THE KNOT GARDEN : OPERA Michael Tippett

Titel (DE): The Knot Garden - Oper in 3 Akten
Titel (EN): The Knot Garden - Oper in 3 Akten
Titel (FR): The Knot Garden - Oper in 3 Akten
Komponist / Composer: Tippett, Sir Michael
Herausgeber / Editor:
Bearbeiter / Arranger:
Illustrator:
Opus:
Werkverzeichnis:
Besetzung / Instrumentation: /
Besetzungsdetails: 2 (2pic).1.ca.Ebcl.2 (2: bcl).1.cbn-4.4.2.1-timp.3perc (s.d., t.d., b.d., jazz kit, cym., sus.cym., w.bl., t.bl., tamb., casts., wh., metal bar or heavy triangle, tam-tam, xyl., vib., glock., claves, small rattle)-hp.cel.pno.egtr/ehpd-str

Reduced version:
1 (pic).1 (ca).1 (Ebcl, bcl).1 (cbn)-3.2.2.0-2perc (timp., t.d., jazz kit, cym., t.bl., tamb., casts., metal bar or heavy tri., tam-tam, vib., glock., tub.bells, cl., rattle)-hp.pno (cel).egtr-str: 3 vns (3: va).va.vc.db
Kompositionsjahr / Date of Composition: 1966 - 1970
Aufführungsdauer / Duration: 80'
Verlag / Publisher: Schott Music Ltd., London
Erscheindungsdatum / Date of Publishing: 18.11.1985
Ausgabe / Publication: Klavierauszug - Piano reduction -
- - -
Seiten / Pages: 312
Verarbeitung: Broschur - Paperback/Softcover
Schwierigkeitsgrad / Difficulty: - -
Sprache / Language: Englisch
Reihe / Series:
ISMN: M-2201-0767-2
ISMN-13: 979-0-2201-0767-2
ISMN-EAN: 9790220107672
UPC:

A house, too, can be a battlefield, and a garden a wilderness. The house here belongs to Faber and Thea: middle-class, middle-aged, probably more than middle-income and in a mid-matrimonial rut of mutual laissez-faire. Also in the house is their young ward Flora, to whom Faber has been making sexual advances. And there are visitors. Thea's sister Denise is taking a break from other distant battlefields, where she is engaged in the struggle against oppression. A black writer, Mel, is here as well with his white lover Dov, a musician: the first homosexual couple to be out' on the operatic stage.These people's entanglements with each other but also, and more importantly, within themselves have to be addressed, as in Tippett's first opera. But this time the Mozart model is Così fan tutte, and the lessons of myth are clothed in the language of psychiatry, as practised by Mangus, the Don Alfonso who may not be as much in control as he would hope. In the last act he stages a performance of The Tempest, which comes adrift. Perhaps more has been achieved in the middle act, a swirl of short scenes ending in an exchange of songs between Flora and Dov an exchange, too, of homages to Schubert and the blues, both held in the magic of this lustrous score.(Paul Griffiths)