Stephen McNeff_Beyond the Garden_EP73520_Score_ISSUU Version - For perusal only by ScoresOnDemand

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MCNEFF

Beyond the Garden

Chamber Opera in One Act

Libretto by Aoife Mannix

Full Score

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STEPHEN MCNEFF

Beyond the Garden

Chamber Opera in One Act

Libretto by Aoife Mannix

Full Score

POD PETERS on demand

LEIP ZI G · L ONDO N · NE W YOR K

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CHARACTERS

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Klara Soprano

Ottilia

INSTRUMENTATION

Clarinet (bass clarinet)

Violin

Double Bass

Harp (piano*)

Percussion**

Mezzo Soprano

* There is an important piano part in Scene 4, but this could be played by the conductor using an electronic keyboard

** Vibraphone, xylophone, glockenspiel, crotales, snare drum, tom toms, bass drum, tam tam, suspended cymbal, triangle, guiro, cabasa, tambourine, wind chimes, egg shaker, ratchet, tubular bell (low E fat)

The action takes place continuously, but is broken into a prologue and seven scenes Although specifc times are referred to, the style of the staging could suggest a timelessness and an imaginary world that is – at least in part – entirely in Ottilia’s imagination

Duration: approx 60 minutes

Commissioned by Slovenia Chamber Music Theatre, with additional assistance from The Hinrichsen Foundation and the RVW Trust.

First performance on 5 September 2020 in Cankarjev dom, Ljubljana, Slovenia, with Susan Bickley (Ottilia) and Katja Konvalinka (Klara). The production was directed by Rocc and conducted by Simon Dvoršak. A co-production between Slovenian Chamber Music Theatre (Slovensko komorno glasbeno gledališče), opera povera (Češka) and Cankarjev dom Ljubljana.

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*WhyLorddidyoudespisememyjoyandcomfortstake? Andinthefleshchastizedmeornonebutmysoul’ssake. Yourkingdom’speaceandpleasuresIdidnolongersee. Untilyoubroughtyourtreasures,bestowedyourgraceonme.(PaulGerhardt,1653)

Klaraspeaksasiftoherself... *Washastduunterlassen zumeinemTrostundFreud, U alsLeibundSeelesaßen inihremgrößtenLeid?

After1stdialoguestops

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Thereisice intheair. The

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inhisarms. Hethrewmein theair

un-paidbills,distant - gunfire, allthesmallcracksintheglass.

col-oursthatwere the

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KlaraishelpingOttiliadress.Ottiliaisnotcooperativeanddancesaroundtheroom.

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turnedonthelight toshow therewas no birdgirlhaunting - theglass. Sometimes

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Whosayyoucan’tgetaman

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oth parlante -erguestsarrive.

Klaraslowlyunwrapsthepresentandstaresatitinhorror.

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misun - -derstand, - Youmisun - -derstand, - Iwasnever - avictim, - somehelpless - prey. Iwaslikeapresent, - he

yousayso,

needed - it 3 thatway. SoIdeci --dedtopay, soIdeci - -dedtopay. Asmallpricefor (*dashedslur=amorepronounced,sigh-likeportamento) genius, - forpeace andqui

-et, peaceand

quiet. -

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doc firmly Klarabindsthewound. -tor said youshouldgivethisup.

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night you rana-way.

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night we rana-way. Here's tous,let'scele - -brate.

Let'scele --bratethe night you ranaway.

thankedthesaints above.

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He painted - meinflames, sold thewind.

a-borted - hisbaby,

lefthimbroken - andalone.

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whenthewholeworldsang ofdeath. He hadahole inhislung, a hole inhishead, the

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a spi der - spin-ning fine webs, Not a muse, buta cheap whore,

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sane, thewholeworldsang ofdeath. whenthewholeworldsang of death the &

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youcouldbe, youcouldbe theirflowering - angel, 4 - flower ppleggiero -ingangel. 5 -

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(Spoken):"Iapologise. Youwerenevercheap..."

Moremeasured-distantq=60

Don'tyouhearthedoor?

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examiningthedarkness

Butcomein, I'vealways - wanted - youtomeetmy

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When f youwereborn, Iwouldn't - letyourfather - seeyou. Youare getting - bet-ter, getting - better. -

toldhim I wasgetting - bet-ter, Youtoldhim I wasgetting - bet-ter. you

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AsinthePrologue-Slowly

Klara(spokenadlib.veryquietly):*Washastduunterlassen zumeinemTrostundFreud,

*Washastduunterlassen zumeinemTrostundFreud, alsLeibundSeelesaßen inihremgrößtenLeid?

Klara:AlsmirdasReichgenommen, daFriedundFreudelacht,

I'm (quasirecit.)

sonsétouffés

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dabistdu,meinHeil,kommen undhastmichfrohgemacht....

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hopeless - atsaying - goodbye. - Ithought maybe - whenthiswinter's - over, - wecouldspendEaster - toge - ther, -

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Yourfacecracked

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But

youwent so longa-go I knowthatnow, I begged tohaveyoubackforspring,just one day.

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Stephen McNeff

Stephen McNeff (b. 1951) studied at the Royal Academy of Music and has worked extensively in opera and music theatre, holding residences at Contact Theatre in Manchester, the Banff Centre, the Cabrillo Festival in California, Lawrence University and Comus Music Theatre in Canada. From 2005–2008 he was composer in residence with the Bournemouth Symphony Orchestra where he wrote three major orchestral works, Heiligenstadt, Secret Destinations, Sinfonia and the choral work Weathers. He won the British Composer Award for Best Stage Work in 2007. At the Royal Opera he is known for Clockwork (from Philip Pullman’s novel) and Gentle Giant

Stephen McNeff (*1951) studierte an der Royal Academy of Music und hatte zahlreiche Positionen im Bereich Oper und Musiktheater inne, darunter Residenzen am Contact Theatre in Manchester, am Banff Centre, beim kalifornischen Cabrillo Festival, an der Lawrence University sowie am Comus Music Theatre in Kanada. Von 2005 bis 2008 war er Composer in Residence beim Bournemouth Symphony Orchestra; hier entstanden die drei großen Orchesterwerke Heiligenstadt, Secret Destinations und Sinfonia sowie das Chorwerk Weathers. 2007 gewann er den British Composer Award für das beste Bühnenwerk. Auf der Bühne von Covent Garden ist er mit Clockwork (nach dem Roman von Philip Pullman) und Gentle Giant hervorgetreten.