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The apothecary by Joseph Haydn : a production thesis Henrikson, Steven 1975

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THE,  A P O T H E C A R Y  BY JOSEPH HAYDN:  A PRODUCTION THESIS by Steven  Tracy  Henrikson  B. Mus., U n i v e r s i t y o f B r i t i s h Columbia, 1967  A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC  in the Department of Music  We accept t h i s thesis as conforming  to the  required standard  THE  UNIVERSITY OF BRITISH COLUMBIA August, 1975  In p r e s e n t i n g t h i s  thesis  in p a r t i a l  f u l f i l m e n t of  the requirements  for  an advanced degree at the U n i v e r s i t y ,of B r i t i s h C o l u m b i a , I agree that the L i b r a r y s h a l l make i t  freely  available for  r e f e r e n c e and s t u d y .  I f u r t h e r agree t h a t p e r m i s s i o n f o r e x t e n s i v e c o p y i n g o f  this  thesis  f o r s c h o l a r l y purposes may be g r a n t e d by the Head of my Department by h i s r e p r e s e n t a t i v e s . of  this  thesis for  It  financial  i s u n d e r s t o o d that c o p y i n g o r  Department of  Musi c  The U n i v e r s i t y o f B r i t i s h Columbia 2075 W e s b r o o k P l a c e V a n c o u v e r , Canada V6T 1W5  Date  O c t o b e r 1,  1975.  publication  g a i n s h a l l not be a l l o w e d w i t h o u t my  written permission.  or  ABSTRACT  The f o l l o w i n g d i s s e r t a t i o n o u t l i n e s i n d e t a i l the steps f o l l o w e d i n p r o d u c i n g The Apothecary, an opera by Joseph Haydn, w r i t t e n i n 176 8.  An opera had to be  chosen  t h a t would meet the r e s t r i c t i o n s o f an opera workshop: l i m i t e d number o f s i n g e r s , young v o i c e s , and  simplicity  of d e s i g n . A t r a n s l a t i o n from the German t e x t i n t o a s i n g a b l e E n g l i s h t r a n s l a t i o n was  f i r s t required.  u l e was  T h i s had to accommodate a t i m e t a b l e  then drawn up.  i n v o l v i n g o t h e r opera e x c e r p t s .  A rehearsal  A l s o needed was  sched-  a break-  down o f the opera i n t o a number o f scenes f o r both m u s i c a l and s t a g i n g r e h e a r s a l s . Time and r e s e a r c h were g i v e n to the s t a g i n g , d e s i g n i n g of the s e t t i n g , and l i g h t i n g o f the same. put i n t o e f f e c t .  Conducting was  These were then  a l s o s t u d i e d and  applied  as the f i n a l d i s c i p l i n e to c o - o r d i n a t e the work f o r performance . Joseph Haydn's The Apothecary met ments o f an opera workshop.  the l i m i t i n g  require-  The candidate a l s o e x p e r i e n c e d  the m u l t i p l i c i t y o f problems met when producing an opera. The work presented a good c h a l l e n g e , and an e x c e l l e n t ing s i t u a t i o n f o r future  application.  learn-  iii  TABLE OF CONTENTS  I  CHOOSING THE WORK  1  II  ORGANIZATION AND  REALIZATION OF PROJECT  5  III  CONSTRUCTION AND  PLANNING OF SCENERY  AND  IV  V  LIGHTING  21  MUSICAL REALIZATION  30  FINAL APPRAISAL  37  BIBLIOGRAPHY APPENDICES:  40  I II III  Scene  42  Breakdown  Rehearsal Schedule  43  C o l o u r e d Photos  44  of Setting  IV  List  of  Properties  47  V  List  of  Expenses  49  VI VII  Lighting Cue  Flash-pot  IX  Programme  XI XII  Schedule  51 52  Sheet  VIII  X  Instrument  53  Diagram  54  o f Performance  55  X e r o x Copy o f S c o r e -Key t o symbols u s e d i n S t a g e direction  151  Scale  152)  s-e^^vvCtb  15 3J  ^ z k ^  Drawing  Lighting  Plot  of Setting (diagram)  (diagram)  iv  LIST OF ILLUSTRATIONS  Plate I  Initial  sketch A  14  Plate II  Initial  sketch B  15  Plate I I I  Search  P l a t e IV  P e r s p e c t i v e sketches  IV  Plate V  F i n a l design concept, p l a n and e l e v a t i o n  20  for alternatives  16  CHAPTER  ONE  CHOOSING THE The  Apothecary,  in  the o p e r a t i c  in  t h e work a r o u n d  tion  by J o s e p h Haydn, i s n o t o r d i n a r y  repetoire.  a flowering of  the t u r n o f the c e n t u r y w i t h the Robert H i r s c h f e l d  t h e work i s o n l y o c c a s i o n a l l y p e r f o r m e d .  however, i s v e r y c h a r m i n g ; Further, of  T h e r e was  o f t h e o n e - a c t v e r s i o n by  today  WORK  four  ideal  the s t o r y  i t s one-act, one-scene solo  s i n g e r s and  i s witty  involved  severe  are seldom  to those a t v a r y i n g  stages o f development,  are j u s t b e g i n n i n g t h e i r  Secondly,  chorus  few  involvement  to the t o t a l  s i t u a t i o n s have a f u l l ,  Chorus  v o l u n t e e r s who  other projects.  music,  amusing.  limitations. product",  and  yet not  short  scheme o f t h i n g s trained  and  rela-  because  chorus.  i n an o p e r a w o r k s h o p a r e are a l s o  Best r e s u l t s  1  involved  often  i n a number o f  a r e most o f t e n o b t a i n e d  s u c h a g r o u p when t h e r e h e a r s a l s  over-  study of opera.  s h o u l d be  separately  members p a r t i c i p a t i n g  good-natured  and  but  must p r e s e n t a c h a l l e n g e  t a x t h o s e who  unimportant  The  a "finished  t o be p e r f o r m e d  tively  i n 1895,  situation.  so t h e works c h o s e n  any  publica-  s m a l l e n d i n g c h o r u s make i t an•  O p e r a w o r k s h o p s have some r a t h e r the s i n g e r s  interest  f o r m a t and m o d e s t r e s o u r c e s  c h o i c e f o r an o p e r a workshop  Firstly,  fare  are very i n t e n s e ,  but  from  2  occurring  over  possibility  a short p e r i o d of time.  i s t h e c h o i c e o f an o p e r a  Another  i n which the  work i n v o l v e s a s m a l l number o f p e o p l e , the e n t i r e who  chorus  are not  i n v o l v e d as s o l o i s t s  work c h o s e n .  In e i t h e r  r e v o l v e s around Few fore,  in  so  per  situation,  particular  i n which the  are b e s t  and  t h e s i n g i n g must p r o b a b l y  painting  o f the  scenery,  the running of the p e r f o r m a n c e s —  and,  plot  avoided.  w o r k s h o p s have a f u l l - t i m e b a c k - s t a g e do  staff.  assist  There-  i n the  as much as  possible,  a r a t h e r demanding  ment i n d e e d !  For these reasons,  t h e c h o i c e o f an o p e r a  i n g one  stage  few  basic  the performance is  the f i n a l  stage  setting with  "effects"  i s a d e s i r a b l e one.  b l o w t o t h o s e who  setting.  A clever  stage  The  locale total  and  dream a b o u t  sary c o n s i d e r a t i o n . culty  sustaining  over-extravagant  set incorporating  nature  a l o n g and  requir-  occurring during  simplicity  solution.  o f t h e work i s a l s o  s l o w l y - p a c e d work.  o f s o l o s and  of  m a t e r i a l s , and  Less-experienced performers  a quick-changing mixture one  an  mood i s t h e most p r a c t i c a l  l e n g t h and  require-  A s m a l l o p e r a t i n g budget  d e s i g n , c o n s t r u c t i o n , a minimum o f b u i l d i n g evoking  that  i n the workshop  se i n t h e  operas  chorus  small i n fact  of s o l o i s t s  l a r g e crowd scenes  t h o s e who  building  can be made up  favourable  have  a  necesdiffi-  A comedy w i t h  e n s e m b l e s , and  of  about  h o u r i n l e n g t h p r o v i d e s ample o p p o r t u n i t y f o r w o r k s h o p  participants  to develop  d r i v e n beyond t h e i r  their basic  skills,  i m m e d i a t e v o c a l and  When, a s i s o f t e n t h e c a s e , no  and  yet not  dramatic  be  potential.  orchestra i s available  o p e r a w o r k s h o p p r o d u c t i o n , t h e s i n g e r s must be  accompanied  for by  3 piano during standard  the  p e r f o r m a n c e s as  operas are  printed  well  i n the  a d e q u a t e accompaniment m a t e r i a l s tions as  are  the  rehearsals.  piano-vocal  Most  format, making  readily available.  u s u a l l y those operas which are  forgotten  not  as  extremely  The  excep-  rare,  such  h i s t o r i c a l w o r k s , o r modern works t h a t e i t h e r h a v e  been p e r f o r m e d , o r have n o t  as  yet  aroused  sufficient  pub-  lisher interest. S h o u l d an that  the  orchestra  be  a v a i l a b l e , i t must be  u n i v e r s i t y or music s c h o o l  orchestra.  Much g r i e f  i s spared  can  at best  i f highly  offer a  virtuosic  accompaniments r e q u i r i n g a number o f more e x o t i c are  avoided.  Assuredly,  added s t a n d a r d bled. are,  a. c o r e  The after  original  This  manuscript.  produce the made t h e  version,  Also, in  the  While  choice  instruments  players  percussion  logical  the  with a can  Apothecary  first  number o f da  p a r t of  To  the  the  H.  C.  be  assem-  of great  made version,  of  value  much o f  w o u l d have b e e n w a s t e d  capo "number" a r i a s .  to  for this  century,  have  the h i s t o r because  production.  s t y l e o f o p e r a t h a t was  eighteenth  Haydn's  f a c t o r s would  begin with,  and  Robbins-  remaining parts  orchestra  i s i n the  few  choices.  three-act  e d i t e d by  a number o f  occasion an  to the  i t w o u l d be  unsuitable.  u n a v a i l a b i l i t y of The  of  complete v e r s i o n ,  i n t e r e s t of  the  orchestral  c h o o s i n g o f H i r s c h f e l d ' s o n e - a c t v e r s i o n was  i n 1970.  student  o r c h e s t r a l accompaniment  o r c h e s t r a l standpoint,  Landon, i s a r e - c o n s t r u c t i o n  of  and  giving careful consideration  published  ical  string  woodwinds, b r a s s e s ,  Many o p e r a s have s u c h an from t h e  of  remembered  current  involving a  Experienced  large  professionals  4  have d i f f i c u l t y  s u s t a i n i n g the  this  the  length  of  task  nearly  impossible,  style  would  over  find  the  their voices. for  The  total  c o n s i d e r a t i o n of  ment.  A  significant  vided with  i n t e r e s t and a full  cast of  t h e work as  r o l e s to s i n g .  three-act  four  opportunity  In  students  easily  i s too  of  strain  limited  evening's e n t e r t a i n -  T h e i r needs are  t h i s way,  opera;  could  singers  demands  programme w o u l d n o t  a performance embracing a combination short one-act operas.  and  a full  number i n t h e  vocal  better  be  served  of opera excerpts  each person would  to prepare s e v e r a l d i f f e r e n t  s t y l e s of  proby  or  have  singing  and  acting. The in  the  o n e - a c t v e r s i o n o f Haydn's The  basic l i m i t a t i o n s already  c h o s e n as  an  duced w i t h i n programme.  ideal the  Apothecary  listed,  and  was  vehicle for a thesis production  University of B r i t i s h  fitted  with-  therefore t o be  pro-  Columbia o p e r a workshop  CHAPTER ORGANIZATION  AND  B e f o r e any p l a n n i n g  point,  REALIZATION OF PROJECT could  t i o n h a d t o be c r e a t e d . workshop t o l e a r n  begin,  Singers  a singable  transla-  n o r m a l l y e n r o l l i n an o p e r a  s t y l e s o f m u s i c and a c t i n g .  Few, a t t h i s  have m a s t e r e d t h e s i n g i n g o f a n o t h e r l a n g u a g e , and a r e  most a t home w i t h  their native  Since  the l e a r n i n g  tive,  and t i m e i s e x t r e m e l y  o f another  to conduct r e h e a r s a l s German t e x t  edition  l i m i t e d , i t i s an o b v i o u s  The t a s k  was  began w i t h  facilitated  German p h r a s e s d u r i n g  i n Germany and A u s t r i a .  several  objecdecision  Only a  As no o t h e r  the c r e a t i o n o f  through having  learned  years of professional  The t r a n s l a t i o n i s i n c l u d e d  t h e accompanying Xerox copy o f t h e s c o r e , Casting  case.  E d i t i o n o f Robert  o f The A p o t h e c a r y .  i s available, preparations  idiomatic  i n this  l a n g u a g e i s n o t t h e main  i n the U n i v e r s a l  one-act version  a translation.  singing  tongue, E n g l i s h ,  and p e r f o r m a n c e s i n E n g l i s h .  i s included  Hirschfeld's  in  TWO  was a s i m p l e m a t t e r , w i t h  Appendix  two s i n g e r s  X.  f o r each  part being  a v a i l a b l e through the enrollment of the U n i v e r s i t y  of B r i t i s h  C o l u m b i a o p e r a w o r k s h o p programme.  t i o n was t h e p a r t required ideal  of the tenor.  to e n l i s t  f o r the p a r t .  Considerable  t h e a i d o f one t e n o r who, The t e n o r e v e n t u a l l y  ances, a l l other p a r t s  alternated.  5  The one e x c e p searching  was  fortunately,  sang b o t h  was  perform-  6  The  proper a l l o c a t i o n  priority. logical of  The o n e - a c t o p e r a was  sections.  t i m e was t h e n e x t b r o k e n down i n t o a rehearsal  scheduling  Some s c e n e s a r e more d i f f i c u l t  b e c a u s e o f t h e number o f c h a r a c t e r s  complexity had  first  s e r i e s o f scenes t o f a c i l i t a t e  specific  others  of rehearsal  involved,  than or the  o f t h e m u s i c o r a c t i n g , and so more r e h e a r s a l  t o be a l l o t t e d  t o them.  time  The s c e n e breakdown i s i n c l u d e d  i n Appendix I. Rehearsal  planning  i s o f t e n made d i f f i c u l t  ness which causes s i n g e r s rehearsal. learning ing  Further,  and s t a g i n g  to cancel  the s i n g e r s  realized,  flexible  plans  c h o r u s was managed i n t h e l a s t  cated  limited  rehearsal  t h e more a c c o m p l i s h e d .  of  develop a b a s i c  singers  was  s c e n e s when  I I . M o s t o f t h e work  original  with  few r e h e a r s a l s . o n s t a g e was  time d i d n o t a l l o w  compli-  i n the c a s t . for special  Also,  sessions  o f the l e s s experienced  to that of  The f o l l o w i n g a p p r o a c h was  decided  concept o f each o f the four  t h e drama; a d a p t and b r o a d e n t h e e x i s t i n g s k i l l s  participating  To  s c h e d u l e o f The  d i s p a r i t y of experience  to r a i s e the a c t i n g l e v e l  upon:  other  result-  to scheduling.  of a l l activities  o f t h e a c t i n g and movement  by t h e g r e a t  simultaneously  o p e r a s , and t h e i r  The r e h e a r s a l  c a n be s e e n i n A p p e n d i x  Planning  the  a plan  enough t o r e h e a r s e  h a d t o be c a n c e l l e d .  Apothecary the  i n v o l v e d were  u n a v a i l a b i l i t y was a n o t h e r c o m p l i c a t i o n these d i f f i c u l t i e s ,  i l l -  their participation i n a  scenes from o t h e r  alleviate  because o f  to best  achieve  characters of the  the b a s i c concept.  The  7 basic  character  c o n c e p t s were:  Volpino-  age 30 foppish mannered scheming  Grilletta-  age 18 y o u n g - g i r l type n a t u r a l l y innocent quick-witted sincere intelligent  according  To  age 21 quick-witted self-doubting , fundamentally intelligent  these to the  s i n g e r ' s own  how  life)  age 55-60 eccentric s h o w i n g s i g n s o f s e n i l i t y as a r e s u l t o f a d v a n c i n g o l d age  Using  concepts,  the  individual  i t was  Since  courageous  c h a r a c t e r s were  singer's  p e r s o n a l i t y was  interpretations.  cast,  court  Sempronio-  Mengone-  ual  (from  abilities;  thus p r o j e c t e d three  p o s s i b l e t o see,  of  using  developed much o f  i n t o the  t h e p a r t s were the  same b a s i c  the  individdoubleconcepts,  e a c h a c t o r gave t h e p a r t a n a t u r a l l y d i f f e r e n t p o r t r a y a l . illustrate,  the  similar height, considerable  two  age,  and  experience  the  o t h e r was  the  p a r t was  men  c h o s e n t o p l a y S e m p r o n i o were  voice category.  the  vocally less  grasp of both of  type. Using  The He  more e x p e r i e n c e d  was  these  predisposed  man  to quick  natural attributes,  was and  acquired  productions,  developed.  them and  ed p o r t r a y a l s o f Sempronio's b a s i c c h a r a c t e r listed.  had  t h r o u g h o p e r a workshop  d r a m a t i c a l l y and within  One  of  both  concepts  a robust,  However, attemptas  strong, physical  d e c i s i v e movements.  his portrayal of  Sempronio  8  was  that of decaying  reckoned  with.  The  ments s l o w and frail, tion by  strength, but o t h e r was  languid.  physically-decrepit  o f power, b u t  the younger  was type,  planning opera. tional  basic will  carefully  and  their  exits  discussed  decided  on  the  stage.  a t the  a c t i o n s and  one  h i s own  centre  stage  ety  " p i c t u r e s " was  mentally  character  a c t o r was The  t h a t had  seen other  as was  simply  guided  "blocking", involved  and  analyzed  movements o f  to determine  upon, t h e  the  the  a c t o r s and  to the music.  At  this  direc-  the point a  development o f  which  p h y s i c a l placement of the  would p r e s e n t  visual  is visually  by  an  developed  one  necessary  uninteresting.  stage  side of  imbalance.  at s t a t i c  Yet,  immobile A  between  business:  the havin  balanced  p o i n t s of the  chorus  cast  p i c t u r e they  i n rows o r g r o u p s ,  f i n a l e , w i t h movement o f t h e c a s t and "pictures"  the  greed.  P l a c i n g a l l c h a r a c t e r s on  same t i m e  area,  events  i n mind the  a l l characters standing  of  posi-  later.  also n e c e s s i t a t e s keeping  stage  The  of the p r i n c i p a l  relationship  s e t t i n g was  Developing  present  by  affected  caught i n a s i t u a t i o n  work was  stage be  cornered  the p u r e l y mechanical  and  and  a  hand.  entrances  chorus,  h i s move-  p o r t r a y e d as  physically  more b a s i c s i d e o f s t a g i n g , t h e  The  be  f e a r e d because of h i s  interpretations  and  a l s o outwitted, but  The  lanky type;  successfully  the" o p e r a ' s c o n c l u s i o n a s w e l l .  gotten out of  as a f o r c e t o  people.  being outwitted,  ing  a tall,  outdistanced both  These d i f f e r i n g of  He  still  first  the vari-  opera  these of a l l  9  pleading with  S e m p r o n i o ; and t h e n  up" h i s shop.  the e n t i r e  F u r t h e r v a r i e t y was made p o s s i b l e by  members l e a v i n g and r e t u r n i n g t o t h e s t a g e to  fetch  chorus  articles  t o be " p a c k e d  occurs  fireplace  on s t a g e  the  final  scene,  the  area,  a l l o w i n g an ample m a r g i n o f s a f e t y .  Y e t , when t h e f i r e p l a c e  t h e c h a r a c t e r s were  "blocked"  The m u s i c must a l s o be c o n s i d e r e d stage. in  I t must be r e c o g n i z e d  support  acters state  o f t h e drama.  i n The A p o t h e c a r y during the l a s t  scene fragment  Example 1.  f o r rea-  around the explodes  w e l l away  in  from  i n p l a n n i n g movement on-  t h a t J o s e p h Haydn w r o t e h i s m u s i c  To e x e m p l i f y , exit  numbers  up".  A great deal of a c t i v i t y left.  chorus  i n varying  P h y s i c a l p l a c e m e n t must sometimes be c o n s i d e r e d sons o f s a f e t y .  "packing  three of the four  from the stage  char-  i n a very e x c i t e d  s i x measures o f music  i n the f o l l o w i n g  ( s e e example 1 ) :  J . Haydn, Der A p o t h e k e r , p . 76," f i n a l  j_=—  >s  k l a r l / (Sempronio  4  y \ \ r-v —' 1  wiithend ab durchMie Mittelthiire  '  klarl ebenso Volpino, den Sempronio hinausstosst (•e$cf J Grilletta wurde von Sempronio in den Wohn  klar! / •accci . ri—0  raiim rechts durch die Thiire geschoben. Mengone entwischte dem Wiithenden und 1  1  bleibt auf der Scene.'  1  —'—|  ]  r  s i x measures  10 The  a g i t a t e d nature of the music r e f l e c t s the mental  s t a t e o f the e x i t i n g c h a r a c t e r s , d r i v i n g r e l e n t l e s s l y on the f i n a l A major chord. e x i t d i r e c t l y ; to have any  T h i s suggests t h a t the one  to  characters  of them stop or h e s i t a t e  would be a g a i n s t the nature of what the music suggests. t h i s i n s t a n c e , the onstage a c t i o n i s d i c t a t e d by the and  character  form of the music. Some v a r i e t y of mood was  two  In  new  achieved  by the i n c l u s i o n of  p e r s o n a l i t i e s i n the form of non-singing  during Mengone' s a r i a , T h i s r a t h e r long and  "extras"  "A headache can be p a i n f u l too. .  r e p e t i t i o u s a r i a r e l a t e s how  h i s medicines f o r customers.  Mengone mixes  Since no a c t u a l stage movement  i s i n d i c a t e d by the t e x t o f the a r i a , and  s i n c e the  i n v o l v e d had  as an a c t o r ,  scene had  r e l a t i v e l y l i t t l e experience  a l l the p o t e n t i a l of being  the charming music. " e x t r a s " , dressed  T h i s t h r e a t was  as a p p r e n t i c e s  singer the  a d i s a s t r o u s bore, d e s p i t e overcome by having  the  of the apothecary shop, con-  duct a g r e a t d e a l of a c t i v i t y r e l a t e d to mixing medicines. i n i t s e l f c r e a t e d much stage b u s i n e s s ,  and p r o v i d e d  t i o n a l bonus of p o r t r a y i n g the a c t u a l workings o f an apothecary shop.  The  scene had  the  I t was  This  addi-  historic  comic v i t a l i t y , momentarily  r e l i e v i n g the dramatic t e n s i o n , and making i t a h i g h l y f u l musical  two  success-  number. a l s o necessary to keep the o v e r - a l l development  and pacing of the a c t i o n s h a r p l y i n focus.  Contrasting  1 Joseph Haydn, Der Apotheker (Lo S p e z i a l e ) (Vienna: U n i v e r s a l E d i t i o n , 1895), p. 12.  points  11  of excitement and repose i n the drama c r e a t e d g r e a t e r i n t e r e s t from the audience s t a n d p o i n t .  These c o n t r a s t s a l s o allowed  the d i r e c t o r to b u i l d toward e f f e c t i v e minor and major p o i n t s of climax i n the performance  o f the work.  The opening scene o f The Apothecary was  p u r p o s e l y subdued,  w i t h Mengone simply s i t t i n g a t h i s workbench, mixing medicines and musing to h i m s e l f .  The a c t i o n and p a c i n g g r a d u a l l y i n 2  creased to V o l p i n o ' s p r e s t o a r i a , After a slight l u l l  "Such arrogance unbounded..." .  i n the f o l l o w i n g r e c i t a t i v e , the a c t i o n  developed i n t o a y e t g r e a t e r peak i n the t r i o  following,  "Ah,  3  so many thousand p i l l s are here..." , as Mengone and attempt to o u t w i t Sempronio.  Grilletta  A f t e r t h i s ensemble, the pace  slowed c o n s i d e r a b l y w i t h o n l y minor climaxes b e i n g reached i n the f o l l o w i n g r e c i t a t i v e s and a r i a s by V o l p i n o , Sempronio, and G r i l l e t t a respectively.  In the t o t a l p i c t u r e , t h e i r t h r e e a r i a s  c r e a t e d a p e r i o d of repose between the opening numbers and the d r i v e to the f i n a l e t h a t begins w i t h the r e c i t a t i v e , " S p l e n d i d ! 4 The notary Mengone's ordered..." .  Here, w i t h the a d d i t i o n o f  each c h a r a c t e r , the t e n s i o n b u i l d s ; and a good climax i s reached i n the e n t h u s i a s t i c argument between V o l p i n o , Mengone, Sempro- ' n i o and G r i l l e t t a d u r i n g the ensuing q u a r t e t , "Witnessed t o 5 day are the s t a t e d i n t e n t i o n s . . . "  .  Immediately  following i s a  q u i e t , l y r i c duet scene f e a t u r i n g G r i l l e t t a and Mengone. though the stage movement slows to almost a s t a n d s t i l l , 2 Haydn, Der Apotheker, p.22. 3 I b i d . , p. 30. 4 I b i d . , p. 62. 5 I b i d . , p. 65.  Althe  12  emotional fervor love  f o r each  shattered  by  reaches  other.  The  into a flurry  i n movement and  The  It pacing music in  as t h e P a s h a .  music, of  The  the  or b u i l d  obvious  scene  by  i n t h e breakdown o f to accede  i s brought  t h e tempo and  t h e composer. was  The  builds  fireplace  t o Mengone's  t o the  drama.  t h a t a g r e a t p o r t i o n o f an  then d i r e c t i n g recitatives  as.necessary within  intensity  dramatic  opera's of  the a c t i o n acting  very quickly  for  this  framework.  concept  own  points,  the  The seen  above, d u r i n g t h e w o r k i n g  as  slow  entire of  ideas,  "blocking" i n the Xerox  or  "set", developed  out of the s t a g i n g .  I - IV, p a g e s 14-17, i l l u s t r a t e  ideas given consideration  the  X.  of the s e t t i n g ,  s k e t c h e s on p l a t e s  c a n be  climaxes  allowed to To  the  between  contribution  completed.  Apothecary  of the s c o r e , Appendix A basic  this  taken  with  these  as t r a n s i t i o n s  a c t i o n was  t h e s t a g i n g was  p r o d u c t i o n o f The  toward  The  the  approach  t o work i n a c c o r d a n c e  added t h e • d i r e c t o r ' s  and  ing  final  t h e moment o f t h e  c a u s i n g him  Apothecary  joining  s t r u c t u r e was  tioned  The  grace r e s u l t s  i n t e r v e n i n g m u s i c a l numbers.  copy  arrival  d e c i d i n g where t h e composer p l a c e d t h e m u s i c a l  the opera,  with  by  until  a q u i c k end  i s pre-determined supplied  begins  the  is  chorus  T h i s coup de  is fairly  finale  scene  o f movement w i t h t h e e n t r a n c e o f t h e  excitement  In t u r n ,  staging  of t h i s  their  erupt-  Sempronio's s e l f - c o n t r o l , demands.  serenity  express  immediately,  and V o l p i n o , d i s g u i s e d  explosion.  p e a c e and  as t h e two  the e n t r a n c e o f Sempronio announcing  of the Pasha's l e t t e r . ing  a high point  settings  f o r The  The  as menfollow-  the main  Apothecary.  13 P l a t e s I and  I I , page 14 and  f i r s t idea considered. mum  are v a r i a t i o n s o f  the  Simple backing w a l l s i n c o r p o r a t e d m i n i -  e s s e n t i a l requirements f o r a l l the ideas c o n s i d e r e d ;  main entrance pronio's cal  15,  from the s t r e e t or c o u r t y a r d ; a doorway to Sem-  l i v i n g q u a r t e r s ; another doorway to an o f f s t a g e chemi-  storage  window was  room; a workbench and  a desk f o r bookkeeping.  i n c o r p o r a t e d as a means of f u r t h e r b r e a k i n g  s u r f a c e , adding i n t e r e s t , and as a l o g i c a l source Although nothing was i t was  one  of  basically lacking in this f i r s t  The  the w a l l  light. concept,  f e l t to be u n i n s p i r e d , l a c k i n g v i s u a l i n t e r e s t , and  expressing  not  the i n h e r e n t intimacy r e q u i r e d by the s t o r y .  P l a t e I I I , page 16,  shows ideas t h a t developed i n an  e f f o r t to escape the problems i n h e r e n t i n the i n i t i a l concept. Sketches A - C e x p l o r e d v a u l t e d c e i l i n g s .  While there was  now  v i s u a l i n t e r e s t , mammoth b u i l d i n g and p r o d u c t i o n problems were presented.  Sketch D was  an attempt to c r e a t e the i l l u s i o n  of  a v a u l t e d c e i l i n g through the use of f l a t w a l l s w i t h curved edges to suggest a v a u l t e d c e i l i n g ; but the proper was  not c r e a t e d .  top  illusion  V a u l t e d c e i l i n g s were at t h i s p o i n t abandoned  as i m p r a c t i c a l . Up  to t h i s p o i n t , the sketches  A - D of P l a t e I I I were  drawn i n p e r s p e c t i v e to approximate the appearance o f the s e t t i n g from the audience. was  With sketches  e x p l o r e d as a d e v i c e i n i t s e l f .  E and F,  perspective  Sketch G was  attempt a t a f u l l p e r s p e c t i v e " s e t " .  first  In t h i s s k e t c h , the  p l a c e was  added f o r f u r t h e r v i s u a l i n t e r e s t .  sketches,  the f i r e p l a c e was  considered  the  In the  fire-  earlier  as being o f f s t a g e .  14  Plate  I  I N I T I A L SKETCH B  S£ARCH  FOR • ALTERM  ATi VES :  Plate  III  17  H  I PERSPECTIVE SKETCHES Plate  IV  18 Sketch G was  s i m p l i f i e d and developed i n t o sketch H, P l a t e  With P l a t e IV, p.17, or  IV.  i t became obvious t h a t a "raked",  s l o p i n g stage would be advantageous i n p u r s u i t of perspec-  tive.  The overhead beams i n sketch H worked w e l l to emphasize  the p e r s p e c t i v e , but seemed an unnecessary b u i l d i n g p r o j e c t i f p e r s p e c t i v e c o u l d be suggested by s i m p l e r means. disadvantage of sketch H was  The o t h e r  t h a t the chemical storage room  would have an imaginary doorway a t downstage l e f t .  T h i s was  i n c o n s i s t e n t w i t h the o t h e r a c t u a l doorways o f the " s e t " .  The  l a r g e area suggested by sketch H a l s o seemed too expansive i n f e e l i n g f o r t h i s chamber work. Sketch I condensed  the ideas of s k e t c h H i n t o a more i n t i -  mate format, and r e - i n t r o d u c e d a l l doorways. "set"  Basically,  c o u l d work f o r a p r o d u c t i o n of The Apothecary.  v i s u a l i n t e r e s t , an i n t i m a t e s e t t i n g , and was  this  I t had  functional in  s  terms of the necessary doorways and p l a y i n g areas.  However,  almost a l l of the a c t i v i t y o c c u r r i n g around the f i r e p l a c e workbench would be obscured from the audience.  and  Also, a set  b u i l t on the s c a l e of sketch I would be a major b u i l d i n g proj e c t , and beyond the means of the p r o d u c t i o n budget. A r e - t h i n k i n g of a l l ideas l e d to the f i n a l the s e t t i n g f o r The Apothecary,  P l a t e V, p.20.  f l a t w a l l s of P l a t e I I were r e - i n t r o d u c e d . e s t i n g p r i n c i p l e of p e r s p e c t i v e was I of P l a t e s I I I and IV.  The  concept of The  simple,  The v i s u a l l y  inter-  r e t a i n e d from sketches E -  f l a t w a l l s were broken  visually  by the p r o j e c t i n g corner.doorway  used on both s i d e s of the  stage i n sketch I.  p l a c e d on the stage r i g h t  A window was  19 "flat"; in  the  sketch  ther  f i r e p l a c e was  G.  L a s t l y , the  interest  the  design,  of  the  drama.  t h a t was  acting was  area  to t i e i n w e l l with  illusion  of greater  the  a very  small  a c t i n g area,  and  comic  final  use  o f normal  while  a c t i n g a r e a was  financial  stage.  The  d e c i s i o n t o use  than i n c u r r i n g the  of  the  of  the  steeply angled  ence to c e n t e r  existing  expense of  Another r e s u l t lines  an  stage  a new,  design walls  where t h e  phenomena f u l f i l l e d a p r i n c i p a l trating The included  on  the  final  actors  i n an  XI.  necesperspec-  life-size  slightly t h a t the  drew t h e  a  stage,  rather  larger  stage.  converging the  audi-  main a c t i o n t o o k p l a c e .  This  aim  of  intimate  s c a l e drawing, with  i n Appendix  feature  s m a l l because of  "raked"  was  the  design  a c t o r s appear l a r g e r than  the  the  This  t i v e w o u l d have made t h e on  elements  space, making  because development o f the  fur-  element  exaggerating  a p p e a r l a r g e r t h a n i t a c t u a l l y was.  important  sitated  the  added  p i c t u r e , a m i l d l y zany  a d d i t i o n a l bonus t h a t r e s u l t e d by  p e r s p e c t i v e was  idea o r i g i n a t i n g  exaggerated perspective  to the v i s u a l  to  An  k e p t o n s t a g e , an  the  eyes o f  s t a g i n g by  concen-  setting.  construction details,  is  ELEVATION Plate V  CHAPTER THREE CONSTRUCTION AND  PLANNING OF  S i m p l i c i t y o f design s t r u c t i o n time and  provided  costs.  The  SCENERY AND  generous b e n e f i t s i n con-  comparatively  of 1" x 3" frame c o n s t r u c t i o n covered by t o t a l c o n s t r u c t i o n o f the hours.  The  LIGHTING  inexpensive  f a c t o r y c o t t o n made  "set" possible i n r e l a t i v e l y  r e s u l t i n g l i g h t s t r u c t u r e was  on the programme of opera scenes, and  three  the l a s t  t h i s " s e t " was  item  put  the i n t e r m i s s i o n w i t h the a s s i s t a n c e of  up  only  people. The  a c q u i r i n g of a w r i t i n g desk and  two  chairs  some r a t h e r time-consuming b u i l d i n g p r o j e c t s and e r a b l y on p r o d u c t i o n The  main workbench on stage l e f t had  s t r u c t u r a l strength,  eliminated  saved  consid-  solidly  built  costs.  to support the weight of two  used.  few  a l s o a bonus l a t e r  during performances, because The Apothecary was  quickly during  method  3/4"  actors.  to be  To assure  plywood braced by  sufficient  2" x 4" beams  However, the t o t a l weight o f the workbench was  by i t s r e l a t i v e l y small s i z e , and i t without At no  two  was  limited  people were able to. move  difficulty. time d i d the f i r e p l a c e have any  p l a c e d on i t , so o v e r a l l s o l i d a r i t y was plywood top, and  the weight was  excessive  provided  strain  by a  kept to a minimum u s i n g  veneer f o r the s i d e s w i t h 1" x 3" b r a c i n g on the  21  3/4" 1/8"  four s i d e s of  22  the  base.  left the  The chimney was p e r m a n e n t l y  wall  f o r t h e sake o f speed  cotton-covered " f l a t s "  ney w o u l d have c a u s e d bracing.  The w e i g h t  bolted  i n t h e scene  were q u i t e  the e n t i r e  structure  weight,  Both  door  appearance board  and t h i n  the f i r e p l a c e  and window o p e n i n g s  t h a t many s e t t i n g s  1" x 3" b r a c i n g  cardboard to cover the  of design.  t h a t were v i s i b l e  dispelling  i s due t o t h e s i m -  desirable  i s possible  T h i s p a t h was c h o s e n  p r o d u c t i o n o f The A p o t h e c a r y  with positive  the "raked" s t a g e , which  formed  applied  the  because  o f the underlying l i g h t  impres-  for this  results. the grey  the f l o o r  and b r i g h t y e l l o w b a s e - c o a t t o t h e w a l l s .  However,  through  the v i s u a l  sion o f p h y s i c a l dimension.  of singers  to build  use o f m a t e r i a l .  and d e c o r a t i n g t o c r e a t e  A v o l u n t e e r group  to the  the two-dimensional  effect  I t i s ultimately  i n t o a " s e t " by generous  elaborate painting  chosen  light-  have.  an a c c e p t a b l e , i n e x p e n s i v e a l t e r n a t i v e  to  with  i n t h e w a l l s were g i v e n t h e  unavoidable two-dimensional  plification dimension  t o sway, e v e n  effective.  walls  a u d i e n c e , an i n e x p e n s i v e e x t r a ,  The  chim-  o f t h i c k n e s s b y a d d i t i o n o f a l e n g t h o f 1" x 6"  t o t h e edges o f t h e f l a t  effect  a heavy  and chimney u n i t s were  i n e x p e n s i v e , and v i s u a l l y  The  Since  o f t h e c h i m n e y was k e p t t o o n l y a few  t h e chimney o p e n i n g ,  main a r e a .  change.  unsteady,  pounds b y u s i n g 1/4" p l y w o o d on t h e b a c k , around  to the stage  base-coat  f o r the s e t t i n g ,  B r i g h t y e l l o w was  and c o m i c  nature o f  opera. R e a l i s m a n d mood was d e v e l o p e d b y " t e x t u r i n g "  the s e t t i n g .  23 The w a l l s were made to appear as stucco p l a s t e r by an all  over-  s t i p p l e a p p l i c a t i o n of s e v e r a l d i f f e r e n t shades of brown  paint.  The  r e a l i s t i c e f f e c t o f smoke-soot was  painted i n  the area o f the f i r e p l a c e u s i n g a sponge l i g h t l y dipped black p a i n t , and  a p p l y i n g the b l a c k p a i n t by  from the f i r e p l a c e i n the d i r e c t i o n and normally  travel.  The  the a l c h e m i s t s was  Doctorine  away  area t h a t smoke would Contraries  6  design  of  p a i n t e d on the double e x i t door so t h a t  opening the doors separated And  of Two  "wiping"  in  the "male" from the  "female".  f i n a l l y , door frames were p a i n t e d around the doors.  e f f e c t s can be seen i n the c o l o u r e d photographs of the  These setting,  Appendix I I I . The sion.  f l a t s u r f a c e s of the workbench were a l s o g i v e n dimen-  A brown base-coat gave an appearance of n a t u r a l wood  colour.  Using c o n t r a s t i n g l i g h t and  dark c o l o u r s , sunken  panels were c r e a t e d on the f l a t s u r f a c e s i n a effect. was  A technique  of dry-brushing  three-dimensional  with a s s o r t e d l i g h t  used to " t e x t u r e " the i n d i v i d u a l panels  colours  to g i v e them a  wood-grain appearance. A s t a i n e d - g l a s s window on the' stage mood to the s e t t i n g .  I t was  simply  c i r c l e s o f l i g h t i n g " g e l s " , and  r i g h t w a l l a l s o added  c o n s t r u c t e d by c u t t i n g  a t t a c h i n g them to a sheet  wood veneer i n which corresponding  c i r c l e s had been cut out i n  a pattern.  The  to simulate  the l e a d t h a t would have been used to s e a l the  6 (New  of  areas o f wood between the c i r c l e s were p a i n t e d  C h a r l e s - A l b e r t Reichen, A H i s t o r y of Chemistry York: Hawthorn Books Inc., 1963), pp. 32-33.  24 i n d i v i d u a l g l a s s panels i n a r e a l window. Some other b u i l d i n g and p a i n t i n g p r o j e c t s were i n v o l v e d i n the p r e p a r a t i o n  o f stage p r o p e r t i e s .  These i n c l u d e d  arti-  c l e s such as the l e g a l - s i z e p o r t f o l i o s used by the " n o t a r i e s " 7  i n the q u a r t e t  scene .  The p o r t f o l i o s were made by b i n d i n g  two p i e c e s o f 1/8" wood veneer w i t h f a c t o r y c o t t o n and p a i n t ing  them.  artifacts.  But mainly, the p r o p e r t i e s are a l i s t o f c o l l e c t e d While i t i s p o s s i b l e t o buy most o f the r e q u i r e d  a r t i c l e s , pressure ing  on a l i m i t e d budget can be spared by a c q u i r -  a r t i c l e s from any c o n c e i v a b l e  source; o r , i f l u c k y ,  having  them given as g i f t s by some person o r o r g a n i z a t i o n .  For exam-  ple :  required  metal eye-glass  frames such as the three p a i r s  i n t h i s work would have c o s t approximately s i x t y d o l l a r s . ever, an eye-glass r e q u i r e d frames. y e t they looked  f i r m was approached, and they donated the They were i n f a c t used and d i s c a r d e d  authentic  enough and served  Stage p r o p e r t i e s g r e a t l y c o n t r i b u t e production  t o the r e a l i s m o f a  when they are c a r e f u l l y chosen and handled.  operational fireplace.  frames,  our purpose.  i n p o i n t were the a r t i c l e s used i n connection  ways:  How-  A case  with the non-  F i r e and heat were i n d i c a t e d i n s e v e r a l  bellows were used to fan up the " b l a z e " ; d r y - i c e and  water were used i n the brass  beaker to i n d i c a t e steam r i s i n g  from the chemicals w i t h i n being  "heated"; and f i n a l l y ,  were used to remove the "hot" beaker from the "flames".  tongs The  a c t o r was c a r e f u l l y coached t o make h i s responses t o the " f i r e " 7  Haydn, op. c i t . , pp. 62-76.  25 realistic. See this  Appendix  IV  for a l i s t  budget  for this production  L a b o u r c o s t s were e l i m i n a t e d occasionally with  that  f a c t o r having  design.  Most o f  articles using  refers  the  t o be  existing A costs  in  the  singers help  O t h e r w i s e , i t was used  and  the  on  t o a minimum,  i n t o the  basic  gratis,  but  simply  a  reduced  hand as p o s s i b l e .  several offstage and  out  simply  C o s t s were f u r t h e r  already  productions  list  "flats"  This that  repainted  to  c o s t u m e s , w h i c h were c h o s e n o u t  of r e q u i r e d m a t e r i a l s  i s included  i n Appendix  the  show was  illumination.  an  i m a g i n a r y window on s t a g e was  "washing" o f  A basic  the  the  suit of  an  the  d i r e c t i o n was  warm s h a d e s o f y e l l o w s  the  three  effect —  setting.  Yet  the  pinks A  primary colours  further added  the  actors  seemed  use  of  the  three  pri-  light  on  to create white  setting  actor's  u p s e t the  d i d not  from  center.  and  setting.  a r e s u l t a n t combining faces  matter  established  maries with and  incurred  a straightforward  b a s i c warm t o n e s o f  stage  with  i m a g i n a r y w a l l , downstage  s e t t i n g with  from the  articles  V.  light  a desirable three-dimensional out  and  basically  "washed" w i t h  keeping with  stand  extremely l i m i t e d .  been i n c o r p o r a t e d  "raked" stage;  of  in  used  stock.  Lighting  The  having  purchased.  as much m a t e r i a l  Apothecary;  was  amount o f m a t e r i a l  already  were u s e d i n e a r l i e r The  properties  t h e p r o p e r t i e s were a c q u i r e d  had  t o the  by  large projects.  a matter of keeping  by  the  production. The  few  df  over-all  to  scheme  the of  26  the c o l o u r s employed.  Warm " f i l l "  PAR lamps a t 75% o f f u l l v o l t a g e —  l i g h t was p r o v i d e d by creating a desirable  yellow-orange l i g h t without the n e c e s s i t y o f u s i n g Richard  Pilbrow's "Key and F i l l "  was used as a b a s i s tions necessitated  "gels". g  system o f l i g h t i n g  for t h i s production.  Practical limita-  the e l i m i n a t i o n o f the b a c k l i g h t i n g ad-  vocated by P i i b r o w , but l o s s o f t h i s e f f e c t d i d not s e r i o u s l y d e t r a c t from the e f f e c t i v e n e s s o f the l i g h t i n g ; the a c t o r s did  stand o u t from the s e t t i n g somewhat because o f the use o f  primary c o l o u r s  i n the b a s i c wash.  D i r e c t or diagonal  ing  p o s i t i o n s were used as r e q u i r e d  and  the open entrance to the o f f s t a g e  t o i l l u m i n a t e the doorways "chemical storage room".  B a c k l i g h t i n g o f the entrances was provided on the o f f s t a g e w a l l s .  light-  by lamps mounted  I l l u m i n a t i o n o f the downstage areas  of the s e t t i n g came from the F.O.H. and F.O.H. s i d e pocket positions.  Lamps on the f i r s t  rail  l i g h t e d the upstage areas  of the s e t t i n g , p l u s s p e c i a l areas o f l i g h t i n g , such as upstage o f the f i r e p l a c e which c o u l d n o t be e f f e c t i v e l y l i t from any  o f the F.O.H. p o s i t i o n s . T h i s simple and d i r e c t approach t o l i g h t i n g was chosen  for  The Apothecary t o prevent d i s t r a c t i o n from the p r i n c i p a l  aim o f c o n c e n t r a t i o n  upon the a c t o r s .  Appendix VI i s an instrument schedule o f the l i g h t i n g instruments and " g e l s "  (colours)  used i n t h i s  8 Richard P i i b r o w , Stage L i g h t i n g 1970), pp. 30-31.  (London:  production. Studio  Vista,  27  Appendix VII i s the l i g h t i n g of  t h e show.  dix  A lighting plot  sheet used  (diagram)  i n the  c a n be  and,  p l a y e d an  interesting  i n the case o f the e x p l o s i o n i n the  found  i n Appen-  role,  a d d i n g mood  fireplace, motivation  action. A g a i n , d r y - i c e was  "steam" r i s i n g produced  used  i n the brass beaker  from a " h e a t e d "  liquid.  The  major problem  of the f a s t - e v a p o r a t i n g d r y - i c e . shipping  radio  effect  between a c q u i r i n g  evening's  effect  make m e d i c i n e s  i s simply  storage  used  for  to preserve  the  p r o d u c t i o n d u r i n g the  the commercial  outlet  and  few the  o c c u r r e d w h i l e Mengone m i x e d c h e m i c a l s  for his clients.  liquids  t o g e t h e r which,  liant  scarlet  liquid.  The  e f f e c t was  In t h i s  c a s e , he m i x e d  surprisingly,  University  Department d e v e l o p e d  A lighting  this  produced  resulted  of B r i t i s h  effect  shone t h r o u g h  t h e window, and  the l i g h t i n g  costumes o f the a c t o r s p a s s i n g t h r o u g h  An  otherwise  the faces  the range  fairly  the  offstage  i n construction  light.  variety  uniform.  of  and  of this  c o l o u r s were a p l e a s a n t t o u c h , a d d i n g mood and scheme t h a t was  bril-  f o r the p r o d u c t i o n .  used  c r e a t e d c o l o u r p a t t e r n s on  two  in a  i n connection with  "gels"  to  Columbia  s t a i n e d - g l a s s window d i s c u s s e d u n d e r p r o p e r t i e s .  a lighting  available  overcome was  s t y r o f o a m box  in this  i t from  clear  light  indicate  performance.  Another  Chemistry  A  t o be  components w o r k e d e f f i c i e n t l y  s m a l l amount o f i c e r e q u i r e d hours  The  to  by p o u r i n g b o i l i n g w a t e r o v e r c o m m e r c i a l l y  dry-ice pellets.  The  running  XII. Special effects  for  cue  to  28  The of  the  effects,  clouds was  explosion  of  i n the  with  a sudden f l a s h  smoke f i l l i n g  the  c o m i c a l l y emphasized  in  mock s u r p r i s e t o t h e  to  the pretended  cleared  and  the  by  the  sing  a w e l l , 12"  Into  this  in  of  strung als  x  12"  r e c e s s was  3/4"  thin  outside  again,  6"  two  cup.  the  ignition, heating  thin an  outlet.  The  appropriate  cup  Appendix VII The o f h"  well  The  area  of  reces-  fireplace. 1"-1V  x  9" cup  are  b r o k e n by turned  painted  a  small  gunpowder  through the  t h e gunpowder. ordinary  a switch, to  also  wires,  In  this  110-volt and,  i t s "on"  at  utility  the  position.  See  (  d i s g u i s e d by  to simulate  effects  with  termin-  t h e d e s i r e d moment o f  i s passed  f i r e p l a c e was  special  of the  t h a t the  At  s u p p l i e d f r o m an  wooden d o w e l l i n g  begun by  t o a 9"  i s then f i l l e d  f o r a s c a l e d diagram. i n the  of  explosion.  open ends o f t h e  to i g n i t e  moment, i t was  the  hand  which a t t a c h to e l e c t r i c a l  current  c u r r e n t was  the  a m e t a l cup  wires  them s u f f i c i e n t l y  to gain  smoke  come t o  a flash-pot:  Through the  electrical  time the  t h e drama had  attached  reacted  i n homage  top  e n d s , and  The  the  event  They  deep i n t o t h e  e l e c t r i c a l wires.  i n s t a n c e , power was  The  chorus.  e f f e c t was  amount o f m e d i u m - g r a i n gunpowder, so covers  stage.  c a u s e d by  explosion  placed  plywood.  the  billowing  By  in his efforts  x  electrical  f l a m e , and  and  "Allah".  came up  of the  d i a m e t e r , open on  piece  by V o l p i n o  extra confusion  Construction  spectacular  semi-darkened  presence of lights  of  t h e most  smoke, i m m e d i a t e l y bowing  a close--Mengone aided Grilletta  f i r e p l a c e was  a g r a t i n g made  soot-blackened  is definitely  the  fun  metal.  area  of  29 production. in  the p r o d u c t i o n ,  and  only  form an  running  integral  o f the  part of  restraint  e f f e c t s was  the  many s u c c e s s f u l e f f e c t s  Walls,  total  to a v o i d  of concentration  upon t h e  can  produce,  show. the  criteria  to  t o make them work  challenge.  i s necessary  skill  something  timing  i n c l u d i n g t o o many s p e c i a l e f f e c t s .  placed Too  the  a c t u a l l y do  r e q u i r e i n g e n u i t y and  completed, l o s e t h e i r  taste, of  fun because they  r e q u i r e a p r e c i s e sense o f  time d u r i n g  are  They a r e  of  for  the A  choice  once  exercise of  obvious few,  they  good  temptation,  strategically  f o r The  d e t r a c t from the  actors.  instance,  p i c t u r e , and,  In t h e  each  Apothecary. principal  aim  CHAPTER FOUR MUSICAL REALIZATION M u s i c a l p r e p a r a t i o n o f J o s e p h Haydn's The divided of  into  two  t h e work; and  major a r e a s :  preparation  preparing  s i n g e r s i n the  interpretation of their Personal  Max  f o r conducting  of conducting  easy-to-read cussions of  patterns  learning  The  and  Apothecary  Max  Rudolph's  i n opera.  a  clear,  Further  disand  t e m p i c h a n g e s were a l s o u s e f u l i n d e v e l o p m e n t o f a s e c u r e  and  A great realize  the  holds,  text  transitions,  authoritative  p r o b l e m s s u c h as  relied  clearly  a s s i s t e d g r e a t l y i n developing  pattern that i s essential specific  conducting  as o u t l i n e d i n t h e  R u d o l p h , Grammar o f C o n d u c t i n g .  d e t a i l e d beat  f o r the  music.  preparation  h e a v i l y upon p r i n c i p l e s by  the  Apothecary  leadership. d e a l o f p r e p a r a t i o n and  t e m p i and  their  study  was  required  r e l a t i o n s h i p s i n t h i s work.  to The  9  quartet  , f o r i n s t a n c e , has  Grilletta, t h e r e was A metric  s i x b a s i c tempo c h a n g e s ;  Mengone, S e m p r o n i o t r i o  1  0  has  a retard indicated just before balance  c o - e x i s t without  had  t o be  found  a pedantic  to allow  r e n d i t i o n of  p r a c t i c a l working out o f the music d u r i n g 9 10  Haydn, op. I b i d . , pp.  c i t . , pp. 30-41.  65-76.  30  eleven the  the  changes.  change o f  tempo.  a l l these  tempi  the music.  The  the  Often  rehearsals  to  31  exposed any i n c o n s i s t e n c i e s , and these were s o l v e d d u r i n g the ongoing course  o f the r e h e a r s a l s .  I t was q u i c k l y l e a r n e d t h a t  both s i n g e r s and accompaniment responded b e s t when tempi changes were a n t i c i p a t e d by a change i n the s i z e o f the beat p a t t e r n ; and c l e a r l y and r i g i d l y d e f i n i n g the p a t t e r n the f i r s t  few measures o f the new tempo.  was a t t a i n e d by m a i n t a i n i n g  Further  during  decisiveness  a h i g h degree o f eye c o n t a c t  with  the s i n g e r s and accompaniment, v i s u a l l y a n t i c i p a t i n g problems and  l a p s e s o f memory as they o c c u r r e d .  nod was r e q u i r e d t o reassure  Often o n l y a cue o r  s i n g e r s and accompaniment t h a t  a l l was i n o r d e r , and t h a t t h e i r e f f o r t s were  secure..  Examination o f the score o f the t h r e e - a c t v e r s i o n o f The A p o t h e c a r y ^ r e v e a l s t h a t the o r i g i n a l r e c i t a t i v e was w r i t t e n i n the I t a l i a n secco s t y l e .  However, H i r s c h f e l d ' s 1895 one-  a c t v e r s i o n adopts the s t y l e o f accompagnato, o r accompanied recitative.  A b a s i c f o u r / f o u r beat had to be  throughout these structure.  r e c i t a t i v e s to preserve  Most o f the m u s i c a l  the accompagnato  i n s e r t s i n the accompaniment  were composed and i n c l u d e d by H i r s c h f e l d . i n f l u e n c e d by the n i n e t e e n t h  maintained  That he was  century p r i n c i p l e o f the L e i t -  motiv i s c l e a r l y i l l u s t r a t e d i n two measures o f r e c i t a t i v e from the H i r s c h f e l d score  (example 2 ) :  11 Joseph Haydn, Lo S p e z i a l e Presse, 1970).  (Salzburg:  Haydn-Mozart  32 Example 2.  J . Haydn, Der Apotheker, p. 77, measures 6-8  This i s a musical  Leitmotiv  insert  quotation  from V o l p i n o ' s  aria  where he  persuades Sempronio t o become r i c h by a c c e p t i n g a p o s i t i o n with  the Pasha i n Turkey.  The i n c l u s i o n o f t h i s theme i n  example 2 a n t i c i p a t e s Mengone's l i n e lamenting h i s b e l i e f  that  V o l p i n o now seems v i c t o r i o u s i n the b a t t l e f o r the hand o f G r i l l e t t a because o f the advantage gained f o r Sempronio.  i n l i n i n g up the job  T h i s type o f s t r u c t u r i n g i s t y p i c a l o f the  Wagnerian i n f l u e n c e sweeping the world o f music i n 1895, b u t i s n o t the s t y l e o f Haydn's music i n 176 8, when The Apothecary was w r i t t e n , as comparison with tives w i l l attest.  the t h r e e - a c t v e r s i o n  recita-  However, many s e c t i o n s were o b v i o u s l y  d e r i v e d from the o r i g i n a l secco s t y l e .  By a l l o w i n g these  secco-  i n f l u e n c e d s e c t i o n s some l i b e r t i e s and f l e x i b i l i t y o f p h r a s i n g , and  then by r e t u r n i n g t o a s t r i c t tempo f o r the accompagnato  i n t e r j e c t i o n s , q u i t e a n a t u r a l d e l i v e r y o f the r e c i t a t i v e was achieved.  12  Haydn, Der Apotheker, pp. 42-47.  33  Part  of  the  interpretation vation  and  musical  of  f o r m a n c e was  was  dynamic m a r k i n g s and  execution  Haydn's m u s i c .  preparation  are  an  intrinsic  Without s u f f i c i e n t  rather  flat  the  observation  accents. part  of  contrast,  i n texture,  and  Their  the the  lacked  the  Max  R u d o l p h ' s t e x t was  reference  some o f not  from the the  i n the  and  seemed i n c o r r e c t , d i d  were, upon i n v e s t i g a t i o n , m i s p r i n t s . the  chord  eliminated  accompaniment, and  structure  of  t h e Webernesque  the  sounds  l e d t o a more h a r m o n i o u s  to b r i n g  the musical  several objectives  singers.  The  first  of  had  performance to  t o be  t h e s e was  achieve.  However, o b d u r a t e p e r s i s t e n c e  desired.  rhythmic phrases phrases are  follow by  long,  rendering  the  flowing  by  measure.  proper rehearsing  singing of  t h e work was was  correct  easiest  required  additional  is filled  short,  contrasted  every other  m e l o d i o u s w i t h an  to achieve  Haydn's m u s i c  separated  f o r t e phrases are alternating  stage  part of  the  note v a l u e s .  beyond t h i s  This  set while  n o t e s and  values  that  score.  fruition,  gress  execution  i t became o b v i o u s  score  amendment o f  chords i n v o l v e d  In o r d e r  the  rehearsals,  notes p r i n t e d  a n a l y s i s and  particular  of  course of  f i t Haydn's s t y l e ,  Careful  Again,  conducting.  the  the  i n the  per-  elegance  w i t h Haydn's m u s i c .  During  of  musical  dynamism u s u a l l y a s s o c i a t e d  o f dynamics i n  obser-  style  and  a useful  and  with  pro-  musical  contrasts:  phrases;  staccato-like  to  to  long  short,  cantabile  interjections;  piano phrases, Sometimes t h e  frequently vocal  accompaniment o f c o n t r a s t i n g A l b e r t i  line  is  bass.  34 Less seldom, the v o c a l is  s u s t a i n e d by  chords  line  c o n s i s t s o f broken  changing  firm  and  an accompaniment o f r e p e a t e d e i g h t h - n o t e harmony as t h e v o c a l  T h e s e d e t a i l s were r e a l i z e d and  phrases  control  over  line  i s supported.  o n l y by m e t i c u l o u s r e h e a r s a l s  the p e r f o r m e r s w h i l e c o n d u c t i n g  the  performances. Clear prime  diction  objectives.  and  intelligibility  I t was  t h e r e h e a r s a l room d i d n o t the l a r g e r ly  had  space  t o be  clearly  objective  strain  their  possible  that  acceptable diction  articulated,  t o be  had  so t h a t  a delicate  Consonants  from  the s t a g e .  balance  and e v e n a u d i b i l i t y ,  A p r o p e r b a l a n c e must a l s o be  t h a t was,  c a n be  lem  from another  subdue some v o i c e s t o a l l o w one  i t was  of  ensembles.  singer(s)  of the  prob-  melodic material.  With  account  t h e more  another  i s so v a r i a b l e  a t a l l times  to  important  a change o f m u s i c a l e m p h a s i s ,  v o i c e s were f e a t u r e d , r e q u i r i n g Since balance  necessary  o r more v o i c e s t o s t a n d o u t  t h e t e x t u r e when t h e s e v o i c e s c a r r i e d  into  lack  source.  c o n t r a p u n t a l ensemble p a s s a g e s  balance.  and  r e a c h e d between t h e  t h e a c c o m p a n y i n g medium t o a v o i d r e p e t i t i o n  ances.  however,  o b s c u r e d by  and  taken  Yet,  the s i n g e r s d i d not  a p r o p e r volume b a l a n c e between s i n g e r s i n duets  from  of  to achieve.  Diction,  In  especial-  without d i s t o r t i o n  intelligible  t o be met  voices:  in  s u f f i c e when t h e s i n g e r s r e a c h e d  of the Old Auditorium.  the m u s i c a l l i n e , this  found  o f words were o t h e r  adjustment a factor,  to  other the  i t had  d u r i n g r e h e a r s a l s and  to  be  perform-  D i c t i o n and a f f e c t e d by  o v e r - a l l q u a l i t y of sound i s g r e a t l y  the p r e c i s i o n t h a t i s reached whenever an  with singers  and  accompaniment i s i n p r o g r e s s .  The  ensemble greater  number of persons added to the ensemble, the more d i f f i c u l t i t becomes to achieve t h i s p r e c i s i o n . during  the p r e p a r a t i o n  rehearse the  of The  To keep matters i n hand  Apothecary, i t was  necessary  l a r g e r scenes w i t h a number of performers  quite a regular basis.  The  on  scene i n v o l v i n g the chorus  i n t e n s e l y prepared, with a number of r e p e t i t i o n s  to  was  required 13  b e f o r e any was  s o l i d a r i t y was  achieved.  e s p e c i a l l y e l u s i v e i n the  r e q u i r e d more r e h e a r s a l  One  "patter"  section  search f o r p r e c i s i o n ,  time than o t h e r s e c t i o n s .  and It  was  observed t h a t the more f a m i l i a r each i n d i v i d u a l s i n g e r became w i t h the o t h e r v o c a l  l i n e s and  accompaniment o f each p a r t i c u -  l a r s e c t i o n , the more q u i c k l y he mastered h i s own  music.  Knowing the complete score thoroughly allowed them to pate t h e i r own assured, and  m u s i c a l e n t r i e s , thus l e a d i n g  precise  A f u r t h e r aim  The  throughout t h i s p r o d u c t i o n was  In the  Apothecary, i t was  i n s p i r e d by  accompaniment.  The  perfecting  the music i n  the  t o t a l concept of t h i s s t a g i n g  for  desirable  appear  as having genuine problems and a c t i o n was  to p o s i t i v e ,  entries.  the t i m i n g between the a c t i o n onstage and accompaniment.  antici-  t h a t the c h a r a c t e r s  emotions.  Much of the  the music p r o v i d e d by Haydn i n  danger was  always i n h e r e n t  stage the  t h a t the  t e r s would a c t l i k e so many puppets whose movements were 13  Haydn, op.  c i t . , p. 90,  staves 3 and  4.  charac  36 d i c t a t e d by natural  characterizations  a v o i d e d by of the  Haydn's m u s i c — e x a c t l y  adopting the  a c t i o n and  music  accompaniment by  o n s t a g e a c t i o n was The  t a t e d by  p r i n c i p l e of that  the  the  action  initiated  Aspirations having  staging.  the  possible  to allow  dual  r o l e of  awareness o f direct  and  the  real  onstage.  drawn  ahead o f the  of  time p r o v i d e d  music to  f o r the  "give"  action  d i r e c t o r and  a little,  t o be  and  s o l u t i o n to these  problems.  the  facili-  was  allow Being  and  was the  a direct  s o u r c e o f problems from b o t h a r e a s ;  immediate  of  music, i t  completed.  conductor allowed  music.  conducting  onstage  i n the  from  the  the  actions  t o w a r d s t h i s i d e a l r e s u l t were  lack  timing  In p r a c t i c e ,  slightly  and  was the  seemed t o be  combined r e s p o n s i b i l i t i e s o f  the  needed s p l i t - s e c o n d  the  co-ordinating  music  very  to  Such a t r a p  If a c e r t a i n necessary action  thwarted because of  the  striven for.  accompaniment t h e n seemed t o u n d e r l i n e  singers.  and  so  opposite  a  in  CHAPTER F I V E FINAL The  APPRAISAL  o n e - a c t v e r s i o n o f The A p o t h e c a r y p r o v e d  appropriate  choice  f o r production.  A l l found  Haydn's w e l l - w r i t t e n m u s i c a c o n s i d e r a b l e s i n g e r was o v e r - t a x e d found i n the area was p l a c e d scenic  vocally.  i n the p o r t r a y a l of t h e i r  performances.  This  costs.  Considering  i t s importance  o n l y be c o n s i d e r e d economy  production  costs  as w e l l .  the small  reflected  the r e l a t i v e  i n t h e programme,  as  The  large from  The o n e - a c t ,  staff  available o f the  f u r t h e r i n con-  length  and t h a t  o f The A p o t h i t was a  the t o t a l  c o s t can  reasonable.  s t r i v e n f o r both  i n singer  d i d n o t seem t o d e t r a c t  ness o f the p r o d u c t i o n . indication  No  r o l e s a t a l l times.  c o m p l e t e o p e r a a s o p p o s e d t o an e x c e r p t —  The  production  s e t t i n g and t h e r u n n i n g  s i m p l i c i t y was  also  t o be c o n s i s t e n t and  had p r a c t i c a l m e r i t s  c o n s t r u c t i o n of the stage  ecary,  was  d i v e r t e d the a t t e n t i o n o f the audience  production  struction  y e t no  challenge  o f a c t i n g , as e m p h a s i s i n t h i s  one-scene format d i d n o t overburden for  challenge;  Sufficient  t h e m s e l v e s , so t h e s i n g e r s were r e q u i r e d  The  the s i n g i n g o f  on c h a r a c t e r i z a t i o n s o f i n d i v i d u a l r o l e s .  "effects"  convincing  t o be an  Audience  resources  and  from the a t t r a c t i v e -  r e a c t i o n seemed t o be an  of i t s success.  few s p e c i a l e f f e c t s i n c l u d e d  37  i n this production  were  38  quite  s u c c e s s f u l , adding  elements of the effects  story.  t o t h e mood, r e a l i s m , and The  p h y s i c a l presence of  added d i v e r s i o n and  otherwise The  continuous  variety  to a production  o f d u t i e s was  beneficial  g r e a t e r o v e r - a l l u n i t y i n t h e work was  sible  I t was can  c o n t r o l of a l l aspects  personal  i d e a s and  a l s o p o s s i b l e t o see  have g r e a t  effect  knowledge t h a t w i l l may in  be the  limited field  on  be  certainly teaching  t o o n l y one  with  area  this  design;  aspect  from t h i s  Future  when t h e  and  production  included:  conducting  responsibility  total  the  o f an  I t was  pos-  curtain that  area  assigned as  a  duties  i s usual  experience  o f The  concept the  the  is  running  of  an  possibilities  o p e r a programme i n a  experience  of producing  f o r such a  A p o t h e c a r y was  this  post.  a great  personal  a s u i t a b l e work, and  develop-  o f t h a t work.  translation;  set construction; lighting;  m u s i c ; and  of  of p r o d u c t i o n —  employment  basic preparation  production  case  was  production.  of p r o d u c t i o n ,  that involved choosing  a total  of opera  t h e n e e d s , p r o b l e m s , and  institution,  challenge  the  because  a d e c i s i o n made i n one  i n c l u d e the d i r e c t i n g  Lastly,  that  of p r o f e s s i o n a l opera.  opera i s c e r t a i n l y  in  how  useful later  o p e r a workshop s i t u a t i o n .  ing  achieved  of p r o d u c t i o n .  concepts  another  Another a s s e t gained acquaintance  special  i n that a  t o r e - c r e a t e a work f r o m c a s t i n g t o f i n a l  fulfilled  the  i n i t s scenic presentation.  multiplicity  individual  comic  concept  cast selection;  teaching  of the performances.  o f o r g a n i z i n g and  Total  and  r e h e a r s a l of  In a d d i t i o n  realizing  stage  the  was  entire  39 project with l e d g e was arose spot. their  a minimum o f a s s i s t a n c e a n d f u n d s .  lacking,  i t was  researched.  that on t h e  C a s t members who were e x p e r i e n c i n g d i f f i c u l t i e s roles,  However, t h e e x t e n s i v e  d u t i e s made t h e p r o j e c t w o r t h w h i l e :  appreciate  with  d r a m a t i c a l l y , m u s i c a l l y , o r v o c a l l y , were  view a l l aspects  any  Difficulties  i n any a r e a o f t h e p r o d u c t i o n were d e a l t w i t h  e x t r a h e l p and e n c o u r a g e m e n t . of  Where know-  o f opera production  the i n t e r - r e l a t i n g  other opera  production.  given list  i t was p o s s i b l e t o  simultaneously;  and t o  problems i n h e r e n t i n t h i s  or  BIBLIOGRAPHY  Bartha, Denes, and L a s z l o Somfai. Haydn a l s O p e r k a p e l l m e i s t e r . Mainz, B. S c h o t t ' s Sonne, 1960. Boucher, F r a n c o i s . 20,000 Years o f F a s h i o n . Harry N. Abrams Inc.  New  York,  Bruhn, Wolfgang, and Max T i l k e . A P i c t o r i a l H i s t o r y o f Costume. London, A. Zwemmer L t d . , 1955. B u r i a n , K. V. The S t o r y o f World Opera. L i m i t e d , 1955.  London, P e t e r N e v i l l e  E n c y c l o p a e d i a B r i t a n n i c a , pub. Wm. Benton, 15th E d i t i o n . Chicago, E n c y c l o p a e d i a B r i t a n n i c a Inc., 19 74. Geiringer, Karl. Haydn: W. W. Norton, 1946.  A C r e a t i v e L i f e i n Music.  New  York,  de G i v r y , G r i l l o t . W i t c h c r a f t , Magic, and Alchemy, t r a n s . J . Courtney Locke. New York, Dover P u b l i c a t i o n s Inc., 1971. Grout, Donald Jay. A Short H i s t o r y of Opera, one-volume e d i t i o n . New York, Columbia U n i v e r s i t y P r e s s , 1963. Hainaux, Rene, and Yves Bonnat. Stage Design Throughout the World S i n c e 1935. London, George G. Harrap and Co. L t d . , • 1957. Haydn, Joseph. Der Apotheker (Lo S p e z i a l e ) , e d i t e d and t r a n s l a t e d by Robert H i r s c h f e l d . Vienna, U n i v e r s a l E d i t i o n , 1895. Haydn, Joseph. Lo S p e z i a l e , ed. H.C. Robbins-Landon, Three-Act E d i t i o n . S a l z b u r g , Haydn-Mozart P r e s s e , 19 70. Ihde, Aaron J . The Development Harper and Row, 1964.  of Modern Chemistry.  Lehner, E r n s t . Symbols, Signs, and S i g n e t s . P u b l i c a t i o n s Inc., 1950.  40  New  New  York,  York,  Dover  41  Parker, W. Oren, and Harvey K. Smith. Scene Design and Stage Lighting. Toronto, H o l t , R i n e h a r t , and Winston Inc., • 1963. P a r t i n g t o n , J . R. A Short H i s t o r y of Chemistry. MacMillan and Co., 1960. Pilbrow, R i c h a r d .  Stage L i g h t i n g .  Reichen, C h a r l e s - A l b e r t . Hawthorn Books Inc.,  London,  London, S t u d i o V i s t a ,  A H i s t o r y of Chemistry. 1963.  Rudolph, Max. Grammar of Conducting. and Co., 1950.  New  York, G.  Trease, George Edward. Pharmacy i n H i s t o r y . B a i l l i e r e , T i n d a l l , and Cox, 1964. World F u r n i t u r e , ed. Helena Hayward.  New  York,  Schirmer  London,  Toronto, Hamlyn,  Zentner, Wilhelm. Reclams Opernfuhrer. Reclam j u n . , 1973.  1970.  Stuttgart,  1965.  Phillip  42  APPENDIX I  S c e n e Breakdown  Pp.  1-19  (For Rehearsal Purposes)  Mengone,  Sempronio,  Volpino  Mengone Sempronio Volpino  Pp. 3-19 E n t e r p . 6, e x i t p. 15 E n t e r p . 9, - 19  Pp.  Volpino,  19-26  Grilletta  Volpino Grilletta  Pp. 19-26 e n t e r p . 20, e x i t  Pp.  Mengone,  27-41  Grilletta,  Mengone Grilletta Sempronio  Pp. 27-41 Pp. 27-41 E n t e r p . 28, -41  Pp.  Sempronio,  41-53  p. 22  Volpino  Sempronio Volpino  Pp. Pp.  Pp.  G r i l l e t t a , Sempronio, V o l p i n o and Mengone  54-76  41-53 41-48  Sempronio  exit  Grilletta Sempronio Volpino Mengone  Pp. 54-76 E n t e r p . 59-76 E n t e r p . 62-76 E n t e r p . 63-76  Pp.  Grilletta,  77-81  Grilletta Mengone Pp.  82-95  Grilletta Mengone Sempronio Volpino Chorus  Pp. Pp.  Mengone  77-81 77-81  (Finale) G r i l l e t t a , Mengone, V o l p i n o , S e m p r o n i o , and C h o r u s Pp. Pp. Pp. Pp. Pp.  82-95 82-95 82-95 83-95 83-95  43 APPENDIX I I REHEARSAL SCHEDULE Scene breakdown key: 1  pp.  1-19  M, S, V  2  PP-  19-26  V, G  3  M, G  4  PP. 27-41 pp. 41-53  5  pp. 54-76  G, S, V, M  6  pp. 77-81  7  pp. 82-95  f  Date Nov.  S  Work 5  4  7:00-  6  8:30-10:00  Musical 7 (with chorus)  M, G  8  7:00-  8:30  Soloists, and Chorus  Stage 6 (M & G)  9  2:00-  5:00  Work 1-6  S, V  Rehearsal  Date  Rehearsal  8:30  10  7:00-10:00  Stage 7 (with chorus)  13  7:00-  Work 7 (with chorus)  15  8 :30-10 :00  Work 1-4  17  7:00-10:00  Work 5-7 A t 7 : 00 (chorus)  18  7:00-  Work A r i a s  20  8:30-10:00  Work 7 (with chorus)  Oct 7  8:30  8:30-10:30  Musical  11  7:00-  8:30  Musical  16  8:30-10:00  Musical  18  8 : 30-10:00 S p e c i a l coaching  20  2:30-  21  8 :30-10:00  Musical  23  8 :30-10:00  Musical  22  7:00-  8:30  Work 3 & 5  25  7:00-10:00  Musical  24  2:00-  5:00  Run-through  26  2 :00- 5:00  Musical (All)  28  7:00-  8:30  Stage 1 & 2  25  7:00-  8:00  Work 7  30  7:00-  8:30  Stage 3 & 4  26  Dress R e h e a r s a l :  c a l l 6:30  27  Dress R e h e a r s a l :  c a l l 6:30  1  7:00-  8:30  Work 1,2,3,4  29  Performance  8:00 : c a l l 6:30  2  2:00-  5:00  Stage 5, p l u s 1-4 as needed  30  Performance  8 :00: c a l l 6:30  5:00  (M)  M u s i c a l (M,V,S) At 3:30 (G)  Nov.  8:30  APPENDIX I I I  COLOURED PHOTOGRAPHS OF SETTING  Setting  f o r Der A p o t h e k e r ,  44  J . Haydn, F r o n t a l  view  Setting  f o r Der A p o t h e k e r ,  J . Haydn, S t a g e  left  detail  Setting  f o r Der A p o t h e k e r ,  J . Haydn, S t a g e  right  detail  47  APPENDIX IV PROPERTIES LIST I  P r e s e t on  Stage  Workbench Stage  left  Balance s c a l e s Mortar and p e s t l e Ceramic bowl 2 chemical b o t t l e s (sprayed black) C l e a r g l a s s chemical b o t t l e 2 t e s t tubes w i t h c l e a r l i q u i d s ( s c a r l e t 1 q u i l l pen 1 ink w e l l Large, g o l d handbook o f formulas 1 p i l l bottle Folded paper f o r notes (10 sheets) T e s t tube h o l d e r F i r e p l a c e Stage  left  Hand b e l l o w s Large metal tongs Desk Stage  right  Map Q u i l l pen Ink w e l l 3 account books Loose w r i t i n g paper 1 o l d newspaper Center L e f t  (10 sheets)  (upstage) Wall  Skull Center  Backstage  Globe II  Stage R i g h t P r o p e r t i e s T a b l e 1 o l d newspaper 1 set eyeglasses 2 f o l d e d paper notes 1-12" dagger 1 money bag, 6 c o i n s i n s i d e 1 s m a l l , woven basket ( f o r G r i l l e t t a ) Cigar Matches  effect)  48  Stage R i g h t P r o p e r t i e s T a b l e ,  continued  Notaries 2 t r i - c o r n hats 2 b l a c k academic capes 2 black, l e g a l - s i z e p o r t f o l i o s Papers f o r p o r t f o l i o s (10 sheets 2 sets eyeglasses  each)  Finale Note f o r Sempronio (from Pasha p. 82) Beard (Volpino) Money chest G o l d - p a i n t e d washers (money) i n chest 2 l a r g e wicker baskets 1 - 12" x 24" P e r s i a n rug III  Stage L e f t P r o p e r t i e s Table Brass bowl Dry-ice Hot ( b o i l i n g ) water 2 trays 4 chemical b o t t l e s (2 on each t r a y ) Feather d u s t e r Finale Large g l a s s beaker • 2 s e t s books 2 bottles 2 a d d i t i o n a l s e t s books  49  APPENDIX V L I S T OF INCURRED EXPENSES  Articles: Large  flats 1 2 4 ' - 1 " x 3" c l e a r 2 1 ' - 1 " x 6" c l e a r  Small  flats 50'  Small  @25C f t . @58<r f t .  spruce  @25£ f t .  spruce  @25C f t .  (2)  - 1 " x 3" c l e a r  window 17'  - 1 " x 3" c l e a r  Double doors, 30' Single  stage  right  - 1 " x 3" c l e a r  door,  upstage  Wall braces 24"  spruce  @25<:  f t .  @25<r  f t .  right  3 0 ' - 1 " x 3" c l e a r  Work  spruce spruce  spruce  ( 2 , 12 f t . l e n g t h )  - 1 " x 3" c l e a r  spruce  @25C f t .  table 36' - 2" x 4" c l e a r f i r @58<r f t . 1 s h e e t , 4'x 8' f i r 3/4" p l y w o o d 1 p i e c e , 3 0 " x 6 0 " f i r 3/4" p l y w o o d  Fireplace 1 p i e c e , 2' x 3 0 ' - 1" x 3" 1 s h e e t , 4" x 2 yards x 18"  3' f i r 3/4" p l y w o o d c l e a r spruce"@25C f t . 8' mahogany 1/8" v e n e e r b r i c k m o t i f Mac-tac  Chimney 1 0 ' - 1" x 3" c l e a r s p r u c e @ 2 5 £ f t . 1 p i e c e , 3' x 4' mahogany 1/4" p l y w o o d 1 s h e e t , 4" x 8' P a c i f i c b o a r d  Factory  Cotton  c . a . 10 y d s . @ $ 2 . 9 5 y d .  50  Paint: Floor  (2 g a l . ) ,  Walls  (2 g a l . ) ,  Texturing  3 g a l . w h i t e @ $8.00 2 g a l . c o l o u r @ $12.00  (1 g a l . ) 24.00 24.00  Properties: Skull Globe p a r t s Washers ( c o i n s ) Gunpowder Cigars Beards Paper  5.25 2.58 7.25 4.8 3 .53 4.20 2.58 TOTAL  $261.73  51 APPENDIX LIGHTING  VI  INSTRUMENT  Use  SCHEDULE  Ganged with  Colour  Ci r c u i t  area B area H wash .. area I are?. C wash_ area J area K wash area D  ...3_ .52.  ..._2.  3  .5?. .4  .L  _9.  52  Dimmer  .6. 2 6  33 _8_ 6 8~ 6k  54  _53_ 5  52 3  55 7  8  3 7  area E  17  8  7  7  area. A. area G  .5.1. 2  10  3  15  1 s t Pipe' T (door)  iL(wash)  -..6_ ... 3  J.L  53.  .20.  1_  _22.  0_ (wash.) .__39. Q_(door) 3. P.(wash) ' 20 F. ( f i r e ) ..... 3_ M (desk) ... . 51  _23.  L (desk) R (skull. _S .(door)  .  17  .1.6 22... 24  no gel  10  6k  11 12  8h  4 11 J24/39/17  J.5.  U (door) . .5.1.. window no.gel V (door) . _..5.L. blend wash  22 23/24/39  .38 39 40  1.7/23/24  35  .22/16  .11  Patt. 223 (Fresnejl) Patt. 264 (P.C.)  1 - 4" #1 1 - 8" #2. 4 - 4" #3  6k 6k  .LL  _1_2_  ...5. 12 Radial 11  gels (P.C.) Patt. 12|3 (Fresne'l)  3k  12 JO..  _?2_ 16 39/17/23  Dimmer 1 Intensity  2 - 8" #3  6".^0 6" #39 4" # 8" M  1 - 6" #6  8" #5>  1 - 8" #9 1 - 8" #17  4" #93 8" #54  lh 10 Ik  52  APPENDIX V I I  LIGHTING  CUE  SHEET  Cue 1  Accompanist  & conductor's  2  House o u t  3  Page 3, b a r 3 - B r i n g i n p r e s e t f u l l ) as c u r t a i n r i s e s  4  Page 91, 4 t h s t a v e , Ignite flashpot  1 s t m e a s u r e , 2nd b e a t -  5  Page 91, 4 t h s t a v e ,  3 r d measure - b o t h  6  Page 93, t o p 1 s t t h r e e to 10  7  Page 95, l a s t t h r e e m e a s u r e s - l i g h t s c u r t a i n g o e s down  8  F.O.H. up f o r 1 s t c u r t a i n c a l l  9  F.O.H. down a s c u r t a i n c l o s e s  lights  l i g h t s on  (both  measures - b o t h  -  10  S t a g e work  11  F.O.H. up f o r s o l o bows on a p r o n  12  F.O.H. down a s s i n g e r s  13  R e p e a t 10 and 11 as n e c e s s a r y  14  House up t o FULL  Radials Radials o u t as  TABLEAU  on  leave  radials  apron  7  53 APPENDIX  FLASH  VIII  POT SCALE:  3/4  T///A'  f  ~- /  PLYWOOD QUNPO\MDER  WIRE-,  V  TO (JT/L/TY  - 3/3  //O  VOLT OU TL £ T  ELECTR/CAL TERMINAL  THE UNIVERSITY OF BRITISH COLUMBIA DEPARTMENT OF MUSIC Old Auditorium Friday, November 29, 1974 Saturday, November 30, 1974 8:00 p.m. UBC OPERA WORKSHOP 'An evening of Opera'II French Tickner,  The Merry Wives o f Windsor  Sir John Falstaff, Mrs. Page  Director  Act I I , Scene 7 to end of act Derek Del Puppo Linda Irving Dorothy-Jean Lloyd*  0. N i c o l a i (1810-1849)  Cosi fantutte  Act I, Finale  Fiordiligi  W.A. Mozart (1756-1791) Elizabeth French* E l f r i e d a Langemann Linda Irving* Dorothy-Jean Lloyd Douglas Riley Gerald Smuin* Barry Rector Betty Cosar* Joanne Dorenfeldfi Douglas Graeb* Derek Del Puppo  Dorabella Guglielmo Fernando Despina Don Alfonso  INTERMISSION The Apothecary  Complete i n one act  F.J. Haydn (1732-1809)  Sempronio  Doug 1 as Graeb * Derek Del Puppo Mengone Ben Heppner Grilletta Bette Cosar Joanne Dorenfeld*P> Volpino Linda Irving* Dorothy-Jean Lloyd Servants and Chorus from the Opera Workshop ensemble Designed, staged and conducted by Steven Henriksont Translation by Steven Henrikson OPERA WORKSHOP STAFF Graduate Assistants Technical Director Coach-Accompanists Stage Manager Costume Assistant Properties Assistant  Douglas Riley Steven Henrikson Douglas Riley Grant Hurst Thomas Quigley Sam McMaster E l f r i e d a Langemann Jennifer Jestley  * Indicates performance Saturday, November 30. t In p a r t i a l f u l f i l l m e n t of the Degree of Master of Music i n Opera. P. In p a r t i a l f u l f i l l m e n t o f t h e Degree of Doctor of Musical Arts i n Performance. The Opera Workshop gratefully acknowledges the assistance of the Department of Theatre  55  (LO  SPEZIALE)  6ro\'io^\)  OPERA BUFFA  JOSEPH  HAYDN  (1768)/V  E ^ e ^ ^ d h  MIT GENEHMIGUNG SR. DURCHLAUCHT DES FORSTEN  PAUL ESTERHAZY VON GALANTHA AUS DEM ORIGINAL OBERSETZT UND FREI BEARBEITET  Dr. ROBERT HIRSCHFELD  UNIVERSAL EDITION  56  Personen S e m p r o n i o , Apotheker  Bariton  M e n g o n e , in Diensten bei clem Apotheker  Tenor  G r i l l e t t a , Sempronios Miindel  .  V o l p i n o , ein junker, reidier Geek  Sopran Mez.zosopran  Lehrjungen, Hausgesinde, Nadibarn.  Die Scene stellt einen v o l l k o m m e n c i n g e r i c h t e t e n  A po t h e k e r 1 a d e n vor.  Ira Hintergrunde eine Glastiire, die nadi aufien fiihrt,  nidit direkt  auf  die Strafie, sondern in einen grolien Hof oder Gang. Neben der Mitteltiire ein breites Fenster, welches in diesen Hof oder Gang sehen la'Ut. L i n k s die lange Stellage mit den Biidisen und Flasdien, davor der lange Ladentisdi nadi Apothekenart.  Links  eine Tiire mit  der Aufsdirift:  „Laboratorium". Ein Sdirank mit der Aufsdirift: „Gift". L i n k s  vorn  ein Tisch mit Sesseln. Minter dem Tisdie redits und zugleidi vor dem Ladentisch ein holier Drehsessel mit einem kleinen Pult davor, wie Sdireiber es in Comptoirs beniitzten. Der r e c h t e  k l e i n e r e Teil der Biihne soil  mehr wohnlich eingerichtet sein. Exotisdie Trophiien. Tiere ausgestdpft oder als Skelette an der Wand. G r o R e L a n d k a r t e n  alte Bilder. Lin Tisdidien  mit einem grofien Globus und MeHinstrumenten. R e c h t s eine Tiire. die in den YVohnraum fiihrt. R e c h t s v o r n ein Tisch mit Sempronios Lehnsessel. Zeitungen. Karten. Biidier. Alles ungeordnet.  Den Biilinen und Vereinen gegeniiber uls Manuskript gcclruckt. Das Auffiihrungsrcdit fiir siimtlidic Biihnen ties In- und Auslandes ist aussdiliufilidi von der Universal Edition A. G., Wien, I., Karlsplatz 6 zu crvverben. Nadidruck verboten. Auffulinings-, Arrangements-, Vcrfilinungs-, Senile-, Vervielfaltigungsund L'bersetzungsredite fiir alle Lander vorbehalten.  IJ.  E.  6bl7.  Al .  ca  le Ta . ge,  Al .  f« . rm.fr-,,—r—i  le Ta . ge  r-^i -  klopfen, reiben  r—i——I  , Lie  M I 'l P  Ih.rerZier  ,  Zones regard.  3* dicn' ich hier Z_sceK here  und meinHerzklppft fur und fur. Klopfen hier und Klopfen flnaftefltsm/ kearrtor wm^^ore . Qe^fn^^eafi^ Is  Unir«r»jl  Edition Nr.  6617  dort, , ^he^rr^  58  h'Leaks*- o*~(\t  <D/i"+ i r e ,  ©Sac Ta  .  ge klopfen,klopfen  rei.ben,  Lie .  be, Lie  be,. da da _ . hinkannstdus hinkannstdui  .  MT  5<g trei.benli  sye  Zier  /f  die?n  *&rd T.  7  _^ r  Ih ,rec Zier r  ich hier ,1  /4nc/basfs my mftpm beautyheafr,  ich hier! Ih . , rer Zier y die'n  seekteCL+LpXJre-ward x  es klopfej  r ^ ^ X  dien  r>f n i ^ ° " -  fiirund  fur  ,  xekivr nS\\t& morel  dort,, / klopfen klopfen  klo.pfen klo.pfen klo-pfen  ich hier, jal ,  sett hsrt^MA  _lopfen,klo.pfen  klo.pfen klo . pfen  klo.pfen hier und  > heart: '. Bedty,heat>"p kert\^jbeff}^ foeaf^^ becfo+Q JT~^ t  ;  hier  klo_ pfen  _ J^X/d/^  ^  59  QdassderarmeKranke,  hat erdenSai't iniLei Jae,wollt' g e . n e . s e n ! , /  •  -0-1 -O- t9f m  Mein Henvder A . po-the-ker, ein mm.der.lijches We.sen; sorgt sieh y\\j ma„te^ iheapofiecary) ex. man of rtf-u -ta-rionj fins, de"  60  t~r—  - V  zi.nen, AYn&f  tf 1  •  derblia.de Zu.fall muss den Kranken  _ ) Al  fee,"'  *  J  J J  J  5««i«»/,^#. K°, Dempronro.i^  m m t  enraunl  '  le  1  p  f  Jlj  v  '  .  i — — j — j  1  ' F Zeitung vertieftrochtsaus dem ^ u ^teggone der sich achtloswjiterbesehaftigt;) | fffTn' , « tP-z , (lesend=) , n e i n e  r o s s e  Hor, rtdieneu.e sta KunJel /  S i  ,r hear He latent ne\^i;  0 o  g g . g , a  -*; .,/ I?/- Jf v imfer.nen 7 he <vo(ih American j«di3.«s -iUctvjz call Die  th  n I n  d i  a J i e r  .Meng.Uhnein I^edikament zeigchd.) / < >  A.ber Herr But- Sir,  Chi be  "na! j  die.ses , C h i . na.U f t a ^Kiw-i^e,  Hor lie,, ber ffe*r tafher> 1  Erkam in's Liab/in, Jn's Lieben,  iun.gen FVei,ern, horst  du,  ^ f m p ^ e ^ ' t ! Men^fifanpender.);  ^ Pas C h i . n a l Tt\e<]m-/  (auf eine Semp^,]' j' e  n  Ja dasXhi,- pa! ) Lass das, y^iMsrfihforlAefiSCjT^  was. mein Vet . ter der A p t , ge . trie . ben *jUr rt?a-sm rtz doctor ha* done. <  hat sein  reLches Mun_del sich v e r . schrie.ben,  un . ge -  zah let  n  hat doch  trotz  das Kind dem  62  5V^J" (gehelmnl.ssvoll);  Vormund  '  sich vema-let.  DassEuch Gril.let.ta  . «• b>  He!! Passtnicht die Go.schich.te  er.wah let, daswusst'auch ich. &/>,'( I &fra^-^rfWe-ry  you have cho&ev\  dochbald wird sie mein! /  r  /jky*«r brides^ be  /  -• •  i —  / — —  •  XOJ:—I  aufGriLlettaundauf miehj' •>  Noch.ni nicht  ver.ma. let, ,  1  ckaf. .yhou^ku weVe ^o^,married 1  cW*<^^|jeuwiH ^ hv? " n ^ I e ^ ^5e T  Wahr.lich ein net tesBrautdienl,  » M H I i l t*w*e K  i  IWannsoll dielloch zeit s'ein o  Semp . jsucht abzulenken, hatjdie Zeitung wieder enifaltet und liost laut.als warejilchts v o U e f a S e ^ *  dreiSchif.fe  xoll  be  Three £h'ps ful-ly  la  den  mit  WeLbern  e i . nes tur _ ki.schen  (o*Atc{ udk je^e/i a^dujameMfro^a.  Ha.rems  "Turkish  63  bringt sie M n . d e von Be.deu.tung grower*, ^'l bnnp tht news i  Gril .  (  C loot i->  u  J  f  l e t . t a ent.flohn in, gy-ter Be.glei.tung. ~ u ^ s seevi os^Ae flerf M c ^ ^ ! o % . (  V  ^4  < ^  &emp.(hjlickt auf, wlrft die Zeitungweg; verzweifelt:)  ' ' 1  1  |  Heir ifhrepht?ln Be-glei.tung? -?'» E n t i l o . hen! WobleibtmeinWil.le?. , „ / " D'id \jttts«y/k)#k Cwffly f?S « SUeHfamem t + U e * ^ c f c ' e t •' 1  e  (|ich beruhigend^ Mengone z u f l u s t o r a d ^ - ^ * ^  —71——0-9-00 n g c —1  J  ^ ^ . TErVlegrweitor srhr^ibferrascht.) s  /2 F ^ f i ^ N  Pest  '  1  bei,, den  /?u^*t  Gril - l e t ^ a  Jtus.sen  ;  *  wfi.thetlj  P / ^ & K r * ^ ^  ihn nicht beachtef in die Zoitung vertieft-.)  istyomVormundwolge . hfi-tett,  Griiss euch /TN  \ yb  mnss dieGren-ze spefreri I' Be_st'er£em_pro_nin a tempoL M^dear  wer.the.  freer-/y  0  Dalies,Mengon,dassdie  Herrnl/ ^Pestl Man ,  Zfrs  Sempr.(immergleich:)y j 0  I  Pfat&jr'ke  ^ Seifipr. Y c ^ t S d ^ " *  , 0 die Pest 1 / Hort dochl.Wassteht zuDiensten? >, Bur het'fVJhrfao Wa^f-^.'r f  p i t f e ffeve,  64  10 ,Vl>lp.(hast|g.)^^  —> •• \ . i  ii _ l • lEt.was  . Be _ _vlie .ben. o - der ein Trankchen, ganz nach Poyj-der> or ex. po cir your dis - c r e - K o * . . PuLver  4  Sempr. (sohrvfTrcgt.)  ^  So^Tw^  (mit ironischiT Spitzp,gpgenVol. pin, sRincn Wi;bcnbuh^er.)  Meng.(geht auf Vojpm'zu.)  I  schrie.benl, i i  9' *  i  (.V j  *  /  Kommt \ o l n -—  •  Volp .(sichbestandigumblickend ungeduldig.)  A2M»T  rie.benl Al.sodennl (Der audi scheint Grillet.ta zu liebenl)/ )/lS  Wie?„  -o-  1st  T  ist euchdorti ver . k fJl^ 'K  denn wirkJich  k^/oul}^e\  Ei . le?  he -/PO  loef+er.  (0  (x  (xnM$*)rit.  ver.dammtl.  lost"  MengonmeinjBesterjl, das  C  ~~~  friend \Z  Ich ver.steh nicht ei . rye */> 7 < * Q " ^ £ g ^  .^  — "-^= Zei lel,X Dio.scr Dok.tor  (Aaf m »/ bearWfi"*  pa  hen.  hke ,  , .yo^d^cior  Ich Sam  X  A h ^ . W r X  pur,  [  ,t  um G n l .  ewe, hjr^o^j  ne eln Billet und eine Borse.)  nicht,werGfil. let  ¥—• | y i | fUhrt m i . s e . rab . l e Schrift I. Weiss nicht,  io  let.  ta  X  zn  J  Mat i f yon fate  , se . hen.)  sec • dear anf-ftr-fat)  j  ta das Briefchen ste.cken ,  Hthk  l | t±rg±d v e rda ch.ti. ees  Wisst  ihr  l\s~-Y£^  Meng^ konn.te?  ra* \eajcW!, letter Ac O^ij- TrF-la  9  <  Da.rum die ML, se 1{e-)  Me . di . ka  I  ^  ^  66 12  Meng.  A p p «h * -ff-j) i i u P ) tip- fl I Still,  nurnicht so schreicn  j  I Gut gutl [ dochbit.te sagt fiir  m,  Volp. (In Verlegenheit wegen der fingirteri Recepte.)  renbraucht tfir die w.en  •  Arz - nei,- en?  ' —' :  ->  •  Dem  E i . nen, wis . set,  —•  ^  Meng. {Wichtlg thuend.'  Ihr verstehtmichlv v />_ //_ . I  ^t>° ^'• A  hier  da.  ^  Meng.  -a- \ • 1  (erleichtert.) j j — / ; k j 1  (Ruft den Gehilfen zn, welche aus den Labo . ratorium eilen.) raiorium ene  Verstandcn,verstanden! Nunraschan'sWerklSeidznllandenl' / \IO(. T u» AD r—<•(•/) IAM I 1-4v/ *,i ,A JJ. I I W, / . o f L..£il ' (  A r i e d. M e n g O n e . (Sehr g^schSftig, relbt Pulver, macht allerlei Handgrlffe. Dio Gesellen lelsten -• '*• . 'V ihm dabel bestandlg hilfreiche Hand.Wahrend der Arle kommt Sempronio im Allegro aSSai./Strassenkleide aus dor ThUre rechts und geht.grUssend ab durch die Mittelthur.) 1  o^  Volp.  <  fcht eine Gaberde.) j ^ p»- ~ — •/ | i W ' 1 : J  es  1  (auf den Kopf yV^ f f ^ c f a *zcigend.)  fehlt  e r  1  67  / 'tVttuft  - *  • —  la  -fH^ I P a a a «  ameiiomama  s  1 r r r r r r r r lI | r 1-4— • p a—p—I  '  rr  rr I  IIP Meng.  t j I J J J n£j=p;  la  neh-raenwir van iiJk pre-^opz+hk  L^rit-fF  die.sein Thee.Ver _ darbergarden Magen sich Rhabar.ber hilftsicher../ brcv. Someont ha^A&sh^sskilk.•tT CuffH^ *JiH\ y e / / W  special  fiI ' I  1 • iJ  -  I  •  . .  : i  r—IS  / / i  r  3E  Rha .  lich  O  IE  9  i r bar.ber  re-  ^A.yesher.bei!  1 J»x • _i -  hilft sicher-lich. . / A  ~6> 2.  Al.lesher.beit  /  JUleshei her.bei!  p  3E  .  frdrevh/'fJ^  O  (zu Einzelnen.)  Hur - tig!  1-™ = = *•  .  68  14  Von diese'm Quantum  ^ = ^ ^ = ^ - r  suf.fi .cit,von je.neronimm die Handvollmit,dannstossen,reiben ,  ? i .r /  r  r 7f  r  TCTT^-T-^FM^  drucktderKopf inn  noch,  Schlufk!  EinSchluck!  so schwer,und . hilft  ihmauchkein, ^ t y k , ,  no cure and th^rocmrt&rmtdecnk  der  Kran .  ke  hat  ge - nng! .  j  J \  stacc.  {X$odror--f,-xfe  /,  tormehr Ein  & S"<e. O.rx  Wenn  Rha-  69  70  16  Ma-gensich Rha.bar.ber  i  hilft ilftsicher. sicher . lich  Rha. bar.ber hilft,si-chqr.hcK.// hilft.si.chor.hc'  Von diesem Quantum suffLcit, suffLcit,von von jenem nimm die Handvollmit. .  H  jpy  ,  I  _ i,. i  ,  _>tt  Dann stossen,reiben, ruh.ren,fur je-desRechnung fuhren. •  r  >  .  IP  ^ ,Vbn diesem Quantum  We^iv. preserjpf/»ns  1—B>——g-»  f pflp p p p -ih-it^ b J> P"p p (i i r p p  suf-fi.cit, von je.nem nimm die  m U-  fuh.renJ  f m  1  Handvollmit,dannstpssen,reiben, ruh.ren,fiir jedes.Rechnung  •  - £  Und driicktder Kopf ihn  Lp _> a C/. -T r9 ' ^ a  EL  npch  /so schwer.und  4^ MO  *•  T  !i l l  L  Cl{fC ^A\ )  hilft  ihm auch kein .  71  Wenn,, hart ,Be. drangniss  ihn  reichtl  ihn  , .beschleicht.wena hart,. Be . driingniss  -o  33  p  17  ritnr37  beschleicht, Rha - bar.herhats bald er -  reicht,  er . reichtl/  fa  ,  i  Von diesem Quantum suf.fi.cit, yon jenem nimm die •lj *>t.?t^ fifx-^-••'.-y/j. >:. v.\-f.-, ••-'-e-jn :«jr<nc  72 18  4r^y^\ >C I /><«  Handvollmit,dannstossen,reiben, ruh-ren,fur je.des Rechnung, fiih.ren, fiir ie. des Rechnung  3 4  •  -0  « • i  1  fiih-ren. Und driickt der Kopf .ihn [hu-rr'x^ , £\y\4 \jh-^ 0/ doctor  Dok  ,//  .  tbrmehr  noch -findi  Ein Schluck!  J& sun>. Or*  .  Ein Schluckl D n e  der Kranke hat ge-  drl<yC-rz^ilcxX\ act Cured1  m 0a  nug.  f /  Ein Schluckl,  ^/Kfti-A^  e>  soschwer,und .hilft / ihin auch kein CurC-\a,i\g Thus .</ .pro cfa'ims -/-haf  0m  i i»'  ff-i  L T L T 1f — f r - f * — Wenn hart, Re . drangniss ihn , , beschleicht.Rha-  A  r  f, Tiff -i  PF —  7  c t "  •53  / /bar.berhats bald er - reichtl/ hfla/fA. cc-Srvrvfa^ J  'l  Rha . bar.ber hats bald er . reichtl Ihin wird so f // heoHh is r e . - f o r d * j no imtf& u  if  73  leicht. ,UIV/lilv.  Rha .— ,. bar.ber hats bald , er . reicht, ihm wird so u a i — UUl u a i D UUiu v* • » VIVUV| »UIII I»UU  /  1 Vila.  pa In !  full  leichtl  i .  Rha.  W#.i<> fe-9fo(H C£~5«>'a , w ffi n? ^ y r g , zw,7> /  bar,, ber hats bald ,er - reicht, ihm wird hp$. Mi'>.<>fe.-s~ofc-H A - ^ i n ^ w l - H M  so Moft  leicht, ihm wird so ba\*^_^a\\--k no  more  p~  '  '  (jtfengone mit den Gehilfen ab ins Laboratorium.)  schnelle ie.tzo in .die Hexen . kuche, brau-et Saf.te brau.et bus^mixirvi Irenes bce*& aMpa^m^.H^l ewse hi. hei~  Elii-che. ) Doch nun zu Gril-fen f/oniJ3*t nouj io~~~~  74 20  j  |  *  /  1 I  ! (goht Ictse zur Thiiro rechts, slehprorslchtig- umschauenrt.) |  JZ  i i 1  Y  Y  "  r!i_  A* tT\ A Kn ci fvonl / TW n  ^ooP^ i 7^^T"( Klopft an/JTB-XThure \ >M • und will sle offnen.) 1 A V. . X 4-, m r-m  it durch die Mltt*lthiire  r  v  (  ^  ;  JlieDrache fort das wiUfch  nutzen.  ,  _ G r i l . let. ta I  Seht  — i-QfllleH-ei Inas ckoien wof - / »  Ke.cken! /  >v .c*^ / W  >  n  " hn au/Volpin zu und klopftihn hifiten auf die Schulter.) Volp Grilletta. 1\ kl_  /  °*l#<  Wel.che  — ~  GrilfT(schnippisch.)  ^  •  fah_ren,  .b^euL  ] dfjpmlisst ihr das ^Ge . f eim pis Stc&rkl Then yourdedz-par--fure Zjouidvmke a. hap-M hen jour ft  y  x  Y-  1  •—'—'—  r—f  r  r  p  p>  >  r  •  it/  ^ ' " j j N ? ^  r  wtlleucherleuchten, ichyilleuch lenken, dieses H|ndchpp musstibjnichtdemToLpel schenken. icr as yg«rfeg^uQrW u4lod-u6QioHlka\>etharb/ockheAi uell Q.-h»e.tmd someone L g / j £ ^  ^ ofe^V  I , o wiebe^orrtl.Gemyilljchmichnach  m  door  .richten / A.ber aucb. ihr Vol  [eilt rechts Ins Gemach: A rK<? fioof aus der Thiire , bevor A_' U  V  .__U  4 4*$  ^  • __.  room,  -  0 ^  -de  Wo  Lie  Sudarr  i  -.  .  .  bes  got  .  ro - vancc, .y/ ^  er  lackien,  stiirmt  u\n-bow\aidi £jl\/e$  (Sieht nach der Rlchtung des Laboratoriums und legt dte Hand an den Degen.)  (einhaltend.)  (  \  r7s •  Should Mogane  ^  0  (Wleder losgehend, zleht den Degen.)  •9 ^ Ich  stfir  tfilmVcf  .  me, ich .  I shall  stiirime  (  .  wet J<th  vex  .  we. gen  d&--fiance.; a  dem  -for  ' i ^ i r  78  24 (Thut,als ob or den (iegner in den Sand strcckto.)  i seinl /  i  i  i  r  r  r  Gril-let-ta du Ver . r a . tho.rin.d'iis Rlut-bud >vird,I)ich rcu'n!/  . rii _ the-rin.das Blutbad wird Dich. reifn, J  das  Blut  .  bad  r  r  r  r  Gril.lct.ta duVer.  wird.  Dich  yon sW/  —i—rf_"" w  ff-Lf  Lie  _ K  — J — -f -»  , | ••|„..^._|  . — z?— nil*'  [7 9  tH—H-UBL^— —  g f l L f  bes. got  .  _  ter  lach.ten.  stiirmt Hass  fo-$Q¥£J2^ un-bomdeA) 6\\/(Li flit r*'-00 \G 0-0-m r-= 0 r-C^ ~r) .9 : 0-P-  auf,  fo  Hass  und v e r .  hate. Oanci ci/S  i  25  ach . ten I  Den Ri va Ion brjn.ge,  .ichvpr meine  X sfai|sect>w ri-val  Klin.ee.  Drauf,draufmit Hieb und, Stich.rait Hieb und Sticli! , /  trifft,Men.go - ne  stur  me,  J  stur.me  meet m  ver.we.gen  dem  de-reduce', for  T  °d//  death  mjchl,  -ent.ge.gen,  Ich  dem  X /ear nor, -for  ..Esmuss^_  LEAF 81 OMITTED IN PAGE NUMBERING.  82  Gu-tes mchtgeJ'un.den!  Ei  sieh!dasHeerchenfort,das ist nicht.schlechtinimwardeinWink von  I  i  i  1  o.ben!/Ich fandinden Re . cepten jnjchnicht zu recht der Kran.ke war'un.feb.Lbar ab. ge ^ / ^ g y ' - i - <^'" «&cttU*pccscrfiW) muckfaconfajfavJiGjZh**.boui {fared another  7?.  (schaut nt&3[isi!h r{ (>of  rill.durch die Thiir  w  Meng.(angstlich.)  rechts in den LaclHn^Meng.  fc  schoben  Cr!$is  Men.go . c i . uol  ~  Gril.let.tal Hast mich gerne? ^Frei.lichl-Alber Sem.  " — Js. -*t—  rit.  i  jQl  J3'i  ^"Mh>m. &y  for**Surely/  /W"you  83 28 Meng.  Grill,  pron)  rt  \ Der ist nochfer.ne. Saginivlbist mirauchgut? Ja,doehichfuroh.te  i k-n  i  k—  v i 'I _____  1  gass-*  1  ;  sej.aul cicrllut!  ,  rei  i  s ^ 5  _  5^7 * Grin J v—|—<.  , • — i  |  Meng.Chahert sich ilir, Muth fassend.)  ^  V  P  j? ^  *-rT-=  j  j  i  F -  i  Grill.  J - hr- l_. _ = 7 ^ v— V * — » — 1 P r p p p !____ ^ p—1  5 l naliert sjich ihm ganziich.)  5?  ^  3  (sichangstlich  Meng. i  oLn  umscnauHiid.)  ^  .  [  h  HE=5 nicht, bis ichsnicht se he/. 7  bdle^JonT be <s> S!"^ •  So  (spitzfcden MundA  ,  \\\m  warteI Lei.se, lei.se, Na.herlDirwinkteinLohn.Bindie S o waif w o t j W ^ e t y U ' ^ Neater1, Tfs,*o& Iwporfwk J a w  _  (Sie fassen sich an beiden Hande; Meng. wahrend Sempronio gerade zur I ; Mitteltliiire eintritt.)  Deinel/  r^rs!  dieMei.nel,  i  Daist er school  Meng;(bei Seite.)Gril£°  ±=±  i Ei Ei was, was thut ,ihr?' ihr?'  yourHuntfte*! ^Here comgW^J VW f f i L. -y SC.'  i  - r r  (  !  Ann . stfl  , ihin ist ganz u . b e l l ,  poo^—-Qnt[ ti ' a of CL. -feJer / =?— C e s  i  m  Hab  ZuinTeuJel I, Achder ZuinTeuJell, Achder CAW'A ! /Ik ih  uork'^*''The  ihin den Puis  fti'i puke is racing  t  w  (die friihere Stel. Semp. lung beidernach ahmend.)  ge.fuh.let  yr>ad/y.  Sol Sol den  84  29  Puis!/ Mirfehltwas! , Euchfehlt einvoUerWasserkiibel derdenKopf euchwiederkUhJet | Weiss tul<fJ.r™ reel A a T_ OscucziM-Squirt tinsle>r^j^ldw^w v A U s c o l c t X  nicht wo. hin ihr zie . let. donr km^'Joa.fao^e~ i>»<}; a  Wisst ^hali  es T.  ' Bei.del / Ihr s A o u j / o ^ i '••you  ahnt nicht, p . Sem. do • not +eej__  pro-nio, .wie i'urchier.lichich lei.de. . Jal Ihr Ahnt nicht.Sein Lei den sitzt ganzdrin.nenl,  -ho^areacttUli£+i«c  pa\n  SetzteuchAr.beitsoUbe.gin.nen.  cht zu zu mus is.,sig oicnt O r cXe/5 ~r~o  blei.ben,  -rUl  ,  TU'&ati-Hcri&*  QT • reefers whWewell  bemf,.  HabtnocbPulverzureLben, und , Dir,sch6_ ne GriU___ta_  sollt  aus  den gro. ssen  s-z-r here. <xr  jour  Bii . chern &o -ble.  urn  Rech.nun.gen , qui'ier  ana  85  .  | ^  i  fop Hup  p  4  X  also  flei.ssig  hue  I  f  iTTi»rTp  P  schrei. ben. Auch ich will  sf-lll -  ( halt auf aw we welche er zuigt.)  I  (  l A *  I  A  p r ^ ^ r ^ ^ - ^  sein; derKriegist nicht  *7,y b)ock iheM(~ ,  '  -  be.  en.det,  not pj-  )  nein nein! will  e^ded,  no  1  _J~  Sit  *  4,  (legt die Zeitung auf ^ L VA f den Tisch fiihrt dac/ ^ r&r , rauf rait den Finger j P j • hiii und her.) ' • . hm und her.) / *? jfr -m mr: r1  f t  •  1  p-p> ftp pi  sehn wie er sich w e n d e t . J '  -my „  ., i  ^  \ Fbl.ge W VdemMarschderHee.re. r pip  >v.«sf return ^ p < ^ & ^  p is tpp . r e»l  Dasskei.ner  /< ; s  W / 0  /y  /  r  ^ mre  ,  a  i i  I'  T e r z e t t . ( G r i l l e t t a . Mengone. C A n J a u t e m o d ^ r l t o p Cr Mil  Sempronio.)  /  7s.  >J?,  V  r\  (hi  s  ICM  Mengone seizt sich an den Tisch, ganz vorn links; er schiittet im Folgenden kleine Kb'rn,efyfn eine  &  £>'  ^ S c h a l ^ J n d zerreib* sW.  SchreibetNfoereit.  Grilletta holtgrosse Geschaftsbikher und hiipft auf den Drehsessel,zuni  Sempronio holt den grossen Globus und setzt sich ganz weit von von den den Beiden Beidenanden iz weit  —  H  r  86  31  aoderen Tisch rechts uud stu. diert,Globus und Zeitung ver. T w r „ „ „ » « r, , ^ „, „ L I\ ^ I d c h e n d . c i f r i g d e n Krieg.) M e n g o n e (leise zu Grilletta; schmachtend.) M  So viel Tausend fei.ner .Kor.ne _lein  in die SchaJe/  jet.zo /  HP  PP.  .=  1  at=_  » m  ein. zu.streu'n,  . so viel Seuf  r  zer nach der^ Lieh.sten mein,  berg ich  tief, in meL]  Grilletta (ebenso zu Mengone.)  L-_ Br.tist!^  .  So viel Zah.len  ,lan. genReih'n,  hier  in  stil.lerPein  ich  - so v iel/)Ereu e^reu _ . den wek_kest, welckest, du al.lein  in  schreibcn  muss  z  » mir/,izurhpi cb_s^en ^  Sempronio (von der Zeitung auffahrend.)  /Lust.  HaidemGee. KY> xtim^ ein HaidemGeg. ner winkt einilofihunesscheinlErdrinfftin einilof&ungsscheinlErdragtin / din. di» Fe.stungjein.  s »  ^ »  %  y  ft?  / .IIMQC Jaldas  ,  87  32 •ft  wird  a  . ,ein lu.stig Vi ..yatsdirei'nl  Fe. stung sein!  ja ich hab' ____  history!  Grill  o  0  (Auf dem Globus den Ort suchend.)  _,  (  M e n  &  o n en a t s l c n m i t d e r  gleich  f-  i*J0« lei  Schale hlnter den Lade  1  .Sinn .Sinn,  .ist; dumpf und/  triib triib.  mein  Mein  Sinn,  ist dumpf und.  trub,  mein  Ach  )  M Ml .Trouble} rA0iwr<Y<\-  -a—i-  _  Ach A A  das A  r  JSL  hier  kanndie.se  wusst,  dasSchreibenl  Sinn  /  ge ,/  istdumDfun ist dumpf und ho fie &r ist dumpf und nohofie. 0f~  j  -Trouble!. ^oMMt-iVyv Rei.benl  ich hab's  entisch, Grilletta gegeniiber ge gesetzt.)  Mein  truiib. Ach das ,Schreibenl,  triib.  e;s  Nur da  A  Ach  Al.les  On Iv  p ip P P p  das Rei.benl A l . les  88  mir  /s/  / d ilie e Ar-beit har.te. Es ist , ein einschweres schweres Stuck! Stuck! // Es Es ist ist ein ein sdiweres scbweres I „,.^. Pol-l-Zlr,* _ -Tt'A »v»/»Ai ii -fur ivo itvLA// . TlA MA/3 /< -far Too !  VO  £ t  gleich.bin  (ZU Mengone)  T f .  ich' .jzu -  riickl /  (zu Grilletta)  f  f  h  U  Gleich,  gleich bin  s  ich i.zu  iringt vom Hessel mid liiuft in  pro-nioSiat den Platzge. riiu-met, und doch ihr  1—"p" "p  1=1"  J  a-a-J  <  saumet, Mengon ihr  «•—#-5-*—a—o  :  (geht jetzt erst auf Grilletta zu)  ta, mei-ne/  let -  Lie .he, wie  _ '  du dpch so , schon.  dearer ifea!Mfe., our /o\)e i i i . ^ i '  Wah.nen miisst, ich ,  j  bist  i  -  r—=J  .  Ii  Wah.nen miisst ich  in stiLlem  L u  1  3 C  Sehn  1 1 I  in stiLlem Seh.nen, in  3 ^  War  ei .  tel  War  ei  tel un.ser  -  un.ser  is. beyond measure, &ur >Ja>r\ ' N IB a• H  Seh.nen, in  11'  triiumetl j Gril  Sehn  .  -  is ^ S i ^ e n  sucht yer . gehn. /  I/ — V  . .sucht yer . gehn./  -  90  ' K.'icli rair die IJnud die  r) : > A  R  I H-fUr VQM ;  35  Sxhnpller! ,  trautc.  If- *y i  be-true  r  0  wekbe su-ssy._ JSY'U  Lau.tc! Lau  Schneller!  or UlltfrA uS> oaf! SchneUer 11  Schnell dieHandl Erkbnnf uns sehnl  S  /t_W_ <^00<^ Oy0(2^  91  36  Schlach .  tea,  zu  den  Sie.genl  £=§=  i H i  j  Ich mar - schie . re mit dem  Feind durc^  / 0 ' •0-O  -3  7  I/*  fff_hf  .  h£^0-fi-o-a  y  §gut sich zum Sturtium7 Mene.((Im^-fii Ieis__u_frrHrffUn) tiHnim") Meng g  Itad.te oh-ne . Zahl mit ihm yer . eint / ii.ber Bergund Thai I iSolches _| # g STHAQ ^<Jfq__U. 9-| _ ^ £ | g"/Gr ivpy ,-vr.iMJ -to,'fey fc^_c/-  leiden o.deiv  M  3_3  EtEEfe  •EC  Grill  ja die  Lie . be . all. zu . mal J  ja die  Lie.be , i  ^ f = p - f f f ^ f ^  Lie.be ja die  Lie.be . lin.dert a l . le  al.le j aa die ,Lie.be,lin-dert Lie.De ,lin_lert ai.ie  f  f f  f  ^_]^  92  ja die  Quail)  Quail ( J a die  i°t&i-  n  .Lie-boj/ja die  —  QuaJI /  ja, die . Lie.be lindert a l . l e Quail / Such CL IoiQ. r>\uk?<,WiilP ev'fV pat,'A  Lie.be, |  - tort e-tefnoJ  Lie.bei lindeit al.le  -  .  HP  35  PP 0 000 0  -0-  a_o  mm. •0- -0-  X- IOOAJZ_ "t^o 4 - ^ - - ^  (Sempronio blickt wiederholt hiniibe?und^rk^^dU^h^ts^inverstandniss.)  Sempr. (sich verstellend) a> • 0- <s»-*ff—fl—r~0 _ u  .die.ser Zeichen  -l—i—I  -at  F u l . l e l wp steckt denn meine  1 i I *' i' r — ^ I—HI I a • 5  Bril.le? ver.  1 I 1/ I.,-' -—t 1 -  WW  =  wirret ist mein,Blick! /  ^>  f=  r  Ihr schrei,. bet/  K 1 1  ihr  r ' P,  1 1  1  1 1  •  1  rei/,. bet.eleich.cleich bin , ich  ^ zu ».  4  sstEuch  ,Won.ne-sii ..sse  Lie -  w„„ „ e . s i i - sse Won.n Q  g«,  r  erii . - sse Lie . hp« bes.grii sse  C C A  T i p  Ich verschliesse ' i c h ,  Holjde sel'.ge S^ck (a^pG^ma HoLde sel'.ge  -  i  ha.ben b o . s e n  Stieit.entfachtl,, /  ha.ben La-ben bo bo -.  Streit Streit entfachtl entfachtl  sen sen  7 |f_.g  f t  :  bes.grii - . sse  fc  Hoffnungstriiume i seid zer-stq.ben!Wer hatfsgedacht 1 . j Stilles Bapgen, boiling., -fu^l^/SHckan t^Jk ' 2 1 ' , p ' ™-g^)ir, ^ -?•',""£#•, u  Hoffnungstraume  -  \ j h « f i $ $ t $ f l  verschU?- ,se  *  !  seid zer.sto .benI Wer  tt -Pl^Sl  1  h  aVg  hatt'sgedaohtl  Stilles Bangen,  ., I  '  **•  B  JB  —  1  0 P  2 ?0— -  M,  »  ^\  i  K  II  i ldeng l Tag i l ge-brachtl l^^IIlI  es an  —  ,  ^  P- W  1. les  an  den  •0——rTSeid g e . fan.gen! ge.fan.ge]  <W  §@5  Al _ les an  desired,  I E E E  HaL nun weiss, iclv;  rfuafe-cau^:_  a,c\^jfhotk£  £  Tec  96  41  I^iborato. nraum.)  •tempo rit.\ 11,  j  r  r  r  garnt die KJeUne hier  \  p  r  vor . mei. nen  Trvf h e r r f f i t t e - f g p z r p j MJ-rj  i  ^  r  f  Au.een/'  i  f  -  f  i  P  P  T  Ja! ja! , die Mit-gift  e y g ^ ' J g ^ y e i J . Ke  F  mochte  P  I  ihm, .  receive Agr n e k  taugen.dcr.schnapptmimochdas, reiche Miindelweg, | ich heirathe sie vom Fleck. Schonen . c7<;JrV , vJwfj (tare fake ^rllltita t\*>*i fro** r*e .J-llvjed herUifa*rc(elay • UJh^Qoo^  97  42  Sempr. (vertieft sich wieder in dio Zeitung ) j  s  ',  9J^ sr> .eJ.. ir I K W iie dnr: e r d„. i!r„. G c k l f'^ol^l H a b VUuVif i l i r ilirir.gendVnSchaden?  .  Sonrtwr-lgsst meinen L a W ^ o r n ^ o f ^ 4-;^ I Hate, yon ±™&ipe.cM problem . Or plea* le^^Ade^ ?  Sempr. (Bei £eite.)  Volp  Was  tat  j  ]v p :|>  Vplp. (Bei  Vpr.l«- v r  |5eite.)  J  ,  / W » - -j « -  |  i  !«"?//  ^  (  p fo> J ' p- n - f l P "P P '"P P " ^ M E y ? " ^  wirdsbaldl !  B. . . r  k  -Um G r i l . l e t . t a s Hand von ihm zu . krie.gen  <  i >  will  ich den Nar.ren  N„ .  -Jr  p  -«r  ^* I  l/*?m flin Pa_scha P«i C/>ri o aus 0110 Es kamein n feiht vrt>»\Tu-rkey >s .  t J ge.sandt. 7  her  L « l  P  P  Tii r* Iron 1 «i n rtvom mm grossen rcl-AD^nnSuJ.tan G».l * r » » i TiirJienJand, hier. in ouf'/W, om-ba'^Aor of • «<0«1  r ~ T T T T ~ T " Im Reich d,er O s . m a . n e n , die,  A '  » C  l  ZeLtung lassts ah „ nen, ist  .  44  trTurk *rtw*4 sftfai, A clr-xj^fdo'He  #A  I  ->  uns . ron  tU—br-r-pr''  in  Be.zir.ken  m  Feld.a  zum  l;* -l>k  a  _  <*  «  • » .  . po . the . ker den  w  1  rech . ten Mann. Ihr  A'  (macht rait gekreuzten Armen die charakterischen Bewegungen der Tiirken nach.) TK 1 — _ .» _ O __ 1 —»»_,—|K— L  £ ,  N  wisst, Ihr vvisst,dassder  Tin /.  ke  -  Sem-pro.nio  p  J>  p  p  p  p  p - P  viel werther ihr, seid ein  i  P  p » «  lehr,.ter, ter, ein ein Ge Ge .. l e h r . t e r l // ehr,.ter. ein ein Ge_lehr Ge.lehr.ter. lehr.terl SckofarAsjouve <X scholar , you're a, schg/zr . ft 7  —0-  gibt euch der. 1  r ke Jah -  _r -  r  zx-ptn •• - -wPS m  m  p  • •#-  f  C I-B—  r  £t~  i p  p  p  «e-T  f-  Du en, _ r ZZehn. e h n . ttau.send au.sendD u .. kka a . . ttei -They'll ^'v_ yoM i ^ - r A o ^ W  E__E_E  3EEE  -•_ =—r-_—tf • ft 5^ r j r r-p p>—^—ki—f - ressoldl, Sagt ob ihr nach Constanti . 1  i  ' O U S T ^ > -  r  F4^- -  /  Ge _ lehr.terl, Ein Ge  BEE5E  _  y  f  zah,. len kann.  M  39 _ 29 *  A  *  p 7._J<|  _P  *  *  p'c  he.  m 9  '  100  tcmpo^ C '?2.-P, !, ' , } Seid, IfoLa.po-thekcr.und schwimmtin Gold! . e  1  r) a &  J S ^  w 0 11 1  5  7  T - *  s  ^ I ^ ^ ^ ^ P ^ O H ' I I  /„  go/a:  S^^-  ~  gliickli,-ch'er Sjtarnt  M i , , kann euch em . pfeh.len dem  FJftfnJni™} > iP  ie  gjt=£na  1  K———g  )..!  -  r>..  i"_ ._  ir  jgr*—O  1  "—  —  h o , hen Herrnl, Ihr r  .  '•  r^..  . ,5- /Pa stil.len, die rfla.stor die. PU . le.ii, die v  r  JZjjg^rg-e ^-^ 1  tri  -o  r=m-0--O'f :-'B—.—L——-—-—^-  101 46  =el,.l.inir.Til, die  Miireer bcscbvr«it,<lie  Die Turken parodierendT)  —-—^  Weibchen mir  f  w  ^  •  T i i . pfe, l ) e - _ e l ,  Al-lcs von\Yert,W!niiniit  OL^a'k^spe&f. X ^ ^ J ^ ^ ^ U ' X  »—r7  17  p  r  f  r  las.sen, ja Gril . l e t . t a , ja Grillet . ta, ja G r i l . l e t . t a l  aJt+he  „  r  Wie  lasst mir zum Lohn! tt  v  Sem. pronl  (  %  —v _J_ ff  m  ri  Ach.gebtsie  mir!  Gri _ let.ta bleibt mir.  0  .lasst si<  'I—  <a_a—a—p p p  mirl/  M r  W• "  Sempronl Sem-pronl  0*0  Sa|  ob ihrnachConstanti.  "  iu den no . pel wollt, zu  Tiir Tin -  - ken wollt? Seid Hof.a.po . the Aer.schwimmtin  103  „V  - - .."^ :r~1 r~i r  T  i_ r.„..u»„ „:,.i,f :  —i-  1  ,n«  Rpi  «« vnll Hcfichwerden. Will ein •—  ~  7711  (Yersuchtdieparodistischen BewggulQe^olpinos nach zujmauhen.)  anl. IhTmuBBt dem T i i r . k e n  feed', V<w  Z ^' 0  c  e  e  ^  mich em . tfeh J e n  reco^&^(  l  -  ~f-  ~  I  I  '  Dunk- ^ar_  ^L^3~=  1  Rasch e r_ . liert liert Rasch v ver  keit konnt ihr stets z a h . l e n .  Auf P»L- ne  ISchnell.  kei rfe Zeit: kei rie Zeitj X  sagt dem  I  104  i ^  ^  ^  ^  ^  ^  lan.ge.nl/ Will vor der aim - o . | Quf marriage  ^  49  )  ^  R»;.i_se# rair sie noch fan.eenl / UM/ r ^ e P f e t /-/wi — ^ gfcy ,  m <2>  4—0  Piipp.chen sind nicht zu er . grunden, sind nicht zu s/V^/y c a ^ ' f ^ f i f g K i , ! sw-p/y  c\v\~ tics j  mm  3E  er - grun-deni,  Wel.che  eav\r-frfkon J Children  5=  IF  Ndth mit den zier.ychep. zier.lichen.  •at  Kituienl  Spriihen SunkenundFlammen EiinkejiundFlammen und/ ziin.den!/. ziin.den!/ Alt un und  --BP  H  =2 3  Yon ih.nen ent . brannt, yon ih.ncn ent . brannt! Jung wird yon  2>  *3  .pfen und zu_p fen das <,ec -the*'. dgkbWs) 4 pujl>^ r  je - den Fant. Ach, das  H e r z e , mit uns  bringt mich urn mei.nen  spielenund w ^ and  o  r  i  zie  len  Ver - stand!/  auf  um  0  To  fa*  PP  •  ~f—fr~f— *r—^— • p p ? f ~ P 1V P y P P )P 1 ge _wi = f r je . den Eant, und die Wiir.de gibt nichts mehr im.. jl  spin.nen  =  d  n.nen sie 0 AA 1 fy  L\A'T!I  ' r\) -fop a*cl Con - •f!*-*€ )  | |  j  J  t. 01: # J 7  lf  ff  7  4.  0 — = —  Hrj  •  1  —j  1  -1—  -fAey  |  i  !  -  $ r  oil  '  :  3= &  107  1  i  Ill 56  !  112 57  Men - gong dem ich mein WOuld  X  ny>/  Ilerz uill schen.ken, heart fredi aNt ,  ach so schwanken S^nn setzt vor die That Be.den. ken! / erhe ha<, ^ r - f o , , ^ +ht courage -to Take -Tib* '  tuns nicht Ge.winn I y _  hat lau  rf  Das  ThiiteMen-go-nc dochwasermusslErfindet das rr/emone Trite Q$ besth& can I B^can never E  —~~gl  t i l t  i—<*—— ;  7  ff?  id W/,..< r.;,.V,f  <V  T?„* ,.„l.i..-.„i  rx  i'_  ,  Wort nicht, den fe.sten EnLschJuss! 0 Ver.drussl, Summon thg ujords -to-be-?}'* J-—- Ok(JM&\ -fate !  0  Ver druss' , O cru£/ fate'  113  114  y^a>>  will y j r ( ±  S e ^  fro^o  lieer  A l . te  len. ket  mein G e . Schick. 0  o/*j<k_ Lie _  )s  t  he;  •A  Sempr.  / (Bei den l e i H a n \VortP" i ^ - S ^ j H - i t r r r ^ p i n g p t r f t t p n , er horte,in der r>)Q. . Th'ur stehend, die Schlusstakte wohlgefallig an.)  I  j f  (Nahertretend.)  P  T  p  I?  P << P I P  Nach.ti. gall h,abt ihr ge _ sun . gen, doch j.'Ke a, nlgUk\~-gjfilfl- /»» gladness j b*r  P  P  . ^ ^ ^  pimp  'P  trau^rig hats g e . k l u n . g e n . Ihr J^kec>.r QY\ $aa- nes^ Do  Sempr.  Grill.  p r r ~ p p p -f-ji r/p rl  denkt wohl manch.nial an die E _ he? *> Denk' oft £\joj the-,-, -fh'"\k up-on a mr-rr,C4^-, ^ yes *  /PI  p p  iJ  |J  1 ')'•  P  i _ rr da . ranii / Zur ih /<, s o j ^  =  4  115  '.7  G O Grille  Eh'  gc.hort  wah len.  ein Mannl  f Ll  Adw  ja!  Leiditzu feh.len!  B r a u t f Heu.te schonBraut?  0  ^  Semp.  ein  Mann/  j  Ihr muss*  ( Wenn Ihr, nun, recht vol  tiur  t (fen, be  s^n  lot, seid i h r lieu _te, schon  Ja BrautIGril let tin.chen mein klei.ncs,klei ncsBieaxhenl, T  i M£ fried n"^fj^^^^y  7  fart  in a-  ^  cm M  • * e,), ff/g  aj^L^  (mit droheuder Miene in^ Laboratorium weifeend.)  Hiihnchen! Nimmst in al . len Fill len  S „ Grill,  , (seblad)  1  Sempr. '  fli-  ,  >'  Wisst inV^nManniurmich? ., Ei-nenUas bin ich! ,  G  r  U  1  t  Sempr. Anit unendliehem < ^ " i P l ? * c h ) ^ m±.\ •• Wir Ihr'Bin A . po^he ker  Pathos) m  aljer.  go. ne.)  Eucli nehrn  ich! (Das , ist schnell ge _ gan _ gen!). ^ $ i n No  PP  Sempr.  G r i l l , (erschreckt.);  ft B tar kommt licrl  ^yas soil denn  W.Ury©  married wowJ  S  •  der?o  Vow n-i<?<a  Ich hab' ihn mir/  bc-.stellt.  I =1=  /  dass er,wenn'seuchge.f;illt, ge.wis se Punk.te brin. ge zu Pa.pier, | Wars recht von ;-.^Cov\_S|^n bafiv curr\omfi iof X" he_-frax/efttenot*— ^f >$ COfAW^. JJr vJo<> r  }  Grill.  (bei  t  5 Br  _  mir,  —  ,nach dem No,, tar  $k^±^jm±Jj>'JAKMr^  zu sen .den?  e)  r  ,!a!, ia! / (Sag Ei  • ? _ yeiil/es'. (oU T  ne  r  your  T  hier, wie  soli  —] ,  das , ,  Codg^k^tii^^ki^-j^i^^  117 (Volpino, als Notar verkleidet, tritt ein, geht l i n k s ganz v o r , wahrend die Beiden sich auf de Biihne rechts befinden.)  62  en.den?) \  Volp;  (bei S e i t e ) < £ .  Prachtig!  / Ker No . tar, den Men-gonbo.stell_te ist nochnicht bei  Sple'Aa>y[  \ Tl\<L  or-dere^Uj,  yi^afyHc^wh  Sempr. —:  ihjnen, J i r\ted V  A  (  d  nry&  (Grilletta vorstellend)  l^i  Wcunitkann ich die.nen? Bin der No.tar! |Vor.trefflich!DiesGriLlet_ta / . , /)re / w ready S\r* J^aty oucse/vfce: fl^ri y> W/.WI Pkai-e wk* h u b ^  Ich hab euch meinbe_sterHerrNo. tar,  '  ru.fen las.sen,unseLnen E . he_ver_trag ab-zuJassen.  / T  .  1  Vblp.jvbn Seite, sehr vernehmlich) . i ' )^ , (laut) t  t  .  (Hab a l . so recht ver.nonumeni)  I!)  ^——  J  ; i  k  r  Grill.(nahert sich Vol  pino.da sie ihn erkenntund inc *P*P zupft ihn.) (Bei Seite) zupftihn.)  Bin des-halb ge.kom.men. IU •/£ all In O rde r,  r . '  »  (Ei[E|[Vol.pi.no!) StiLle (siihr deutlich beTSefteZ/p^ le hi  \ i  63*  118 ^N? 0 J  /  1  , l \ i 1 (laut zu Semprohio)  <v / - ^ ' -  Sempr. (Volpino H«tzt sich an den Tisch rechts.) s • * • .. . . i  v  still!) Be.feh.let, ich volLfiih.re! , preach)  Hier ist Pa.pier und Tin te!  fiJ-yourpleatoKLflere.'!!,  f&fcr  (Wahrend der Vorbereitungen M / V IP? *VH ? ' 5 S 5 f , . i "»""8 M e n g . (Bei Seite, JS A/\Notarverkleidet,ergehtgleich. . ' aber * "VX falls links vor und sieht rechts hinuber. n> ^ ui^U-^—g «a at— n  e  al  ,s  a  9  t]  9 e n r  rit.  jph  a*<l Ink. ' Z slwtl  (Naher hinblickend.)  ,  /  cUJ*^*  <^W"  \ Sempr.  d u m i c  VerdammtlDa sitzt schon derRechtelScheintnurauAnichtderEAtelWaswill pk**lfUef<:'zih oni a( reach/1 Uei &i itihz. a 4 Jfr>>'yjUo ar&>  Meng. (wie fruher^Volpino)  Sempr. (verzweiflungsvoll, mit erhobenen H&nden.)  der? Bin der N o . tarl •/ Kom.men Z w e i . e garl , at" / ^ / yrvfeg I / / D ^ ^ £ f C e W i here.  yjetf XV«  Grill,  Ich d i M U r e ,  (hat den Mengone erkannt.),  T^UT  ^  M e n g o n e >  s e h r  b e s t i m m t )  Berr, ihr seid zu spiitl j S /> > y ^ a f e ^ ^ / a g e •  eng.  (NunauchMengon!WeissGott wiesgeht!)MichricfMen-gpn,doch will ich kei nen Zwang. B e . . (bei Seite, aber sehr vernehmlich.) Z\Jik<M tfrvte,j'iilC-.tfo*& Crt/Mptf '»C> « J <•'•" ;  64  zahltuiirmjrdcnGangls^stzurn als nur den Gang! s ist z u m Bersten) Bersten! Mich rief Mongon _  f i r AV/ X\r*e.. T^^^^i^l  MA y o *  er. ste^WrrCoIJi!  genurnicht  iiiiiiii dop pelt Ho.no . ra.re, Gut,  so schreiht zuzwei'n unagleich zwei E . xem pla re!  i  (Die beiden Notare setzen sich rasch, Mengone an don Tisch l i n k s , Volpiuo an den Tisch rechts, so dass sie leicht ill's Publikum sprechen kOnueu. G r i l l e t t a nimmt eine Haudarbeit vor und setzt sich in die Niihe Meugones. Sempronio geht d i k t i r e u d zwischen beiden Notaxen atif.und ab.) , ,  |  !  I ' • Ge.lost ist .die  \0  ) Fra  gel  , Al  j  i  so,schreibt, was ich  sa  /  05  Quartett.  Un JIOCO Adagio Grill.  S  Un poco^SdagioTA — —  .ftliafi._S.glo.  t vor w i i r . d i . gen Zeu.gen...  5/ovJ  )L  „ F r e i . w i l . lig gibt sichGril.  ^  zu e i . gen...  *4=  zu ei_ gen . . .  let.ta  ehr.sam als  zu e i . g e n . . .  1  1  E'.  he.frau  60  i  121  67  124  69  Volp.  H e r r Col .  Meng.  die  die  .  (erhebtsich glcichfalls.)  j  sesgchtes  nicht,  jelgehtes ses  nicht.,  A -  lc  yet  g a h a t s ge - t r o f . fenl O h n e \{-k -<-h'^ diS' p o * " ^ ' x <**el r  oh ne  die  .  scsgehtcs  nicht..  „oh ne  die  .  sesgchtes  nicht.Semp.(zu Grilletta.)  r  Q  f  *~  Sempr. (ihr Diktat fort.  liifurtfiwir"**™*"  1  G r i l l . (Ironisch.)  iippiiii^ii|ppil|M ^Ich,  | j  schrei.ben nicht,bis w i r ' s g e - sehnl pri"-c;-p/e, ye y)anr zee. }  trau  dem  Bis wir's ge - sehn! if vie, a ~ pree.i  Trci  .  __ Volp-  ben  nicht, vyir  1  rfl.  P P  Na das wird  schon.  dyt / Na das wird scho'n.i "Thgrga-y*, our -tec *  schrei.ben nicht,bis wir's ge . sehnl pr\n - c! - pie, ue. tJ&tjr 4 o s g e t  Bis w i r ' s g e - sehnl, ^ / f ue a - cj ree •  un .  tec  -  128  73  „chr.sam als  Volp. (bei Seite.)  GleichkommtdioSte-leli  • M e n g . (bei Seite.)  Jetztwlrdihm hel.lel .  „zu ei.gen" in marriage,  (stellt sich sehr erstaunt; laut.)  ,yol . pi_no.ll"  E . he-frau"  s  Wie das?,, H-ovj S o f  (sehr erstaunt, laut:)  „Mcn - ghj-nojl"  „demviel ge - ebS e n "  JA mo Ito till Presto. (Volpino unrf^Mengone nehraen abwechseJiiaCvon Sempronio und Grilletta^die Bogen, schanen Xinein, dann nehmen wledcr Sempronio und Grilletta die Bogen zur^Hand.)  \j-)H cue n\i - Ac, It. - e 1 , Ihr  konnt nicht  Ihr konnt nicht 'lo:*, ore rr.'.j sent! /  „  'a.vf  Presto.  ,  P  -  ^ee If- a - ^airi ,  le . sen, so,,  zeigt doch wies  stehtl /  le,. sen, so ,  zeigt doch wics  stehtl i f  j a k  •?!•>., Ids  S C £  ><- o -  a  -  129  .So 1st ge .  Von Ihr konnt nicht lop  ore.  . l e , . sen, so,,  m i t - Tnk-e*,,  konnt fon  are,  Iqt i  zelgt doch wies _e£  it  we .  sen  f>Q'\)*ke.  Ihr wollt uns  ui> ^\~h all //,,_  stehtl , J)f'  « -  A  '  . -eigt doch wies stehtl sen, so ze tet's iedretf*;* . Sempr. (auf seinen Bogen klopfend.)  - lat - ,  t*!*  So ist, ge .  we .  'rt fio-s/okc  Nun scheints ge . bo . T Hmr gx -pose.  ten y'o»  f  sich zu ent . de.cken:, U > / / _ n r - f>l ' ^ / 0  Spassoh. ne  Das ist Vol - p i . nol  He  E  —•  sen  3  Glei  eQt  .  Ihr wollt uns  __<4 w i f A *.!i_/7,,'i  t  chenl  130 75  JSpass p h . ne  Glel  - chen  Spass o h . nc  7^  E l HcrrVoI. pl.nol  y w  J  T«  Hochldie Ver . lob . ten.  \')er~I w m r i A her;  —  6  >i  w  Bii-bi.schen  werd Ich nicht wei . chen / I ' l l r,,r fce i k a A r - <2*t.  1»-  — -J-g  a r i a <9  —  Spass o h . n e  ,ochldie Ver . er- J- wuif  Hochldie Ver -  lob - tenl / u/\A her t  lob  - tenl/  werd ich nicht  Streichen  «  .War  Aove  4 Vi.vat! Das  Jovi  /Viii  Glcichenl /  ,so  /n  ver  .  schwle.gen  con - rea/•  ,Lie.be muss  sie _ gen  L i e . b e muss  sie - gen  w'ei.chen  trotz der Ge . fahrl /  nic-nf~,  uul-ll  -to - cfa <./• Ob sio sich ,  Paar!  sue - zeea'  How I" ckatl  ;  Vi ... __. '  Mich  1  L_*>  zu  be  .  0  trii .  3  A  .  H  A  gen! Wie blind ich  . <A  .  ;  warl  •pa ~  SEE E3E  •P-  131 76  •War so ver. schwiegenl,  War ,so ver. schwiegen I /  krie.gen,  1st noch nicht  klar. ,  Vi.vatl/  krie.gen,  ist noch nicht  klar. /  .vatl/ Vi.^vatl/ '•«Y  Mich zu be . tru gen I  Vow K«^e  de'celml " ^ - r - \  ,das 1st mir klar I. OV«  Will  VLvatl  Ja! j  Jal /  Ja /  ye$,i  >ff  will iuc - C«?d .  |/V-f >y > V ' f ' j /  3^  klar... ,./  <  Rasch zum No . tar 1  3E  i »  1  Jal /  /Lie. be muss &r-ove  W»A\  UJZ  ,0b sie sich  LviQ. m  \\CJC.  sie  gen,das  v'pat^  i  krie.gen yicfgff;  /  i  Jal /  ft  j  krie.gen  H^g  *  1st mir  h</<>  •Jill  [WyM  krie.gen  -y  --a  .g^t-  ist noch nicht 1  —  Mich zu be . trii °. gen! Wie blind ich 1» .. *> a—a  •  klar^_i T-fi—  :p warl . r-.jt  klar I, (Sempronfo wuthend ab durchMie Mittelthiire, Mi  -cecd ^  *  A.  ,ist noch nicht klar 1, ebenso Volpino, den Sempronio hinausstosst. lo'ji Kill Si/e- ctcct I Orllietta wurde von Sempronio In denWohn-,  m ,0b sie sich krie,. gen /-ov? wilt \IA>/« v^t-v**^,  ist noch nicht klarl / raum rechts durch die Thiire geschoben. /«je will suc-ceaet. Mengone entwischte dem Wuthcnden und  m P  ist noch nicht  yl^-l-o^ vy ^  r-<»  K  Rasch zum No. tar I  Rasch zum No . tarl  bleibt auf der Scene.)  ..T wtlI tiave \/t*-S£a*ce. T w.'il suc-ieccf J  Wf  Si  •  -es erase. — P — P -  ol  Jf  —P—P-  ,  Mich zu be . tru V gen I '  ,0b sie,sich  .Vi.vatl, VLvatl / ,0b sie, sich  (  sie _ . gen, \)'\C ' T-f*  klarj.  Y  Vi . vatl das Paarl  Lie.be.muss ,Lie.be,miiss  sie,. gen, das ist, mir  55 Vi.vatl/ Vi.vatl  , Lic.be muss" sie . gen,  ,Lie_be,muss  4l'C - CCftff i  V i . v a t l das Paarl ,  sie,. _ gen, .  vit. '.'Or J ,  AoVe wii| (ICPC  [/it'i-ry.  ceiJfcfr^e ,  0  i  Vi.vatl I  '  Mich zu be . tru .gen 1, \ / n fmi'i? ^ e -  uss Lte.be mus  Jal '  132  *3. (Mengone  77  ( W i r f t ill f. Notarkleidunjr, Perriir.ke etc. ab utnl schleudcrt'sie ins, Lahoratorium.)  Wahr.lichl Lie . oe muss  sie . gen! > Doch  mit  Prol.len  und  Lii.genl <  E W  1 0 wel.choPla.gen! Ich muss /  ZweLe ach! aus demFel.de schla.gen! Vol.pi.no i'iihrt gleich \  *t  Q j  3E den letzten Streich , |>wy clever scUe-t*>t> .  i  o  ^  o  (  r  ^  ^  ^  Vol.pin das schlaue Herrchen mit sei.nem ?  ESEEjE  —i  ••  i  j  •I  ci  -I_J___VI___*I  ..'.n. i r  . _A  r i.i  ..-n  /!  i i  i  ii  Tiirkenmarchen, das ihm Seinpro.ni glauht,schlag ich aufs Haupt Jetzt gilt os, fes.tenMnth zu , htrk'tikgrt'-y. S&KJVOVUQ goes a - Una , cjcfiw^ osh'is pt$Y)t)t A T \ ' M reoA-j, Jrk^c T° "hike —  i JY_  :—£  :  £|E  :  1  3 ^  -e»-  (lliertrat Grilletta von rechts ein, sie ahmt ihm spottisch nach.)  *  1  1—\  kr  '  Grriilllleettttaa.. ! G  1  i  f a s . senl  ^ i.iiL  Cocifacje!  J»  '•'  ill  'I  T^I  „Muth zu fas . sen!", n .la I ,*ra Courage 1.4^  i *  .  .  i  jal Meng. hi . no, das  ye±[  "  " ^  i  - i  Meng  1 !• T-i  ist nicht dein Fachl.Die grre >;a^ -)'/..; hff&- T T M £ EE  A-  V =  ^  1  133 7 8  i  Lie -  be, die  f^f=f  f  Lie . be mach . to mich  schwach,  doch kriift'. ge That  soil  .heu.te noch enLscheLdenl Sempronio und Vol. pin, ich nehiu' es auf mit BeLden! rfoaHqg ihecoctfse: ofad I ' M / , ^re noiu y-6 ueafar tacKo* e  tru . b e -for-  un.se  lig  Herzleidder , ,Hoff.mmgniilden .Schein.  E,  .  wig  wenr.T/ioc«»A  /C\  wig  Dein!  ja,.  dein  E.wig  Dein!  So  soils be _  Grilletta. '^yA  . Won.nigBeben.! i Ncu - - ^es •1  J  '  1—.  i  I0  .  Mengone.  schlos . sen seinl j Add-£\/-cr-more  Was  zeugen.Nah dem Zie .  le ver.geb'ich  l  r  r-r=-»«  r  J  ich fuh . le solltapf . re That fbrt_an Dir be . cour - a«e <a«ia! i / a / - /bur'd ecdi'M\ev -pvil™)  vjajc-G^o-il  ,  Zau . /  dernund muthlos L, ,\  I  .1—,  Schweigen. 0 Gluck der J  J  G—L!J_.  135 8 0  6  v  r  i  U  - o  Liobel.Nim.mer Lionel Nim.mer  nir mm  ii . bo un. se . , lig  .  Herz - leid  der  _  io?c,in re' ^^Meng.fgr^  Niin  tru .  mer  fear  bo u n . s e .  Hoff.nungmil.der  Schein_ E  .  wig Dein 1 /  Hoff.nungmiLder  Schein_ E  .  wig Dein!  f i  'icy  i  .—. / / r m  soils We'"lTbd. --  -•  Sn„, ,  I  soils  E  lig  Herz . leid  ™$ »f$J  .  t  W 1  ^ — = — .  S  ®*\  1  I  ¥,  ' r°n  #-  be.schlos.sen — /"-j z*-er—L\  der^  ,  1^  be.schlos.sen  n  r  sein, yore. r-  1  1  sein.  ja so y_J<, be 1  I  jja  so  dein, so  soils be.schlos.sen  sein, /  jy w<dein, so  .soils beLschlos.sen  sein,  A  ^dtg^'Mh*pjy  <?v>-<?r-  /  nitre,  soils be .  schlos  soils be .  schlos  UeMi-K^ hop  sen €v-er —  . —  -  sen  f>y *r~tL"  137 Semnrnnin r  rr—  li Ein  ^ ^ > ' U H e f in Hamlen, in den Ladi-n , w i r f t $tolz.j,prufi:ude Ulicke auf>einc Hiklisen und F l a s r h d i . ) f t i l t  -  orro  rt  ,  i , l n n  A «n V n l n i r . Anm T V . . . BriefVein Brief vvon Vol. pin dem Teu.fels . jnn.gen! .j  lun-gen!  Er schickt die Tur.ken  mir. -rear  • . n i :„x Sein Plan ist  c* .  ge .  Der Pa.scha mit Ge . fol.ge ist gleich hier. / \*Thp " chid U\i cow^ocz CX>W.\M beta..  Priift den La den.kauft ihn , zu hoh.en Prei.sen! i Als Hof. a . po . the. ker f^nall m f ^ ^ reoA' f ra ir* - pre±S ju'^ . ^frkicy -H^W duc-afe> 0r  e< }  s  Schlin.ge! Ich soil euch Gril.let.ta, so schreibt er da, _ ne.hen,  Vol.pin zum Man ne  it  138  III  m  1  SMenRfhiir.'ii G e C\ /- ^ / ) ^ v O h ^ ; i i riiusehund \Joo/ Of «^Qrill . , ,  A  \  v i l (  | l z l l m F  ( hoehster K m - g u n g , H.J Scmi)r. '-> t''t f -in.-n A i i / u g , . strllt Ding,, zur.'d.t.) l n  rl  M I S t (  •  geben.Sowi Is dor Pascha Doch da wird niehts,d rails Sic kommenl pr.\o 5-,-.rT U » - a ; gtw\ rp t o o l . / i V ^ y r .  •  a  0  r )  ,4.  c?^;,^!|  0  1  1  -rn- -0-  -m;  X  /Sic sind im Hans 7ht>(rck>(erJ-  ^  Turlu^heOlar^filuiad Scene.  I; ;J.>|. ;  (  ? f | ! i . ^ c w - { ^ y ( G e m e s s e n nicht SChnoILj ( V o l p i n o als vornehmbr Turke verkleidet, mit tiirkischem Gcfolge(Bas|t| jp,~t~r~ 0 38T Z__j j " s e ) t r i t t gravitatisch unier sfeltsamen fieberden ein. Die Tiirken bringen  g_  il  NI grosse Kbrbe m i t ; ^ i e b ^ i f t e n arifangs in geschlossener Rctne stehen; mit gekreuzten Armen.)  4  —0-  pern  a>  -  —«t  fl 7 4-5  i l V o l p i n o . (rait charaktrristischer Verbeugung.)  Sempronio.(im EiferVolpino's Verbeugung nachatimend.)  Sa . lem a  Ht  ~g  lei _ kuml  _Con_.stan.ti . nu .  r  po.lal  ••OBSBKHatKa—  •  —  Jr<y' 9S.mTie ? aempr.  Volp.  ri,«w». Lbor.(ihnany^gbempr. rtonnorn(  no.po.la! nu.po.lal  ^  ^  £3E  loo* VnlnO, '^ •(wie ,\ .V \, , ^koP P-ckend zustimmend.) S i  nu.po.la!  1  Vol  n  0  1 die  _  ^  Arme hoch ausstredurch don ganzen Laden. Nach Art orientalischer Vorsanger.)  -  \  84  Semp. ^ " K e b e n e r { y j U  (m  uouijj.  Verbeugung.)  AI  i  ,A1 . les -ff|| p~  Semp.  if  ihou '  \  V 0 1  (zeigt einen grossen P ' Ilr.utel mit Gold.)  i• . — dein!, , . Du . '— 1 —  "  w  i  p  $ R  sJjsA,  auca,U  Grill.  vernehm  }  lch }  C h o r ( j e d e r einen grossen Reutel hochhaltcnd.) 1  ka  ^  ten!  Meng.(ebenso)  (Die Hande wiesegnendempor. Art eines orientalischen Vorsangers)Chor. (einfallend )  • \ »oIp.haltend,nach *  e  .  PP,  Semp.(entschieden)  A  Chor. ,  ,  ^ 1_  —r So viel Du.ka.ten  SEE dein! /  bemp.  (parodlstisch)  140 8 5 a-J* j v  Chor  Volp  Gril  V  let _ ta I  mm Gril  lot  G r i l l . (spottisch auf  Sempronio eindringend)  Lasst euch doch ~fb'iL ' ^"  ra .  s  nc?  -  I'IAA  .  ta muss fur VoLpLno  (bei Seite zu einander) j» —  H - F — f  then, nehmt die Du . ka . ten , ich n - j -fa/ee all ihe'ir r^on~-&'-f> Semp. y  Nein, nein, nein, nein! ^  Chor (immer noch ganz ruhig)  «A4>  IS', i l B ,  •'V-*Gril  sein!(  rtMi^f^giye 4a \/ol - p i n >  let  muss  ta  4  '  fiir our  -fo  )$  H« ,  :  fit  SI  W27  3t  I  5 =ti' 5 == 5 0' jg Lasst euch doch  bin  no  s  m  ENP N N  —7"—fr^fr—  Nein, nein, nein,nein!  Geht nur al .  8=1  V  i—0  1  <j* ra . 0  B»  7  lein! j  P \\  0-> Vol  S3  —07  y  I  Pi  -  no  sein I  (  dear .  Gril  then,  .  0  let  141 86 Grill. Meng.  nehmt die Du . ka . ten  Ich .  bin  ve  ~Jhke oil -their won-ey.  Nein, nein, nein, nein! Nein, nein, nein,nein I Geht nur al AJo,  Dein!  die panze Scene beherscht und bleibt, die Hande zum Befehl ausgestreckt, wiihrend des Folgenden unbewcgiich  V^r^ ^1 -fa  1  ••  ^ ( ^ M o d e r a t o ma d e c i s c K /  (J V o l p . ( z u den T u r k e n ) i  -  .  _ ^  i  -  1—^  i  ^  .  —flhrr-k.  P a c k l e i n , p a c k t e i n . p a c k t e i n , p a c k t ein.packt Pad t*e 4U Mneiihcrw zee <,4W/^ _ v -I d 1  attacca  Sofort stifllt sich der ^ ein', '.n" ni  L ; i l l  heft  D l f t  d  ^ i a  » l s Wache MittekhSre. " d e r n Turken s t , !  u  fallen _ i n stuifen » « w e ^ u n g c n _ iiber den'ganzen Laden her. Anfangs Ju scheinbaren Absicht,  grff  /  a  =£3  XT  •-r:.\  einzupackens werfen aberdann, was sie nur erreichen konneiu Flasehen, Biichsen, Pulver,Gerathe,  ^^'^^^Ijj'jJ^ J"^-  Tcipfe, Tiegel in die Kijrbe, dass e^kHrfj^^Juiuu|t^^ 7  Tiir.keri!  Ach . tung auf das Glasl ;  Tiir.ken  schont das ed le trg"  35t  !seir^tetrcTr""we essefr-stetreTr'Mengone und •V^Alle ausser sVmtJronio den V e r . ^ > 0 ; nd  zweiflung erfasst.) - . +J>-Grilletta am Tische rechts.Gril. lctta driickt Mengone die Feder  —,—2/a  %rXs^rdein Alle.  fL.fer  rfpS'l einige in die Hand. E r schreibt stehend Zeilen,und nun ganz im  2 *  Nass!  „ Hei Soc*  das w i r d ein theu.rer Spass I, Vordergrund zudemverzweifelnden A.* w".|| af/ fee porr Sempronio und unbeachtet von\ol-  •/Meng. (halt Sempronio das beschriebene Papier vor)  Un  id  S i  T 1 ter . schrei  .  bet!  Un .  |  ter. schrei 1  3' a—&  S  bet I /  88  143  145 90  o\a r-i^hr -—~ Chor  r  /  This,  MengAinLSie Volp. Packt  Tkli  •  (  K  1——  Semp. Tiir . Chor Packt  7*rm  /T\  HI h«tt ti^A j~  rrPf-r-  M i t Festigkeit.(Dei dVm Rufe hebt Jeder cine  bleibt steif stehen.)  "Tim  v  Flasche alii beiden  Hiinden hoclluild  (Hier wird mit einem Sehlage • Alles klirrend in die Korbe geworfen)  kc  k  ^  \  k  k  ken . hun . de, nur, packt den  schont den L a . den, un . er _ mess _ lich ist der g a n . zen L a . d e n , , H e r r Vol pi . no zahlt den f r e - f&yise ejtiei suck en - j o - j - w ^ r and uUr -ft*.*, is This cv>i ;  zer . truni. mern nur, packt den  pre - feme  ^,uci  aucn' den L a . den? gan zen L a . den, W f i  1m ich.  nrer ' gro . sser wird der al _ len be . zah . le T^A 14 Con -  ht>f>) looui Y  {ou are uretk.  0M  inu',f~<(op rA\'s all  Scha . den. Tiir . ken . hun . de schont den L a . den I Hei da fliesst das ed . le Scha _den Kein Er . b a r . men, kei ne G n a d e n l Hei da fliesst das ed . le •jut,- ) n I 2-t -fAe P/# mnam K#r sfyj'.U^ LOC muvr- ko»e. here a If ar 0  Scha_ den, Al . les  •fui -  \ . j  /  lev, I And  T  hangt  an  $u>ear X  ei . ueiu nem F,a Hei r a .. denl ueni nei  u-ill  wot"stop u*- /ess  t  da ,fliesst,das ed . le aa inesst aas ea,. le,  j. lef  ~ra's ^ M«. e r r  <a/"  146 91  V o l p . (iii geschlossenem Ilaufen)  Se mn (stellt sich v o r den „ G i f t " k a s t e n P - ihn schiitzend.) • o e m  p i . no  sein! i  ~ ~~ . & ive ,  Jit pi.no  se,inl  >  iff  Pirrp  Very Caw>V will  l»p P E Will dennKeinerhiermichret.ten? will no  rcr-jf__a  HadieTurkenspannenKet . A. i><? A/pr;,f f o r  Semp  / W  P  o^^f^/r... • 1 • + 11 < • • • vTT^ Sc5wort.Gnl.Iot.ta soli fur, Vol . Chor " p w d l h ^ -  one. nrreM\ev\ iote  «  f  |  92 (Die Tiirken sehreitftiwifrohend nuf Sempronio zu.immor gravitiitisch steif wie ini Miircheiibildu.)  lah!  Al.lah -  il  A l . lab! A l . l a h  g  S  S  A  Al  a  a  a  „ lah .  °  o  molto crescendo  lahl  s  V  •* C h o r ^ t o W ^ ^ VOID TT  p ,  rit.  . T  f ^  ^  "  y  c  v  i  4r  a / i r e  if - F P E E ^  ken , ikcit  Ihr b^  v e r . t r e i , . ben?. $C*T - Ter <  drh  (Volpino und die Turken bleiben in jeweiliger S t e l . l u n g i n einer starren Gruppe j j ^ e i n lebendes B i l d )  (jgehr breit)  Fy t  r  1  s  (Grosse Pause Sempronio  \  a tempo  5  ^ ^ L ^ r - ^ f U i ^ ^ u n t e r s c h r e i b t zitternd)  «  Meng  r  ^  T  -TTi" *  G iU.  ;*  die T i i r , .  Wollt C  'T P  O g ?  ganz gebrochen) Sempr.Czu Mengone flehend.ganz ge  (klirrender Schlagl)  ^  il __A1  U n  -  t e r  -  •I  Sempr.*  * *i  %T«  I N  s c h r e i b e n l  .ritenmolto ba» • 0—^—r  f^\.  ' f  1  l  m  *  -A"m  „ ^*VEtV ;  S  l  e  m  n  !  (  )  "\  P°  J  J J JJ P f» J J J —^  A  p-Ta Sehr breit.  ^  tem  ff > » p  = = g  (Mengone und Grilletta gehen auf V o l . pinozu.derunbeweglich starr dasteht, -' falschen Bart ab) p a  U D d  r e i s S ( i D i  h  m  d(  D  © / © 2 @3  I? [" g—Stria—| —  i  Meng.  attacca  j  ch  148 ,  93  Chor { A l I e g r o K M a n n or (Tonore)mi(l Frauen(Soi)raiie).IIausgosinde und NuchbnrK':han,\velelie schon voin Kenster if a us eiuzeln die Scene beobachtet luiMen.d rung-en herein.  Gril.let.ta,  Men  GriL,Jet.,ta,.Men  ue, dem  z  g o ^ e , dem  Al  ftK??^  tej  .A^-tefl  zum  ^  win  zum  H ^ . ^ ^ m ^ - j mI  G r i l . , _ W A M e n . . , _ . g o . n e , dem  ^ - t e j  ^  H g j . ^ dem^  Gril - _ l e t _ t a , Men_^go.ne, dem  Al  zum  Hoh.ue, dem A l - ten  =  ten  taj.  (  zurn^  149 ——.  iU If L o V o \ p i y ) o ^ ~ —  94  j  r  '  X ^ j ^ A U e o h " e V o l p i l K ^ d c u Volpino holineml) _  r  La-deu  ?  r  trum.mert,  Vol .  pi . j u > \ be .  kum  mert,be .  v,  trw'n-mcft,  Vol .  p i . no  kum.mert,  Z  sdMf La.den  |  r  er .  -  r  ;2  r  "  t  zer .  T  ^ - ^  U  trum.mert,  V  o  1  -  P j  Vol  n o  (  be .  <  .Hum. inert,  -  .be .  P i - npV be . k u m . m e r t ,  zahlt  al . l e s b a a r l ,  be _ zahlt a l . les baarl, n\nzr~  )  lo . ren n  zahlt. a l . l e s b a a r t V e r .  be .  ^-—C^^ialame ay>^__}^  .  zahlt ai - k«.s haarl<*/^~.  p </-fcr all I A  ™y . ,7^-./}°'- i ? / ' \ f 7 l- ' A 7l^ *?i i '/ , A-A-oHer P -« - ren.o A l l e f a - ^ ' ' p ^ - r ^ [ZMe far ^ l e ^ ' " ^ / s k i AllecAcxan, / U nI  w  i  rle'S Ver Alle.  I— 4  ^  i  .  .  l o . . renl ,  # o  ., i /  *'itA  Gjliick . Ii . c h e s , /  W - ygy  Gluck . Ii .  l  T  ^  Paar! /  r e n  1  v  e  ren  r  -  Ein  d  I  r  1 —  HpVVer. lo  Alle  r e r  ..  fR- ^  renl  / o  //^^Ver  lo  renl  Eina n d . r e r .  _„  O.  Freu .  del ,  0.  Freu  del ,  k  0  1  • _ -I.  i  E r . ko .  renlO  er  ren.o  ko .  be. '. ches.,  Paarl  .  ,0  150 !».>  Frt'.u . del  Wie sehneLle  oiu  ^  AllefW hcfCh  Freu.del  U'f  /  - 91 •  J  J)  -y Bei.  del,  , J  g j i i c k . l i . ches Taar! V i .  \ \ ie schnel.le  ein  g l i i c k . Ii . ches  ein  g l i i C k . ' l i . ches  r  ,  zur H61  ^ V i e schhelire  vatj V i  Ike.j ore', ^UV  ein  r-Wy K^'/!/ ^  h  Uof-^j  Uieschnel.le  5  J)  g l i i c k . Ii . ehes I ' a a r l V i  U ^ Y ' / +<^7  7  vat!  vat!  Die  : '1 io ' Vi  vail,  Die A  Paarl  are .' Paarl  r  le  zur  (zu Volpino det spottend.)  H o i . le  u n . schick.ii  ches  Paarl  v  ^  T^ggr^;  KHLlertrinktleerl^nS{?ha^  Kei 'H^ZYYJ^i loa'Jr Jr.  ^  TTC P r o i u c o ^  .  ^  t a  k  1  ^J"  ^  Schaden, den Schaden, den Schadenzahlterl .  DM Schaden aahlt e r l , Den Schaden, den Schaden, den Schadenzahlterl /  ^ ^ ! HT .Pjf Schaden zahlt tri  ' Den  erl  Dep  Schaden, den Schaden, den Schadenzahlterl  Pen Schaden zahlt erl.  Den  Schaden, den Schaden, den Schadenzahlterl  ,  ^  Vorhang,  Ende. Waldhcim Eberle. Wlen VII.  !  jy.,  151  KEY  TO SYMBOLS USED IN STAGING  0 DS  Centre  Stage  Downstage  DSL  Downstage  left  DSR  Downstage  right  US  C  X .&  Upstage  Character cross to this position C h a r a c t e r make c r o s s i n this direction Make c r o s s a t t h i s and  c  with  0  Globe  oo S M  time  used i n F i n a l e 2 baskets Sempronio Mengone  G  Grilletta  V  Volpino  to  indicate  THE  OPERA /  01D  /  AUDI  S1AGE WASTERS  THESIS APPENDIX  WALL  CONSTRUCT/ON  DETAIL  WORKS  1 OPIUM DESIGN  J  EHAYDN  POTHEC ARY-.-S  A  1IOP  MMLMBER :- SI  ~ MUSIC  79  JQIffl  LVLN HENRIKSON 649 XI  SCME:-%'/t?  

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