Die Gräfin - Lucia Popp
Der Graf - Wolfgang Schöne
Flamand - Eberhard Büchner
Olivier - Franz Grundheber
La Roche - Manfred Jungwirth
Clairon - Trudeliese Schmidt
Monsieur Taupe - Anton de Ridder
Italienische Sängerin - Eva Lind
Italienischer Sänger - Yoshihisa Yamaji
Haushofmeister - Lorenz Minth
| The Opera | Introduction - string sextet |
| 06:41 | The poet Olivier and Flamand, a composer, are discussing their mutual infatuation with the Countess Madeleine, while a string ensemble rehearses the sextet Flamand has written for her birthday celebration. They argue over which of their arts is the more important - words or music - and resolve that the Countess must decide for them. La Roche, the stage director, awakens from his music-induced slumber and informs the pair that, without his expertise, their arts would be but empty gesture.. |
| 15:48 | The Countess enters, expressing her admiration for Flamand's music; her brother, infatuated with the actress Clairon, prefers the spoken word. He asks his sister which of the two arts (and artists) holds sway in her heart, but she cannot yet decide. |
| 20:35 | La Roche pronounces the stage ready for the afternoon's rehearsal. Much to the delight of Olivier and the Count, Clairon arrives from Paris to participate in the performance. After her admirers pay her sufficient homage, she reads through the love scene from Olivier's new play, the Count professing his love through the poet's words |
| 27:33 | Clairon is impressed by the Count's reading, but Olivier insists that the declamation is all wrong. He reads the sonnet over again, addressing the Countess directly, as Flamand declares that the poem needs music, which he rushes off to begin writing. |
| 31:30 | Olivier is horrified that he is to be "composed". He pleads his case to the Countess, professing his love while Flamand is busy writing in the adjoining room. |
| 36:08 | Flamand sings the newly composed sonnet for the Countess; she is visibly moved, declaring the poem transformed by the music, while the poet feels that his creation has been destroyed in the process. La Roche arrives to discuss cuts in Olivier's play, and brings him back to the theatre. [There is a brief interruption in the recording.] |
| 42:50 | Alone with the Countess, Flamand ardently declares his love for her. She is confused by her feelings for both her admirers, but agrees to give Flamand her answer, in the library (where his love for her first blossomed) "tomorrow morning at eleven." Full of hope, Flamand leaves, and the Countess sits musing as the rehearsal continues offstage. |
| 53:00 | The Count enters, breaking his sister's reverie with his enthusiasm for Clairon. After a brief discussion, the Countess hints that she may have the two rivals compose an opera in order to settle the question of her affection - and the philosophical matter of "words or music". The idea amuses the Count. The rehearsal ended, the participants return as chocolate is served. |
| 58:15 | A divertissement consisting of three dances is presented, courtesy of La Roche, during which Olivier and Clairon exchange harsh words concerning their past relationship. |
| 64:36 | A fugal discussion over the theme of "words or music" ensues [72:34], followed by a duet between La Roche's two Italian singers. He explains to the group his plans for the grand azione teatrale in two parts - "The Birth of Pallas Athena" and "The Fall of Carthage" - to be given for the Countess' birthday. The guests at first laugh, and then quarrel over La Roche's grandiose ideas. [There is a brief interruption in the recording.] |
| 84:50 | He can bear their mockery no longer, and La Roche bursts out in his own defense. He informs the group that only his exalted art can bring their pathetic works to life. He concludes by delivering his own epitaph: "The Gods loved him, Mankind admired him! - Amen." |
| 93:51 | Actress, poet and composer cheer him on, while the Italian soprano weeps, overcome with emotion and wine. The Countess chooses this moment to commission an opera from the two men, and ideas for a suitable subject are suggested (including "Ariadne auf Naxos" and "Daphne"). |
| 101:46 | The Count proposes an opera based on the day's events, with themselves as characters, All are intrigued by the idea and, as Clairon and the Italians prepare to depart, Flamand and Olivier leave, each believing he has won the Countess' decision. |
| 108:15 | Eight servants arrive to tidy up the salon. As they criticize the goings-on of the previous scene, they ridicule the idea of opera as entertainment, preferring the tightrope dancers and marionettes of the circus. Their task completed, they leave for the kitchen. |
| 112:35 | From the door to the theatre appears Monsieur Taupe, the prompter, who had fallen asleep during the rehearsal. The major-domo arranges a meal and transportation for him, as his troupe has already left for Paris. |
| 120:55 | After an interlude, the major-domo informs the Countess that Olivier will
meet her - in the library, tomorrow morning at eleven! - expecting her answer as
to how the opera will end. Left alone, she reflects on the day's events.
Realizing that words and music hold equal sway in her affections, she knows she
cannot decide. She smiles at her reflection in the mirror and leaves for supper.
The question of "words or music" remains unanswered as the opera ends.
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