votre ouvre me semble si raffinée.

Jaloux: Voilà, pour ton ouvre, les portes te sont ouvertes.

De Guiche: Apportez-lui cela.

Cyrano: Vraiment...

De Guiche: Pour lui tout est clair,

où changer, couper s’il le faut un ou plusieurs vers.

Cyrano: Non, mon sang se pétrifierait si dans l’oeuvre qui est mienne,

une virgule serait corrigée par un tiers.

De Guiche: Vous avez énormément de fièrté.

Cyrano: Vous l’avez bien compris?

I cadet: Tout le quai est plein d’animaux à plumes!

II cadet: Celui qui a engagé des voyoux,

Est pour l’heure fou furieux.

I cadet: Qui a pu les engager?

De Guiche: C’est moi qui l’ai fait.

Car il est clair,

qu’un noble se blâmerait, s’il punissait lui-même

une espèce d’ivrogne, un poète inapte à la Lignière.

I cadet: Des proies bien grasses

Cyrano: Vos amis pourront les obtenir maintemant de votre part.

De Guiche: Vous avez lu “Don Quichote?”

Cyrano: De A à Z.

De Guiche: Il me semble pourtant,

que vous avez omis les lignes où l’on parle des moulins.

Car, parmi  ceux qui les attaquent, certains se trouvent jetés dans la boue

par l’aile du moulin,

Et d’autres sont emportés vers les étoiles.

 

9. scène: (Christian, 3 cadets, Jaloux, Cyrano, chœur des hommes)

Cœur: La-la-laa.

III cadet: Eh, silence!

Que Cyrano nous raconte son histoire nocturne.

II cadet: Qu’il l’entende, ce museau de rien du tout!

Christian: Comment ? Quel museau.?

III cadet: Disons, qui n’est gascon ni de visage ni de sang

I cadet: On ne parle pas de corde dans la cellule de celui que l’on va pendre,

Donc vous comprenez – aucun mot?

II cadet: Son épée sert à vous faire disparaître de ce monde

Dès que vous y faites la moindre allusion!

Jaloux: Cyrano, raconte ton histoire nocturne!

Cœur: Parle, Cyrano! Oui, vas-y! Raconte, Parle!

Cyrano: Alors, bon.

 

10. scène: le récit de Cyrano (Cyrano, Christian, 2 cadets)

Je suis passé par le quai, aucun signe de vie,

un nuage de couleur sombre a caché la lune et

il n’y avait pas dans l’’obscurité le moindre rayon de lumière,

Ainsi je n’ai même pas vu

Christian: mon nez.

Cyrano: Qui est cet homme?

I cadet: Notre cadet nouveau venu, Christian de Neuvillette.

Cyrano: Aa... alors. eeh...

Sacrebleu! Bon...

J’ai dit que la lune s’était vêtie d’un nuage noir

et aussi j’ai pensé qu’en défendant cet animal

j’allais sûrement fâcher un duc ou un conte

et plus tard je recevrais un coup au...

Christian: Nez!

Cyrano: Sur la caboche,

et il est peu probable d’espérer quelque chose de bon,

si je mets mon...

Christian: Nez!

Cyrano: ... ma main dans les affaires des grands nobles.

Mais j’ai dit que cela n’effraye pas un gascon.

Accomplis ton devoir ou tu n’es pas toi-même!

Soudain là, dans le noir je reçoit un coup.

Christian: Dans le nez!

Cyrano: Au diable! Foutez le camp, tous!

I cadet: Mince alors, le tigre s’est réveillé.

Cyrano: Tout le monde, sauf celui-là!

III cadet: Et bien, il va le rosser maintenant.

 

11. scène: duo de Cyrano et Christian et scène (Cyrano, Christian, Jaloux, cadets, chœur des hommes)

Cyrano: Allez, viens m’embrasser!

Tu m’a laissé une bonne impression.

Et sache le – tu embrasses en moi le frère de Roxanne

ou presque : son cousin du côté de son père.

Christian: Oh, mon dieu!

C’est alors le ciel qui m’a aidé...

Puis-je espérer qu’elle me respecte?

Cyrano: Peut-être.

Christian: Oh, comme votre amitié m’est chère!

Cyrano: Vraiment? Cette gentillesse me semble exagérée et

même un peu effrayante.

Christian: Oh, excusez-moi!

Cyrano: Mais il est vraiment beau, ce gaillard...

Elle attend ta lettre

Christian: Alors tout est foutu!

Car quand j’écris je dévoile ma bêtise.

Une bêtise telle que la honte me tue.

Roxane est une dame exigeante.

Je perdrais tout espoir si j’ouvrais la bouche.

Cyrano: Si moi j’étais aussi beau parleur pour mon âme...

Christian: Où trouver les mots justes...

Cyrano: Je te les prête, s’il le faut!

Roxane ne serait jamais déçue, ne deviendrait jamais indifférente...

Tu veux, qu’on la séduise ensemble moi et toi?

Christian: Mais écoute –

Cyrano: Si les mots te manquent pour parler de la flamme qui brûle en ton corps,

si tu maudis ton manque de verve,

réunissons ensemble ta bouche et mes mots?

Christian: Ça t’amuserait?

Cyrano: Ça serait pour moi vraiment...

ça serait une idée magnifique.

Les poètes ont souvent payé cher leurs idées.

Je te complèterai et tu me complèteras.

Je serai ta figure, ton ombre et ton esprit.

Tu seras ma forme et moi ton esprit.

Christian: Mais la lettre? Rien que d’y penser cela me fait la peine.

D’où la prendre?!

Cyrano: Ta lettre pour elle – tiens – elle est là.

Christian: Vous l’avez déjà.

Cyrano: Oui, j’en garde plusieurs dans ma poche,

car les dulcinées sont nombreuses

et c’est pour ça qu’on apprécie toujours le mieux celles d’entre elles,

qui demeurent dans les rêves.

Christian: Mais... Est-ce que tout dans cette lettre convient à Roxane?

Cyrano: Ah oui, on ne modifie aucune ligne.

Christian: Oh mon ami!

Jaloux: Notre tigre a une auréole de Saint au dessus de la tête?!

Il a reçu une claque a une joue, maintenant il tend l’autre joue?!

II­cadet: Maintenant on peut parler de son nez, il me semble.

Quelle odeur pénère dans mon nez?

Vous l’aspirez directement dans les poumons?

Que sentez vous ici?

Cyrano: Un coup derrière la tête

Chœur: Oh – hoo, Cyrano!

Act II

12. scène: air de Roxane

Roxane: La nuit tombe et lecrépuscule enflamme le ciel

et de nouveau mon cour se gonfle d’un espoir douloureux.

Mon Dieu, je sens mon visage en feu,

mais je dois m’avouer en secret,

je dois m’avouer que c’est l’amour.

Christian, Christian!

Finalement je commence à connaître sa personnalité.

Sa muse disparaît parfois et la fraîcheur disparaît de son discours,

Mais soudain des idées formidables jaillissent de sa bouche.

Ah oui, ces petites bagatelles mais qui ont une telle importance

Et qui ne sont jamais aussi bien dites par ses rivaux.

Il me semble qu’il soit entouré d’un tension magique,

et de plus en plus, je sens dans son discours une âme profonde.

Et pourtant j’ai peur,

De Guiche me poursuit comme un nuage d’orage, comme un taon.

Et il ne s’inquiète pas du prix des tueurs à gages.

Au moindre signe de sa part, mon amoureux peut avoir

une épée plantée en sa poitrine.

Ah, Christian, mon amour,

déjà le crépuscule enflamme le ciel,

et de nouveau mon coeur se gonfle d’un espoir douloureux.

Ah Christian!

 

13. scène: duo de De Guiche et Roxane

De Guiche: J e suis venu l’annoncer:

A Arras notre attaque a échoué.

Adieu, je pars pour la guerre de suite.

Roxane: Ah oui!

De Guiche: Mais je vois que cette histoire ne

vous touche guère.

Là-bas je vais diriger un régiment.

Ce régiment où sert votre cousin,

ce malotru de Cyrano.

Eh bien, je vous jure que je le rosse cette fois!

Roxane: Christian!

De Guiche: Qu’est-ce qu’il y a?

Roxane: Je défaillis si japprends que

quelqu’un, que..part tout à coup à la guerre.

De Guiche: Mon départ semble vous soulager.

Roxane: Donc une vengance attend mon cousin?

Vous voulez envoyer mon cousin à la guerre?

Oh, misérable vengeance!     

Pour lui c’est bien sûr un plaisir.

Je saurais comment le rendre fou de haine, mais.

De Guiche: Et ça serait?

Roxane: Si on laissait un régiment de malotrus gascons traîner à Paris

quand les autres se battent!

De Guiche: Oh, la vengeance des femmes!

Il me semble que vous m’aimez encore?

Je vois une preuve d’amour

Dans votre conseil de le châtier.

Roxane: C’est bien ça.

De Guiche: L’ordre de départ des gascons restera dans ma poche.

Oh, vous me rendez fou,

Je ne peux pas partir.

Si dans votre coeur vibrent des sentiments

je ne peux pas partir.

Attendez ! Je me cache dans un monastère. Ici tout près, dans le voisinage.

La ville me croira parti.

Chez vous j’enlèverai mon masque.

Oh, permettez moi pour un jour d’être en retard à la guerre!

Roxane: Non.

De Guiche: S’il te plaît!

Roxane: Je ne peux pas.

De Guiche: Je te supplie!

Roxane: Non, car je vous désire héroïque!

De Guiche: Oh, mon cour s’arrêterait de battre!

Je pars. Adieu!

Roxane: Je vous remercie, mon ami!

 

14. scène: (Cyrano, Roxane, Christian)

Cyrano: Je vous remercie, mon amie!

Roxane: Ah, c’est vous.

Cyrano: Oui, c’est moi.

Alors, comment il va, votre bien-aimé?

Roxane: Nous sommes de plus en plus liés par le fil brillant de son esprit.

Cyrano: Est-il si brillant d’esprit?

Roxane: Encore plus brillant que vous.

Mais les mots du conte De Guiche m’ont glacé le cour.

Je prend un vêtement chaud dans ma chambre,

et je sors tout de suite.

Si Christian arrive, qu’il attende.

Cyrano: Et puis-je savoir quel thème il peut espérer aujourd’hui?

Roxane: Peu importe je vous le dis : laisser couler votre fantaisie.

Le motif sera l’amour. Improvisez!

Mais taisez-vous!

Cyrano: Je resterai muet comme une tombe.

Christian: La-laa.

Cyrano: J’ai tout compris

Je vais t’apprendre ce dont tu auras besoin aujourd’hui.

Christian: Maintenant ça suffit!

Cyrano: Tu protestes?

Christian:: Roxane s’est trahie, elle est tombée amoureuse.

Je n’ai plus peur. Maintenant je parle moi-même.

Un baiser seulement et je serai très sûr de moi.

Elle arrive.

Non, ne me quitte pas!

Cyrano: Parlez vous-même maintenant, monsieur.

 

15. scène : (Roxane, Christian, Cyrano)

Roxane: Il fait tellement beau et le soir approche.

et personne nous suit du regard.

Je vous écoute, parlez.

Christian: Je vous aime, aime.

Roxane: Sur ce sujet, oui.

Christian: .Roxane, je vous aime.

Roxane: Et que prompt soit votre esprit.

Christian: Je vous.

Roxane: J’écoute

Christian: .vous aime.

Roxane:  Et encore.

Christian: Et encore. de cette idée.

Je suis tellement ravi,

tu m’aimes bien aussi?

Puis-je le dire?

Roxane: Oh, j’ai désiré la crème,

Vous ne m’offrez que le lait.

Christian: Mais.

Roxane: Dites-moi comment vous...

Christian: Ah, de tout mon cour!

Roxane: Et c’est tout!

Et parlez-moi des nuances de vos sentiments et de tout.

Christian: Oh mon dieu,

Maintenant je ne sais que dire!

Roxane: Oh, si vous perdiez votre esprit,

si votre esprit brillant vous quittait,

ce serait pire encore,

que le fait de devenir laid.

Partez maintenant

et essayez de retrouver votre verve.

Christian: Roxane!

Roxane: Je sais que vous m’aimez!

Christian: Ah, attends!

Roxane: Adieu.

Cyrano: Quel succès, à mon avis.

Christian: Je me meurs.

Cyrano: On peut arranger les choses.

Tu ne le mérites pas, si tu veux savoir.

Mais reste devant le balcon

Et moi, de l’ombre te chuchote tout ce qu’il faut

Eh, appelle maintenant!

Christian: Roxane, oh, ciel!

Roxane: Non, non! Votre discours m’indiffère!

Christian: Aa, oh, je meurs dans la douleur de l’amour!

 

16. scène du balcon (Cyrano, Christian, Roxane)   

Cyrano: L’amour s’épanouit dans mon cœur.

Christian: L’amour s’épanouit dans mon cœur.

Cyrano: ... et unit ma verve et ma main

Christian: ... et unit ma verve et ma main

Cyrano: Ce garçon, ah mon cœur

Christian: Ce garçon, ah mon cœur

Cyrano: ... il balance dans ce berceau

Christian: ... il balance dans.

Roxane: Pourquoi trouvez-vous la rime après si long silence?

Quelle maladie bloque votre fantaisie?

Cyrano: Non, ça ne va pas!

Roxane: Oui, votre aisance d’esprit est paresseuse aujourd’hui.

Cyrano: C’est à cause de la nuit.

Mes mots dans la nuit cherchent votre oreille.

Roxane: Dans cette nuit tellement obscure

Mes oreilles sont grandes ouvertes

Cyrano: Bien sûr, vos mots glissent et descendent,

Mais les miens s’efforcent et peinent à monter.

Roxane: Du coup votre parole est devenue plus aisée.

Et vous avez une autre voix.

Cyrano: Ah oui, car jusqu’ici j’ai parlé à travers.

Roxane: A travers quoi?

Cyrano: A travers l’ivresse qui m’envahit devant vous.

Pour la première fois que je peux deviner votre silhouette,

comme une lueur là-haut – je parle sincèrement.

Roxane: Et quels mots me dites-vous maintenant?

Cyrano: Tous ces mots que l’amour apporte à ma bouche!

Toute cette gerbe de mots est pour vous!

Je t’aime, ce bonheur surpasse tous les autres!

Cet amour me rend fou!

Je t’aime!

Ah, ton nom, si doux et tendre comme le tympan d’une clochette,

et mon cour c’est la cloche.

Ah, mon cour tremble,

je ne peux pas vivre autrement,

et comme une cloche je vis de ton tintement!

Cette nuit, cet air, cette heure,

Tout ça m’étouffe:

je t’ouvre mon cour et tu as envie de m’écouter.

Ah, mes mots ont retrouvé une telle force,

que ton cour tremblera si loin là haut.

Roxane: Oui, je pleure et je tremble et j’appartiens à toi, chéri.

Cyrano: Il ne me reste qu’à mourir, que la mort arrive!

Roxane a entendu mes paroles

Roxane a aimé mes paroles et s’en est enivrée.

Je ne vous demande plus qu’une seule chose,

qu’une fois vous.

Christian: . vous m’embrassiez.

Roxane: Comment?

Cyrano: Attends!

Roxane: Vous m’en priez?

Cyrano: Oui je vous demande le plus beau des cadeaux,

mais je maudis mon arrogance.

Christian: Pourquoi?

Cyrano: Trop tôt.

Christian: Bientôt quand même.

Cyrano: Oui, bientôt quand même.

Alors, c’est mieux comme ça.

Qu’un baiser. ah Roxane, ce n’est rien,

un petit secret qui ouvre l’oreille à l’écoute,

un moment pour l’éternité où on entendrait une mouche voler,

une belle harmonie remplie de joie au goût de fleurs.

Afin d’aspirer une gorgée de votre cour

et goûter du bout de la langue une miette de votre âme.

Roxane: Ah, venez cueillir alors,

la gorgée du cour et la joie de la fleur.

Roxane: Alors venez cueillir.

Cyrano: Vas-y, grimpe!

Christian: Est-ce honnête? J’en doute encore.

Roxane: ... ce secret, la joie de fleur.

Cyrano: Grimpe, lourdaud!

Roxane: ... et la joie des cours et l’éternité du moment!

Christian: Ah! Roxane!

Cyrano: Ah! Roxane!

Je me joins à ton baiser:

sur ces lèvres d’où ta bouche bois le plaisir de l’amour,

tes lèvres baisent les mots qui sortent de ma bouche.

 

17. scène (Le capucin, Roxane, Christian, Cyrano)

Capucin: Eh, mademoiselle Roxane!

Si je distingue bien l’adresse dans le noir,

c’est la bonne maison.

Roxane: Que voulez-vous?

Capucin: Une lettre pour vous!

Roxane: Je descends tout de suite.

Capucin: Un seigneur très honnête s’est servi ici de sa plume honorable

Pour écrire un mot d’une grande importance.

Roxane: Le conte De Guiche?

Christian: Non, il n’a pas assez de courage.

Roxane: Il ose encore,

Mais c’est la fin du courage!

Ah, cousin Cyrano!

Venez, lisez ce qu’écrit notre ami le conte!

 

Je ne vous ai pas obéi. Je suis au monastère.

Un simple moine bienveillant qui ne comprend rien

 vous apportera mon message.

Votre regard était trop aimable!

Vous devez être d’accord pour que je revienne chez vous.

Vous jetterez tout le monde dehors et recevrez celui.

 

Cette lettre dit ce qui suit:

Mademoiselle, votre fièrté ne conduit nulle part,

Vous êtes obligée de céder.

C’est l’ordre du cardinal et ses arguments sont fort justifiés.

Donc ces lignes seront apportées dans vos mains

Par un capucin très discret.

Et notre désir est,

Veuillez bien le comprendre,

Que c’est lui qui bénit votre mariage.

Que cela se passe de suite!

Christian deviendra votre époux.

Je l’aménerai là-bas.

Je comprends votre douleur et serai toujours votre.

Etcetera...

Capucin: Oh, seigneur bien honoré!

Je l’ai toujours su,

Qu’il s’agissait ici de quelque chose de sacré!

Roxane: Quelle horreur!

Alors, je porterai la croix.

Essayez de trouver une raison

pour que De Guiche s’arrête ici un quart d’heure.

Cyrano: Je vais en trouver une.

Ça y est, j’ai trouvé!

 

18. scène: l’histoire farfelue des vols sur la lune de Cyrano (De Guiche, Cyrano)

De Guiche: Sacré capucin!

Aucun signe de vie.

Où pourrait-il rester?

Qu’est-ce que c’est?

D’où cet homme est tombé ici?

Cyrano: De la lune.

De Guiche: D’où?

Cyrano: Tombant de haut, on ne peut jamais savoir où l’on va atterrir,

Le point de chute reste vague.

Dites-moi, dans quel pays ma chute m’a amené,

Et à quel endroit le poids de mon derrière m’a conduit?

De Guiche: Laissez-moi passer!

Cyrano: Oh quelle surprise!

Dans ce pays tous les visages sont noirs.

Alors ce doit être l’Afrique!

De Guiche: C’est mon masque.

Cyrano: Alors cette ville là, c’est Venise.

De Guiche: Une dame m’attend!

Cyrano: En ce cas là, c’est Paris!

De Guiche: Quel bouffon, mais un bouffon amusant.

Cyrano: Et vous voulez savoir au moins.

De Guiche: Je veux passer!

Cyrano: . comment est cette lune vue de près.

De Guiche: Non, je veux.

Cyrano: ... me demander comment j’y suis allé?

Pour monter, j’ai inventé une construction

De Guiche:: Cet homme est fou.

Cyrano: Pour y aller, j’ai utilisé une machine sortie de mon imagination.

De Guiche: Cet homme est fou.

Cyrano: Je connais six façons d’aller sur la lune.

De Guiche: Ah, six?

Cyrano: Oui, six! Je connais six façons!

Je me déshabille comme une bougie

Et je me décore comme un sapin de Noël

De bouteilles en cristal emplies de gouttes de rosées.

Comme la goutte de rosée s’évaporant dans l’air grâce au soleil,

De même le soleil m’aide à m’envoler

De Guiche: C’est la première façon.

Cyrano: Avec un tube en acier rempli de poudre

je peux m’éjecter dans la galaxie!

De Guiche: Deuxième.

Cyrano: La fumée montant tel l’envol d’un oiseau –

Mon ballon, rempli de fumée, s’envole

De Guiche: Trois.

Cyrano: La lune nouvelle adore aspirer la moelle de bouf

dont je me graisse le corps.

De Guiche: Quatre...

Cyrano: Ou encore le vent m’emportera,

Si un récipient fait de miroirs est rempli d’air comprimé

De Guiche: Cela fait cinq...

Cyrano: Je connais encore la façon de s’allonger sur une plaque en métal,

De jeter du fer aimanté dans l’air.

La plaque m’emporte vers le fer aimanté comme un coup de sifflet,

Un jet encore et alors.

De Guiche: Et alors?

Cyrano: Et alors... et alors...

Monsieur, votre rendez-vous est raté. Maintenant le mariage est fait.

De Guiche: Suis-je ivre? Ce nez... Cyrano!

 

19. scène (Le capucin, De Guiche, Roxane, Cyrano)

Capucin: Quel joli couple! Et grâce à vous!

De Guiche: Faites vos adieux.

Madame, aujourd’hui encore le régiment l’emmène.

Roxane: L’emmène? A la guerre? Pourtant les cadets n’y vont pas?!

De Guiche: Dès lors ils n’ont plus le choix.

Act III

20. scène: (Jaloux)

Jaloux: Les souvenirs que l’on garde de ce terroir ne sont que merveilles

Et le son de chaque instrument est tellement mignon et suave.

Ici sont nos vallées, vaisseaux d’eau bleue de source

et la verdure du soir et le toit des maisons,

votre nuage de fumée vaporeux comme chevelure au vent.

Et cette musique qui garde le parfum du parler gascon.

Il y a tellement de tendresse dans les tonalités de l’instrument.

Notre âme, notre âme est de retour en Gascogne.

 

21. scène et air de Christian: (Jaloux, Cyrano, I et II soldat de garde, Christian)

Jaloux: Ils tirent là-bas, au diable, mes garçons se réveillent!

Leurs visages – émaciés tels des empreintes.

C’est fou, ceux qui assiègent la ville sont cernés et ils ont faim.

I soldat: Qui vient?

Cyrano: Bergerac!

II soldat: Qui vient?

Cyrano: C’est moi, espèce de sot!

Jaloux: Tu es blessé?

Cyrano: Sain et sauf.

Les tirs des Espagnols le matin ne m’atteignent pas, j’en ai l’habitude.

Jaloux: Vous êtes au front à cause de la lettre?

Cyrano: Je respecte ma promesse. Roxane reçoit souvent des lettres.

Jaloux: Et où allez-vous maintenant?

Cyrano: Ecrire une autre lettre.

Christian: Oh, Roxane, s’endormir encore

Pour encore sentir l’odeur de tes cheveux.

Car en se réveillant c’est toujours ce même sentiment,

nous nous séparons et la douleur revient.

Oh, ma Roxane, c’est grâce à toi,

que ma bouche ne connaît pas la faim,

car en partant tu m’as donné tes lèvres

et leurs empreintes sont restées sur ma bouche.

Ah, ma Roxane!

En cette nuit tempêtueuse je ne peux nier

que je sens un grand vide en mon corps et âme,

si je pense à celle qui est restée loin de moi.

Oh mon Dieu, la vie est si folle et tumultueuse

qu’un homme cherche consolation dans les rêves

quand sa dulcinée ne reçoit que des lettres,

pleines de mots sublimes mais écrits par un autre.

Ah, ma Roxane,

s’endormir encore pour te posséder

et sentir tes lèvres contre mes lèvres.

 

22. scène: (Jaloux, 2 cadets, cœur de cadets, Cyrano, De Guiche, Christian) 

Jaloux: Les bouches de mes pauvres garçons se nourrissent d’un sommeil profond.

Cadet: J’ai faim!

Jaloux: La trompette sonne l’heure du réveil et le ventre s’inquiète de nouveau.

II cadet: Mon dieu, presque mourir de faim!

Mes dents claquent!

Cyrano: Ainsi ta langue est encore plus mauvaise.

Cadet: Mon ventre gronde!

Cyrano: Que ce ventre sonne le début de la bataille!

Cadets: Faim! Faim!

Jaloux: Taisez-vous maintenant!

De Guiche arrive par là!

Cyrano: Ne déséspèrez pas.

Sortez les cartes et faisons une partie!

De Guiche: Je suis fatigué d’entendre une fois de plus

Que vos appelés ne me respectent pas.

Je ne cesse de recevoir des messages,

Où les cadets disent que je suis un vieux intriguant.

Bien, bien.

La moitié de l’armée nous a quitté cette nuit

A la recherche de provisions le long de la route.

Si l’ennemi attaque maintenant.

Jaloux: L’ennemi n’est pas au courant.

De Guiche: Si, malheureusement.

Et l’attaque commence bientôt.

Vous devez tous comprendre:

j’ai eu l’occasion d’annoncer à l’ennemi

que cette partie du front est la plus vulnérable.

J’ai fait cela pour semer la confusion.

Maintenant l’ennemi se dirige ici.

Et votre devoir sera de les arrêter.

Cyrano: Est-ce votre façon de nous témoigner votre haine? 

Si oui, je vous prie d’accepter notre profonde reconnaissance.

De Guiche: Vous avez l’habitude de vous battre contre cent hommes.

Ici je vous en offre l’opportunité.

Christian: Ecoute, Cyrano!

Tu sais ce que je voudrais:

qu’elle reçoive.

qu’elle reçoive encore quelques belles lignes, les dernières

Cyrano: Ce qui arrive

je l’avais pressenti – et j’ai écrit.

Christian: Ah oui ? Passe ça moi! Et là...

Cyrano: Quoi?

Christian: Cette petite tâche ronde?

Cyrano: Quelle tâche?

Christian: Mais c’est une larme!

Cyrano: C’est pour faire mieux encore...

... pour la beauté du jeu!

Ces lignes... tu trouves stupide le récit de mon âme de poète,

mais en les écrivant, j’avais envie de pleurer!

Ah, mourir, c’est rien du tout,

mais se séparer d’elle – c’est horrible!

Car je.nous.tu ne la verras plus jamais...

 

23. scène: (Jaloux, 2 soldats de garde, De Guiche, Roxane, Christian)

Jaloux: Quel est ce bruit!

I soldat: Une diligence. Du côté des espagnols!

Et le cri du cocher envahit le camp,

qu’on ne tire pas, c’est le courrier du roi!

De Guiche: Quoi? Le courrier du roi?

Découvrez vos têtes et mettez-vous en rang,

tous, vous les cent gaillards,

qu’il puisse entrer de manière majestueuse!

Roxane: Bonjour! La situation est difficile.

De Guiche: Le roi vous envoie?

Roxane: Oui, mon seul amour!

Christian: Mon dieu, pourquoi es-tu venue?

Roxane: J’explique tout de suite.

Jaloux: Par quel chemin?

Roxane: En traversant la ligne des Espagnols.

De Guiche: Et comment cela?

Roxane: Je suis passée. Et quand l’on m’a arrêtée,

j’ai baissé le rideau et j’ai souri.

Jaloux: Et quand ils ont posé des questions?

Roxane: Alors j’ai commis un petit pêché –

j’ai dit que j’allais voir mon amant.

Je n’ai pas eu honte de dire des sornettes,

car si j’avais dit « mon époux »

ils ne m’auraient jamais laissé passer.

De Guiche: Vous devez partir maintenant!

Nous avons seulement une demie heure.

Roxane: Non! Je reste!

Je comprends bien: la bataille commence bientôt.

Cyrano: Une dame de qualité comme héroine, ça vous amuse?

Roxane: Monsieur de Bergerac, je suis votre cousine.

Et je porte la coiffe

qui me convient le mieux sur ce champs de bataille!

Le conte de Guiche peut partir ou alors il restera exposé aux tirs!

De Guiche: C’en est trop!

Eh, apportez mon fusil, je reste ici!

Ce n’est pas mon habitude de laisser une femme en danger.

Soldats: Il reste! Hourraa, il reste!

Nous vous défendons, Madame, d’un mur inpénétrable!

Que chaque cheveu reste indemne et le chapeau aussi!

Jaloux: Que la mort nous farche en vous défendant!

I cadet: Si on pouvait grignoter quelque chose avant!

Roxane: J’ai faim, moi aussi.

Vin, hors d’ouvres, perdrix rôties –

Venez ici!

Cyrano: Ton humour, chère cousine,

C’est de l’humour noir.

D’où prendre ces plats?

Roxane: De ma diligence!

Observez mon clocher de plus près.

Il vous salue déjà sous son chapeau.

Homme de mérite, voici mon cuisinier.

Et c’est ma dame de compagnie.

Soldats: Oh, Ragueneau!

Oh notre fée bienveillante!

 

24. scène: chanson du festin de Ragueneau et de la dame de compagnie (Ragueneau, dame de compagnie, chœur des hommes)

Ragueneau: Messieurs, avec ces plats je vous salue!

Mes honorables messieurs, avec ces boissons je vous salue!

Honneur aux perdrix, au dindon et au porc 

Et comme le point sur le “i”, suivi de plats rôtis,

Ici lchope de bière, ici cruche de vin, s’il vous plaît,

Arrosons, buvons avant, au milieu et à la fin du repas.

Cœur: Avant, au milieu et à la fin!

Dame: Messieurs,

Qui pourra deviner

Quel plat mettra fin

à notre histoire de déjeuner miraculeux?!

Prenez, savourez plats et boissons,

Prenez, goûter plats et boissons,

Puis monsieur Ragueneau veut offrir encore quelque chose

pour la fin devinez quoi?

Cœur: Gâteaux aux amandes, d’un goût exquis!

Dame, Ragueneau: Gâteaux aux amandes parfumés et bien croustillants!

 

25. scène du festin et duo (Roxane, Christian, Ragueuneau, dame de compagnie, chœur des cadets)

Cœur: La-la-laa.

Dame: Vous désirez encore un plat?

Ragueneau: Une gorgée de vin?

Dame: Ne vous précipitz pas!

Vous mangez trop vite!

Christian: Dis-moi, qu’est-ce qui t’amène ici?

La route est si dangereuse, je ne veux même pas y penser,

Tu as traversé des champs de batailles et des coups de fusil.

Ragueneau: C’est ta faute –

C’est à cause de tes lettres!

Chrisitan: Ah, ces quelques lettres?!

Dame: Désirez-vous encore un plat ou du vin?

Ragueneau: Honneur aux perdrix!

Dame: Honneur au dindon!

Ragueneau:  Honneur au porc!

Ragueneau, Dame: Et avant, au milieu, à la fin, arrosez avec du vin!

Roxane: J’ai lu tes lettres, mon amour, encore et encore

Car chaque feuille était comme un pétale tombé de ton cour,

Et tes paroles sont parfumées d’un amour,

si vrai, si bon et puissant!

Christian: Et tu es venue maintenant.

Roxane: Oh mon amour, mon maître, mon époux!

A genoux devant toi je suis venue m’excuser

Pour t’avoir méprisé au début,

Quand je t’aimais seulement pour ta beauté.

Christian: Roxane, et maintenant?

Roxane: Ton âme l’emporte sur ton brillant physique

Et maintenant je t’aime pour ton âme.

Et non pour ta beauté qui m’a ensorcelée,

Maintenant je vois clair,

Je ne vois plus ta beauté!

Christian: Ah, Roxane, cet amour me fait peur,

Je voudrais un amour plus simple.

Pouvoir te séduire par.

Roxane: ce charme qui a séduit des femmes auparavant.

Comme je t’aime maintenant,

C’est mille fois mieux.

Christian: Non, Roxane, c’était mieux avant!

Roxane: Mon amour, tu ne comprends rien,

maintenant mon sentiment est vrai et entier.

C’est ton âme qui t’a créé,

Te rend si cher et moins futile.

Christian: Oh, tais-toi!

Roxane: Je t’aimerais et je t’adorerais,

Même si tu perdais toute ta beauté

Christian: Même si j’étais laid?

Roxane: Oui, je le jure!

Christian: Oh, mon dieu.

Roxane: Tu devrais être ravi...

Christian: Oui...

Roxane: Qu’est-ce qu’il y a?

Christian: Un moment.

Quelques mots..., ah, rien

Roxane: Quoi?

Christian: Ces gaillards là-bas

Seraient plus courageux face à la mort,

Va leur offrir ton sourire.

Vas-y, ma chérie.

Roxane: Bon, j’y vais.

 

26. scène: mort de Christian (Christian,Cyrano, Roxane, Jaloux)

Christian: Cyrano, Eh, Cyrano!

Roxane ne m’aime pas!

Cyrano: Comment ça?

Christian: Elle aime mon âme, donc elle t’aime, toi!

Et toi tu l’aimes aussi.

Tu l’aimes donc?

Cyrano: Oui.

Christian: Quelle folie

Cyrano: Quelle folie furieuse!

Christian: Dis lui que tu l’aimes!

Cyrano: Jamais! Regarde mon visage!

Christian: Dis lui la vérité, qu’elle fasse son choix en toute liberté.

Cyrano: Non! pourquoi cette souffrance!

Christian: Qu’elle m’aime tel que je suis.

Si non. Non!

Je vais là où est le bataillon.

Dis lui tout, qu’elle fasse son choix. Roxane.

Cyrano: Ah, attends un peu!

Roxane: Qu’est-ce qu’il y a?

Christian: Roxane, écoute.

Cyrano a quelque chose d’important à te dire.

Cyrano: Il est parti, parti comme une flèche!

Roxane: Il ne m’a pas cru peut-être.

Je ne comprends pas –

Cyrano: Mais vous avez dit la vérité?

Roxane: Oui, je l’aimerais laid aussi

Cyrano: Même aussi laid qu’une gueule, qu’un masque?

Roxane: Il sera toujours le plus beau pour moi.

Cyrano: Vous l’aimeriez vraiment?

Roxane: Peut-être plus encore

On a tiré soudain...!

Cyrano: Est-ce possible?

Et le bonheur est là?

Vraiement? Roxane, je.

Jaloux: Cyrano!

Cyrano: Qu’est-ce qu’il y a?

Jaloux: Silence!

Cyrano: Ah!

Roxane: Qu’est-ce qu’il y a?

Cyrano: Je ne peux plus le dire!

Roxane: Christian!

Jaloux: Première balle.

Cyrano: J’ai dit, elle n’aime que toi, que toi.

Roxane: Christian, mon cher.

Jaloux: L’attaque recommence

Roxane: Sa poitrine se refroidit

Son teint est blanc comme la mort.

Une lettre cachée près de son cour, pour moi!

Jaloux: Tirez!

Cyrano: Roxane, adieu!

Jaloux: Faites feu! 

Epilogue

27. scène: (chœur des femmes, dame de compagnie, Jaloux, Roxane, Ragueneau, Cyrano)

Chœur des femmes: Te solatium et refugium, Virgo Mater Maria,

tu solatium et refugium.

Virgo Mater Maria, virgo Mater Maria.

Quid optamus, per te speramus ora, ora pronobis!

Tua gaudia et suspiria Juvent nos, o Maria!

In te speramus, ad te clamamus ora pronobis!

Virgo Mater Maria.

Ave Maria, gratia plena,

Dominus tecum,

benedicta tu in mulieribus,

et benedictus fructus ventri tui Jesus

Sancta Maria, Mater Dei,

ora pro nobis peccatoribus,

nunc et in hora mortis nostrae. Amen. 

Dame: Je vous salue, Monsieur Jaloux.

Jaloux: Si cela vous ne dérange pas,

vous pourriez apportez mon message à Madame Roxane

Jaloux: Elle arrivera tout à l’heure.

Jaloux: Alors nul besoin. J’attends tout simplement.

Rien n’a changé?

Dame: A propos de Madame? Non, rien.

Depuis quinze longues années elle porte une robe de deuil,

Et dans sa poche la dernière lettre de Christian,

Non, rien n’a changé.

Jaloux: Et Cyrano?

Dame: Il n’a pas changé, toujours ponctuel, visite Madame, disons,

il apporte le journal.

Une fois par semaine il apporte à Madame

Toute une brassée de nouvelles.

Jaloux: Si vous voyez Cyrano avant moi,

De façon discrète

Prévenez-le de la part du maréchal De Guiche et de ma part.

Plusieurs personnes le verraient mieux mort que vivant

Et le maréchal aujourd’hui a entendu au palais que

Si’il est encore vivant, il mourra bientôt par accident.

Dame: Mais c’est horrible.

J’appelle Madame.

Jaloux: Ne lui dites rien.

Pour elle, un souci de plus.

Ragueneau: Monsieur Jaloux!

Mon dieu, j’apporte une terrible nouvelle.

Ce matin en allant chez notre pauvre ami...

Je le vois sortir dans la rue, je le suis, je regarde:

Sous la fenêtre où il passe,

Un rustre laisse glisser de ses mains un lourd bloc de chêne.

Le bloc atteint Bergerac.

Jaloux: Assassins!

Ragueneau: Je cours comme le vent,

Il est tombé à terre

Et un trou, un grand trou au front.

Seul, à moitié mort, il gît sur son lit!

Se mettre debout, c’est jouer avec la mort.

Roxane: L’horloge a vainement sonné l’heure de son arrivée

Et on n’entend pas le bruit de sa cane

Comme depuis quinze ans, chaque semaine, à cet instant.

Roxane: Vous n’avez jamais été en retard ces quinze dernières années

et aujourd’hui -

Que se passe-t-il?!

Cyrano: Oui, c’est étrange!

Je tremble de colère, quelqu’un est venu me voir.

Roxane: Qui?

Cyrano: Un étranger fort ennuyeux

Roxane: Quelqu’un que je connais?

Cyrano: Non, non.

Roxane: Jeune ou vieux?

Cyrano: Je dirais, sans âge.

Roxane: Et vous?

Cyrano: Je lui ai montré la porte et dit: Monsieur je m’excuse

J’ai une visite à faire

Et je ne voudrais pas y renoncer.

Pourriez-vous vous promener une heure?

Roxane: Qu’est-ce qu’il y a?

Cyrano: Non, rien. les douleurs s’apaisent.

Roxane: Mais qu’avez vous?

Cyrano: Ah, les blessures de l’époque d’Arras,

Qui me..., vous le savez bien.

Roxane: Mon ami, bien sûr que je sais...

 

28. scène: mort de Cyrano (Roxane, Cyrano, Jaloux, Ragueneau, chœur des femmes)

Roxane: Dans la lettre jaunissante de Christian,

Ma blessure est là

Et encore des larmes et du sang.

Cyrano: Vous avez dit une fois – pardonnez-moi,

Si je la lisais.

Roxane: Vous voudriez.

Cyrano: Oui, aujourd’hui je voudrais.

Adieu, je part maintenant, Roxane.

Roxane: Vous lisez à haute voix?

Cyrano: Je sens que je vais mourir aujourd’hui,

Et tous ces mots que je n’ai pas dit,

Cet amour non exprimé me fait souffrir.

Le moment des adieux, je sens que ce moment est arrivé.

Roxane: Vous lisez, mais...

Cyrano: ... je voudrais crier

Je crie adieu mon amour, mon cher amour.

Roxane: Cette voix, il me semble l’avoir déjà une fois entendu.

Cyrano: Mon cour ne vous a pas quitté un seul moment

Et il sanglote maintenant –

Encore agonisant il résonne de votre nom, Roxane!

Roxane: Comment pouvez-vous lire, il fait si noir?

Tout ça, c’était donc vous?

Cyrano: Non, Roxane!

Roxane: Si, tout à coup...

Seulement maintenant je comprends tout!

Cyrano: Je n’étais pas.

Roxane: Je comprends maintenant

Votre généreux mensonge:

C’étaient vos lettres,

C’étaient vos mots si chers!

Cyrano: Je jure.

Roxane: Et cette voix. dans la nuit,

Votre âme m’a fait trembler

Que peut-il bien encore nous arriver après un si long moment.

Pourquoi vous n’avez rien dit pendant quinze ans,

Et vos larmes si expressives dans la lettre.?!

Cyrano: Mais c’est le sang de Christian

Ragueneau: Quelle sottise!

Il s’est mis debout,

C’est la fin, Madame

Roxane: C’est donc cela qui vous oppresse depuis tout à l’heure?

Cyrano: Je ne pouvais pas lire les nouvelles:

La dernière parmi elles –

Qu’aujourd’hui votre cousin Cyrano a été tué par un bloc de chêne

Roxane: Oh, je n’aimais qu’un seul être et je le perds deux fois!

Cyrano: Pardonnez-moi maintenant, je suis pressé,

La lune m’envoie déjà ses rayons

Je m’envolerai vers son glacial éclat

Pas besoin d’inventer une machine cette fois.

Non, pas sur le fauteuil!

Ne me soutenez pas!

Si la mort doit venir, je l’attends bravement.

Et je garde mon épée.

Qui êtes-vous tous?

Vous êtes nombreux, quelle horreur!

Mes anciens ennemis –

Je ne vous reconnaîs pas?

Mais si. Tiens, mensonge, tu le mérite,

Et le compromis, les préjugés, la timidité, la stupidité, l’humilité,

Tiens, encore un coup! Prends ça!

Je sais que je suis vaincu et j’agonise,

Mais pourtant je lutte, je transperce, je découpe et je me bat.

Vous m’arrachez tous mes lauriers,

Mais il y a quelque chose dont l’éclat est intouchablel

Qui me reste – même à moi.

Roxane: A quoi pensez-vous?

Cyrano: Aux plumes de mon chapeau.

CD “Cyrano de Bergerac”

 

AVE...

Hortus Musicus

Music from the late Middle Ages performed by the best early music consort of Estonia. In memoriam Helle Mustonen (1950-2005).

La flours d’iver, fragm, 97 sec, mp3

 Belicha, fragm, 103 sec, mp3

Musica humana, das ist die Harmonie des Mikrokosmos, die sich im Verhältnis zwischen Körper und Seele, auch zwischen “geistigen und seelischen Kräften” äußert. In Anwendung pythagoreischer und platonischer Gedanken baut die Seele auf konsonierenden Zahlen auf und kann durch Musik ethisch beeinflußt werden. (Boethius)

Cantare amantis est. (Augustinus)

Qui bene cantat, bis orat. (Augustinus)

Muusikas kätkeb midagi muud kui vaid lihalik ja mööduv mõnu, temas on igavese hüve juur. (Augustinus)

Sacred music should be characterized by liturgical values of higher level: sanctity, perfection of form that spontaneously give birth to its second feature – universality. (Pius X)

Man hatte nähmlich bemerkt, das die fünf Finger der menschlichen Hand genau so viele Glieder zählten, als das System Guidos, vom großen G bis zum zweigestrichenen d gerechnet, Töne umfaßte. (Emil Naumann)

Early Music Consort “Hortus Musicus”
Artistic director Andres Mustonen

Helle Mustonen – soprano
Joosep Vahermägi – tenor
Jaan Arder – tenor / baritone
Riho Ridbeck – bass, percussion
Neeme Punder – recorder, transverse flute, crumhorn
Olev Ainomäe – bombardone, recorder, crumhorn
Tõnis Kuurme – dulcian, crumhorn
Valter Jürgenson – trombone
Andres Mustonen – violin, viola da gamba, recorder
Peeter Klaas – viola da gamba
Imre Eenma – violone
Ivo Sillamaa – positive organ

Recorded at Tallinn Merchant Guild and Estonia Concert Hall, 1998
Engineered by Priit Kuulberg and Maido Maadik
Designed by Piret Mikk
Photos – P Vähi, except for photo of Helle Mustonen from the archives of Hortus Musicus
Photos edited by Kikxsuk
Special thanks to Andres Mustonen, Sac Einar Laigna, Erdenklang Records,  Orbital Vox Studios
Recording producer – Peeter Vähi

Stereo, DDD
Original dynamics recording, no equalization, no editing (!)
Total time 65:27
© 2005 Hortus Musicus, ERP
805
Manufactured on Sony DADC, Austria

Press resonance

Worldwide distribution by DA Music

Other recordings of Hortus Musicus: Early Music of 3rd Millennium, Gregorianische Choräle – Plainchants, Maypole, 1200-1600 Medieval-Renaissance, Vuestros Amores He Señora, Telemann. Quartets, 2000 Years After The Birth Of Christ, To His Highness Salvador D, Jerusalem, canto:)

CYRANO DE BERGERAC

Libretto in Estonian

Probably the best known Estonian opera is Cyrano de Bergerac by Eino Tamberg (libretto by Jaan Kross after Edmond Rostand). The performers are best from the Estonian operatic world – conductor Paul Mägi, Symphony Orchestra of the Estonian National Opera, the singers being the elite from neighbouring Finland. A must for all opera lovers.

Romantic opera in three acts and an epilogue, op 45 (1974)
Libretto by Jaan Kross
Based on the play by Edmond Rostand

Act I

1. Sissejuhatus ja Cyrano monoloog

Cyrano: Hahoo!

Mu kiire mõõga eest see palgaliste mõrtsukate kari,

võib-olla tõesti sada meest,

nii öösel leekis siis kui tule hirmul vari!

Võit! Võit!

Jõin võidurõõmu triumfivaatusest,

kuid suhu jäi mul kirbe maitse segu,

sest mida muuta võib mu saatuses

ükskõik kui hiilgav mõõga tegu?!

Mu salaarm on ingel, on ingel ilusaim -

ja mina näotu nagu ainult mina...

Kuis iial välgub ka mu mõõk või vaim,

kõik selle varjutab mu õudne nina,

mu õudne nina...

Või siiski iga välgatuse pealt

üks helk mu kalli mälu laotub maha,

nii et ta kord kui trepist tõuseb sealt

ja küünib vaatama mu lõusta taha?

Narr lootus, kao!

Ja kaobki, silmad maas –

siis lootus, mis mulle ligi hiilis...

Ta kohe kaob, kui müüri peal

ma taas kuupaistel oma varju näen profiilis.

 

2. Christiani kavatiin

Christian: La-la-laa...

Teist nädalat Pariisis ja rängalt armund niisiis –

see nöök ei ole kahjuks üldse väär.

Teist nädalat Pariisis ja rängalt armund niisiis –

oi-jaa, mu armul puudub äär ja määr.

Roxane on ta nimi,

vaid teatris olen teda näinud siiamaani.

Oh, olen armust ju halliks läinud,

sest mul ei ole lootust ega plaani.

Ta on nii nõudlik ja kohutavalt peen,

kuid ma just käitumises vigu teen.

Jah, minu vaprus on mu ainsaks varaks,

kuid armuasjus kiirelt araks löön.

Kust võtta sõnu, kust vaimu?

Mul pole aimu!

La-la-laa...

 

3. Stseen. (Ragueneau, Lise)

Ragueneau: Hei, Liisu!

Appi tõtta ja aita luugid lahti võtta!

Ma kuulsin õhtul, et sõber Cyranol

plaan olla segada end ohtlikku afääri?

Lise: Mis afääri?

Ragueneau: Sa krahv De Guiche’i tead –

see vana ülbe jäär!

Ta’st pilkelaulu lõi me sulevend Lignière,

et sai Roxane’ilt krahv De Guiche taas korvi.

Ja selle pilkelaulu eest De Guiche nüüd palkas sada meest,

kes täna öösel tapma pidid koduteel ta.

Ja Cyrano neid pidi tahtma keelda.

Lise: See isand armastab ju üle kõige kära

ja kui ta saabki ükskord mööda nina,

ma ütlen, kulub talle ära!

Mis asja muretsed küll sellest sina?!

Tee ruttu nüüd, sest su poeedinirud on varsti siin.

 

4. Stseen (Ragueneau, Roxane’i seltsidaam)

Roxane’i seltsidaam: Oh tont, siin kolada ööaegu, kah mul lõbu.

Kus küll siin pesitseb mu käskijanna nõbu?

Tere hommikust, isand Ragueneau!

Kas härra Cyrano’d siin ma näha saan?

Ragueneau: Mis asjus?

Roxane’i seltsidaam: Vastuseid ma kõigile küll ei anna!

Kuid teile tunnistan: mind saadab käskijanna.

Ragueneau: Ah mademoiselle Roxane?!

Roxane’i seltsidaam: Jah, mademoiselle Roxane.

Ragueneau: Ja kus on siis mademoiselle?

Roxane’i seltsidaam: Peaaegu et siinsamas,

öömissal kabelis, ta on seal palvetamas.

Ta saatis mind, tulen sealt just jooksujalu ma,

et talle härra nõolt siin kohtumist paluda.

Teid juba kaua siin ma ootan.

Ta on kell seitse siin.

 

5. Cyrano arioso ja stseen (Cyrano, Lise, Ragueneau)

Cyrano: Ta on kell seitse siin...

Mis õnn ja hirm...

Mis rõõm ja piin...

Ükskõik, mis olekski ta soov, ta teab, et elan maa peal.

Nüüd kanda suudaksin laotuse kandepuud –

Roxane mult ootab randevuud!

Ma tunnen virgub leek, mis hõõgus tuha all,

ükskõik, mis soov ehk oleks tal!

Ah, sõnad...

Roxane’i ees ei saa ma suust ju teid,

ehk küll teid sumiseb mu põues miljoneid.

Kuid kirjas...

Teen valmis kirja, mida mõeldud on nii,

et peas on mul tast iga rida.

Hei, Ragueneau! Ma ootan kedagi,

sa hoia õhk siin puhas.

Lise: Kuid paraku mu mehenarri loal

ta värsisepad varsti on siin roal!

Ragueneau: Mind uskuge, ma kannan hoolt, et plats on prii.

Cyrano: Jah! Enne seitset siit nad ära vii

ja hoolsalt vaheuksed sule!

Anna sulg, Ragueneau!

Ragueneau: Te saate luigesule.

 

6. Stseen (Lise, Ragueneau, Cyrano, 3 kaltsakpoeeti)

Lise: Su kaltsakad on siin!

Poeedid: Kolleeg!

Tuus meie masti.

Praekokast kotkas!

Jaa... siin lõhnab magusasti!

Siin tõesti magusasti lõhnab.

Tere Apollo, kes sa meil siin oled pagariks!

Ragueneau: Auväärt kolleegid! Ah!

Küll on mul hea teie seas,

ei mõista, miks!

II poeet: Me jäime hiljaks raas su mee- ja piimamaile,

sest rahvavool viis teel meid Nesle’i väravaile.

Kuus lurjust lebas maas seal, mõõgahaavad sees!

Cyrano: Siis kuus? Ja mitte viis?

Poeedid: Kes seda tegi, küll see oli alles mees!

Jah tõesti kange mees!

Cyrano: Ma armastan...

Poeedid: Üksainus mees ...

... see teada on,

... lõi sadat meest.

Terve tänav täis pussnugasid ja muud.

Rageneau: Ja kes küll oli siis see kange mees?

Poeedid: Ei ole teada! Ei tea!

Küll täna röövliurkais vandeid on ja nuukseid!

Cyrano: Ma armastan te juukseid...

Poeedid: ... oli see vast kange sell,

teist taolist ilm ei tea.

Cyrano: Kuid nii kui teid ma näen,

ma kaotan hirmust pea.

Ja alla kirjutab te truuim armastaja...

Ta saab mu enda käest –

allkirja pole vaja.

 

7. Roxane’i arioso ja duett Cyranoga

Roxane: Kabelisse tõtta nüüd

ja Neitsi Maarja pildi ette põlev küünal sea

ja palveta, et härra Cyrano mu siirust narruseks ei pea.

Ah! Jalg mul tõrgub,

kõrge tundub künnis sellel nii madalal poel.

Kuid mis armastusest, sünnib see on ikka sünnis.

Julguse ma leian armu toel.

Cyrano: Nii siis on saabunud see õnnistatud hetk.

Mis toob teid siia?

Roxane: Ah, et paljastaksin enda,

pean võima näha teis veel seda peaaegu venda,

kes mulle olite,

kes mängis minuga koos järve ääres,

kes meie lapsepõlves tookord

minuga päev-päevalt mängis.

Cyrano: Jaa... kord oli Bergerac me mängumaa...

Roxane: Veel kasvasid mõõgad pilliroos teil sellal...

Cyrano: ja takust oli juus te nukul Gabriellal.

Roxane: See oli mänguaeg.

Cyrano: Täis marju hapukaid...

Roxane: Kus tegite veel kõik, mis iial tahtsin vaid.

Cyrano: Veel olite ju laps, kel seljas lihtne seelik...

Roxane: Kas olin ilus?

Cyrano: Jaa. Ning armsalt ülemeelik.

Roxane: Teil vahel ronides läks kätte kriim või haav,

ja kui mu juurde tõi siis teid te rõõmus traav,

ma mängisin ema ja hüüdsin, nägu vali:

“Poiss, jälle jookseb verd su käest! Kas see on nali?!”

Oh! Aga ... see on liig! Kust saite selle haava?

Cyrano: Ah, Nesle’i kandis. Mäng käenahka veidi rikkus.

Roxane: Noh, andke siia, ma pisut puhastan.

On verine ka käis... Kas oli palju neid?

Cyrano: Ah, polnud sadat täis.

Roxane: Oh, palun jutustage.

Cyrano: Ei. Te mulle öelge parem nüüd seda,

mida öelda ei julgenud varem.

Roxane: Jaa... Ma möödunust jõin julgust ja nüüd,

jah nüüd ma julgen sedagi.

Ma... jah, armastan, jah väga armastan... kedagi,

kes sellest veel ei teagi,

kuid sellest kuulma peab ja teada saama peagi.

Kes eemalt, üle vahemaa

mind tummalt armastab ja kuumalt austab.

Ning kujutlege vaid – see imelik on,

ent väeosaks on ju tal just teie rügement.

Aga üksuseks tal teie kompanii on.

Ta on nii õrn ja peen, ta otsaees esprii on.

Ta on ka uhke, järsk ja ilus!

Cyrano: Ilus ka?!

Roxane: Jaa. Mis teil on?

Cyrano: Mis tema nimi on?

Roxane: Christian de Neuvillette.

Cyrano: Meil niisugust ei ole kompaniis.

Roxane: On. Täna hommikust.

Cyrano: Ja milleks on teil mind küll tarvis siis?

Roxane: Gaskoonidel ju olla õudne viis,

et provotseeritakse iga uut.

Cyrano: Ja siis?

Roxane: Ma mõtlesin... kui teie,

kardetuim me mõõgasellidest

tal aitaks pääseda duellidest...

Kui teie oleksite kaitseks tal...

Cyrano: Te väike parun on mu kaitse all.

Roxane: Te hakkate ta sõbraks?

Cyrano: Hakkan seks.

Roxane: Nii et duelle tal ei tule iial, eks?

Cyrano: Ei iial.

Roxane: Armastan teid selle eest mu armas.

Te olete nii vapper ja nii hea.

Ja öelge palun talle,

et ta oleks varmas ka mulle kirjutama.

Kirjutagu pea.

Cyrano: Ja-jaa.

Roxane: Mul aeg on minna.

Ja oma lahingust,

mis praegu mööda linna laineid juba lööb,

te jutustate ka, kuid teinekord.

Ja et ta kirjutaks, te ärge unustage...

 

8. Stseen (Meeskoor, Cyrano, Ragueneau, De Guiche, Jaloux)

Koor: Ju-huu, ho-hoo, he-hee Cyrano! Hei Cyrano!

Me sangar, meie sangar! Võimas!

Peen! Hulljulge! Lausa fenomen!

Hurraa! Veel ja veel!

Uhke on meie meel, et me Cyranos on nii vahvalt koos

hiilgav terav keel ja mõõgavirtuoos!

Sealt tuleb krahv De Guiche!

De Guiche: Te öine temp –

oh-hoo – võis olla lõbus pilt!

Ma teile kiitust toon selle eest marssalilt,

sest teatud võluta ei ole ka bravuur.

Ehk küll sel kaja on meil ülemäära suur.

Jah, liiga suur.

 

De Guiche: Poeet on luksus nüüd.

Teil poleks tõesti paha mind tulla teenima.

Cyrano: Ei, härra. Ma ei taha.

De Guiche: Teie vaimukus võib-olla

lõbustaks mu onu Richelieu’d.

Teid talle soovitan.

Jaloux: Nüüd läbi lööd!

De Guiche: Ja teie näidendis riim olla üpris sile.

Jaloux: Nüüd lavatee on lahti ka su näidendile.

De Guiche: Te talle viige see.

Cyrano: Tõepoolest...

De Guiche: On tal ju klaar,

kus muuta, kärpida kui tarvis värss või paar.

Cyrano: Ei! Veri tarduks mul, kui töös, mis minu oma,

üks võõras parandaks ka üheainsa koma.

De Guiche: Teil ohtralt uhkust on.

Cyrano: See teile selgeks sai?

I kadett: Sulgloomi neid täis oli terve kai!

II kadett: Kes pätid palkas, see eks vihast tuld nüüd löö!

I kadett: Kes võis nad palgata?

De Guiche: See oli minu töö.

On selge ometi:

aumees blameeriks iseenda, kui ise nuhtleks.

Üht Lignière’i taolist värssmaakrist joomavenda.

I kadett: Rasvased trofeed...

Cyrano: Teie sõbrad võivad teie käest nüüd kätte saada need.

De Guiche: Kas “Don Quijote” teil loetud on?

Cyrano: Rida realt.

De Guiche: Kuid mulle paistab,

siiski mitte sealt, kus tuuleveskitest on kõne.

Sest nii mõne, kes ründab neid, lööb porri veskitiib!

Cyrano: Või üles taevatähtedeni viib.

 

9. Stseen (Christian, 3 kadetti, Jaloux, Cyrano, meeskoor)

Meeskoor: La-la-laa...

III kadett: Hei, vaikust!

Cyrano las räägib meile oma öise loo.

II kadett: Et kuuleks ka see väike nöbikoon.

Christian: Kuidas? Nöbikoon?

III kadett: Nojaa, kes pole verelt ega näolt gaskoon.

I kadett: Kuid nii kui köiest toas, kus veel on poonu laip,

ei sõna sellest meil – teil on ju nõtke taip?

II kadett: Hoolt kannab tema mõõk, et kaote ilmast siit te,

kui teete sellele ka pisimagi viite!

Jaloux: Cyrano sa oma öine lugu lagedale too!

Meeskoor: Räägi, Cyrano! Jah, lase tulla! Räägi! Pajata!

Cyrano: Hea küll!

 

10. Cyrano jutustus (Cyrano, Christian, 2 kadetti)

Noh, läksin mööda kaid, ei kõppu ega kippu,

ja tahmakarva pilv kuu ette vajus rippu

ning polnud pimedas üht valgusvinagi

nii et ei näinud seal ma

Christian: Oma ninagi.

Cyrano: Kes on see mees?

I kadett: Me uus kadett Christian de Nouvillette.

Cyrano: Aa... siis... eeh...

Tont! Hea küll...

Ma ütlesin, et kuul must pilv just oli üll

ja siis ma mõtlesin, et kaitseks seda ahvi,

surmkindlalt vihastan mõnd hertsogit või krahvi

ja hiljem saada võin talt mööda...

Christian: Nina!

Cyrano: ... mööda pead,

ning vaevalt loota on sest üldse miskit head,

kui pistan

Christian: Nina!

Cyrano: ... käe suurhärrade afääri.

Kuid ütlesin ei see gaskooni araks tee.

Tee mis su kohus, või sa ei ole sina!

Seal äkki pimedas saan hoobi.

Christian: Mööda nina!

Cyrano: ...No kurat! Välja kõik!

I kadett: Nüüd võttis tiigri virgeks.

Cyrano: Kõik, peale tolle seal!

III kadett: Nüüd teeb ta tolle sirgeks...

 

11. Cyrano ja Christiani duett ja stseen (Cyrano, Christian, Jaloux, kadetid, meeskoor)

Cyrano: Noh, tule emba mind.

Meeldivaks sa mulle tegid enda.

Ning tea – sa embad minus Roxane’i venda

või peaaegu nii: ta nõbu isa poolt.

Christian: Oo issand küll!

Siis taevas ise kandis hoolt...

Kas loota võin, et ta mind salliks?

Cyrano: Võib-olla.

Christian: Oo, kuidas hindan teie tutvust kalliks!

Cyrano: Soo? Sel sümpaatial on rabav suund ja hoog.

Christian: Oh andeks!

Cyrano: Kuid ilus poiss on küll see võllaroog...

Ta ootab kirja sult

Christian: Siis kõik on läbi!

Sest sõnades ma olen loll.

Nii loll, et tapab häbi.

Roxane on nõudlik daam.

Mul iga lootus kaoks, kui lahti teeksin suu.

Cyrano: Kui oleks mul mu hinge jaoks nii kaunis sõnastaja...

Christian: Kust leida sõnu?

Cyrano: Laenad mult, kui vaja!

Roxane ei pettuks eal, ei muutuks jahedaks...

Kas tahad, et me koos ta hurmaks, meie kaks?

Christian: Kuid kuule –

Cyrano: Kui pole sõnu sul, et öelda, mis sus keeb,

kui oma kidakeelsust manad,

las toimida siis koos – sinu suu ja minu sõnad?

Christian: See sulle lusti teeks?

Cyrano: See tõesti oleks minule..

see oleks lõbusaks ideeks.

Poeedid ideede eest ju tihti kallilt maksid.

Ma täiendaksin sind, kui sa mind täiendaksid.

Su varjus kõnniksin, su vari ja su vaim.

Sa oleksid mu vorm ja mina sinu vaim.

Christian: Kuid kiri? Mõelda mul on sellest piin.

Kust seda võtta?!

Cyrano: Su kiri talle – säh – on siin.

Christian: Teil oli siis...

Cyrano: Jah, ikka meil on taskus sellist varu,

sest Dulcineasid neid meil leidub ülearu

ja sestap pole eal meil teisi kallimaid kui need,

kes kuju vaid me unelmates said...

Christian: Kuid ... kas Roxane’ile siin kirjas sobib kõik?

Cyrano: Oo jaa, seal muuta kriipsugi ei saa.

Christian: Oh sõber!

Jaloux: Me tiigril peas on pühamehe sära?!

Üks põsk sai hoobi – teist ei pööra ära?!

II kadett: Nüüd võib ka rääkida ta ninast, mulle näib.

Mis lõhn siin mulle ninna käib?

Eks ole teile käib see otse kopsu?

Misasja haistate siin teie?

Cyrano: Kõrvalopsu!

Meeskoor: Juh-huu! Ho-hoo! Cyrano!

Act II

12. Roxane’i aaria

Roxane: Ju õhtune on õu ja loojang läidab taeva

ja jälle täis mu põu on imelikku vaeva.

Ah jumal, tunnen näost ju õhetama löön ma,

kuid iseenda ees võin möönda,

pean ju möönma, et see on armastus.

Christian, Christian!

Nüüd viimaks ma ta olemusest aimu saan.

Ta muusa vahest kaob ja kaob ta kõnest värskus,

kuid võrratuid ideid ta samas puistab järsku.

Jah tühisusi neid, mil siiski suur on kaal,

ei lausu kaunimalt küll ükski ta rivaal.

Ta ümber ent just see loob uue võlupinge,

et aina ilmsemalt ta kõnes kuulen hinge.

Ja samas on mul hirm,

De Guiche ju piinab mind kui äiksepilv, kui parm.

Ja ta ei küsi mõrtsukate hinda.

Ta viipel minu kallis arm võib saada mõõga rinda.

Ah, Christian, mu arm,

juba loojang läidab taeva

ja jälle täis mu põu on imelikku vaeva.

Ah, Christian!

 

13. De Guiche’i ja Roxane’i duett

De Guiche: Ma tulin teatama:

Arrasi all me rünnak jooksis liiva.

Adjöö, ma lähen sõtta nüüd.

Roxane: Ah nii!

De Guiche: Kuid teid, ma näen,

see jutt üks raas ei riiva.

Seal mul üks rügement käe all on.

Just too, kus teenib teie nõbu –

see kiidukukk Cyrano.

Noh, tõotan teile, et ta tümaks teen!

Roxane: Christian!

De Guiche: Mis on?

Roxane: Jõu tahab liikmeist võtta,

et keegi, keda... läheb äkki sõtta.

De Guiche: Mu lahkumine teeb teid leebemaks.

Roxane: Mu nõole osaks saab siis te kättemaks?

Te plaan on saata tulle see mu nõbu?

Oh, vilets kättemaks!

See talle on ju lõbu.

Ma teaksin küll, mis teeks ta vihast hulluks, ent...

De Guiche: Ja mis see oleks?

Roxane: See, kui jäetaks rügement gaskoonikikkaid vahtima Pariisi,

kui teised võitlevad!

De Guiche: Oo naiselikku kättemaksuviisi!

Näib, nagu te mind veidi siiski armastaks?

Sest nõu andes, kuidas karistada teda,

ma armutõendit näen.

Roxane: See ongi seda.

De Guiche: Gaskoonide teekäsk jääb minu tasku.

Oo, teete hulluks mu,

ma lahkuda ei saa.

Kui näen teis tunnet virvendamas,

ma lahkuda ei saa.

Oot! End peidan kloostrisse! Siin naabruses, siinsamas.

Mind lahkunuks peab linn.

Võin tulles maski võtta.

Oo, lubage üks päev mul hilineda sõtta!

Roxane: Ei...

De Guiche: Luba!

Roxane: Ma ei saa...

De Guiche: Ma palun!

Roxane: Ei, sest teis ma ihkan kangelast!

De Guiche: Oo, mul jääb süda seisma!

Ma sõidan. Hüvasti!

Roxane: Mu sõber, tänan teid!

 

14. Stseen (Cyrano, Roxane, Christian)

Cyrano: Mu sõber, tänan teid!

Roxane: Ah, teie...

Cyrano: Mina jaa.

Noh, kuidas läheb te sümpaatial?

Roxane: Meid järjest rohkem seob ta vaimu hiilgav heie.

Cyrano: Ta on nii vaimukas?!

Roxane: Veel vaimukam kui teie.

Kuid krahv De Guiche’i jutt jäätüki pillas mulle põue.

Ma sooja riide võtan toast,

ma tulen kohe õue.

Kui tuleb Christian, siis las ta ootab.

Cyrano: Ja kas teada ma saan, mis teemat tal on täna loota?

Roxane: Ei mingit, ütlen: fantaseerige.

Motiivil armastus. Improviseerige!

Kuid olge sellest vait!

Cyrano: Vait kui haud.

Christian: La-laa....

Cyrano: Christian! Sain teada kõik

ja sulle õpetan, mis täna vajad.

Christian: Nüüd aitab!

Cyrano: Sa vastu ajad?

Christian: Roxane nüüd ju reetnud on oma armumise.

Ja möödas on mu hirm. Nüüd räägin ise.

Üksainus suudlus ning mul kindel jalge all on pind!

Ta tuleb...

Ei, sa ära jäta mind!

Cyrano: Nüüd üksi rääkige, misjöö.

 

15. Stseen (Roxane, Christian, Cyrano)

Roxane: Nii ilus ilm ja õhtu saabub...

ja meid ei seira ükski silm...

Ma kuulan, kõnelge...

Christian: Ma armastan teid, armas...

Roxane: Sel teemal jaa...

Christian: ... Roxane, teid armastan...

Roxane: Ja varmas teil olgu vaim...

Christian: Ma teid...

Roxane: Ma kuulan...

Christian: ... teid armastan...

Roxane: Ja veel...

Christian: Ja veel... sest mõttest...

mul nõnda heaks läks meel,

et sina mind ju ka?

Eks või ju öelda nii ma?

Roxane: Oh, ma ihaldasin koort,

te pakute vaid piima.

Christian: Kuid...

Roxane: Te öelge kuidas mind te...

Christian: Ah, väga!

Roxane: Ja see on kõik?

Ka tundevarjundeist te rääkige ja kõigest muust...

Christian: Oh issand,

nüüd ma kaotan viimsed sõnad suust!

Roxane: Oo, kui kaoks teil esprii,

kui vaim teil minetuks,

see oleks halvem veel,

kui jääks te inetuks.

Nüüd minge

ja oma kõnekus taas püüdke noota!

Christian: Roxane!

Roxane: Ma tean, te armastate mind!

Christian: Ah, oota!

Roxane: Adjöö...

Cyrano: Noh, seda menuks pean...

Christian: Ma suren...

Cyrano: Asi annab seada...

Sa pole seda väärt, kui tahad teada.

Kuid seisa rõdu ees

ja mina varjust siit kõik sulle sosistan.

Noh, hüüa nüüd!

Christian: Roxane! Oo püha taevas!

Roxane: Ei, ei! Te jutt on tuim.

Christian: Aa, oh, ma suren armuvaevas!

 

16. Rõdustseen (Cyrano, Christian, Roxane)

Cyrano: Arm kasvab põues mul...

Christian: Arm kasvab põues mul...

Cyrano: ...ja seob mu keelt ja kättki

Christian: ...ja seob mu keelt ja kättki

Cyrano: Too rüblik... ah, mu põu

Christian: Too rüblik... ah, mu põu

Cyrano: ...ta meelest on ta kätki

Christian: ...ta meelest on ta...

Roxane: Kuid miks te saate silbi suust vaid pikas viivus?

Kas on te fantaasial jälle jooksva tiivus?

Cyrano: Ei, nii ei lähe!

Roxane: Jah, teie vaimukusesööst on täna nõnda loid.

Miks nii?

Cyrano: See tuleb ööst.

Mu sõnad pimedas ju otsivad te kõrva...

Roxane: Kesk pimedust peaaegu nagu tõrva

on minu omadel nii hõlpus.

Cyrano: Selge see: neil ülalt alla hõlpsalt liugleb tee,

kuid minu omadel on tõusta raskem samm.

Roxane: Te jutt on äkki hoopis ladusam...

Teil on ka teine hääl.

Cyrano: Oo jaa, sest seni rääkisin ju läbi...

Roxane: Läbi mille?

Cyrano: Läbi uima, mis haarab mind te ees.

Nüüd esmakordselt kui ma võin teid vaid aimata,

kui helki ülal sääl – nüüd räägin päriselt.

Roxane: Ja nüüd, mis sõnad saan ma teilt?

Cyrano: Kõik need, mis arm mu suhu toob!

Kõik teile terve sülem!

Sind armastan, see õnn on kõigest, kõigest ülem!

See teeb mu hulluks!

Sind armastan!

Ah, su nimi, õrn ja hell on kui kellatila

ja mu süda on ta kell.

Ah, mu süda väriseb,

ma teisiti ei ela

ja tulvil olen nagu kell su nime hela!

See öö, see õhk, see tund,

mul hingetuks jääb rind:

ma puistan südant ja soov on sul kuulda mind.

Ah, mu sõnad leidsid jõu nii,

et neist seal kõrgel väriseb su põu.

Roxane: Jah, nutan ja värisen ja kuulun sulle kallis.

Cyrano: Nüüd jääb vaid surra, nüüd tulgu surm!

Roxane mu sõnu kuulis

Roxane mu sõnu sallis ja joobus neist.

Ma teilt ei palu enam muud, kui seda üht,

et kord te mulle...

Christian: ...annaks suud.

Roxane: Kuidas?

Cyrano: Oota!

Roxane: Te palute?

Cyrano: Ma jah... ma palusin teilt kingi kaunima,

kuid oma jultumust pean ise taunima.

Christian: Miks siis?

Cyrano: Vara veel.

Christian: Varsti nagunii.

Cyrano: Jah, tõesti – nagunii...

Siis parem juba nii...

Üks suudlus... ah, Roxane, mis on see muud,

kui väike saladus, mis kõrvaks arvab suud;

hetk igaviku häält, kui kuulaks mesipuud

või kaunis kooskõla, mille sees on lillemaigu rõõm.

Viis sisse hingata teist südant väike sõõm

ja keeleotsaga üks kübe maitsta hinge...

Roxane: Ah, eks tulge nüüd siis noppima

seda südamete sõõmu ja lillerõõmu.

Roxane: Eks tulge noppima...

Cyrano: Noh, roni!

Christian: On see aus? Ma üha kahtlen, kas...

Roxane: ...seda saladust, lillerõõmu...

Cyrano: Roni, mühakas!

Roxane: ...ja südamete rõõmu ja hetke lõpmatust!

Roxane: Ah! Roxane!

Cyrano: Ah! Roxane!

Su suudlusest ma osa saan:

neil huultel, kust su suu on joomas armumõnu,

su huuled suudlevad ju minu huultelt tulnud sõnu...

 

17. Stseen (Kaputsiin, Roxane, Christian, Cyrano)

Kaputsiin: Hei, mademoiselle Roxane!

Kui aadressist pimedas ma aru saan,

siis see on õige maja.

Roxane: Jaa, mis teil on vaja?

Kaputsiin: Üks kiri teile!

Roxane: Ma tulen kohe alla.

Kaputsiin: Üks väga aus senjöör

siin pruukis auväärt sulge küll pühas asjas vist.

Roxane: Krahv De Guiche?

Christian: Ei, ta ei julge...

Roxane: Veel julgeb,

aga lõpp on nüüd sel julgusel!

Aa, nõbu Cyrano!

Tulge lugege, mis kirjutab me sõber krahv!

 

Te keeldu rikkusin. Nüüd olen kloostris.

Mu teate teile toob üks lihtsameelne munk,

kes midagi ei aima.

Liig  lahke oli pilk te silmist!

Nüüd peate leppima, et taas te juurde tulen.

Te majast ära saatke kõik ja võtke vastu see...

 

See kiri kõlab nii:

Mu preili, tõrksus kuskile ei vii.

Teil tuleb alluda.

Nii nõuab kardinal ja põhjused on veenvad tal.

Teie kätte sellepärast toob need readki

siin üks ülimalt diskreetne kaputsiin.

Ja meie soov on,

et te mõistaksite asja ise

ja tema õnnistaks teie abiellumise.

See kohe sündigu.

Te kaasaks saab Christian.

Ma saadan sinna ta.

Te valust aru saan ja olen ikka teie...

ja nii edasi... ja nii edasi...

Kaputsiin: Oh, väärt senjöör!

Ma teadsin aina üha,

et asi siin ei saa muud ollagi kui püha!

Roxane: Kui hirmus!

Noh, ma võtan risti kanda...

Te leidke midagi,

mis sunniks De Guiche’i peatuma siin veerandtunniks.

Cyrano: Küllap ma leian...

Käes! Leidsin!

 

18. Cyrano kuulendude luiskelugu (De Guiche, Cyrano)

De Guiche: See neetud kaputsiin!

Ei kihku ega kõhku.

Kus ta küll jääda võis?

Mis see siis on?

Kust see mees siis siia kukkus?

Cyrano: Kuu pealt.

De Guiche: Kustkohast?

Cyrano: Kõrgelt langedes on alati see oht,

et endal segaseks jääb langemise koht.

Te mulle öelge, kus maal minu tee maha laskus

ja millisesse paika mind tõi minu tagumendi raskus?

De Guiche: Ma tahan mööduda!

Cyrano: Oi ehmatust!

Siin maal näovärv on süsimust.

Siis on siin Aafrika!

De Guiche: See on mul mask.

Cyrano: Ah soo! No siis see linn on siin Veneetsia.

De Guiche: Mind ootab daam!

Cyrano: No siis see siin on ju Pariis!

De Guiche: Narr, aga lõbus narr.

Cyrano: Ja teie tahate nüüd teada vähemalt...

De Guiche: Ma tahan mööda!

Cyrano: ...kuis see kuu on tehtud lähemalt.

De Guiche: Ei, tahan...

Cyrano: ...teada mult, kuis sinna tõusin vist?

Ma selleks pruukisin üht oma leiutist.

De Guiche: See mees on hull.

Cyrano: Ma selleks pruukisin üht oma leiutist.

De Guiche: See mees on hull.

Cyrano: Viise mul on kuus,

et tõusta taeva alla.

De Guiche: Ah kuus?

Cyrano: Jah, kuus! Mul viise selleks on kuus!

Kui küünla ma võtan end riidest valla,

ja täis kui jõulupuu sean enda

sedamaid kristallist pudeleid täis kastepisaraid.

Ja nii nagu päike kastevee viib õhku auruna,

nii viib ta maast ka minu.

De Guiche: Soo, see on üks.

Cyrano: Terastoru seest, kui rohtu raisata,

võin lasta laengutel end ruumi paisata!

De Guiche: Kaks...

Cyrano: Kuna kerkib suits nii nagu linnutiib –

pall suitsu täitega mu üles õhku viib.

De Guiche: Kolm...

Cyrano: Imemast ei tüdi härjaüdi noor kuu.

Ma härjaüdiga end võidma olen südi.

De Guiche: Neli...

Cyrano: Või veel mind tõstab tuulerõhk,

kui tulepeegleist anumais on hõrendatud õhk.

De Guiche: Teeb viis...

Cyrano: Rauast plaadile mul minna on veel viis

ja magnetrauda heita õhku siis.

Plaat minu järele viib magnetile, nii et kõrvus vile,

uus heide, jälle uus ja siis...

De Guiche: Ja siis?

Cyrano: Ja siis... ja siis...

Monsieur, te küllaminek nurjus. Nüüd on nad paaris.

De Guiche: Kas ma olen purjus?! See nina... Cyrano!

 

19. Stseen (Kaputsiin, De Guiche, Roxane, Cyrano)

Kaputsiin: Mis ilus paar! Kõik teile tänada!

De Guiche: Jätke hüvasti.

Madam, veel täna ta viib kaasa rügement.

Roxane: Viib kaasa? Sõtta? Kadetid ju ei lähe?!

De Guiche: Nüüd neil tuleb minna.

Act III

20. Jaloux’ ariooso

Kui imelised on need kodunurga lood

ja armas hellus igal pilli viisil.

Siin on me orud, soon sinist lättevett

ja õhtu rohelus ja kodukatus,

te juuspehme suitsulõng.

Ah, sel muusikal on kodumurde hõng.

Nii palju armsust igas pillitoonis,

et meie hing, me hing on jälle kord Gascogne’is.

 

21. Stseen ja Christiani aaria (Jaloux, Cyrano, I ja II vahisõdur, Christian)

Jaloux: Nad paugutavad seal, oh võtaks neid tont, mu poisid ärkavad!

Näod – kel kui kriips ja kel kui kitsejälg.

Narr küll, et linnapiirajad on rõngas ja neil on nälg.

I vahisõdur: Kes tuleb?

Cyrano: Bergerac!

II vahisõdur: Kes tuleb?

Cyrano: Mina, sa loll!

Jaloux: Kas oled haavatud?

Cyrano: Ei! Terve iga toll.

Hispaanlastel on kombeks mööda lasta must igal hommikul.

Jaloux: Kuid kas kirja pärast päev päevalt läbi rinde?

Cyrano: Ma tõotasin: Roxane saab tihti kirju talt.

Jaloux: Ja kuhu nüüd?

Cyrano: Järgmist kirjutama.

Christian: Oh, Roxane, veel suigatada unne,

et tunda veel kuidas lõhnab sinu juus.

Sest ärgates mul igakord on tunne,

et lahkume ja valuvahk on uus, on valu uus.

Oh, mu Roxane, ma tänu võlgnen sulle,

et minu suu ei tea, et mul on nälg,

sest minu minnes oma huuled sa andsid mulle

ja minu suul on nende jälg.

Oh, mu Roxane!

Ma siinses kõlevinges öös sulle salata ei või:

ma tunnen tühjust ihus ja ka hinges,

kui mõtlen, kes ja kuis mul sinna maha jäi.

Oh issand, elu on nii narr ja kirju,

et unest parem lohtu otsib mees,

kui tema noorik saab talt üksnes kirju,

kus kaunid küll, kuid võõrad sõnad sees.

Ah, mu Roxane,

veel suigatada unne, et hoida sind

ja tunda suul su suud.

 

22. Stseen (Jaloux, 2 kadetti, kadettide koor, Cyrano, De Guiche, Christian)

Jaloux: Nüüd vaestel poistel suult kaob une magus jälg...

Kadett: Mul on nälg!

Jaloux: Sarv äratust ju puhus ja jälle ärkab kõhumure.

Kadetid: Oh issand, näljast kasvõi sure!

Mul hambad karjuvad!

Cyrano: Siis salvad vihasemalt.

Kadetid: Kõht mul kõmab!

Cyrano: Rünnakuks signaali lööme temal!

Kadetid: Nälg! Nälg!

Jaloux: Hei, pidage nüüd suu!

De Guiche sealt tuleb!

Cyrano: Ta ärgu nähku, et norutame nii.

Kaardid välja kähku ja käima partii!

De Guiche: Ma tüdind kuulmast olen taas ja taas,

et teie junkrud mind ei austavat üks raas.

Ma järjest teateid saan,

kadetid rääkivat, ma olla intrigaan.

Hea küll.

Meilt lahkus öösel pool armeed,

et minna katma moonatoomis teed.

Kui vaenlane nüüd ründab

Jaloux: Ega ta ju tea

De Guiche: Ta kahjuks teab.

Ja rünnak tuleb pea.

Kuid peate kuulma kõik:

mul oli juhus vaenlasele teatada,

et siin see lõik on meie rinde nõrgim lõik.

Ma seda tegin, et neid eksi viia.

Nüüd tuleb rünnak nimelt siia.

Ja teie kohus on see peatada.

Cyrano: Nii kallate siis meile välja oma sappi!?

Ma palun taluda mu tänu selle eest.

De Guiche: Teil moeks ju võidelda on vastas sada meest.

Veel kord ma tulin teile selles appi.

Christian: Kuule, Cyrano!

Ma tahaks tead sa mida:

et ta saaks mult veel,

et ta mult saaks veel paar viimast kaunist rida...

Cyrano: Et see just täna on,

ma tundsin seda – ja kirjutasin...

Christian: Jaa? Anna siia!

Ja see...

Cyrano: Mis?

Christian: Väike sõõr?

Cyrano: Mis sõõr?

Christian: See on ju pisar!

Cyrano: End sisse elada...

...see mängu hurma lisab!

Need read... Su meelest narr näib mu poeedi juut,

kuid kirjutades neid mul peale tuli nutt!

Ah, surra, tead, ses miskit hirmsat pole,

kuid temast lahkuda ja jäävalt – see on kole!

Sest enam teda ma... meie... sina... ei näe vist eal...

 

23. Stseen  (Jaloux, 2 vahisõdurit, De Guiche, Roxane, Christian)

Jaloux: Mis lärm see on?

I vahisõdur: Üks tõld! Hispaania poolelt!

Ja kutsar hüüab, nii et rõkkab leer,

et me ei laseks, et kuninga kurjeer!

De Guiche: Mis? Kuninga kurjeer?

Pead paljaks ja ritta marss

kõik sada võllarooga,

et ette sõita saaks ta kuningliku hooga!

Roxane: Tere! Pilt on karm...

De Guiche: Teid saadab kuningas?

Roxane: Jah, ainus õige arm!

Christian: Oh issand, miks sa tulid?

Roxane: Ma kohe seletan.

Jaloux: Kustkaudu?

Roxane: Läbi Hispaania liini.

De Guiche: Ja mismoodi?

Roxane: Sõitsin. Ja kui peatati,

lasin kardina akna eest ja naeratasin...

Jaloux: Ja kui küsiti?

Roxane: Mul siis tuli teha väike valepatt –

ma vastasin, et sõidan vaatama kallimat.

Ja luisata mul polnud häbi,

sest öelnuksin ma meest,

siis mind küll iial ei oleks lastud läbi.

De Guiche: Nüüd peate lahkuma!

Pool tundi on ehk ainult mahti.

Roxane: Ei! Ma jään!

Ma mõistan ju: siin läheb lahing lahti.

Cyrano: Moedaam sangariks, see pakub teile lõbu!?

Roxane: Monsieur de Bergerac, ma olen teie nõbu.

Ja mul on kübar peas,

mis selles lahingus just nimme sobib mulle!

Krahv De Guiche võiks nüüd lahkuda või ta jääb tulle!

De Guiche: No see on liig mis liig!

Hei! Tooge mulle püss, jään siia siis!

Naist hätta jätta – ei see pole minu viis.

Sõdurid: Ta jääb! Hurraa, ta siia jääb!

De Guiche: Teid kaitseme, madam, vankumatus reas!

Terveks jääb iga juus ja kübar ka ta peas!

Jaloux: Madam, teid kaitstes las surm meid pärida

I kadett: Kui enne saaks ainult veel midagi närida!

Roxane: Jaa, ka mul on nälg.

Vein, eelroad, praetud püüd –

kõik kähku platsi nüüd!

Cyrano: Su huumor, kallis nõbu,

siin küll väärt on võllast...

Kust meil neid roogi võtta?

Roxane: Minu tõllast!

Ja-jaa! Mu kutsarit te kaege lähemalt.

Teid juba tervitab ta kaabu ääre alt.

Väärt mees, kellest hiljuti sai minu köögivaldjas.

Ja siin mu seltsidaam.

Sõdurid: Oo, Ragueneau!

Oi meie lahke haldjas!

 

24. Ragueneau ja seltsidaami võõrustuslaul (Ragueneau, seltsidaam, meeskoor)

Ragueneau: Mu härrad, teid söömaga tervitan ma!

Mu austatud härrad, teid joomaga tervitan ma!

Au tehke püüle, kalkunile, seale!

Ja punktiks praadide krõbedale reale

siin – palun õllekruus, siin – palun veinikann,

et võtta alla, vahele ja peale,

Koor: Alla, vahele ja peale!

Seltsidaam: Mu härrad,

kes öelda küll ometi teaks,

mis roaga nüüd lõppema peaks,

see meie lõuna võlulaualooke?!

Oi, võtke maitsta sööke ja jooke, oi,

võtke maitsta sööke ja jooke,

sest härra Ragueneau’l on teile pakkuda

veel kõige tagatipuks arvake nüüd, mida?!

Koor: Mandlikooke! Maitsvaid mandlikooke!

Seltsidaam, Ragueneau: Jaa, krõbedaid, lõhnavaid mandlikooke!

 

25. Söömingustseen ja duett

(Roxane, Christian, Ragueneau, seltsidaam, kadettide koor)

Koor: La-la-laa....

Seltsidaam: Kas soovite veel rooga?

Ragueneau: Või üks veinisõõm?

Seltsidaam: Ja ärge rutake.

Te sööte liigse hooga!

Christian: Nüüd ütle, mis siia sind tõi?

Nii ohtlik on tee, ma mõelda ei või,

et jõhkraist vägedest ja relvatärast sa tulid läbi...

Roxane: Kõik sinu enda süü –

sinu kirjad... nende pärast!

Christian: Ah, need mõned kirjad?!

Seltsidaam: Kas soovite veel praadi või veini?

Ragueneau: Au tehke püüle!

Seltsidaam: Au tehke kalkunile!

Ragueneau: Au tehke seale!

Seltsidaam, Ragueneau: Ning alla, vahele ja peale üks veinisõõm!

Roxane: Ah, lugesin, mu arm, su kirju taas ja taas

ja kõigist joobusin, sest iga leheraas neist

on nagu pillanuks su süda õielehe

ja sõnad lõhnavad neil armust,

mis on ehe ja hea ja võimas.

Christian: Ja nüüd sa tulid..?

Roxane: Oh mu arm, mu käskija, mu mees!

Nüüd põlvili su ees ma tulin paluma sult andeks:

suur solvang andesta, mis sa mult algul said,

kui armastasin sind su ilu pärast vaid.

Christian: Roxane, ja nüüd?

Roxane: Siis võitu sai su hing su välispoolsest särast

ja nüüd ma armastan sind sinu hinge pärast.

Ja ilu, millega mus sulatasid jää,

nüüd, kus näen selgesti,

ma üldsegi ei näe!

Christian: Ah, Roxane, ei võlu mind see arm,

ma tahaks lihtsamat.

Et veetleks minus see...

Roxane: See sarm, mis armastama sind

on naisi pannud varem.

Kuid see kuis sind praegu armastan

on tuhat korda parem.

Christian: Ei, Roxane, parem oli nii!

Roxane: Mu arm, sa midagi ei tea –

just nüüd mu armastus on tõeline ja hea!

Sest hing, mis sind sinuks teeb,

see teeb su mulle kalliks ja vähem säravaks...

Christian: Oh, vaiki!

Roxane: Ka siis ma sind salliks ja jumaldaksin veel,

kui kaoks kõik ilu sult

Christian: Kas siis ka inetult?

Roxane: Jaa, ma vannun!

Christian: Oo jumal...

Roxane: See peaks sind rõõmustama...

Christian: Jaa...

Roxane: Mis sul on?

Christian: Üks hetk...

Paar sõna seal... niisama...

Roxane: Mis?

Christian: Et neil poistel seal

helgem oleks surma minna

sa mine naerata kord neile.

Mine sinna, mu kallis.

Roxane: Hea küll...

 

26. Christiani surm (Christian, Cyrano, Roxane, Jaloux)

Christian: Cyrano! Hei, Cyrano!

Roxane mind ei armasta!

Cyrano: Kuidas?

Christian: Ta armastab mu hinge, see on sind!

Ja sina armastad ju teda ka.

Armastad ju?

Cyrano: Jaa...

Christian: Kui hull?

Cyrano: Kui miljon hulle!

Christian: Siis ütle talle!

Cyrano: Ei iial! Vaata näkku mulle!

Christian: Ta ütles, et ka näotult ta mind veel armastaks.

Cyrano: Kas tõesti ütles?

Christian: Jaa.

Sa ütle talle kõik ja kõigest priina tehku ta valik.

Cyrano: Ei! Milleks seda piina...

Christian: Ta armastagu mind, mind ennast.

Kui ei, siis ei!

Käin ära seal – seal, kus on patarei.

Sa ütle talle kõik, ta tehku valik. Roxane ...

Cyrano: Ah, oota!

Roxane: Mis on?

Christian: Roxane, kuula...

Cyranol on sulle tähtsat öelda.

Cyrano: Ja läkski... Läks kui nool!

Roxane: Ta vist ei uskunud mind...

Aru ma ei saa –

Cyrano: Kuid teie rääkisite tõtt?

Roxane: Jaa! Ka inetult ma teda armastaksin veel.

Cyrano: Ka inetult kui lõust, kui mask?

Roxane: Ta mulle oleks kõigist kenam.

Cyrano: Te teda tõesti armastaks?

Roxane: Võib-olla veelgi enam.

Mis terav lask...!

Cyrano: Kas on see võimalik?

Ja õnn on siin?

Kas tõesti? Roxane, ma...

Jaloux: Cyrano!

Cyrano: Mis on?

Jaloux: Tasa!

Cyrano: Ah!

Roxane: Mis on?

Cyrano: Nüüd ütelda ei saa ma seda iial!

Roxane: Christian!

Jaloux: Esimene kuul...

Cyrano: Ma rääkisin, ainult sind ta armastab, vaid sind.

Roxane: Christian, mu kallis

Jaloux: Rünnak algab!

Roxane: Tal külmaks läheb rind.

Näost on ta nii surmavalge.

Tal põues kiri on... Mulle!

Jaloux: Püssid palge!

Cyrano: Roxane, jää jumalaga!

Jaloux: Tuld!

Epilogue

27. Stseen (naiskoor, seltsidaam, Jaloux, Roxane, Ragueneau, Cyrano)

Naiskoor: Tu solatium et refugium, Virgo Mater Maria,

tu solatium et refugium.

Virgo Mater Maria, virgo Mater Maria.

Quid optamus, per te speramus ora, ora pronobis!

Tua gaudia et suspiria Juvent nos, o Maria!

In te speramus, ad te clamamus ora pronobis!

Virgo Mater Maria.

Ave Maria, gratia plena,

Dominus tecum,

benedicta tu in mulieribus,

et benedictus fructus ventris tui

Jesus

Sancta Maria, Mater Dei,

ora pro nobis peccatoribus,

nunc et in hora mortis nostrae.

Amen.

 

Seltsidaam: Ma tervitan, monsieur Jaloux.

Jaloux: Kui tüli see ei tee, madame Roxane’ile te võiks must sõna viia.

Seltsidaam: Ta iga silmapilk just tulemas on siia.

Jaloux: Siis pole tarvis. Ootan siis niisama. 

Kas kõik on vanaviisi?

Seltsidaam: Madame’il? Jaa.

Ju viisteist pikka aastat ta kannab leinarüüd,

ja põues Christiani viimane kiri

nii nagu oli tal nii on ka nüüd.

Jaloux: Ja Cyrano?

Seltsidaam: On muutumatult jäänud täpseks meheks

ja käib Madame’il külas, niiöelda ajaleheks.

Kord nädalas monsieur mu prouale

kõik uudised buketis toob lauale.

Jaloux: Kui näete Cyranod enne kui mina,

diskreetselt palun kandke hoolt

ja hoiatage teda marssal De Guiche’i poolt ja minu poolt.

Me paljud sooviksid talle tuld ja turma.

Ja marssal täna kuulnud on palees, et Cyrano,

kui muidu ta ei sure, saab varsti õnnetumat surma.

Seltsidaam: See on ju hirmus...

Ma lähen toon Madame’i siia.

Jaloux: Kuid talle ärge rääkige.

See oleks talle ainult mure.

Ragueneau: Monsieur Jaloux!

Oh issand! Mul on õudne uudis!

Täna hommikul ma olin teel me vaese sõbra ...

Ta astub tänavale... Järgnen talle, näen:

aknal, mille alt ta möödub,

mingil matsil käest libiseb üks raske tammepakk.

Bergerac saab hoobi.

Jaloux: Mõrtsukad!

Ragueneau: Ma jooksen tuulekiirul –

ta on seal maas –

ja auk – suur auk siin laubal.

Üksi jäi poolsurnult sängi ta!

Ja tõusta – surmaga see oleks mängida.

Roxane: Ju kellalöökidel on juba lõpp

ja veel ei kostagi ta kepi kõpp ja kõpp

nii nagu viisteist aastat iga nädal see kostnud on sel minutil.

Ei jäänud kordagi te hiljaks viisteist aastat ja täna –

mis see on?!

Cyrano: Jah, hull mis hull!

Ma vihast otse keen, sest külas oli mul...

Roxane: Kes?

Cyrano: Tüütu võõras...

Roxane: Kas keegi mulle teatu?

Cyrano: Ei, ei!

Roxane: Kas noor või vana?

Cyrano: Ma ütleksin, et eatu...

Roxane: Ja teie?

Cyrano: Näitasin siis talle lihtsalt ust

ja ütlesin: “Monsieur, ma palun andestust, mul ees on visiit

ja loobuma ei sunni ka teie mind!

Ehk kõnniksite tunni.

Roxane: Mis on?

Cyrano: Ei, ei... Need valud mööda saavad.

Roxane: Kuid mis teil on?

Cyrano: Ah need... Arrasi-aegsed haavad,

mis vahel, teate ju...

Roxane: Mu sõber... Miks ei tea...

 

28. Kirjastseen. Cyrano surm. (Roxane, Cyrano, Jaloux, Ragueneau, naiskoor)

Roxane: Christiani koltund kirja all

ka minul haav on seal

ja pisarad on veel ja veri kirja peal.

Cyrano: Kord ütlesite – te ei paneks pahaks,

kui seda loeksin.

Roxane: Kas te tahaks?

Cyrano: Jaa, täna küll.

Adjöö, ma lahkun nüüd, Roxane.

Roxane: Kas valjult loete?

Cyrano: Ma tunnen, et täna pean ma surema...

Ja nüüd kõik lausumata sõnad,

kõik ütlemata arm mind vaevab murena.

Nüüd jumalagajätt, ma tunnen, käes on nüüd...

Roxane: Te loete, aga...

Cyrano: ... ja hüüda tahaksin

ja hüüan jumalaga mu armas, mu kallis arm...

Roxane: Aga hääl, te hääl on justkui kuulnuksin kord seda juba sääl...

Cyrano: Mu süda lahkunud teist ei ole silmapilguks

ja kuis ta verd sel minutil ei tilguks –

ta surreski veel täis te kallist nime on Roxane!

Roxane: Kuis näete lugeda, kui täitsa pime on?

See kõik... olite ju teie!

Cyrano: Ei, Roxane!

Roxane: Jah, äkki...

Alle nüüd ma kõigest aru saan!

Cyrano: Ma polnud...

Roxane: Nähtavale tõuseb mulle

nüüd kõik te üllameelne vale:

need kirjad olid teilt,

kallid sõnad kõik ju teilt!

Cyrano: Ma vannun...

Roxane: Ja see hääl... öösel...

teie hing mu pani värisema!

Mis kõik võib sündida nii kauge aja takka...

Kuid miks te olite kõik need viisteist aastat vakka,

kui selle kirja peal nii kõnekalt on pisaraidki teilt...?!

Cyrano: Kuid veri siin on Christianilt.

Ragueneau: Mis mõtlemata samm!

Jaloux: Ta tõusis asemelt,

see on ta surm, madam!

Roxane: Siis see, mis tahtis teil just hinge matta?

Cyrano: Mul uudised jäid teile lugemata:

ka viimane neist –

too, et täna tapeti puupakuga te nõbu Cyrano.

Roxane: Oo! Ainsast armsamast kaks korda ilma jään.

Cyrano: Nüüd vabandage, mul on juba minna kiire:

kuu mulle järele, näe saadab oma kiire.

Ta külma särasse nüüd tõusen siit niisama –

seks täna masinat ei peagi leiutama.

Ei! Mitte toolil maas!

Mind ärge toetage!

Kui ta on tulekul, ma ootan püstipäi...

ja mõõk on pihus mul.

Kes olete kõik?

Teid palju on, mis kole!

Mu vanad vaenlased –

kas ma ei tunne siis teid, mis?

Säh, vale! Said sa! Ah-haa!

Ka kompromiss, eelarvamused, argus, lollus, orjameel,

säh veel! Säh veel!

Tean küll, et alla jään ja kaon,

kuid võitlen ikkagi ja torkan, raiun, taon...

Veel sähke! Sähke veel!

Mu loorberid kõik rebite mult ära,

kuid miski, mille sära on puutumatu,

miski – jaa,

mis mulle jääb – on mulgi...

Roxane: Mis asja mõtlete?

Cyrano: Oma kaabusulgi.

CD “Cyrano de Bergerac”

 

CYRANO DE BERGERAC

Libretto in English

Probably the best known Estonian opera is Cyrano de Bergerac by Eino Tamberg (libretto by Jaan Kross after Edmond Rostand). The performers are best from the Estonian operatic world – conductor Paul Mägi, Symphony Orchestra of the Estonian National Opera, the singers being the elite from neighbouring Finland. A must for all opera lovers.

Romantic opera in three acts and an epilogue, op 45 (1974)
Libretto by Jaan Kross
Based on the play by Edmond Rostand
Translated by Krista Kaer

Act I

1. Introduction and Cyrano’s monologue.

Cyrano: Ho hoo!

The crowd of hired killers fearing my blade, fled, there were about a hundred of them.

Triumph! Triumph!

The sweet taste of victory,

However aftertaste was bitter –

How can my fate be changed by brilliant skills in swordplay?

My secret love’s an angel, a lovely creature –

And I am I, as ugly as can be.

The flashes of my mind and blade

Are shadowed by my nose,

My monstrous nose.

Or do these flashes still remain

Like distant glimmers in her memories

Like steps that help her rise and see

What lies behind my ugliness?

Go, foolish hope, go!

And it goes indeed –

The hope that sidled up to me.

It goes as soon as I detect

My profile on the wall outlined by Moon.

 

2. Christian’s Cavantina

Christian: La-la-la-laa.

My second week in Paris and I’m deep in love –

Unfortunately this is only true.

My second week in Paris and I’m deep in love –

Oh yes, my love knows no bounds or limits.

Her name is Roxane,

I’ve seen her only in the theatre.

Ah, my hair is turning grey because of my pain

For I have no neither hope, nor have I any plans.

She is so fastidious and so refined

And I’m never sure how to behave.

Yes, my only asset is the braveness of my heart

In battle, yes, but not in love.

Where can I find the words, where is my sparkling mind?

I’ve nothing of the kind!

La-la-laa.

 

3. Scene  (Ragueneau, Lise)

Ragueneau: Hey, Lise! Come here and help me open the shutters!

Last night I heard that Cyrano, my friend, could get involved in a rather nasty affair.

Lise: What affair is this?

Ragueneau: You know Count de Guiche, don’t you – the arrogant old goat!

Ligniere, the poet, mocked him in his verse

That once again de Guiche received refusal from Roxane.

Because of these verses de Guiche then hired a hundred men

To kill the poet on his way back home.

And Cyrano decided to step in.

Lise: This gentleman is so fond of fighting

And when eventually he gets his nose pinched

I say, he has deserved it!

Don’t worry!

You better hurry up! Your starving poets will soon be here.

 

4. Scene (Ragueneau, the duenna)

The Duenna: At night in such a place, where is the fun?

My lady’s cousin must be somewhere close.

Good morning, Ragueneau!

Is Cyrano around?

Ragueneau: What is your business?

The Duenna: I cannot tell you much!

Just that my lady sent me.

Ragueneau: Well, Mademoiselle Roxane?!

The Duenna: Yes, Mademoiselle Roxane.

Ragueneau: And where is she then?

The Duenna: Nearby, she’s praying,

In the chapel, at the late night mass.

She sent me here, I came running

To ask her cousin to meet her here.

I’ve been waiting for some time.

She’ll be here at seven.

 

5. Cyrano’s arioso (Cyrano, Lise, Ragueneau)

Cyrano: She’ll be here at seven.

The bliss and fear.

The pain and pleasure.

No matter what she wants, she knows I do exist.

I could just hold all heavens on my shoulders –

Roxane comes here to meet me!

I feel the flicker of a flame among the ashes,

No matter what she wants!

Oh, words.

You do not come to me in front of her

Although my mind is buzzing with ma multitude of you.

But in a letter.

I’ll write the letter, every line of which

Has been with me for long.

Hey, Ragueneau! I’m waiting for someone,

You see to it that we won’t be disturbed.

Lise: Unfortunately, my fool of a husband

Has called some poets here to sup!

Ragueneau: Don’t worry! The coast will be clear!

Cyrano: Yes, take them away before the blessed hour,

And close the doors!

Give me the pen, Ragueneau!

Ragueneau: You’ll get the one that once adorned a swan.

 

6. Scene ( Lise, Ragueneau, Cyrano, 3  three tattered Poets)

Lise: Here are your ragamuffins!

Poets: Brother in art!

Dear brother!

High soaring eagle among pastry-cooks!

Marry! It smells good here in your eyrie!

Apollo among master-cooks.

Ragueneau: Ah! How quick a man feels at his ease with them!

Second poet: We were stayed by the mob; they are crowded all round the Porte de Nesle!.

Six bleeding brigand carcasses strew the pavements there – all slit open with sword gashes!

Cyrano: Then six. hold, I thought that five.

Poets: The man who did it, here the hero of the fray! A real hero!

Cyrano: I love.

Poets: It was one man, say they all.

. one man who single-handed, put the whole band to the rout!

Pikes and cudgels strewed thick upon the ground.

Ragueneau: Who was the hero?

Poets: No one knows that. No one!

The dens of scoundrels now are full of sobs and cursing.

Cyrano: I love thee hair.

Poets: He must have been ferocious!

A real fighter!

Cyrano: And when I see thee come I faint for fear.

Signed by the one who worships you.

No need to sign, I give it her myself.

7. Roxane’s arioso and a duet with Cyrano

Roxane: Go to the chapel now

And set a burning candle

In front of the image of the Holy Virgin,

And pray that Cyrano will not think me a fool.

Ah! My legs are now unwilling,

The threshold of these low dwellings seems so high.

What comes of love can only proper be

My love will give me courage.

Cyrano: Blessed be the moment

You’ve come to say.?

Roxane: Confession next!. For that my friend,

You must be once again that brother-friend,

With whom I used to play by the lake.

Cyrano: Ah, you would come each spring to Bergerac!

Roxane: Mind you the reeds you cut to make your swords?

Cyrano: While you wove corn-straw plaits for your doll’s hair!

Roxane: Those were the days of games!.

Cyrano: And blackberries.

Roxane: In those days you did everything I bid!

Cyrano: In your short frock you were just a child!

Roxane: Was I fair then?

Cyrano: Oh yes, and naughty child.

Roxane: So often with your hands all bloody from a fall,

You’s run to me! Then aping mother’s ways,

I with a face severe would chide:

What, is it scratch, again, that I see here?

Oh, this is too much! What’s this?

Where did you get the scratch?

Cyrano: I got it playing, not far from Nesle.

Roxane: Give here, I’ll clean it up. I wipe away the blood.

How many were against you?

Cyrano: Oh, a hundred. near.

Roxane: Come, tell me.

Cyrano: No. But you tell me the thing,

Just now you dared not.

Roxane: Now, I dare.

The memories of old days give me courage.

Yes, now I dare.

Listen, I am in love

With someone who knows not,

But who, if he knows not, soon shall learn.

A poor youth who all this time has loved

Me passionately, from afar, and dares not to speak.

And to think of it that he by chance

Is stationed in your regiment!

He’s a cadet in your company.

On his brow he bears the genius stamp

He is proud, noble, intrepid, fair.

Cyrano: Fair as well?

Roxane: Yes, what ails you?

Cyrano: What is his name?

Roxane: Christian de Neuvillette.

Cyrano: We have no such in our company.

Roxane: He joined it just this morning.

Cyrano: I fail to see what use I can be?

Roxane: They say the Gascons’ habit is to provoke

Newcomers all.

Cyrano: So what?

Roxane: I thought that you – brave, invincible

Would keep him from all duels.

If you would.

Cyrano: I will be friend your little Baron.

Roxane: You’ll promise me ?

Cyrano: Yes, that I swear.

Roxane: And he shall fight no duels, promise?

Cyrano: None.

Roxane: You are so good and brave, my friend.

I love you tenderly for that.

And tell him write.

Tell him to write quite soon.

Oh yes, I’m going now.

You have not told me of your last night’s fray,

It must have been heroic deed –

You’ll tell me all one day.

And don’t forget to ask him too write.

 

8. Scene (Male Choir, Cyrano, Ragueneau, De Guiche, Jaloux)

Choir: Ho-hoo, ha-haa, Cyrano! Cyrano, hey!

Our hero! Our hero! We heard it all!

So noble, and so daring! No match for him!

Hooray! Hooray! Again and again!

It makes us proud that Cyrano has thus combined

Sharp wit and a virtuoso sword.

Oh, there comes Count de Guiche!

De Guiche: Your fight that night – ho-hoo,

It could have been a sight.

I am now here

To express the admiration of the Marshal,

Bravado always has its charm,

Although it’s usually noised too loud abroad.

Yes, too loud.

De Guiche: A poet! ’Tis the fashion of the hour!

Will you be mine?

Cyrano: No, sir, no man’s.

De Guiche: Your wit would please my uncle Richelieu.

I’ll gladly say a word to him for you.

Jaloux: Good for you!

De Guiche: I imagine you have nicely rhymed

Some acts.

Jaloux: Your play, you’ll see it staged at last.

De Guiche: Take that to him.

Cyrano: Well, maybe.

De Guiche: He is a critic skilled;

He may correct a line or two, at most.

Cyrano: Impossible! My blood congeals to think

 That other hand should change a comma’s dot.

De Guiche: You are proud.

Cyrano: So you noticed that?

First Cadet: This morning on the quay we caught this bright-feathered game!

Second Cadet: He who laid that ambush must curse and swear.

First Cadet: Who was it?

De Quiche: I myself. Work too dirty for my sword to punish a rhymester sot like Ligniere.

First Cadet: These greasy trophies.

Cyrano: Your friends can now have them back from you.

De Guiche: Have you read “Don Quixote”?

Cyrano: Every line of it.

De Guiche: It seems to me that not the windmill chapter.

For when one tilts against windmills – it may chance

That windmill sails may sweep you down in the mire.

Cyrano: Or upward – to the stars!

 

9. Scene (Christian, three cadets, Jaloux, Cyrano, the male choir)

Choir: La-la-laa.

Third Cadet: Silence!

Let Cyrano now tell us his fray.

Second Cadet: So that this little button-nose will hear.

Christian: What? Button-nose?

Third cadet: Yes. The one who’s not a Gascony either by birth or face.

First Cadet: There’s somewhat here, one no more dares to name

Than to say “rope” in the room a hanged man still is laid.

Second cadet: You never breathe that word

Unless you don’t want to perish by his sword.

Jaloux: Cyrano, tell us your tale!

Choir: Yes Cyrano! The tale! The story!

Cyrano: All right!

 

10. Cyrano’s Tale (Cyrano, Christian, two cadets)

Cyrano: I went all alone along the quay,

And suddenly a cloud there flitted past

And night was inky black

One could see nothing further.

Christian: Than one’s nose.

Cyrano: Who is that?

First cadet: Our new cadet Christian de Neuvillette.

Cyrano: Well. yes. ah.

Damn! All right!

I said that it was very dark.

And in protecting this unfortunate fool

I may provoke some great man, some count or duke

Who certainly could break my

Christian: My nose!

Cyrano: My head!

And I imprudently was poking.

Christian: My nose.

Cyrano: My finger in the affairs of counts and dukes.

But a Gascon can’t be frightened.

On I ventured, when from the darkness came.

Christian: A crack on your nose!

Cyrano: . Great God! Out! All of you!

First cadet: The tiger wakes!

Cyrano: All out, leave me alone with him!

Third cadet: That’ll be the end of him.

 

11. Scene and Cyrano’s and Christian’s duet (Cyrano, Christian, Jaloux, cadets, male choir)

Cyrano: Come, embrace me now!

 I like you, you’re brave!

Embracing me, you’re embracing Roxane’s brother

Or almost so – her cousin, father’s side.

Christian: Oh God! I thank thee.

Is there a hope for me?

Cyrano: Maybe!

Christian: How glad I am to meet you!

Cyrano: That may be called a sudden sentiment.

Christian: I ask your pardon.

Cyrano: But he is fair, that’s true.

She expects a letter.

Christian: Then I am lost.

I’m a fool with words.

So foolish that I could die for shame.

Roxane is smart.

There is no hope when I am to speak.

Cyrano: Had I but

Such an interpreter to speak my soul.

Christian: Where can I find the words?

Cyrano: I lend them.

Roxane would never be disillusioned.

Say, do you want that we two woo her, both together?

Christian: But, listen.

Cyrano: Since, by yourself you do not find the speech,

Since, you’re cursing now your lack of  words,

We can combine them – my phrases and your lips.

Christian: Will it please you?

Cyrano: It’d be for me.

It would amuse me.   

It would be an idea to tempt a poet.

Will you complete me, and let me complete you?

I would be in your shadow – your shade and spirit.

Christian: But the letter? The mere thought of it is painful.

I cannot..

Cyrano: See! Here is your letter!

Christian: You had.

Cyrano: Yes! We have our pockets full, we poets,

of the letters written to Dulcineas,

our only true loves –

created and worshipped in our brains.

Christian: But. will it fit Roxane?

Cyrano: Oh yes, you cannot change a line!

Christian: My friend!

Jaloux: Our tiger has the halo of a saint?!

Struck on one side – see, he turns the other!

Second cadet: Then we can speak about his nose now?

What a stink !

You, sir, have noticed it, I’m sure.

What is the smell?

Cyrano: The smell of a hearty cuff, I think!

Male choir: Ho-hoo! Yo-hoo! Cyrano!

 

Act II

12. Roxane’s aria

Roxane: The evening’s in the air and light is fading,

A strange ache again fills my heart.

Oh, Lord, I’m blushing,

But from myself I cannot hide it,

I must admit, ’tis love I feel.

Christian, Christian!

Now I will understand his inner nature.

At times his mind seems far away, the Muse is silent,

Next moment he’s enchanting, full of ideas.

And those important trivialities

He masters with a real esprit!

It makes his charm grow larger in my eyes,

That in his words his soul I can feel.

But I am also frightened,

De Guiche won’t let me alone.

And he’s not loath to get some hired men,

Who then would give a deathblow to my love.

Oh, Christian, my love,

The light is fading,

A strange ache again fills my heart.

Oh, Christian.

 

13. Roxane’s and De Guiche’s duet

De Guiche: I came to tell you this,

We are to besiege Arras.

Adieu, I am to go to war.

Roxane: Ah, is that so?

De Guiche: It seems to me

this doesn’t move you.

I am to command a regiment,

The one your cousin serves in –

The boaster Cyrano.

I swear, I’ll find my way to teach him.

Roxane: Christian!

De Guiche: What is it?

Roxane: Oh, I feel faint

The man I love . goes to the war.

De Guiche: My leaving makes you kinder then?

Roxane: So you would revenge your grudge against my cousin?

You think to put him in the thick of fight?

Poor vengeance, this.

It gives him the greatest pleasure.

I know a way to wound him much more deeply.

De Guiche: What then?

Roxane: To leave the Gascon brawlers here in Paris,

While others fight in battle!

De Guiche: Those subtle cruelties of women!

You love me, then, a little?

Your willingness to show me way,

I see as a proof of love.

Roxane: It is a proof of love.

De Guiche: The marching orders of the cadets stay in my pocket.

My love for you makes me crazy.

I cannot leave. now, that I feel your heart is touched,

I cannot leave!

Wait! There is a convent here nearby! I’ll hide in there.

The town will think, I’m gone.

I’ll come to you, masked.

Give me leave to be late one day!

Roxane: No.

De Guiche: Give me leave!

Roxane: I cannot do it.

De Guiche: I beg of you!

Roxane: No, in you I would rather see a hero!

De Guiche: My heart will stop!

I go then. Farewell!

Roxane: Thank you, my friend!

 

14. Scene (Cyrano, Roxane, Christian)

Cyrano: I thank you, dearest friend!

Roxane: It’s you.

Cyrano: Yes, me.

How fares the love of your life?

Roxane: His wit so sparkles.

Cyrano: He is so brilliant?

Roxane: He’s brighter than yourself.

De Guiche’s words, however, put a chill into my heart.

I’ll take my cloak

I’ll be with you again.

If Christian comes, ask him to wait for me.

Cyrano: What is your talk about tonight?

Roxane: No certain subject, I will say: Give reign to your fancy.

Speak to me of love. Go on and improvise.

But keep it secret!

Cyrano: I’ll be mute.

Christian: La-la-laa..

Cyrano: Christian, I learned just all I need.

I’ll teach you what you have to do today.

Christian: That is enough of this.

Cyrano: You do not want?

Christian: I know now that Roxane loves

I fear no longer. I will speak myself.

One kiss and I’m standing firm!

She’s coming. No, don’t leave me now.

Cyrano: Speak for yourself, Monsieur.

 

15. Scene (Roxane, Christian, Cyrano)

Roxane: The day is fine and evening falls.

We are alone.

Speak on, I listen.

Christian: I love you, dearest.

Roxane: That’s the theme!

Christian: .Roxane, I love you.

Roxane: And your wit will sparkle.

Christian: I.

Roxane: I’m listening!

Christian: . love you so.

Roxane: And then.

Christian: And more.I am so glad

When thinking

That you love me too?

Can I say that?

Roxane: I hoped for cream

You give me milk.

Christian: But.

Roxane: Come, tell me how.

Christian: So utterly!

Roxane: And that is all?

Where are the gentle shades of meaning?

Christian: Oh God,

I see the last words going.

Roxane: If you will lose your sparkling mind

It would displease me more

Than it would displease me if you grew ill-favoured.

Go now and try to find

Your eloquence you left behind.

Christian: Roxane!

Roxane: I know, you love me.

Christian: Wait!

Roxane: Adieu!

Cyrano: Well, this is successful.

Christian: I’ll die.

Cyrano: It can be repaired.

You don’t deserve it, that I’ll say.

In front of the balcony you stand.

I’ll tell you words from here, beneath.

Call her now!

Christian: Roxane! For heaven’s sake!

Roxane: No, no! Your talk is dull.

Christian: My love is killing me!

 

16. The Balcony Scene. (Cyrano, Christian, Roxane)

Cyrano: Love grew apace.

Christian: Love grew apace.

Cyrano: . my tongue got tied and faltered

Christian: . my tongue got tied and faltered.

Cyrano: And then this wanton boy. ah, my breast

Christian: And then this wanton boy. ah, my breast

Cyrano: . took for his cradle

Christian: . took for his.

Roxane: Why does it take so long?

Your fantasy – again there’s something wrong?

Cyrano: That will not do!

Roxane: Your words are hesitating here today.

Why so?

Cyrano: Night should be blamed.

My words grope in the darkness, looking for your ear.

Roxane: My words in darkness

Find no difficulty.

Cyrano: That’s clear: your words descend, and thus fall fast,

Mine must go up and that’s what makes it hard.

Roxane: Your words learn to fly again, it seems...

The voice is new as well.

Cyrano: Oh yes, I was speaking through.

Roxane: Through what?

Cyrano: The haze, cast by love that overpowers me,

Now I can see you like a glimmer far above

Now I can speak – as speak I really would.

Roxane: What are the words?

Cyrano: All, all whatever love has given me.

For you the whole cluster.

I love you, what bliss, what glory!

It drives me mad!

I love you!

Your name so tender and so gentle like a clapper

My heart your bell.

My heart will tremble,

That’s the way I live,

And like a bell I’m full of the ringing of your name.

Oh, this night, the tender air, the hour,

I cannot breathe,

I speak and you are listening.

My words have found the strength to reach you there

And now your heart will flutter like I dreamed.

Roxane: I cry and tremble and I obey.

Cyrano: Let death come!

Roxane has heard my words

Roxane has loved them.

I ask for nothing more but this

That you would grant me

Christian: . a kiss.

Roxane: What?

Cyrano: Wait!

Roxane: You ask for?

Cyrano: Yes, I spoke so thoughtlessly,

Asking for the fairest gift.

Christian: Why?

Cyrano: Too quick!

Christian: Soon it’s anyway.

Cyrano: Yes, soon really.

Then better like that.

One kiss. oh, Roxane, what is it then,

A secret that to mouth, not ear is whispered,

Brush of a bee’s wing that makes time eternal

Communion perfumed like the scent of field flowers

The heart relieving in the heart’s out breathing,

When to the lips souls rise and can be tasted.

Roxane: Then come and taste it.

Cyrano: Go!

Christian: But is it fair? I now think.

Roxane: . this mystery, this flower.

Cyrano: Go, fool, go now!

Roxane: . this heart breathing, this eternity!

Christian: Oh, Roxane!

Cyrano: Oh, Roxane!

I am part to this.

For on the lips you press you kiss

The words I spoke just now.

 

17. Scene (The Friar, Roxane, Christian, Cyrano)

The Friar: Hey, Mademoiselle Roxane!

If I can see the address right in the dark,

It is this very house.

Roxane: Yes, what is it?

The Friar: A letter here for you!

Roxane: I’ll be down.

The Friar: A very worthy Segnieur, I trust,

Has sent you truly holy message.

Roxane: Count De Guiche?

Christian: He dares not.

Roxane: Oh yes, he still does, but

His boldness will not last forever!

Ah, my cousin Cyrano!

Come read De Guiche’s letter!

I dared to disobey your orders. I am in convent walls.

The simple fool who brings this message into your hands

Knows nothing.

Your glances were too tender!

So receive me now,

Send everybody else away..

The letter reads as follows:

Young lady, you now must obey,

Forget your fits of temper.

The Cardinal knows what is best to you

For this purpose I’ve sent these lines

With a holy man, discreet, intelligent.

And our wish is that you will be married

By him.

Without delay.

Christian becomes your husband.

Him we send.

I understand your anguish, and remain

Yours truly and so humbly

And so on.

The Friar: Oh, worthy lord!

I knew it was a holy business!

Roxane: This is horrible!

Oh, I obey!

You try to keep De Guiche away for a while.

Cyrano: I’ll think of something!

Yes, I know!

 

18. Cyrano’s Fib of the Moon Flights (De Guiche, Cyrano)

De Guiche: The damned Friar!

He isn’t back!

Where can he be?

What’s this?

This man – where did he come from?

Cyrano: The Moon!

De Guiche: What did you say?

Cyrano: When falling quickly you can never know

Where you would go.

Oh, tell me what place would this now be

Where my posterior weight has landed me?

De Guiche: I want to get past you!

Cyrano: Oh dear, men have black faces here?

Am I in Africa?

De Guiche: This is a mere mask.

Cyrano: Good! Then is it Venice?

De Guiche: A lady waits!

Cyrano: Well, it must be Paris.

De Guiche: He is a fool but he makes me laugh!

Cyrano: And surely you would like to know.

De Guiche: I want to go!

Cyrano: . the way the Moon is made.

De Guiche: No, I.

Cyrano: . how I got up?

It was by a method all my own.

De Guiche: He’s mad!

Cyrano: Six ways I’ve invented

To take me up where starlight shines.

De Guiche: Six is it?

Cyrano: Yes, six. First, with body naked as your hand,

Festooned about with crystal flacons, full

Of tears that early morning dew distils

Sun’s burning rays will suck me up

As they suck dew.

De Guiche: Well that makes one!

Cyrano: Inside a steel case firmly cast

Gunpowder to the skies us blasts.

De Guiche: That was two.

Cyrano: Since smoke goes up like wings of birds –

Then I, with a ball of smoke will follow quicker than the words.

De Guiche: Three.

Cyrano: I smear myself with marrow from a bull,

Since young Moon never tires sucking marrow up.

De Guiche: Four.

Cyrano: The generated wind – for that

I need to rarefy air by mirrors placed icosahedron-wise.

De Guiche: That makes five.

Cyrano: I’ll stand on an iron platform – then

I throw a magnet in the air.

The iron follows the magnet – and be quick

To throw again and off you go,

Then throw again, again and go.

De Guiche: And then?

Cyrano: Ah, then. Then.

Monsieur your coming was in vain. They’re married now.

De Guiche: What? Am I deranged? That nose. Cyrano!

 

19. Scene (The Friar, De Guiche, Roxane, Cyrano)

The Friar: A handsome couple, sir! And all thanks to you!

De Guiche: Say farewell! The regiment will leave tonight!

Roxane: He leaves?  To war? But the cadets do not go?

De Guiche: Oh yes they do. I have the orders here!

Act III

20. Jaloux’s arioso

Jaloux: Ah, listen to those airs of distant home,

Sweet music of the instruments that call

To memory the valleys, streams and forests,

The evening greenery and gentle smoke wisps rising

From hearths at home.

This melody recalls the way we speak.

My heart is trembling for those soft echoes

Bring Gascony , yes Gascony to our souls.

 

21. Scene and Christian’s Aria (Jaloux, Cyrano, First Sentinel, Second Sentinel, Christian)

Jaloux: Ah, they’re firing. They’ll wake my men!

So pale and thin, no flesh on those bones.

It is disgraceful that we starve while we’re besieging!

The First Sentinel: Who goes there?

Cyrano: It’s I, you fool!

Jaloux: Are you wounded?

Cyrano: No, whole and well.

The Spanish have a custom to shoot and miss me every morning.

Jaloux: To take letters every day and risk?

Cyrano: I promised that he writes to her and often.

Jaloux: And now you’re off?

Cyrano: To write the next.

Christian: Oh, Roxane, to sleep and dream once more

To know sweet scent of your hair.

I wake and feel in anguish that you’re leaving,

The pain tears me apart, it tears me apart.

Roxane, my dear, sweet dreams you give me

Have kept the earthly hunger far away,

For when I went your lips touched mine

And left their imprint that can never be erased.

Roxane, my dear!

In this bleak wintry night I cannot well deny –

My soul and body both feel empty,

When I think of her who I have left behind.

Oh, God, the life’s a crazy farce

Some comfort you can only find in dreams,

His young wife reads his letters –

Full of those brilliant words not written by himself.

Roxane, my dear

I want to sleep again to hold you there

To feel your lips upon my lips and dream.

 

22. Scene (Jaloux, Two Cadets, the Cadet Choir, Cyrano, De Guiche, Christian)

Jaloux: The sleep’s mercy now is gone.

A Cadet: I’m hungry!

Jaloux: The wake up signal now brings all it back.

Cadets: Oh, God, we’re dying of hunger.

My teeth are screaming!

Cyrano: It makes you fierce in fight!

Cadets: My stomach’s hollow!

Cyrano: It will make a fine drum to sound the assault.

Cadets: Hunger! Hunger!

Jaloux: Enough! Here comes Count De Guiche.

Cyrano: Don’t let him see you suffering.

Out with the cards and let the game begin.

De Guiche: I’m tired hearing it again and again

That your Cadets for me find only proud disdain.

They call me plotter

Very well.

Last night a goodly force of troops

Went to make sure the  provisions reach us here.

Would the enemy come now.

Jaloux: They do not know.

De Guiche: Alas, it isn’t so.

The attack will come.

But you all must know:

I led them to believe

That your line’s the least defended.

I wanted to misguide them but

Now that’s the place

Where they attack.

And you must all stand up.

Cyrano: So that’s your vengeance?

De Guiche: I know you like to fight against a hundred men

I only helped you here in finding them.

Christian: Cyrano,

I only want to send

last loving words

for her to remember.

Cyrano: I feared it would be today

And I have written.

Christian: You did? show me!

And what is this.

Cyrano: What do you mean?

Christian: This little spot?

Cyrano: What spot?

Christian: It is a tear!

Cyrano: The fate of poets –

to take the game for what is true!

Those lines – they were so sad

They made me weep when I was writing them.

Ah, death itself is not so terrible

But not to see her ever – that is worst!

For I shall never. we shall. you will probably.

 

23. Scene (Jaloux, Two Sentinels, De Guiche, Roxane, Christian)

Jaloux: What noise is that?

The First Sentinel: A carriage! From the Spanish side!

And the coachman cries and tells not to shoot!

They are the King’s couriers!

De Guiche: What? The King’s courier?

Bare your heads and draw up in line,

And I mean all of you.

Let him describe his line as it befits!

Roxane: Good day! The sight is hard.

De Guiche: You, the King’s courier?

Roxane: Yes, King Love’s!

Christian: Why have you come?

Roxane: I will tell you all.

Jaloux: Where did you come?

Roxane: Through the Spanish lines.

De Guiche: How could you do it?

Roxane: I drove. And whenever I was stopped,

I draw off the curtain and smiled.

Jaloux: And when they asked about your destination?

Roxane: I must admit I told a little lie –

I answered I was going to my lover.

I’m not ashamed

For had I said “my husband”

No one had let me pass.

De Guiche: You must leave!

We’ve got half an hour at most.

Roxane:  No, I’ll stay.

I understand, you’re going to fight.

Cyrano: So this fine lady is a heroine?

Roxane: Monsieur de Bergerac, I am your cousin.

And I’m wearing a hat

Befitting in this very battle.

But the Count should now retire, they may attack.

De Guiche: Please say no more!

Hey! Give me a gun, I mean to remain!

I leave no woman in peril.

Cadets: He remains! Hooray, he too remains!

De Guiche: We will defend you well!

Fear not for your head or hat on that head!

Jaloux: We will die, protecting you, Madame.

The First Cadet: I would die happy, if I had something to eat before.

Roxane: I’m famished too. Wine, pasties, roasted partridges –

Bring it all here!

Cyrano: Your humour, cousin dear,

Is black –

Where shall we find them?

Roxane: In my carriage.

Yes, look a little closer at my coachman,

He seems to greet you from afar.

A worthy man who makes my kitchen

A better place and here is here is my companion.

Cadets: Oh, Ragueneau!

Kind fairy!

 

24. The Feast Song of Ragueneau and the Duenna. (Ragueneau, the Duenna, male choir)

Ragueneau: Gentlemen! I treat you to a feast!

Dear gentlemen, I greet you with a drink!

Don’t miss the partridge, turkey or pork.

And to wash it all down

I give you this – here’s beer – here’s wine,

To start with, help on the way and finish!

The Male Choir: To start with, help on the way and finish.

The Duenna: Dear gentlemen,

Can someone guess,

What should be last

To end this feast of wonders?

Oh, you taste this and you taste that,

Oh, this and that and this and that,

For Ragueneau has saved some more

To offer you as an encore

What?

The Male Choir: Cakes! Almond cakes, what else?

The Duenna, Ragueneau: Yes, crisp and fragrant almond cakes!

 

25. The Feast and the Duet. (Roxane, Christian, Ragueneau, the Duenna, the Cadet’s Choir)

The Choir: La-la-la.

The Duenna: Some more of this.

Ragueneau: A sip of wine?

The Duenna: Take all your time.

No hurry whatsoever.

Christian: Now tell me what has brought you here?

Those roads so perilous, oh, I cannot think

Of all the dangers that you bravely faced.

Roxane: It is your fault-

Your letters brought me here.

Christian: What – a few letters!

The Duenna: More wine, more steak?

Ragueneau: Don’t miss the partridge!

The Duenna: Don’t miss the turkey!

Ragueneau:  Don’t miss the pork!

The Duenna, Ragueneau: And to start with, help on the way and finish – a sip of wine.

Roxane:  I read your letters, then read again,

Was overwhelmed, for every page

Was like a fluttering flower-petal

From your own heart,

And words on them were love

Sincere, all-powerful.

Christian: And so you came?

Roxane: My love, my lord,

I came to ask your pardon,

For the insult done to you

When I at first loved you only for your face!

Christian: Roxane, and now?

Roxane: Your soul has now effaced your beauty.

I love you for your soul,

And that beauty that so won me at first

Now that I see clearer – I don’t see at all.

Christian: Roxane, my dear, that love is too much

I would be loved more simply.

That charm in me.

Roxane: That other women love in thee?

Oh no,

The way I love you now

is so much better!

Christian: No, it’s better as it was!

Roxane: My dear, you are so wrong,

It’s now that I love best!

The soul that makes you what you are

Is dear to me and dims the brilliance.

Christian: Oh, hush!

Roxane: I should love still

If your beauty should today depart.

Christian: If I were ugly?

Roxane: Yes, I swear I’d love you still!

Christian: My God!

Roxane: So you’re happy.

Christian: Oh yes..

Roxane: What is it?

Christian: Just wait a second.

Two words to say.

Roxane: What?

Christian: Those fellows who

will soon be dead –

To make it easier for them

Go shine a smile on them.

Go now, my dear.

Roxane: Yes, dear.

 

26. Christian’s Death (Christian, Cyrano, Roxane, Jaloux)

Christian: Cyrano! Hey, Cyrano!

Roxane is not in love with me.

Cyrano: How’s that?

Christian: She loves my soul and that means you!

And you’re in love with her?

It’s true?

Cyrano: Yes, true it is.

Christian: To madness?

Cyrano: And even worse!

Christian: Go tell her so.

Cyrano: I’ll never! Look at my face!

Christian: She’d love me – were I ugly.

Cyrano: Did she say so?

Christian: She did.

You tell her all and let her choose.

Cyrano: No, why torture.

Christian: I will be loved myself

Or not at all!

I go and see what’s going on.

You speak to her and let her choose. Roxane.

Cyrano: Wait!

Roxane: What?

Christian: Cyrano has things to say

I important to us both.

Cyrano: He’s gone! .He couldn’t wait.

Roxane: He did not believe me.

I do not see.

Cyrano: But are you sure you told him all the truth?

Roxane: Yes, I would love him were he ugly.

Cyrano: Ugly as a mask, a grotesque?

Roxane: He would never be grotesque to me.

Cyrano: You’d love him true?

Roxane: Maybe even more.

A shot?

Cyrano: Can it really be?

Love waits me here?

Roxane, I.

Jaloux: Cyrano!

Cyrano: Yes, what is it?

Jaloux: Hush!

Cyrano: Ah!

Roxane: What happened?

Cyrano: Now I can never tell.

Roxane: Christian!

Jaloux: First shot.

Cyrano: What was I saying? He loved you alone.

Roxane: Christian, my dear.

Jaloux: The attack’s about to start.

Roxane: He’s growing cold.

The paleness.

A letter. This is for me.

Jaloux: Ready! Present!

Cyrano:  Farewell, Roxane!

Jaloux: Fire!

Epilogue

27. Scene (Female Choir, the Duenna, Jaloux, Roxane, Ragueneau, Cyrano)

Female Choir: Tu solatium et refugium, Virgo Mater Maria,

tu solatium et refugium.

Virgo Mater Maria, virgo Mater Maria.

Quid optamus, per te speramus ora, ora pronobis!

Tua gaudia et suspiria Juvent nos, o Maria!

In te speramus, ad te clamamus ora pronobis!

Virgo Mater Maria.

Ave Maria, gratia plena,

Dominus tecum,

benedicta tu in mulieribus,

et benedictus fructus ventris tui

Jesus

Sancta Maria, Mater Dei,

ora pro nobis peccatoribus,

nunc et in hora mortis nostrae.

Amen.

The Duenna: God-day Monsieur Jaloux!

Jaloux: You will be kind to tell her I’ve come.

The Duenna: She’s on her way.

Jaloux: Then I will wait.

How is she now?

The Duenna: Madame. She’s still the same.

Fifteen long years she wears her widow’s veil.

And Christian’s last letter

Close to her heart.

Jaloux: And Cyrano?

The Duenna: He visits her

And tells her news of the outside world.

Each week he comes

And tells her everything.

Jaloux: You see him first,

Discreetly warn him so

On my behalf and that of Marshal De Guiche’s.

He’s made some enemies

And the Marshal got the news

That Cyrano is to perish soon by somebody’s hand.

The Duenna. It’s terrible.

I’ll go and bring Madame.

Jaloux: Don’t tell her that

Why worry her?

Ragueneau: Monsieur Jaloux!

How terrible! I’ve got some loathsome news.

This morning I was going to our friend’s.

I saw him come out.  I followed him.

And suddenly from out a window

Where he was passing

A lackey let fall a large piece of wood.

And Bergerac was hit.

Jaloux: Murderers!

Ragueneau: I ran. I saw

Him struck to the ground – a large wound in his head!

I left him in his room, half-dead!

To rise – it would be to defy the fate!

Roxane: The hour strikes.

How strange, I do not hear him coming

As I have heard for these last years

You were never late

So why today?

Cyrano: Yes, what can I say- I had a visitor.

Roxane: Who?

Cyrano: Unwelcome one.

Roxane: I know him?

Cyrano: No, no.

Roxane: Young – old?

Cyrano: More ageless, I would say.

Roxane: What did you do?

Cyrano: I showed him door and said:

I have a rendezvous,

and even you won’t stop me going now!

Call in an hour’s time.

Roxane: What is this?

Cyrano: It’s nothing. It will pass!

Roxane: But what is it?

Cyrano: Ah, an old wound of Arras

Sometimes – you know.

Roxane: Dear friend. I do.

 

28. Cyrano’s death. (Roxane, Cyrano, Jaloux, Ragueneau, the Female Choir)

Roxane: Beneath this letter brown with age

I have a wound,

All stained with tears and blood.

Cyrano: His letter! Ah, you promised me one day

That I should read it.

Roxane: Would you?

Cyrano: Yes, today.

Roxane, adieu.

Roxane: You read aloud?

Cyrano: I feel that I must die..

My soul is heavy with love untold

With all the words in me.

I feel, it is farewell.

Roxane: You read but.

Cyrano: And I would like to cry, farewell, my dear,

Farewell, my dearest love.

Roxane: You read in such a voice – it’s not the first time I hear it.

Cyrano: My life, my love, my sweet,

My heart has been yours in every beat –

And in this dying hour – Roxane!

Roxane: How can you read? It’s too dark.

It. it was you!

Cyrano: No, Roxane, no!

Roxane: Yes, suddenly.

I see it all!

Cyrano: You’re wrong!

Roxane: Your noble lies

I see now well:

You wrote those letters,

All those dear words!

Cyrano: I swear.

Roxane: Your voice. that night

It was your soul that made me tremble!

Things dead will rise again.

Why keep silence all these fifteen years,

When on this letter the tears were your tears?

Cyrano: The blood was Christian’s.

Ragueneau: What madness!

Le Bret: He has brought his death by coming, Madame!

Roxane: Then the pain you had just now?

Cyrano: Yes, it interrupted all my news

The last one – today

Your cousin Cyrano was killed.

Roxane: Oh, I’ve lost my only love now twice.

Cyrano: Excuse me, I’m in a hurry now,

The Moon has sent its beam.

I’ll go tonight –

Without no machine’s aid.

No, not seated!

Let no one hold me up.

But when He comes , I’ll wait for him afoot

And sword in hand.

Who are you?

You are many!

Old enemies of mine –

I know you now.

Have it! Falsehood! Ha!

And Compromise, Prejudice, Cowardice, Stupidity and Servitude

You have it, and you!

I know that you will defeat me at last

Yet I fall fighting, giving blows as fast.

You strip me of my laurel

But there’s one thing you cannot touch

That something

Yes, I’ll have as such.

Roxane: What do you mean?

Cyrano: My panache.

CD “Cyrano de Bergerac”

 

EINO TAMBERG

CYRANO DE BERGERAC

Probably the best known Estonian opera is Cyrano de Bergerac by Eino Tamberg (libretto by Jaan Kross after Edmond Rostand). The performers are best from the Estonian operatic world – conductor Paul Mägi, Symphony Orchestra of the Estonian National Opera, the singers being the elite from neighbouring Finland. A must for all opera lovers. Double-CD. Produced by ERP for CPO.

Romantic opera in 3 acts and an epilogue, op 45 (1974)
Libretto by Jaan Kross
Based on the play by Edmond Rostand

Estonian National Opera symphony orchestra and chorus
Conductor Paul Mägi
Assistant conductors Elmo Tiisvald and Anne Dorbek
Principal violinist Andrus Haav

Recorded 1999–2000 at the Estonia Concert Hall, Tallinn
Booklet compiled by Elle Himma
Recorded by Maido Maadik / Estonian Radio
Booklet: 108 pages in German, English, French, and Estonian languages
Photos by Harri Rospu
Co-producer − Peeter Vähi

Special thanks to Paul Himma, Tarmo Eespere
Total time 1:48:22
Stereo, DDD
Published by Bella Musica (Germany) and ERP (Estonia), 2001
Produced by ERP for CPO
Manufactured in Germany 2004 (CPO 999 832-2)

Cyrano de Bergerac, poet and cadet − Sauli Tiilikainen (baritone)
Roxane, Cyrano’s cousin − Mia Huhta (soprano)
Christian de Neuvillette, a young cadet − Mati Kõrts (tenor)
Count de Guiche − Jassi Zahharov (baritone)
Roxane’s duenna − Riina Airenne (mezzo-soprano)
Captain Castel-Jaloux, commander of the Gascon company, Cyrano’s friend − Rauno Elp (baritone)
Ragueneau, baker and poet − Juhan Tralla (tenor)
Lise, his wife − Margit Saulep (soprano)
The Friar − Ivo Kuusk (tenor)
Three tattered poets − Väino Karo (tenor), Priit Kruusement (baritone), Ain Anger (bass)
Two cadets − Mart Madiste (tenor), Märt Jakobson (bariton)
Two sentinels − Ants Kollo (tenor), Priit Kruusement (bariton)
 

CD I

Act I

1	Introduction and Cyrano’s monologue. “Ho hoo! The crowd of hired killers fearing my blade”	3:59
2	Christian’s cavatina. “My second week in Paris and I’m deep in love”	2:27
3	Scene. “Hey, Lise! Come here and help me open the shutters!” (Ragueneau, Lise)	2:16
4	Scene. “At night in such a place, where is the fun?” (Ragueneau, the duenna)	1:47
5	Scene and Cyrano’s arioso. “She’ll be here at seven” (Cyrano, Lise, Ragueneau)	2:11
6	Scene. “Here are your ragamuffins!” ( Lise, Ragueneau, Cyrano, three tattered poets)	2:21
7	Roxane’s arioso and a duet with Cyrano. “Go to the chapel now and set a burning candle” (Roxane, Cyrano)	7:29
8	Scene. “Cyrano, hey! Our hero! We heard it all!” (Cadets’ Choir, Cyrano, Ragueneau, de Guiche, Jaloux)	4:37
9	Scene. “Silence! Let Cyrano now tell us his fray” (Christian, Cyrano, Jaloux, two cadets, cadets’ choir)	1:10
10	Cyrano’s Tale. “I went all alone along the quay” (Cyrano, Christian, two cadets)	1:50
11	Cyrano’s and Christian’s duet. “Come, embrace me now!” ( Cyrano, Christian, Jaloux, cadets, cadets’ choir)	4:56

Act II

CD 2

Act III

1	(20) Jaloux’s arioso. “Ah, listen to those airs of distant home”(Jaloux)	2:45
2	(21) Scene and Christian’s aria. “Ah, they’re firing. They’ll wake my men!” (Jaloux, Cyrano, Sentinels, Christian)	3:56
3	(22) Scene. “The sleep’s mercy now is gone” (Jaloux, two cadets, the cadets’ choir, Cyrano, de Guiche, Christian)	4:50
4	(23) Scene. “What noise is that?” (Jaloux, Two sentinels, de Guiche, Roxane, Christian)	4:39
5	(24) The feast song of Ragueneau and the duenna. “Gentlemen! I treat you to a feast!” (Ragueneau, the duenna, cadets’ choir)	2:02
6	(25) The feast and the duet. “Some more of this” (Roxane, Christian, Ragueneau, the duenna, the cadets’ choir)	4:28
7	(26) Christian’s death. “Hey, Cyrano! Roxane is not in love with me” (Christian, Cyrano, Roxane, Jaloux)	5:08

Epilogue

8	(27) Scene. “Tu solatium et refugium, Virgo Mater Maria” (Female choir, the duenna, Jaloux, Roxane, Ragueneau, Cyrano)	8:01
9	(28) Letter scene. Cyrano’s death. “Beneath this letter brown with age” (Roxane, Cyrano, Jaloux, Ragueneau, the female choir)	8:20

Synopsis

Act I

A street in Paris. In the darkness, Cyrano and a company of unknowns are having a fight. Cyrano comes out the winner, yet he is not too proud of his victory, knowing that even the fiercest fighting cannot change anything about his destiny. Cyrano’s destiny is sealed by his looks – it is his nose that he considers to be so ugly, so abominable that he doesn’t dare declare his love to the beautiful Roxane.
From the conversation between Ragueneau and Lise it becomes evident that Lignière, the poet, has composed a satirical poem about one of the most prominent noblemen in the country, Count de Guiche, who’s made another proposal to Roxane – and has been declined again. The count has hired a hundred men to secretly kill Lignière by night. It is known that, if need be, Cyrano was to hasten to his fellow poet’s rescue.
Ragueneau is worried − he can’t find Cyrano. Roxane is also interested in finding Cyrano, she has sent her lady companion to look for her cousin.
Cyrano arrives, learning that Roxane wants to meet him. A party of poor poets is, as usual, fed by their well-wisher, the artistically-disposed baker. The poets speak about the fight of an unknown hero with a hundred men. The hero under discussion − Cyrano − does not pay attention to their conversation. He is writing a letter to Roxane, fearing that he won’t be able to find the right words when he meets the woman face to face. Ragueneau’s love of poetry is not limited to listening to other wordsmiths’ verses, he recites his own poem about almond cakes. The other poets, grateful for food, mercifully praise him.
Roxane tells Cyrano about being in love with... the handsome Christian. That young man has been appointed to the same company that Cyrano also serves in. Roxane pleads Cyrano to protect the young man from the teasing and quarrelsome cadets of Gascoigne.
The cadets sing praises to Cyrano, a man admirably sharp of both wit and sword. Captain Jaloux presents the brave company to Count de Guiche. The Count offers Cyrano an opportunity to introduce his plays to Cardinal Richelieu. The poet’s proud refusal offends de Guiche, who knows that his revenge on Lignière also failed because of Cyrano.
The cadets laugh at the unexperienced Christian. When Cyrano tells about his adventures, Christian wants to show off and starts to make fun of Cyrano’s nose. Cyrano checks himself, for Roxane has asked him to protect Christian. When they are alone, Cyrano tells the young man of Roxane’s love and about her anticipation of his letter. Alas, Christian is not any good at expressing his feelings. Cyrano promises to help, he already has a letter ready.

Act II

The scene is set in front of Roxane’s house. Roxane, ever more charmed by Christian, believes that via Christian’s beautiful words she has learned everything there is to know about the man’s soul. She does not suspect, of course, that those words were actually Cyrano’s.
Before leaving for war, De Guiche comes to bid farewell to Roxane. Roxane suggests that de Guiche should leave Cyrano’s regiment in Paris. This she does as if to annoy Cyrano, although she is really worried about Christian. Cyrano finds out that Roxane expects to hear an improvised love-confession from Christian at their next meeting. Christian in his turn is loath to avail himself of someone else’s wordmanship any more, he is quite assured of Roxane’s love now. And thus it comes to pass that in his own words Christian tells Roxane about his passion for her. This is disastrous. Roxane is leaving. The situation is barely saved by Cyrano who stands in the shadow of the balcony and once more lends his mind to Christian − speaking for the latter, Cyrano takes the chance to – anonymously – confess his own love for Roxane.
A Capuchin monk brings Roxane a letter from de Guiche, who, in preference to heroic deeds on the battlefield, has retreated to the peace and calm of a monastery. He wants to come and see Roxane at once. Roxane reads out the letter, changing its contents. She announces that de Guiche has ordered her to immediately marry Christian.
Telling irresistibly funny stories, a disguised Cyrano detains the just-arrived de Guiche. By the time the count recognizes Cyrano, the two lovers have been wed by the monk. Without further delay, the furious de Guiche orders that Cyrano’s and Christian’s company be sent to the battlefield. Acting on Christian’s behalf, Cyrano assures Roxane that Christian will regularly write to her.

Act III

The army camp at Arras. The company has been surrounded by the enemy. The soldiers suffer from hunger. Every morning Cyrano undertakes a dangerous trip through the enemy lines to send letters to Roxane, whom Christian misses very much.
De Guiche announces that an offence operation is due shortly. Christian wants to send his last letter to Roxane; Cyrano already has it written.
To everybody’s great amazement Roxane, her lady companion and Ragueneau arrive at the camp. They have sneaked through the battle zone in their carriage and have brought along some delicious food.
Roxane apologizes to Christian; she admits that she used to love the young man for his beauty alone, but now she wouldn’t care if he lost it. A puzzled Christian tells Cyrano the story and asks him to explain everything to Roxane. Christian comes to think that Roxane should choose between him and Cyrano.
Cyrano is about to make the matter clear to Roxane, but at this very moment Jaloux brings the tragic news of Christian’s death. For Cyrano, this makes any further explanations impossible.
The battle begins.

Epilogue

Following Christian’s death, Roxane has spent fifteen years in a convent. Cyrano has paid her visits every week. At the moment, Roxane is again expecting Cyrano to arrive.
Jaloux asks Roxane’s lady companion to warn Cyrano that certain courtiers are conspiring to kill him. But already it is too late. Ragueneau enters to tell that he witnessed a heavy oak log being thrown at Cyrano’s head from a window. Cyrano, as it’s reported, lies in bed with a serious wound.
Nevertheless, Cyrano comes to visit Roxane. It’s just that for the first time over all these years Cyrano is being late. Roxane, however, knows nothing about his injuries. Cyrano asks Roxane to give him Christian’s last letter. And although it is dark outside, Cyrano reads it aloud, word for word – he knows the letter by heart. Only now everything becomes clear to Roxane: “It was your soul that made me tremble...”
Jaloux and Ragueneau rush into the room, they are deeply worried about Cyrano. Yet it’s from Cyrano’s lips that Roxane hears the final news: “Today your cousin Cyrano was struck down by a log”.

Original libretto in Estonian
The libretto in English
The libretto in French

Sauli Tiilikainen has studied singing in Helsinki, Vienna and New York under Pekka Salomaa, Matti Tuloisela, Erich Werba, Rita Streich and Tom Krause. He made his debut in 1981 and the same year he won the 3rd price at the Vienna International Hugo Wolf Competition as well as the 2nd price at the Lappeenranta Singing Competition. In 1992 Sauli Tiilikainen was appointed a soloist of the Finnish National Opera. Thus far he has performed nearly 50 opera roles, including Onegin (Tchaikovsky’s Eugene Onegin), Figaro (Rossini’s Il barbiere di Siviglia), di Posa (Verdi’s Don Carlo), Germont (Verdi’s La traviata), Papageno (Mozart’s Die Zauberflöte), Valmonte (Sallinen’s The Palace), Count (Mozart’s Le nozze di Figaro). As a guest soloist Sauli Tiilikainen has appeared at opera theaters in Washington, Vienna, Stockholm, Tallinn and Riga. He has performed together with orchestras as well as given solo concerts. He has also appeared in a number of opera-productions on TV (Alex, Grand Hotel and Angelika, Aulis Sallinen’s The Palace, Swedish TV’s Lionardo).

Mia Huhta was born in 1969 in Kokkola, Finland. At the Conservatoire of Kokkola she initially studied the flute and the piano, later switched to studying singing with Sirkka Haavisto. From 1991 to 1992 she furthered her studies at the Utrecht High School of Music in Netherlands with Udo Reinemann. In 1993 she continued to study both opera and solo singing at the Sibelius Academy with Marjut Hannula and prof. Liisa Linko-Malmio; her present supervisor at the Academy is Taina Piira. Mia Huhta has also attended lied studies with Francoise le Roux, Mitsuko Shirai, Hartmut Höll, Rudolf Jansen and Ilmo Ranta. She has participated in numerous large-scale productions with various orchestras: the Ostrobothnian Chamber Orchestra (Händel’s Messiah), the Tampere Philharmonic (Bach’s Magnificat), the Osaka Symphony Orchestra (Sibelius’ Kullervo), the Tampere Chamber Orchestra (Bach’s Easter Oratorio), the Avanti Chamber Orchestra and the Baroque Orchestra (Händel’s oratorio Jephta and Bach’s Christmas Oratorio). Mia Huhta’s opera roles include Atalanta in Händel’s Xerxes and Finnish composer Jalkanen’s Seitsemän huivia; she has also performed Susanna in Mozart’s Le nozze di Figaro and Micaela in Bizet’s Carmen.

A graduate from the Estonian Academy of Music in 1987, Mati Kõrts has furthered his education in Riga with Janis Sprogis and attended Shen Xiang’s master-class in Savonlinna in 1990. From 1981 to 1986 Mati Kõrts was engaged at the Estonian National Opera as a chorus singer, since then he has become a soloist. In 1988 he won the first prize of the G Ots Singing Competition. His repertoire comprises the following roles: Albert in Britten’s “Albert Herring”, Count Almaviva in Rossini’s “Il barbiere di Siviglia”, Basilio in Mozart’s “Le nozze di Figaro”, Eisenstein in J Strauss’ “Die Fledermaus”, Xerxes in Händel’s “Xerxes”, Prince in Dargomyzhsky’s “Rusalka” etc. He has stepped out also as a chamber and oratorio singer, performing Honegger’s “Jeanne d’Arc au bucher”, Mozart’s “Requiem” and “Coronation Mass”, etc.

Paul Mägi has graduated from the Estonian Academy of Music in 1980 as a trumpet player and from the Moscow State Conservatoire (1984, under Prof Gennady Rozhdestvensky) as a conductor.
In 1978 he founded the Estonian Radio Chamber Orchestra and was its artistic director and chief conductor. From 1984 to 1991 Paul Mägi was engaged as a conductor at the Estonian National Opera. Critics praised him for his sensitivity and style of the interpretations of Händel’s Alcina, Tubin’s The Parson of Reigi and the ballets by Denissov (Confession) and Prokofiev (Romeo and Juliet). He conducted also guest performances at the Bolshoi Theatre in Moscow and at the Händel-Festspiele in Germany.
As a guest conductor Paul Mägi has directed outstanding orchestras in Germany, Spain, Ukraine, Norway, Italy, Bulgaria, Poland Switzerland, Ecuador, Finland, Sweden, Ireland and Russia (the Moscow Philharmonic Symphony Orchestra, the Wexford Festival Opera, the Swedish Radio Symphony Orchestra and the Royal Philharmonic Orchestra of Sweden, to name but a few).
From 1990 to 1994 Paul Mägi was the artistic director and chief conductor of the Latvian National Symphony Orchestra in Riga. He toured with the Latvian orchestra in Europe, taking in some of the most famous concert-halls of Sweden, Switzerland, Germany, Spain, Italy, Austria etc. The orchestra participated in international festivals like Festival Costa do Estoril in Portugal, Chichester Festivities in Great Britain, Wiltz Festival in Luxembourg, Festival de Wallonie in Belgium, Festival de Saint-Riquier, Festival Hardelot in France, Glasperlenspiel Festival in Estonia; they played at Amsterdam’s famous Concertgebow and at Fetes Musicales en Touraine they performed together with S Richter.
In addition to being a highly acclaimed conductor, Paul Mägi is also a prominent jazz violinist. He has appeared at the Debrecen Festival in Hungary, he has played in Bulgaria, Cuba, Finland, Germany, Belgium, Scotland, Ireland, Great Britain, the USA and elsewhere. Paul Mägi has performed the late Alfred Schnittke’s First Symphony together with the BBC Symphony Orchestra at the Royal Festival Hall in London and with the Boston Symphony Orchestra in Boston.
1995–2004 Paul Mägi was the artistic director and chief conductor of the Estonian National Opera. He was the music director and conductor of many productions, including J Strauss’ Wiener Blut and Die Fledermaus, Nicolai’s Die lustige Weiber von Windsor, Puccini’s La Bohème, Mozart’s Le nozze di Figaro, Verdi’s Nabucco and La traviata Bizet’s Carmen, Dargomyzhsky’s Rusalka.
Last recordings: Symphonies Nos 1–2 and 4–5 by Fridrich Bruk.

The Estonian National Opera, established in the year 1906, is a historic organisation with vital traditions and manifold functions.
The EsNO’s season, lasting 10 months from Sep until Jun, contains a varied repertoire of opera, ballet, operetta, musicals and children’ pieces. Around 250 performances of up to 30 different works are presented annually, including the cream of classical opera and operetta as well as contemporary masterpieces. On the top of that, the best works of Estonian origin are also shown on our stage!
The Estonian National Opera is the home of the symphony orchestra, the opera choir and the ballet.
The orchestra was founded in 1907 and it now employs almost a hundred musicians. In addition to its theatre assignments, the orchestra regularly performs symphonic works and records world classics as well as the best of Estonian music. The 54-strong opera choir, besides participating in stage productions, consistently gives concerts on its own as well. The EsNO employs as many as 25–30 soloists. As a compliment to that, it welcomes guest singers on a regular basis. The EsNO ballet, existing within the framework of the opera company and employing approximately 60 dancers, is the country’s largest ballet troupe. Young choreographers are constantly enriching its repertoire of standard favourites with contemporary pieces and occasional avant-garde projects.
In order to stay open to new ideas and fresh approaches, The EsNO always makes space and time in its working schedule for joint projects of multifarious nature, and for individual guest artists. For the latter to bring their unique experience onto our stage; for the Estonian audience, to partake of a different artistic vision.
In many ways, from diversifying its repertoire to renovating the opera house, The EsNO is still a constantly developing company. There is, however, one constant in our work: being a national company, the EsNO’s primary goal is to maintain the highest possible standards of music making and theatre production in Estonia.
Symbolically speaking, the EsNO’s location in the heart of Estonia’s capital city, Tallinn, is a reflection of the company’s artistic position – at the centre of Estonian culture.

See also full libretto in Estonian, in French, and in English

Press resonance

Sold out

Other records of Estonian National Opera released on ERP: “Estonia” – 100 (11 CD jubilee-box), Artist Chagall, Verdi Wagner 200, DVD Wallenberg, DVD Coppélia, DVD Modigliani − the Cursed Artist, DVD Faust, CD + bonus DVD Voices of the Estonian National Opera / Estonia ooperihääled, DVD Georg Udukübara aaria

AWAKE, MY HEART!
Archaic and sacred folk songs
from Estonian villages
Arranged by Tõnu Kõrvits

ARSIS
Ensemble of English Handbells

An exciting experiment by the English Handbell Ensemble Arsis performing arrangements of Estonian folk tunes on their highly untraditional instruments. The festive bronze sound of the bells gives a new dimension to the composition by Tõnu Kõrvits. The liner notes by Dr Ingrid Rüütel deserve a special attention. Produced by ERP for CCn’C.

1 Mu süda, ärka üles / Awake, My Heart (from Pühalepa)
2 Neiu hääl / A Maiden’s Voice (from Räpina)
3 Ussi naine / The Wife of a Snake (from Meremäe)
4 Tule tursakene / Come Little Coddy (from Muhu island)
5 Kasva karjaseks / Grow into Shepherd (from Hargla)
6 Lapse kiigutamise laul / A Baby Rocking Song (from Loksa)
7 Tuule tuba / The Chamber of Wind (from Koeru)
8 Huiked ja helletused / Whoops and Calls (from Avinurme, Jõelähtme, Ambla, Tarvastu)
9 Maga, maga, Matsikene / Sleep, Sleep, Little Mats (from Karuse)
10 Laulud lutsu suust / Songs Sung by the Burbot (from Kodavere)
11 Äiutused / Lullabies (from Rõngu, Misso, Luhamaa)
12 Veere päike / Roll Sun (from Kodavere)
13 Ladvad lindudele / Treetops to the Birds (from Võnnu)
14 Tudu tuvikene / Sleep My Dove (from Hageri)
15 Karja kojukutse / Calling the Cattle Home (from Rõuge)
16 Nüüd on see päev ju lõppenud / To Its End the Day Has Come (from Rapla)

Rating at − the biggest database of audio recording: 5 / 5

The bountiful heritage of Estonian folk-lore dates back to the dawn of ancient times and has disappeared from the active use since long ago. Luckily most of it has been preserved in the form of sound recordings or manuscripts in archives and some of it has gone back to circulation as books or records.

 #1, Awake, My Heart, fragm, 65 sec, mp3
 #9, Sleep, Sleep Little Mats, fragm, 79 sec, mp3

Museum collections are normally referred to as “dead material”. Actually only the part that disappears together with its bearer can be considered a dead culture. The archived collections of folk-lore can rather be seen as a chest of treasure where one can always find something to decorate the culture of newer times. Thus, the old folk songs often get a new life sometimes imitating their ancient sound, sometimes in a completely new form, as a synthesis of archaic and modern means of expression, the composer with his or her individual talent being here a co-author like folksingers in the old times.

The author of the music on the current CD, Tõnu Kõrvits has turned to the most archaic layer of Estonian folk song that with its minimalist but original language of sound has attracted composers’ attention before. Characteristic to Estonian folk song are the rich system of poetic forms and lyrical introvert impressive feeling. The majority here are the songs of women and young maidens. The thoughts and feelings are hidden behind beautiful poetic forms. The idea in one verse is repeated and varied in parallel verses the number of which is not determined. Every singer has the right to add, change or omit something. The basic sound form is alliteration, no end rhyme exists. The poetic message is the most important part of the Estonian folk song, the melody being just a means of expression. The melodies can vary during the singing according to the words or in pure musical purpose by melodics, mode as well as rhythm.

The earliest compositions based on Estonian folk tunes appeared in the second half of the 19th century being influenced by German Liedertafel choral songs. Due to the fact that Estonian folk song is mostly monodic, most of the tunes fit better into different music styles and means than into polyphony based on functional harmony. The synthesis of the means of expression of archaic folk music, contemporary modern musical language and composer’s own free creative idea was characteristic of the works of Mart Saar and Cyrillus Kreek at the beginning of the 20th cent and also of the style of Eduard Tubin, Veljo Tormis and Ester Mägi in the 2nd half of the 20th cent.
During the Singing Revolution in the 1990ties especially popular became the songs by Alo Matiisen where the traits of old folk song (the repetition of a short melodically narrow ranged phrase in the duration of the whole song) was connected to the style and sound of rock music. That kind of songs were chanted like freedom mantras at the big political rallies, thousands of people repeating phrases after the foresinger. Thus the old cultural phenomena may return in a new form, in new situations and in new context to the existing culture, creating in their turn unexpected connections and expressing completely new ideas and feelings.
Nowadays several young Estonian composers have again got fresh inspiration from old folk songs intermingling them into the means of rock and modern classical music as well as the facilities of contemporary acoustic and video technology. At the current CD Tõnu Kõrvits has arranged old folk tunes for English handbells using different means of harmony – polyphonic development (Whoops And Yodels), cluster accords (Grow Into Shepherd), modern harmony of pop music (Come, Little Coddy).
The composer has chosen the base material first and foremost from pure musical point of view. At times he has been fascinated by the simpliest tunes (it was exciting to see what can be made out of a melody with only a couple of notes in it), at times by the special and original sound of a melody, at times by varying mode and tonality. He was as well attracted to the tender lyricism of the songs’ poetry. Though program was not an aim, the cycle is still penetrated by a certain thematic line.
Grow Into Shephard introduces the shepherd theme. In Northern Estonia the village herd was normally kept together by an older shepherd – a hired worker – who was aided by girls or boys from each household. They had sufficient time for song and play on the pasturelands. In Southern Estonia where the herd was separate for each household, it was guarded by underage boys or girls. As a means of communication between the shepherds whoops and yodels – a specific melodic vocalise – were practised there. Every single shepherd used to have his, her own melody characteristic only of him or her. These also contained intonations of different shepherd pipes and the background could include the tinkling of cowbells and birds’ song. The whooping was done on asemantic syllables or sounds which could have been interchanged by short textual phrases. Still, even the wordless whoops carried a message, melting into a poetic picture together with the surrounding nature. This mood has vividly been described by folklorists of the 19th cent.
Almost holy was each clear morning with the Sun disk glowing over the dense young swamp forest, the vault of heaven so brightly blue, twilight still between the bushes. From afar, from the direction of Pupastvere, the inviting whoops of some girls could be heard. They were soon answered by boys’ voices from Metsanuka woods... The words in all of them were nearly the same, the difference being only in the name of household and the shepherd. All like this: “Oe, oe, dear Maali, come this way, I am heading that way, oe, oe, oe, oe, oe!” The tunes had many nuances. One was whooping plaintively and longingly, another prosaically inviting, a third one arrogantly, carelessly as if saying: “come if you want, don’t if not, I do not care!”. One could enthusiastically listen to the melodic whooping of girls. The voices of some boys were like that of a clarinet or oboe. (The memoirs of writer Mait Metsanurk).
Shepherds’ days were long. The boys blew home-made whistles and pipes, the girls used to sing. In the cycle we can also hear several lyrical songs of maidens.
A maiden walks singing through the forest her voice sounding like a kantele for the trees (A Maiden’s Voice). Shepherds were frequently orphans. In the song The Chamber Of The Wind is a question: where is the home of the lonely, shelter for the orphan and an answer in a beautiful poetic picture: where the wind has built a chamber, the water rolled the logs, the rain packed the walls, the fog closed the doors. Roll Sun is the shepherd’s evening song. By the fall of the evening the shepherd begs the Sun to roll to the brothers and sisters where he/she is allowed to sleep on the pillows, rest in the silky bed, float in a silver berth.
The Wife of A Snake is a fairy-tale. The king promises to give his daughter to the one guessing all his riddles. The snake is the only one to succeed and the king is obliged to keep his promise. The princess marries the snake and the couple live happily having three daughters. Once she comes to visit her childhood home. Her brothers do not like their sister being married to the snake and decide to kill the latter. The youngest daughter unwittingly discloses the secret: for returning home her mother has to sing: Ho-lo, bring the sails, let the boat in the waves. The brothers call the snake by singing the song and kill him. The next day the princess wanted to return home but at her singing the boat arrived, full of blood. Understanding what had happened she turned herself into a birch-tree, the elder daughter into greenery, the middle one into white bark, thus keeping them close to the herself but the youngest one is changed into a thin trembling peel and the mother exorcizes: tremble like my heart!
The cycle is framed by two sacred folk songs that date back to the Christian tradition. The first one sings praises to the Saviour who takes the Man’s worries upon himself, helps him in his work and leads the way to the Heaven. The other one is an evening song: the hard daily work has ended, night is falling and everybody drifting into peaceful sleep...

Ingrid Rüütel, PhD

Bells and chimes are probably the oldest instruments that many Asian and European nations knew already in ancient ages. The music of handbells is not the invention of last centuries, either. The roots of these musical instruments date back to 13th–14th cent when it was not rare that differently tuned church bells called people to the service playing beautiful melodies. Sometimes there was used carillon – bell-ringing mechanism in which a manual keyboard (and often pedals) is connected by wires to the beaters of up to 70 static bells. The bells are usually hung in church tower. Carillons are found throughout Europe and the USA, mechanized carillons were the forerunners of musical clocks and boxes, also forerunners of handbells and handchimes.

Arsis Handbell Ensemble was grown up from Arsis Chamber Choir – when the conductor of chamber choir, Aivar Mäe heard handbell music in the USA for the first time, it became his fixed idea to bring this wonderful music also to Estonia, thus founding his own ensemble. It was the year 1991. It took two years explanatory work and preparations in both sides of the world and the idea became reality. In 1993 the representatives of the American Guild of Handbell Ringers visited Estonia, and brought the first three octaves of bells as a present to Aivar Mäe and his choir. By now Arsis Handbell Ensemble has one of the most perfect sets in the world that includes bells of seven octaves. All the handbells in the set have been made in the USA, Malmark Incorporation bell factory with whom Arsis has been co-operating already since 1993. The ensemble, having eight members, has toured in different places of the world. One of the most exotic places was the Republic of South Africa where Arsis participated in Eisteddfod festival and was awarded the Grand Prix. Already for four times Arsis has visited the USA where the handbell music is most widely spread.
The ensemble is playing mostly arrangements of classical music but also a lot of original music. They have given out four CDs that include original works by Peeter Vähi (Handbell Symphony, Supreme Silence, Planet Cantata) and René Eespere (In dies), also participated in the recording of The Flutish Kingdom. The recordings of Arsis are used in the soundtrack of the famous movie Alexander.

Aivar Mäe (b 1960) – the artistic director of Arsis Handbell Ensemble. He acquired his musical education at Tallinn Music High School and Estonian Academy of Music where he studied choral conducting with Prof Ants Sööt. In his youth Aivar Mäe was the vocal soloist of the pop-rock group Vitamiin. Later he has been working with several choirs in Estonia as well as abroad – in Sweden and the USA. He has been the leader of international choir festivals, also running seminars for choral music. In 1992, Aivar Mäe studied in the USA for a year and a half improving his knowledge at the music department of Portland University with Prof Bruce Brown. Since 1999, he has been working as the general manager of Eesti Kontsert, the National Concert Institute of Estonia, and 2004–2006 the general manager of Vanemuine Theatre. Since 2009 he holds the position of general manager of Estonian National Opera. Aivar Mäe is a Honorary Member of the Estonian Society for Music Education.

Performed by Arsis Handbell Ensemble, artistic director Aivar Mäe

Recorded in Estonia Concert Hall, Tallinn, in March 2003
Engineered and mastered by Priit Kuulberg
Liner notes by Dr Ingrid Rüütel
Translated by Tiina Jokinen
Designed by Piret Mikk
Photos from Tallinn Music and Theatre Museum and by P Vähi
Produced by Peeter Vähi
Published by CultureWare Music Publ and ERP

Press resonance

Distribution in Estonia by Easy Living Music, This email address is being protected from spambots. You need JavaScript enabled to view it. , phone +372 51 06058
Worldwide distribution DA Music
Distribution in Germany, Austria and Switzerland by amazon.de

Total time 56:35
DDD, Stereo
GEMA / n©b
CCn’C 02732

Other recordings with Arsis Handbell Ensemble: The Best of Arsis Bells, Om Mani Padme Hung, Traumzeit, Supreme Silence, Handbell Symphony, The Flutish Kingdom, In Dies, World Festival Of Sacred Music Europe, Planetentöne Vol 2, Legend, Night Music, Music Box, Terra Mariana, Prelude, Quarter of a Century with Friends

FRIDRICH BRUK

ARTIST CHAGALL

Fridrich Bruk. Artist Chagall, Symphony No 3 for symphony orchestra and tenor soloist. Nominee of Estonian Music Award 2004 in the category of classical music.

Artist Chagall, Symphony No 3

Performed by Estonian National Opera Symphony Orchestra, Estonian National Male Choir RAM, Mati Turi (tenor), Erkki Palola (conductor, Finland)

Artist Chagall, mov III, fragm, 3 min 37 sec, mp3, 320 Kbps
Artist Chagall, mov II, fragm, 3 min 11 sec, mp3, 320 Kbps

Recorded in Estonia Concert Hall, Tallinn in 2002
Engineered by Priit Kuulberg
Digital editing by Marika Scheer / Estonian Radio
Artwork by Marc Chagall
Photos by J Mislavsky
Layout by Piret Mikk / inDe Design
Produced by Peeter Vähi
Published by ERP; F & N Bruk
Manufactured on Sony DADC, Austria
Total time 63:59
DDD, Stereo
Teosto
ERP 402

Other recordings of Fridrich Bruk on ERP: Nordic Legends, A Wandering Minstrel, The Hand Of God
Other records of Estonian National Opera released on ERP: Cyrano de Bergerac, Estonia – 100 (11 CD jubilee-box), Verdi Wagner 200, DVD Wallenberg, DVD Faust, CD + bonus DVD Voices of the Estonian National Opera / Estonia ooperihääled, Lembitu, DVD Georg Udukübara aaria
Other recordings with Estonian National Male Choir: Supreme Silence, Planet Cantata, The Best of Arsis Bells, Wagner Strauss Seeger

Press resonance

ALEKSANDRA JUOZAPÉNAITÉ-EESMAA
piano

I have always had a tremendous need to express myself. Sound, harmony and keys mean a lot to me. I keep searching for new intonations and tones because the language of music offers me endless possibilities to express myself. (Aleksandra Juozapénaité-Eesmaa)

CD I

CD II

CD I, #4, Rameau, La Villageoise, fragm, 2 min 15 sec, mp3
CD II, #1, Albéniz, Serenata, fragm, 2 min 20 sec, mp3
CD II, #5, Albéniz, Asturias, fragm, 116 sec, mp3

Recorded by Aili Jõeleht, Vello Meier, Asta Kuivjõgi, Jaan Sarv, and Maido Maadik / Estonian Broadcasting Corporation
Mastered by Marika Scheer / Estonian Broadcasting Corporation
Booklet: 24 pages in English and Estonian languages
Liner notes by Kristel Pappel
Translated by Triin Tobber
Design by Tiina Sildre
Cover photo by Kaupo Kikkas
Pianos: Steinway & Sons and Estonia
Special thanks: Estonian Ministry of Culture
Total time 76:50 + 72:13
Stereo
2011
n©b
ERP 4511-1/2

Jean-Philippe Rameau (1683 Dijon − 1764 Paris) was a French harpsichord player, organist, music theorist and composer, whose prime time was in the fine and playful Rococo era. Coming from a family of musicians, he worked in Dijon, Clermont-Ferrand, as well as in Paris, where he stayed since 1723. At first Rameau became successful as an organist, harpsichord player and a music theorist, publishing in 1722 the famous Treatise on Harmonie (Traité de l’harmonie) that became the basis of classical use of harmony. In the second part of his life Rameau composed a lot of music for stage − musical tragedies and opera-ballets. On the disc you will hear pieces from his second harpsichord suite (1724) − dances and virtuous character pieces that quickly became very popular.
The next era in music history, the Classicism, is represented by Joseph Haydn’s (1732 Rohrau − 1809 Vienna) Variations in F minor. Haydn was one of the founders of the Viennese classic piano style. He was influenced by the keyboard music of Johann Sebastian Bach’s most famous son Carl Philipp Emanuel, whereas his virtuosity and boundless imagination found a classical balance in Haydn’s works. Variations in F minor Hob XVII:6 belong to Haydn’s latest period, when the composer had become famous all over Europe and had received orders from Paris and London. It was written in 1793, between two trips to London. Already the theme of the variations (Andante) is notable for its extent and seriousness. Two separate parts in minor and major are opposed to each other and are developed with great variety. The large-scale coda fully demonstrates the expressive and technical possibilities of the instrument in its time.
The sound worlds in the music of the French Impressionists Debussy and Ravel are totally different. Claude Debussy’s (1862 Saint-Germain-en-Laye − 1918 Paris) work emphasized the game of colour and light − freely dealt harmonial successions that also influence the use of the instrument and an exceptionally fine timbre palette. These help to record fleeting moments in sounds as we hear in the cycle Images. The first set (1905) also focuses on the clarity of a musical idea. Debussy himself considered it to be a new stage in his creative evolution, saying jokingly that these pieces put him “on the left hand of Schumann and on the right of Chopin” on the Avenue of Piano Music. The first piece in the set, Reflections in the Water (Reflets dans l’eau) exhibits the Impressionists’ interest in ref-lecting light on a changing surface and ways of expressing that in music. In Homage to Rameau (Hommage à Rameau) Debussy fills an old dance form sarabande  with new sounds and structure, the piece being inspired by one of the melodies in Rameau’s opera Castor et Pollux. The third piece Movement (Mouvement) is like a 20th century perpetuum mobile.
The idea of Maurice Ravel’s (1875 Ciboure − 1937 Paris) Valses nobles et sentimentales is inspired by Franz Schubert’s waltz chains (Ravel’s work includes 8 waltzes) and exhibit Ravel’s general interest in movement and dance. It was completed in 1911 and the following year Ravel published an orchestrated version of it, which the ballet Adélaïde or the Language of Flowers (Adélaïde ou le langage des fleurs) is based on. There is a romantic touch in Ravel’s graceful and elegant waltzes. In pre-WW I music we often find the last reflections of the Romantic era. Ravel’s innovative harmony had a noticeable effect on his piano playing and made it possible to expand his playing techniques, bringing the virtuosity of Liszt to another level.
The composer, pianist and organist Olivier Messiaen’s (1908 Avignon − 1992 Paris) work is based on the Impressionist traditions of French music. It is also influenced by Gregorian chants, the rhythms of India, the sound and rhythm of the Javanese gamelan orchestra and his passionate interest in birdsong that Messiaen notated and incorporated into his music. The 12 pieces in Bird Catalogue (Catalogue d’oiseaux; 1956−1958) attempt to resemble the singing styles of the birds of French countryside, the Golden oriole (Loriot) among them.

The second CD on Aleksandra Juozapénaité-Eesmaa’s portrait album continues to unravel the possibilities and contrasts of music at the end of the 19th century and in the 20th century. The Spanish (Catalonian) composer Isaac Albéniz (1860 Camprodón − 1909 Camboles-Bains) was a child prodigy whose public performances  as a pianist started already at the age of 4 and at the age of 6 he continued his studies in Paris, which later became his main place of residence. As a virtuoso Albéniz melded in his work the the piano playing of Liszt, Spanish dance rhythms and the timbers of French music. The Spanish Suite (Suite española) originally consisted of four parts (created in 1886) and it was only after Albéniz’s death   that the publisher Hofmeister added four more parts. The suite depicts dance and everyday music of Spanish towns and counties (Granada is represented by a serenade; Aragon by a fantasy in the style of  jota; Cuba, at that time a Spanish colony, by dance rhythms Notturno; Cadiz by a religious song Saeta; in the Asturian Legend we hear influences of flamenco etc).
Estonian composer Heino Eller (1887 Tartu − 1970 Tallinn) was a student of Saint Petersburg Conservatory, one of the founders of Modernism in 20th century Estonian music, also a renowned composition professor, among whose students were Eduard Tubin (1905−1982) and Arvo Pärt (b 1935).  Eller’s second piano sonata (1938) is full of movement and deliberate images: Part I Allegro starts as a storm with an overwhelming theme and it seems that the same energy culminates in the last part (Presto) as a fascination with motorics, typical of that time. The lyrical middle part is slow and meditative (Andante penserioso).
Béla Bartók (1881 Nagyszentmiklós − 1945 New York) represented in the 20th century a musician, who was both a composer and an interpreter, in his case a distinguished pianist. Bartók wrote the piano sonata (1926) mainly for his own performances. Bartók’s forceful piano playing, inspired by the sound of percussion instruments, is demonstrated in the first part of the sonata Allegro moderato with its hammering ostinato-rhythms. At the culmination there is a thick  fugato. The second part Sostenuto e pesante is on the other hand characterized by static harmonies that the melody line attempts to penetrate, but with no success. The third part (Allegro molto) brings rondo form, the chorus reminding an Hungarian dance song. The last part of the finale gives a hint of Bartók’s piano piece Allegro barbaro, that in 1911 created a stir with its forceful rhythms.
The end of Aleksandra Juozapénaité-Eesmaa’s album pays  homage to old French music − the last piece is Gavotte in A major by Jean-Philippe Rameau.

Aleksandra Juozapénaité-Eesmaa

Aleksandra Juozapénaité-Eesmaa (1943−2012) had her debut at the age of 9 performing Piano Concerto in D Major by Haydn together with Lithuanian National Symphony Orchestra. At the age of 14 she gave her first solo concert. Her quick development took the pianist after two years in the Lithuanian Academy of Music to the Conservatory of Moscow to Prof Jakov Zak under whose supervision and guidance she also took her post-graduate course. 1976−1977 Juozapénaité-Eesmaa had the luck to study in Paris National Conservatory. Under the tuition of professors Claude Helffer and Yvonne Loriod (the wife of Olivier Messiaen) she dedicated most of her time and effort to French contemporary music. Being an extremely talented pianist her Paris connections offered many an opportunity to discover the world, had the ideological discrepancy between East and West not been an unovercomeable obstacle at that time. Still, the year in Paris gave that profound knowledge of French contemporary music that in 1993 the French record company JADE ordered from her the recording of the cycle Twenty Glances at Jesus-Child by Olivier Messiaen. Later this cycle in Juozapénaité-Eesmaa’s performance was released as a double-CD in the year 2001 being a co-operation project of Lithuania and Austria through record company “Semplice”. The current CD is Juozapénaité-Eesmaa’s 11th. She has recorded for the radios of Vilnius, Tallinn, Moscow, Paris and Amsterdam focusing on French, Estonian and Lithuanian music. She has frequently been the first performer of several works. Likewise, the present is the first recording of Sonata No 1 by Eller. Among her achievements are various diplomas and titles from international competitions and the 1st prize in the International Piano Competition named after Čiurlionis 1968. She has given recitals as well as performed together with orchestras in Lithuania, Estonia, Latvia, Russia, the Ukraine, Belorussia, Poland, Hungary, France, Germany, Holland, Sweden and Finland.
“She is an artist that has a message to deliver, who always plays exemplarily true-to-text and with polished preciseness; who has good taste and sense of tact, whose emotions and reason live in harmony and perfect balance. At the same time she always possesses an attitude of her own towards the music to be performed.” (Bruno Lukk)
“Happy times”, the pianist said about the recording of the present CD in spring-summer 2001. “I like to work with concentration. Emotions and dramatism suit me, I am glad that I can express it.” Aleksandra Juozapénaité-Eesmaa has passion, grasp and power, sometimes even pathos − and at the same time also sufficient clarity, preciseness, respect and distance. These are the characteristic features of her interpretation of Eller’s work.

Press resonance

Distribution in Estonia by Easy-Living Music

See also other recordings of Aleksandra Juozapénaité-Eesmaa produced by ERP: Heino Eller
See also other piano recordings by ERP: Keyboard Juggleress, Enter Denter,  Estonian Preludes, Northern Lights Sonata, The Well-tempered Clavier I, Sergei Rahmaninov. Piano Works, Toivo Nahkur, Neeme Järvi, Deus Ex Clavier, Marginalia, Great Maestros Vol I−V, Great Maestros Vol VI, Magic of Sound, Melancholy, Resurrection of Mozart, Waltzing Mephisto by the Danube, Wiegenlieder der Schmerzen, The Soul of Fire, Von Salzburg bis Reval

100 YEARS OF ESTONIAN SYMPHONY

The bestseller of ERP! Sold out! “... one of the most beautiful and awesome CDs that the undersigned has ever held in his hands.” (Gerhard Lock, Muusika). Nominee of Estonian Music Award 2005 in the category of classical music.

CD I

CD II

Performed by Estonian National Symphony Orchestra and Estonian Radio Chamber Orchestra (CD II, track 2), conducted by Vello Pähn, Arvo Volmer, Nikolai Alekseyev, Peeter Lilje, Neeme Järvi, Paul Mägi, Paavo Järvi, Heino Eller

Music selected by Mare Põldmäe, Maia Lilje, Neeme Järvi, Evi Arujärv, Ulli A Ruetzel, Peeter Vähi

Recordings from the archives of Estonian Radio, 1960s-2001

Engineered by Maido Maadik, Aili Jõeleht, Maris Laanemets, Jaan Sarv, Mati Brauer
Restored and mastered by Marika Scheer
Photos by Kalju Suur, Peeter Vähi, archives of Estonian Museum of Theatre and Music, Gothenburg Symphony Orchestra
Booklet: 16 pages in English and Estonian
Designed by Piret Mikk
Special thanks to Ministry of Culture of Estonia, Estonian Radio, Orbital Vox Studios
Manufactured on Sony DADC, Austria
© 2004 ERP  
604

CD II #5, H Eller. Homeland Melody, live rec from 1960s, fragm, 1 min 26 sec, mp3, mono, 256 kbps
CD II #1, A Pärt. Symphony No 3, N Järvi, fragm, 2 min 58 sec, mp3, 256 kbps

Video “100 Years of Estonian Symphony”

100 YEARS OF ESTONIAN SYMPHONY

Estonian music today can be heard in many of the world’s metropoles. There is Arvo Pärt whose timeless language of music speaks in prayer. There are also ancient Estonian runosongs that sing in the music by Veljo Tormis. We can find the rainbow of postmodern styles in the works by Lepo Sumera and Erkki-Sven Tüür. Conductors Eri Klas and Neeme Järvi have taken Estonian music to the world’s arena. There are  more than 150 symphonies and hundreds of smaller symphonic works that together can by called Estonian Symphonic music, although as a professional genre it is no more than 100 years old. The reasons for that lie deep in the history.
The Republic of Estonia is a small country on the Baltic Sea, bordered in the west by aristocratic Europe, in the east by Asiatic Russia and in the north over the sea by the enlightened Nordic countries. Thus our symphonic music is a melting pot of cultures. For centuries Estonians have been in serfage of various countries like Denmark, Sweden, Germany and Russia − each in their turn. Freedom came only in the 19th century. Enlightenment ideas woke the cultural self-consciousness of Estonians giving birth to the national intelligentsia and starting a powerful movement of National Awakening in which the first All-Estonian Song Festival in 1869 is of utmost importance.
Estonian folk music and European classical music existed for a long time side by side like two total strangers to each other in two different worlds − one in the peasant huts, the other in the rulers’ manor houses, salons and churches. Choral melodies taught Estonians the language of European music. But there was a time discrepancy − while Europe listened to Bach’s counterpoint, Estonians were still singing their folktunes.

Childhood

The first Estonian composers received academic education in St Petersburg at the end of the 19th or at the beginning of the 20th century. The “forefathers” of Estonian symphonic music Rudolf Tobias (1873−1918), Artur Kapp (1878−1952), Artur Lemba (1885−1963) and Heino Eller (1887−1970) graduated from St Petersburg Conservatory as students of such grand old men of Russian music like Rimski-Korsakov, Ljadov and Glazunov. The first professionally composed works were born.




The  first Estonian overture Julius Caesar (1896) and the first piano concerto were composed by Rudolf Tobias as his undergraduate work. Artur Kapp composed an overture Don Carlos in 1899. In 1908 the first ever Estonian symphony − Symphony No 1 by Artur Lemba − was performed in St Petersburg. In 1900 the first symphony orchestra of Estonians came into being in Tartu conducted by a graduate of Dresden Conservatory Alexander Läte (1860−1948).
The language of early Estonian music is strongly influenced by classic-romantic sounds. In the first orchestral works romantic heroes fight and suffer. Their gestures can sometimes be a bit clumsy and awkward, their earnestness reflecting the national character but the sincerity of expression is genuine.

The “Fathers” of Estonian symphony

It is a paradox that Estonian symphonic music began before the state of Estonia was founded. Only 1918, in the political chaos of the First World War the Republic of Estonia was born. The same year that a German Oswald Spengler predicted the decline of the Occident, the Estonian culture looked into the future with eyes full of hope and expectations. The crucial question was “Who are we − Estonians?” Rapid development of cultural life started in the young national state. In 1919 Tallinn Higher Music School, the predecessor of today’s Estonian Academy of Music was established. In the university town Tartu Higher Music School was founded. With their creative work and teaching Artur Kapp in Tallinn and Heino Eller in Tartu respectively give the ground and basis for the future of Estonian music.
The honorary place in Artur Kapp’s legacy is taken by five symphonies, instrumental concertos and oratorial works. His forms are monumental. His message is dramatic. He is “ours” and yet he is not. Russian flavour and romantic pathos in his music are tamed by the good old counterpoint. Sometimes, like a cool and crisp Nordic flower, Kapp’s lyric self blossoms up in his works.
Heino Eller represents the other − lyric and sensitive − trend in Estonian music. Besides the bright and radiant Russian orchestral style, his works reflect the west − the influence of impressionism and expressionism. Eller has also composed three symphonies but one does not find romantic world-weariness or Beethoven-like dramas in his work. The best part of his orchestral music consists of symphonic poems and pictures − a colourful, exalted and poetic world of paintings of nature and fantasy. Eller admires every single curve of melody in the music, he thrives for light and colour. He casts into sound form The Cries of Night and popular Burlesque, The Dawn and The Twilight glimmer in his music. Eller is one of those who does  not strangle the Estonian folk tune with the ties of romantic harmony − one of the first to express himself  “in Estonian”. Among the students of Eller are some of the most outstanding symphonists of Estonia −  Eduard Tubin (1905−1982) and later Arvo Pärt (1935), Jaan Rääts (1932) and Lepo Sumera (1950−2000).
The “Father figure” of Estonian symphony Eduard Tubin became a composer at the time when the world’s citizen Igor Stravinski experimented with different style masks and the New Vienna School was destroying tonality. Young Estonian music listens to the new sounds of Europe but avoids extremes, though, and looks for the harmony between classical romantic and folk tradition.
We do not know what paths of development Estonian music would have taken if there had not been the tragic turn in history. The Second World War destroys the young Estonian Republic. The political and cultural élite fly from the Soviet terror and take refuge in the West. Hundreds of thousands are killed. Eduard Tubin emigrates into Sweden and casts his pain and frustration into the Fifth Symphony. The 10 symphonies by Eduard Tubin (1934−1973) reflect history, the first ones depicting the mystery of legends and self-consciuosness of the nation, the later ones expressing the loneliness and nostalgy of exile. The continence of Tubin’s musical language seems almost modern, were it not held together by its conservative form. Both, the neoclassic puls of rhythm and motives of monotonous Estonian runo throb together in his ostinatos. Until today Tubin is the symbol of a tragic interruption in culture.

“The golden age” of Estonian music

The year 1945 brings Soviet occupation into Estonia. Repressions of culture and its supporters continue. The magic formula of Soviet culture is “its socialist content and a national form”. But a nation’s will to live is irrepressible: Estonian culture starts to rebuild itself. After the death of Stalin in 1953 the ideological oppression is deminishing.
A new young generation with new sounds is coming into Estonian music. That period will later be called “the golden age”. The starworks of the new era are Concerto Grosso (1956) by Eino Tamberg (1930), Concerto for chamber orchestra No 1, Op16 (1961) by Jaan Rääts and Overture No 2 (1959) by Veljo Tormis (1930). Despite the different messages their common denominator is the neoclassic pulse of rhythm.
Soviet pathos and modernist chastity come to an agreement in the ostinatos of the Concerto for Chamber Orchestra by Rääts. History and suffering have been overcome. A small amount of very typical Estonian irony is concealed behind the rhythms.
Eino Tamberg takes a road in the opposite direction. Despite the neoclassic kickoff his music breathes with tradition. Tamberg becomes the poet and bard of love in Estonian music. With sounds, his works unite forms of poetry, literature and fine arts. Tamberg is the author of numerous stage pieces, instrumental concertos as well as four symphonies (1978, 1986, 1989, 1998). The common denominator in his creation is a strong dramatic basis. It is served by his pluralist language of music: minimalism and expressionism, romantic harmony and modern ostinatos. More and more, expressionist sound form takes over in his work during the 90s. To sum it up Tamberg is a romantic and a playwright. Symbols of beauty glimmer in his music and regardless of the means he is striving for catharsis.
Also, Overture No 2 (1961) by Veljo Tormis was not a pure neoclassic play of form. The tragic ostinatos of this work carry on the rhythm of protest from the Fifth Symphony by Eduard Tubin.

The Time of Synthesis

While modernism in Europe becomes more and more a sheer play of form, in Estonia it starts speaking in different secret languages. Tormis opts for choral sound and folk tune. Arvo Pärt takes the road from tragic collage to tintinnabuli-style. From the 70s onwards Estonian music is not only seeking new means of expression but also new ideas. In the 80s synthesis of expression is being looked for.
Lepo Sumera (1950−2000), the last student of Heino Eller and one of the most brilliant Estonian symphonists is the first seeker of synthesis. In his 1st and 2nd symphonies (1981, 1984) dreamlike minimalist repetitions and large-scale dynamics melt into one. In the next ones (3rd − 1988, 4th “Serena Borealis” − 1992, 5th − 1995, 6th − 2000) his expressionist mode of speech deepens. The forms of tenderness and brutality collide. Soundchaos alternates with frozen time. As a symphonist Sumera is mercilessly earnest. In smaller orchestral forms he affords the child’s play of sound imitations. Sumera’s syntheses are intuitive and sensitive. From the effort to unite almost romantic flights of soul rise.
In the 80s also Erkki-Sven Tüür, a student of Rääts and Sumera, finds his way into Estonian music. Physically residing on a small Estonian island of Hiiumaa he creates his work in the global sound space. Music by Tüür today is commissioned by renowned international musicians and is more often than not first performed on the world’s stages. Tüür’s aim is provocative and reckless – to melt into music a “catalogue” of the 20th century styles. He has composed five symphonies (1984, 1987, 1997, 2002, 2004), instrumental concertos, a number of shorter symphonic pieces, an opera, a cycle for chamber ensemble Architectonics. There are undercurrents from the neostyle sources and rock music to sonorism and minimalism in his music. It could be taken for a pure fun of experimentalism. While listening one might perceive Tüür’s sound as if from another world − it is like a reflection of human existential consciousness − metaphysical desert of soul, lonely battles. In the recent works by Tüür one can sense the passion and tenderness of monologue, neoromantic glimmer, the signs of reconciliation and beauty.
At the beginning of the 90s Estonia re-established its independence. Estonian music got switched into the blood circulation of global culture. Symphonic music acquired new forms, masterly sound painting, exotic styles of melody − and new sense of life. The dominance of romantic drama and rhythm machine was broken. The names of Helena Tulve (1972), Toivo Tulev (1958), Tõnu Kõrvits (1969) and many more have found their way into the world. The music of today depicts dangerous and beautiful landscapes of human consciousness − or paints pictures of nature. Sometimes it is quite close to the sense of life that shimmers in the pictures of fantasy by the national classic Heino Eller.

Evi Arujärv
Translated by Tiina Jokinen

The Estonian National Symphony Orchestra (ERSO) traces its roots back to Dec 18, 1926, to the first concert broadcast by Tallinn Radio. The ensemble’s ranks grew steadily, and by 1939 the Radio Broadcasting Symphony Orchestra included 39 performers. In 1939, one of Estonia’s most outstanding musical figures of the day, Olav Roots, accepted the role of orchestra director. With Roots as director, the orchestra continued to perform symphonies in Tallinn throughout the WW II period. In 1942 a sinfonietta was formed of those musicians mobilized to Yaroslavl. It was with this sinfonietta that the distinguished conductor Roman Matsov began his career. In Autumn 1944, having returned to Tallinn, the sinfonietta united with the Radio Symphony Orchestra. In the post-war years, the orchestra was directed by Leo Tauts, Sergei Prohhorov and Roman Matsov, who was principal conductor from 1950−1963. By 1956 the orchestra had 90 members. Neeme Järvi joined the Estonian Radio Symphony Orchestra in 1960, where he continued as principal conductor from 1963−1979. Under Neeme Järvi’s direction, the orchestra’s repertoire expanded markedly, as did its activities. In 1975 the orchestra was renamed the Estonian National Symphony Orchestra. One year later, the ERSO collaborated with Estonian TV and Estonian Radio to present the regular concert series “Studio Hour with the ERSO” featuring classics as well as new works by Estonian composers. From 1980−1990, Peeter Lilje was appointed principal conductor. From the season 2001/2002 the principal conductor and music director of the Estonian National Symphony Orchestra is a renowned performer of St Petersburg’s new school of conductors, Nikolai Alexeev. For decades, the Estonian National Symphony Orchestra has been the sole professional symphony orchestra in Estonia. Today the orchestra has 100 musicians. The average season includes 60 concerts.

The ERSO records music for Estonian Radio regularly, and has also worked with such recording companies as: Virgin Classics, Alba Records, BIS, Antes Edition, Globe, Signum, Ondine, Warner Classics / Finlandia Records, ERP, Melodija and others.
Previous ERSO performances abroad have included Yehudi Menuhin’s festival Gstaad Musiksommer in Switzerland, the Europamusicale festival in Munich, Germany, and performances in the Grand Hall of the St Petersburg Philharmonic, the Grand Hall of the Moscow Conservatory; concerts in Germany, Italy, Finland, Sweden, Kuwait, Bulgaria, Rumania, Latvia, Lithuania, and elsewhere.
Past and present conductors: Igor Stravinski, Kurt Sanderling, Arvids and Māris Jansons, Kurt Mazur, Jevgeni Svetlanov, Paavo Berglund, Leif Segerstam, Yuri Temirkanov, Nikolai Alexeev, Neeme Järvi, Paavo Järvi, Kristjan Järvi, Muhai Tang, Gilbert Kaplan, En Shao, John Storgards, Rolf Gupta, Gintaras Rinkevičius, Jorma Panula, Olari Elts, Tõnu Kaljuste, Paul Mägi, Andres Mustonen, and many others. Guest artists: José Carreras, David and Igor Oitsrakh, Gidon Kremer, Tatiana Grindenko, Liana Issakadze, Vladimir Spivakov, Viktor Tretiakov, Sergei Stadler, Yuri Bashmet, Natalia Gutman, Arto Noras, David Geringas, Gennady Zut, Emil Gilels, Boris Berman, Olli Mustonen, Håkan Hagegard, Peter Donohoe, Thomas Indermühle, Frederic Chiu, Kalle Randalu and many others.

Download: Estonian National Symphony Orchestra, photo by Jarek Jõepera, jpg, 300 dpi, 1.3 MB

Press resonance

Other recordings of Estonian orchestral works by ERP: Tubin, Eduard Tubin and His Time, A Chant af Bamboo, Paavo Järvi Conducts EUYO at Glasperlenspiel Festival, Musica triste, Koidust kodumaise viisini, Somnium Boreale, Enter Denter

Other recordings of Neeme Järvi by ERP: Toivo Nahkur, Neeme Järvi & ENSO, OSR Neeme Järvi

Distribution in Estonia by Easy Living Music, This email address is being protected from spambots. You need JavaScript enabled to view it. , phone +372 51 06058
Distribution in Japan by Gats Production, This email address is being protected from spambots. You need JavaScript enabled to view it. , phone +81 3 39025118, fax +81 3 52493259

PEETER VÄHI

2000 Years
After the Birth of Christ

Every page of the score radiates with the author’s conviction that he is standing at “the end of the cultural history of the Occident”. It may sound too pretentious, but in my eyes “2000 Years After The Birth Of Christ” is something like a philosophical-musical summary of the history of Europe. (CD-booklet, 1995)

#10, Himmelan geht unsre Bahn, fragment, 2 min 4 sec, mp3

Lyrics in German language by German Christian poets of 16–18th century: Martin Luther, Benj Schmolck, I Scheffler, Ludämilia Elisabeth (Markgräfin von Schwarzburg-Rudolstadt), Gerh Tersteegen

Performed by Kaia Urb (soprano), Early Music Consort “Hortus Musicus”, The “Bad” Orchestra

HORTUS MUSICUS: 
Andres Mustonen – violin, bells, artistic director
Helle Mustonen – soprano
Joosep Vahermägi – tenor
Jaan Arder – tenor
Riho Ridbeck – bass
Neeme Punder – descant and sopranino recorders
Olev Ainomäe – descant bombardone
Tõnis Kuurme – bass dulcian
Valter Jürgenson – alto and tenor trombones
Mail Sildos – violin
Peeter Klaas – alto and tenor viola da gambas
Imre Eenma – violone
Ivo Sillamaa – harpsichord

Recorded at the Tallinn City Hall (Matrix Audio Studio), in 1993
Engineered by Indrek Patte
Mastered by Enno Mäemets, EditRoom / Finland
Booklet: 16 pages in German, English, French, Italian, and Estonian languages
Thanks: Ministry of Culture of Estonia
Design by Everi Vähi
Published by Edition 49

ADD, Stereo
Total time 51:42
n©b / GEMA
1995 Forte Records FD 0016/2
1995 Antes Edition Classics BM-CD 31.9059

This extensive composition is based not so much on musical ideas, but rather on conceptions derived from the author’s world view. Vähi’s philosophical and aesthetic viewpoints regarding music history seem to be highly subjective, and yet they are interesting and fully relevant as the basis for his composition.
The author himself has written in the concert-program: “I tried to contrast two absolutely different sides. One of them is the stylized music of the European Golden Age, as performed by the Early Music Consort. This is contrasted with the music of Untergang des Abendlandes, performed by a contemporary symphony orchestra. It is true that we still do live in 20th century, but the era of extreme avant-garde is over and so it is possible to take a retrospective approach to it as a phenomena belonging to the past. In order to achieve a sharper contrast in essence and also some outward theatricality, I originally planned a separate conductor for each orchestra, but due to technical complexity the idea will not be carried out in the present performance. /.../ Being aware that it is hardly possible to date the ups and downs of European culture or to define them in the terms of styles of music, I do not try to pretend to be objective in my estimations. The creation of music is a very personal, one might even say, an intimate matter. And in the process of creating the present work, the only thing that mattered was that I thought so... The rest is of no importance.”
The first performance (1990) was a source of controversies in the musical circles. I about a week’s time, reviews were published in almost all of the greatest newspapers of Estonia. I fully agree with one of the critics who said that Vähi’s intuition turned out to be deeper than the verbal principles formulated by him in the program. The work has many more faces which the composer would not or could not point out. The work reflects, to some extent, the attitude of Estonians towards Lutherian Christianity, the attitude of the Baltic people towards the German culture. Also, his music reveals the composer’s power to transcend the duality of good and bad, to transcend the dualist world view... Every page of the score radiates with the author’s conviction that he is standing at “the end of the cultural history of the Occident”. It may sound too pretentious, but in my eyes 2000 Years After the Birth of Christ is something like a philosophical-musical summary of the history of Europe.

K W Damm

In 1972 the first performance of the early music consort Hortus Musicus (‘Music Garden’) initiated a new tradition in the Estonian music life. The founder, leader, and most radiant figure of Hortus Musicus is Andres Mustonen. The consort has been the first in the Estonian interpretation lore, one of the first of the Soviet Union and the Nordic countries to bring so methodically and such interesting programs the rich and largely undiscovered inheritance of early music closer to the listener. The real province of Hortus Musicus is non-ethnical European music from its start to late Renaissance and the masters of Baroque. This also explains the choice of instruments and the cast of the consort. The musicians are not only interested in the beauty of the lyrics and music but rather try to interpret the era as such and convey their attitude to what is being performed. Each Hortus Musicus’ evening is like a musical performance with original instruments and authentic attire. The staging is polished and “through-composed” – everything is essential, from strokes to the chair on which the musician is sitting on the stage. In short, you are attending ”...attractive and technically sure performances...” (The New York Times). The intense and wide scale concert life has secured concert halls for Hortus Musicus nights in different parts of the world. From the start, Hortus Musicus has participated in number of international festivals and music festivities (Holland Festival, Die Berliner Festwochen, Glasperlenspiel, Music of Old Cracow, Tel Aviv Festival, Copenhagen Summer, Helsinki Festival, Bratislava Autumn, Malmö Baroque, Prague Spring, Dubrovnik and Plovdiv Festivals, Boston Festival). Since 1976, Hortus Musicus has worked under the auspices of Eesti Kontsert, the National Concert Institute of Estonia.

Other recordings of Hortus Musicus: Early Music of 3rd Millennium, Gregorianische Choräle – Plainchants, Ave ..., Maypole, 1200–1600 Medieval-Renaissance, Vuestros Amores He Señora, Telemann. Quartets, To His Highness Salvador D, Jerusalem, canto:)

See other records of Peeter Vähi: Maria Magdalena, A Chant of Bamboo, Supreme Silence, To His Highness Salvador D, Tamula Fire Collage, The Path to the Heart of Asia, Handbell Symphony, Sounds of the Silver Moon

Press resonance

Distribution in Estonia by Edition 49, Forte Records and Easy-Living Music; distribution in Germany by Bella Musica and Edition 49, worldide distribution by CD Universe