About The Opera
Music by Frank Martin
Love Potion casts a haunting spell. Mitisek's austere production is like a mystical ritual that exists beyond time. -Chicago Tribune
Haunting. Mystical. Eternal. The epic story of Tristan and Isolde is told through Martin’s mystical and haunting score. The fateful lovers meet by deception; fall in love by magic; and pursue their love in defiance of heavenly and earthly power. They “loved each other, and at last, they died of that love together upon one day; she by him and he by her.”
Le Vin Herbé (The Love Potion) premiered in 1942 and is based on The Romance of Tristan & Iseult, a retelling of the Tristan legend by historian and medievalist Joseph Bédier (published 1900). Martin uses 12 singers as both the soloists and as chorus, much in the manner of ancient Greek tragedy. A small ensemble of 7 strings and a piano support the mood and action of the drama. Martin fashioned a work in the greatest possible contrast to Richard Wagner's opera by using older text sources (including two Isoldes) and by creating an intimate chamber work with an medieval feel.
The Story of Tristan
Tristan and Iseult is a tale made popular during the 12th century through French medieval poetry, inspired by Celtic legend. It has become an influential romance and tragedy, retold in numerous sources with many variations. The tragic story is of the adulterous love between the Cornish knight Tristan (Tristram) and the Irish princess Iseult (Isolde, Yseult, etc.). The narrative predates and most likely influenced the Arthurian romance of Lancelot and Guinevere, and has had a substantial impact on Western art, the idea of romantic love, and literature since it first appeared in the 12th century. While the details of the story differ from one author to another, the overall plot structure remains much the same.
Frank Martin about Love Potion
I truly found myself very late […] it was only towards the age of forty-five that I discovered my true language […] And I can say that my most personal output begins around the age of fifty. If I had died then, I could never have expressed myself in my true language. In the spring of 1938 I wasn’t working on any major composition, but I busied myself with the saga of Tristan and Isolde, […] when Robert Blum asked me to write a half-hour piece for twelve solo voices and a few instruments for his Madrigal Choir. I took another at the novel by Joseph Bedier and realized immediately that I could not find a better story for my purposes. I found that the chapter Le Philtre (The Potion) provided a complete narrative for the half hour commission. The text naturally separated into Solos and Ensembles. The instruments, when not accompanying the singers, are supposed to act like the scenery in a theater piece.
The text naturally divided into scenes, which called for a simple musical structure, […] After I finished, I decided to add two more parts: as the second La Fôret du Morois (The Forest of Morois), where the lovers decide to part, and as the third La Mort (The Death) […]. I felt I needed more time to tell this tale of love and death. It seemed unavoidable that not only love is represented, but also death, bringing relief after all the ecstasy and dread of passion.
Frank Martin (1890-1974)
Martin was a Swiss composer who spent a majority of his life in the Netherlands. He studied composition and piano with Joseph Lauber, as well as mathematics and physics at the Geneva University.
Active as a teacher and lecturer, he was also a pianist and harpsichordist and toured widely, performing his own music. Martin evolved a strong personal style that incorporated elements of German music, particularly that of Johann Sebastian Bach, and the expanded harmonies associated with early 20th-century French composers. His major works include Le Vin herbé (1942; "The Love Potion"), the opera Der Sturm (1956; "The Tempest"), the oratorio Golgotha (1949), and Requiem (1973). He also produced a large quantity of instrumental music, including orchestral works and chamber music. He wrote two piano concertos, a harpsichord concerto, a violin concerto, a cello concerto, a concerto for seven wind instruments. Perhaps his best-known work is Petite symphonie concertante (1946).
1150 The Old French Estoire is the first mentioned version of the Tristan myth.
1165 Anglo Norman Thomas von Bretagne adapts Estoire into a chivalrous courtly version, emphasizing the love story.
1180 Eilhard von Oberge creates first German popular version of Estoire.
1190 Béroul creates a similar French manuscript Le Roman de Tristan.
1210 Gottfried von Strassburg creates Middle High German courtly romance Tristan. His work is regarded, alongside Wolfram von Eschenbach's Parzival and the Nibelungenlied, as one of the great narrative masterpieces of the German Middle Ages.
1391 Popular Tristan stories are created all over Europe, often combined with the Arthurian Legend, (Sir Thomas Malory’s Le Morte d’Arthur in 1470).
1785 Christian Heinrich Myller publishes a new edition of Gottfried’s Tristan and Isolde. Multiple medieval narratives are reprinted in Germany, England and France.
1813 Richard Wagner is born in Leipzig.
1844 First complete translation of Gottfried’s Tristan into High German of by Hermann Kurz.
1846 Robert Schumann considers composing a Tristan opera, but does not follow through. Wagner hears from Schumann about his plans.
1864 Historian and medievalist Joseph Bédier is born in Paris.
1865 Wagner’s Tristan and Isolde is premiere in Munich. Wagner was familiar with Gottfried’s work and other contemporary adaptations. Wagner libretto emphases the love potion, the discovery and Liebestod (love death).
1890 Frank Théodore Martin is born in Geneva as the youngest of ten children.
1900 Bédier’s Roman de Tristan et Iseult is published. Starting with Bédier the focus turns now to old French versions such as Béroul (1190) and Eilhard (1180).
1938 Martin reads Joseph Bédier’s Tristan, receives a commission for a 30 minute work and sets one chapter of Bédier’s work to music for the Zurich Madrigal Choir.
1939 On September 1. Germans attack Poland, WWII starts. Frank Martins wife Irène Gardian dies.
1940 World premiere of Le Vin herbé in Zurich, Martin decides to extend the work with 2 additional chapters.
1942 The extended version of Le Vin herbé premieres in Zurich.
1948 Premiere and first staged version of Le Vin herbé at the Salzburg Festival, conducted by Ferenc Fricsay.
1961 Le Vin herbé is recorded with Frank Martin at the piano and Victor Desarzens as conductor.
1974 Frank Martin dies on November 21st at the age of 84 in Naarden, Holland.
The opera begins with Tristan as he retrieves the reluctant Isolde so that she may marry his uncle, King Mark. Isolde's mother has brewed a love potion meant for King Mark to fall in love with her daughter. Tristan and Isolde mistakenly drink the potion when their maid confuses it for wine and they fall irrevocably in love.
King Mark discovers Tristan and Isolde's love and declares vengeance. The lovers are able to escape the King and flee to the forest where they are quickly discovered. King Mark spares them from death with the vow that they remain apart and pure.
Following orders, the lovers remain apart and Tristan marries Isolde of the White Hands. Wounded during a battle, Tristan asks his friend Kahedin to bring his first love, Isolde, back to him but his wife is unhappy with his desire and tricks the unlucky lovers.
Alexandra Martinez-Turano, "smoldered sexily in her dancing and singing" as Helena/Dancer in The Fairy Queen with Chicago Opera Theater and Long Beach Opera. She has performed the roles of Adele, Anna, Despina, Echo, Julie Jordan, Pamina, Sandrina, Sharon Disney, and Suor Genovieffa. She has performed with Opera Southwest, OperaWorks, Landmark Musicals, UNM Opera Theatre, USC Opera Theater, and La Mirada Symphony. She is a young artist with Chicago Opera Theater. She is earning a Professional Diploma in Opera Studies at Roosevelt University and earned an MM from the USC Thornton School of Music. Alexandramartinezturano.com
Soprano Jamie Chamberlin, recognized for her “shimmering tones” (Opera News) as Marilyn Monroe in Marilyn Forever, and for her “jaw-dropping” Cunegonde in Candide (both at LBO). 2017-18 season highlights: Chicago Opera Theater (Hazel George,The Perfect American), Lucia in Lucia di Lammermoor (Pacific Opera Project), and three new roles at LBO. She has sung with LA Opera, LA Phil (world premiere, Wing on Wing), Merola Opera Program (SFO). Jamie’s one of a kind voice can be heard in the Coen Bros. film Hail Caesar!, and as a Delos Recording Artist. www.jamiechamberlin.com
Alejandra Martinez, soprano, is a native of Southern California. Concert credits include performances at the National Council de la Raza, the Cleveland One World Festival, and the world premiere of Juan Orrego-Salas' Ash Wednesday with the Bloomington Symphony Orchestra. Favorite opera roles have been La Contessa (Le nozze di Figaro), Salud (La vida breve), and Cristi Kahlo in Long Beach Opera's 2017 production of Frida. Ms. Martinez was recently honored by the National Society of Arts and Letters and regularly performs in outreach programs with Reimagining Opera for Kids in Bloomington, Indiana.
Alto #1/Isolde w/white hands
Mezzo-soprano Kira Dills-DeSurra is thrilled to return to Long Beach Opera for the second time this season. Recent LBO engagements include Vera Boronel (The Consul), Nurse/Secretary (The Perfect American) and Madame Trixie (Fairy Queen). At Chicago Opera Theatre, she performed the roles of La Ciesca (Gianni Schicchi), Cecilio (Cover)/Chorus (Lucio Silla), and Mary (Cabildo). Her other roles include Stéphano (Roméo et Juliette) and Second Lady (Die Zauberflöte). This past summer she sang Mercédès in Carmen at Central City Opera. Ms. Dills-DeSurra hails from Petaluma, CA and is an alumna of Roosevelt CCPA (MM) and USC (BM).
Alto #2/Isolde's Mother
Lindsay Patterson Abdou is honored to be returning this season to Long Beach Opera. Recent LBO roles include the Old Woman in The Difficulties of Crossing a Field and Leila in I Was Looking at the Ceiling and Saw the Sky. Her other roles include the Bicyclist in the Industry LA’s production of Hopscotch, the Mother in Amahl and the Night Visitors, the Mistress of the Novices in Suor Angelica, Zita in Gianni Schicchi, and the Third Lady in Die Zauberflöte. For more information visit LindsayVoice.com.
Danielle Corella is an Arizona native known for her colorful and expressive voice. She began her studies at Westminster Choir College, which gave her the opportunity to perform in Spoleto Festival USA. Corella earned her Master of Music at the University of Southern California. There, she sang multiple roles in the premiere of Frau Schindler in concert by Thomas Morse. She also performed the quirky role of Bettina from Lee Hoiby’s Something New for the Zoo. This past summer she explored several operatic roles in Angels Vocal Art Summer Opera Intensive. She is excited to make her Long Beach Opera debut with this haunting and magical story.
Bass #4/King Mark
Venezuelan American lyric baritone Bernardo Bermudez Is delighted to be back at LBO, roles include Diego Rivera in last years production of Frida with LBO, Figaro in Il barbiere di Siviglia, Stanley Kowalski in A Streetcar Named Desire, Silvio in Pagliacci, Escamillo in Carmen, Valentin in Faust, Belcore in L’elisir d’amore, the title role in Don Giovanni, Papageno in Die Zauberflöte, Count Almaviva in Le nozze di Figaro, Vidal Hernando in Luisa Fernanda, Aeneas in Dido & Aeneas. He participated as a voice fellow in Summer Festivals at The Music Academy of the West, as well as Opera North. Awards include Opera Buffs Grant recipient, semifinalist in the Loren L. Zachary Vocal Competition.
Since 2003, Mitisek has been LBO's Artistic & General Director. Recent LBO directing credits: The Difficulty of Crossing a Field, King Gesar, Macbeth, Tell-Tale Heart, Van Gogh, The Paper Nautilus, Ainadamar, and Maria de Buenos Aires. Recent LBO conducting credits:Thérèse Raquin, I was Looking at the Ceiling and then I Saw the Sky, The Death of Klinghoffer, Camelia la Tejana, and The Fall of the House of Usher (co-production with COT). Other conducting credits: Joruri in Tokyo, Don Giovanni (Seattle Opera), Madama Butterfly (Orlando Opera), Jane Eyre (Opera Theatre of Saint Louis) and Eugene Onegin (Teatro Municipal in Santiago de Chile). Mitisek has also conducted the Austrian and Italian premieres of Nixon in China.
Dan Weingarten has designed Hydrogen Jukebox, Marilyn, Macbeth, The Paper Nautilus, Ainadamar, Maria de Buenos Aires, The Difficulty of Crossing a Field (2011), Akhnaten, Orpheus and Euridice, Nixon in China, Good Soldier Schweik, Cunning Little Vixen, Winterreise, Anne Frank, and Macbeth for Long Beach Opera. He has designed numerous other plays, musicals, operas, and ballets around the country. He is the recipient of the LA Drama Critic's Circle Angstrom Award, the LA Weekly Award, the Garland Award, and the Dramalogue Award. He is also on the faculty at California State University Northridge.
This activity is supported in part by the California Arts Council, a state agency. Learn more at www.arts.ca.gov
Supported in part by a grant from the Arts Council for Long Beach and the City of Long Beach.
Long Beach Opera events are supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission