La voix humaine

Maurice Ravel
Ma Mère l’Oye29’

INTERVAL: 20 minutes

Francis Poulenc
La voix humaine 40’

Jaime Martínconductor
Danielle de Niese soprano

This concert is being livestreamed and also recorded by BBC Radio 3 for future broadcast in In Concert; it will be available for 30 days after broadcast via BBC Sounds, where you can also find podcasts and music mixes.

1 Prélude
2 Danse du rouet [Dance of the Spinning Wheel] – Scene –
3 Pavane de la Belle au bois dormant [Pavane of the Sleeping Beauty] –
Transition –
4 Les entretiens de la Belle et de la Bête [Conversation between Beauty and the Beast] –
Transition –
5 Petit Poucet [Hop-o’-My-Thumb] –
Transition –
6 Laideronnette, Impératrice des Pagodes [Little Ugly, Empress of the Pagodas] –
Transition –
7 Le jardin féerique [The Fairy Garden]

Ravel’s Mother Goose found her way to the stage in a back-to-front way. The work started life in 1908–10 as a charming five-part, four-hands piano suite, written for a friend’s children and inspired by the fictional teller of fairy stories and nursery rhymes whose name is enshrined in its title (a character invented, it seems, by 17th-century French author Charles Perrault). In 1911 Ravel orchestrated his original piano score, and only then, with the further addition of a Prélude and four transitional passages, did he build his original miniatures into this glowing half-hour ballet.

The Prélude leads us straight on to the dance floor with the divine Princess Florine, who becomes the Sleeping Beauty after falling against a spinning-wheel spindle. Soon enough, we’re in conversation with Beauty and the Beast, respectively played by a liquid clarinet and a honking contrabassoon.

‘Hop-o’-My-Thumb’ – Tom Thumb, in some translations – pictures a child lost in a forest, and the uncertain strings and abrupt ending suggest he’s probably still trying to find his way out.

The pentatonicism that introduces Little Ugly, Empress of the Pagodas (not temples but small insect-like creatures) hints at the gamelan music that a teenage Ravel first heard at the 1889 International Exposition in Paris, before we return to the Sleeping Beauty – awoken, at long last, by Prince Charming. Everybody loves a happy ending.

^{Programme note © Will Fulford-Jones}

INTERVAL: 20 minutes

Danielle de Niesesoprano

Cultural polymath Jean Cocteau played a vital part in Poulenc’s life – the latter even named his house Le Grand Cocteau. This intriguing creative celebrity juggled art, design, writing and criticism. His dozen or so credits as a filmmaker include the cult favourites Les parents terribles (1948) and Orphée (1950).

Cocteau’s experimental monologue La voix humaine was premiered at the Comédie-Française in 1930; 20 years later Poulenc’s publisher suggested he turn it into an opera. Cocteau and Poulenc were keen to point out that the story – of abandonment by a lover over the telephone – was about a young, attractive woman, not one of a ‘certain age’ dumped for a younger model. Perhaps Poulenc, aged 59, wished to avoid parallels with him and his younger lover, the strapping blonde soldier Louis Gautier. Although Gautier was faithful to him, Poulenc suffered great anguish from imaginary betrayals. This proved fruitful, however, in portraying the desperation of Elle’s situation – she can’t sleep, abuses medication (like Poulenc), has attempted suicide and remains completely in denial of reality.

La voix humaine is a dramatic showpiece for the singer-actress. The vocal lines tend to be conversational, with at times an oddly chant-like flavour. As in Wagner, the orchestra provides lyricism in music of sumptuous sensuality (Poulenc described some melodies as ‘smelling of sperm’).

The scenario may recall the 21st-century hazards of being dumped by text, but the score evokes a rich 20th-century soundscape replete with analogue gestures: Trimphone-like rings, crossed lines, dropped connections. Quirkily, Poulenc even imitates jazz music breaking into the conversation, which owes more to Stravinsky than Duke Ellington.

^{Programme note © Brian Inglis}

Text

UNE FEMME

(On sonne)
Allô, allô …
Mais non, Madame, nous sommes
plusieurs sur la ligne, raccrochez …
vous êt’ avec une abonnée …
Mais, Madame, raccrochez vous-mêm’! …
Allô, Mad’moisel’! …
Mais non, ce n’est pas le docteur Schmit …
Zéro huit, pas zéro sept. Allô! …
C’est ridicul’ …
On me demande; je ne sais pas.

 (On sonne de nouveau)

Allô! …
Mais, Madam’, que voulez-vous que j’y fass’? …
Comment, ma faut’? Pas de tout …
Allô, Mad’moisel’! Dites à cette dame de se retirer. 

(Elle raccroche. On sonne encore un fois)

Allô, c’est toi? …
Oui, très bien.
C’était un vrai supplice de t’entendre à
travers tout ce monde …
Oui … Oui … Non …
C’est une chance …
Je rentre il y a dix minutes.

 (Très naturelle)

Tu n’avais pas encore appelé? …
Ah! … Non, non. J’ai diné dehors, chez Marthe …
Il doit être onze heur’ un quart.
Tu es chez toi? …
Alors regarde la pendule électrique …
C’est que je pensais …
Oui, oui, mon chéri …
Hier soir? Hier soir je me suis couchée
tout de suite et comme je ne pouvais pas
m’endormir, j’ai pris un comprimé …
Non … un seul … à neuf heures …
J’avais un peu mal à la tête,
mais je me suis secouée.
Marthe est venue.
Elle a déjeuné avec moi. J’ai fait des courses.
Je suis rentrée à la maison. J’ai …
Quoi? … Très forte …
J’ai beaucoup, beaucoup de courage …
Après? Après je me suis habillée,
Marthe est venue me prendre …
Je rentre de chez elle.
Elle a été parfaite …
Elle a cet air, mais ell’ ne l’est pas.
Tu avais raison, comme toujours …
Ma robe rose … Mon chapeau noir …
Oui, j’ai encore mon chapeau sur la tête.
Et toi, tu rentres? Tu es resté à la maison? …
Quel procès? … Ah, oui.
Allô! chéri …
Si on coupe redemande-moi tout de suite …
Allô! … Non je suis là … le sac?
Tes lettres et les miennes …
Tu peux le fair’ prendre quand tu veux …
Un peu dur … Je comprends …
Oh! mon chéri, ne t’excuse
pas, c’est très naturel et c’est moi
qui suis stupide … Tu es gentil …
Moi non plus, je ne me croyais pas si forte.
Quelle comédie? … Allô! Qui? …
Que je te joue la comédie, moi!
Tu me connais,
je suis incapable de prendre sur moi …
Pas du tout … Pas du tout … Très calme …
Tu l’entendrais … Je dis: tu l’entendrais.
Je n’ai pas la voix d’une personne
qui cache quelque chose …
Non. J’ai décidé d’avoir du courage et j’en aurai …
J’ai ce que je mérite. J’ai voulu être folle
et avoir un bonheur fou …
Chéri, écoute … allô! chéri … Laisse … Allô!
Laisse-moi parler …
Ne t’accuse pas. Tout est ma faute …
Si, si. Souviens toi du dimanche de Versailles
et du pneumatique … Ah! Alors!
C’est moi qui ai voulu venir …
C’est moi qui t’ai fermé la bouch’,
c’est moi qui t’ai dit que tout m’était égal …
Non … non … là tu es injuste.
J’ai téléphoné la première,
un mardi, je suis sûre … Un mardi vingt-sept …
Tu penses bien que je connais
ces dates par coeur …
Ta mère? Pourquoi?
Ce n’est vraiment pas la peine …
Je ne sais pas encore …
Oui, peut-être …
Oh! non, sûrement pas tout de suite, et toi? …
Demain? Je ne savais pas que c’était si rapide.
Alors, attends, c’est très simple: demain
matin le sac sera chez le concierge.
Joseph n’aura qu’à passer le prendre …
Oh! moi, tu sais, il est possible que je reste,
comme il est possible que j’aille passer
quelques jours à la campagne, chez Marthe …
Oui, mon chéri … Mais oui, mon chéri … 

Allô! et comme ça?
Pourtant je parle très fort …
Et là, tu m’entends?
Je dis: et là, tu m’entends? …
C’est drôle parce que moi
je t’entends comme si
tu étais dans la chambre …
Allô! allô!
Allons, bon! maintenant c’est moi
qui ne t’entends plus …
Si, mais très loin …
Toi, tu m’entends.
C’est chacun son tour …
Non, très bien.
J’entends même mieux que tout à
l’heure, mais ton appareil résonne.
On dirait que ce n’est pas ton appareil.
Je te vois, tu sais. 

(On dirait qu’elle devine)

Quel foulard? Le foulard rouge.
Tu as tes manches retroussées …
Ta main gauche? le récepteur …
Ta main droite? ton stylographe.
Tu dessines sur le buvard,
des profils, des coeurs, des étoiles …
Ah! Tu ris! J’ai des yeux à la place des oreilles … 

(Avec un geste machinal elle se touche la figure)

Oh! Mon chéri, surtout ne me regarde pas …
Peur? Non, je n’aurai pas peur … c’est pire …
En fin je n’ai plus l’habitude de dormir seule …
Oui … oui … oui … je te promets …
tu es gentil … Je ne sais pas.
J’évite de me regarder.
Je n’ose plus allumer
dans le cabinet de toilette …
Hier, je me suis trouvé nez à nez avec
une vieille dame … 

Non, non! une vieille dame avec des
cheveux blancs et une foule de petites rides.
Tu es bien bon! …
Mais, mon chéri, une figure admirable,
c’est pire que tout, c’est pour les artistes.
J’aimais mieux quand tu disais:
Regardez-moi cette vilaine petite gueule! …
Oui, cher Monsieur!
Je plaisantais … Tu es bête …
Heureusement que tu es maladroit
et que tu m’aimes.
Si tu ne m’aimes pas et si tu étais adroit,
le téléphone deviendrait
une arme effrayante.
Une arme qui ne laisse
pas de traces, qui ne fait pas de bruit … 

Moi, méchante?
Allô! allô, chéri …
Où es-tu? Allô, allô, Mad’moisell’ … 

(On sonne)

Allô, Mad’moiselle, on coupe.

(Elle raccroche. Silence. Elle décroche)

Allô, c’est toi? … Mais non, Mad’moiselle.
On m’a coupée … Je ne sais pas … c’est à dire …
si, attendez … Auteuil zéro quat’virgul’sept.
Allô! Pas libre? Allô, Mad’moisell’.
Il me redemand’ … Bien. 

(Elle raccroche. On sonne)

Allô! Auteuil zéro quat’virgul’sept?
Allô! C’est vous, Joseph? …
C’est madame.
On nous avait coupés avec Monsieur …
Pas là? … Oui, oui, il ne rentre pas ce soir …
c’est vrai, je suis stupide!
Monsieur me téléphonait d’un restaurant,
on a coupé et je redemande son numéro …
Excusez-moi, Joseph.
Merci. Bonsoir, Joseph. 

(Elle raccroche. Elle ne se sent pas bien. On sonne)

Allô! ah! chéri! c’est toi? On avait coupé …
Non, non. J’attendais … On sonnait,
je décrochais et il n’y avait personne …
Sans doute … Bien sûr …
Tu as sommeil? …
Tu es bon d’avoir téléphoné, très bon … 

(Elle pleure. Silence)

Non, je suis là … Quoi? Pardonne,
c’est absurde … Rien, rien,
je n’ai rien … Je te jur’ que je n’ai rien …
C’est pareil … Rien du tout.
Tu te trompes … Seulement, tu comprends,
on parle, on parle … 

(Elle pleure)

Écoute, mon amour. Je ne t’ai jamais menti …
Oui, je sais, je sais, je te crois,
j’en suis convaincue … non, ce n’est pas ça,
c’est parce que je viens de te mentir,
là, au téléphone,
depuis un quart d’heure
je te mens …
Je sais bien que je n’ai plus aucune
chance à attendre, mais mentir
ne porte pas la chance et puis je n’aime
pas te mentir, je ne peux pas,
je ne veux pas te mentir, même pour ton bien.
Oh! rien de grave, mon chéri.
Seulement je mentais en te décrivant
ma robe et ne disant que j’avais
dîné chez Marthe … Je n’ai pas dîné,
je n’ai pas ma robe rose. J’ai un manteau sur
ma chemise, parce qu’à force d’attendre
ton téléphone, à force de regarder l’appareil,
de m’asseoir, de me lever,
de marcher de long en large, je devenais folle!
Alors j’ai mis un manteau et j’allais sortir,
prendre un taxi, me fair’ mener
sous tes fenêtres, pour attendre … eh bien!
attendre, je ne sais quoi …
Tu as raison … Si, je t’écoute … Je serai sage,
je répondrai à tout, je te jure.
Ici … Je n’ai rien mangé. Je ne pouvais pas.
J’ai été très malade … Hier soir, j’ai voulu
prendre un comprimé pour dormir;
je me suis dit que si j’en prenais plus,
je dormirais mieux et que si je les prenais tous,
je dormirais sans rêve, sans réveil,
je serais morte … 

(Elle pleure)

J’en ai avalé douze dans de l’eau chaude.
Comme une masse. Et j’ai eu un rêve.
J’ai rêvé ce qui est. Je me suis réveillée toute
contente parce que c’était un rêve,
et quand j’ai su que c’était vrai,
que j’étais seule, que je n’avais pas la tête sur
ton cou, j’ai senti que je ne pouvais pas vivre …
Légère et froide et je ne sentais plus
mon coeur battre et la mort était longue à
venir et com’j’avais une angoisse épouvantable,
au bout d’une heure j’ai téléphoné à Marthe …
Je n’avais pas le courag’ de mourir seule. 

Chéri … chéri … il était quatre heur’ du matin.
Elle est arrivée avec le docteur qui habite
son immeuble. J’avais plus de quarant’.
Le docteur a fait une ordonnance et Marthe
est restée jusqu’à ce soir. Je l’ai suppliée
de partir parce que tu m’avais dit que
tu téléphonerais et j’avais peur qu’on
m’empêche de te parler … Très bien.
Ne t’inquiète pas. 

(Elle pleure)

Allô! Je croyais qu’on avait coupé …
Tu es bon, mon chéri. Mon pauvre chéri
à qui j’ai fait du mal … Oui, parle,
parle, dis n’importe quoi.
Je souffrais à me rouler par terre
et il suffit que tu parles pour que
je me sente bien, que je ferme les yeux.
Tu sais, quelque fois quand nous étions
couchés et que j’avais ma tête à
sa petite place contre ta poitrine,
j’entendais ta voix, exactement
la même que ce soir dans l’appareil. 

Allô! J’entends de la musique …
Je dis: J’entends de la musique …
Eh bien, tu devrais cogner au mur
et empêcher ces voisins de jouer
du gramophone à des heur’ pareil’ …
C’est inutile. Du reste le docteur
de Marthe reviendra demain …
Ne t’inquiète pas … Mais oui.
Ell’ te donnera des nouvelles …
Quoi? Oh! si, mil’ fois mieux.
Si tu n’avais pas appelé,
je serais morte. 

(Elle marche d’un côté à l’autre et sa souffrance l’empêche de marcher)

Pardonne-moi. Je sais que cette scène
est intolérable et que tu as bien
de la patience, mais comprends-moi, je souffre,
je souffre. Ce fil, c’est le dernier qui
me rattache encore à nous … Avant-hier soir?
J’ai dormi. Je m’étais couchée avec le téléphone …
Non, non. Dans mon lit … Oui. Je sais.
Je suis très ridicule, mais j’avais
le téléphone dans mon lit et malgré tout,
on est relié par le téléphone.
Parce que tu me parles. Voilà cinq ans
que je vis de toi, que tu es mon seul air respirable,
que je passe mon temps
à t’attendre, à croir’ mort si tu es
en retard, à mourir de te croir’ mort,
à revivre quand tu entres et
quand tu es là, en fin, à mourir de peur
que tu partes … Maintenant, j’ai de l’air
parce que tu me parles …
C’est entendu, mon amour, j’ai dormi.
J’ai dormi parce que c’était la première fois …
Le premier soir on dort.
Ce qu’on ne supporte pas
c’est la seconde nuit, hier, et la troisièm’,
demain et des jours et des jours à fair’ quoi,
mon Dieu? Et … et en admettant
que je dorme, après le sommeil
il y a les rêves et le réveil et manger et
se lever, et se lever et sortir et aller où? …
Mais, mon pauvre chéri, je n’ai jamais
eu rien d’autre à faire que toi …
Marthe a sa vie organisée … Seule …
Voilà deux jours qu’il ne quitte pas l’antichambre.
J’ai voulu l’appeler, le caresser.
Il refuse qu’on le touche …
Un peu plus, il me mordrait. Oui, moi!
Je te jure qu’il m’effraye …
Il ne mange plus. Il ne bouge plus.
Et quand il me regarde il me donne
la chair de poul’ …
Comment veux-tu que je sache?
Il croit peut-être que je t’ai fait du mal …
Pauvre bête! Je n’ai aucune raison
de lui en vouloir …
Je ne le comprends que trop bien … Il t’aime.
Il ne te voit plus rentrer.
Il croit que c’est ma faute … Oui, mon chéri.
C’est entendu. Mais c’est un chien.
Malgré son intelligence,
il ne peut pas le deviner … Mais, je ne sais pas,
mon chéri! Comment veux-tu que je sache?
On n’est plus soi-même.
Songe que j’ai déchiré tout le paquet de
mes photographies d’un seul coup,
sans m’en apercevoir. Même pour
un homme ce serait un tour de force. 

Allô! Allô! Madam’ retirez-vous.
Vous êt’ avec des abonnés …
Allô! mais non, Madam’ …
Mais, Madame,
nous ne cherchons pas à être intéressants …
Si vous nous trouvez ridicules,
pourquoi perdez-vous votre temps
au lieu de raccrocher? …
Oh! … Ne te fâche pas … En fin! …
Non, non. Elle a raccroché après
avoir dit cette chose ignoble …
Tu as l’air frappé … Si, tu es frappé,
je connais ta voix … Mais, mon chéri,
cette femme doit être très mal
et elle ne te connaît pas. Ell’ croit que
tu es comme les autres hommes …
Mais non, mon chéri,
ce n’est pas du tout pareil … Pour les gens,
on s’aime ou se déteste.
Les ruptures sont des ruptures.
Ils regardent vite. Tu ne leur feras
jamais comprendre … Tu ne leur
feras jamais comprendre certaines choses.
Le mieux est de faire comme
moi et de s’en moquer complètement. 

(Elle pousse un cri sourd de douleur)

Oh! … Rien.
Je crois que nous parlons comme d’habitude
et puis tout a coup la vérité me revient …
Dans le temps, on se voyait,
on pouvait perdre la tête,
oublier ses promesses, risquer l’impossible,
convaincre ceux qu’on adorait
en les embrassant, en s’accrochant à eux.
Un regard pouvait changer tout.
Mais avec cet appareil,
ce qui est fini est fini …
Sois tranquille.
On ne se suicide pas deux fois …
Je ne saurais pas acheter un revolver …
Tu ne me vois pas achetant un revolver.
Où trouverais-je la force de combiner un mensonge,
mon pauvre adoré?
Aucune … J’aurais dû avoir du courage.
Il y a des circonstances
où le mensonge est utile.
Toi, si tu mentais pour rendre
la séparation moins pénible …
Je ne dis pas que tu mentes.
Je dis: si tu mentais et que je le sache.
Si, par exemple, tu n’étais pas chez toi,
et que tu me dises …
Non, non, mon chéri! Écoute … je te crois …
Si, tu prends une voix méchante …
Je disais simplement que
si tu me trompais par bonté d’âme
et que je m’en aperçoive,
je n’en aurais que plus de tendresse pour toi …
Allô! Allô! 

(Elle raccroche en disant tout bas et rapidement)

Mon Dieu, fait qu’il redemande.
Mon Dieu, fait qu’il redemande.
Mon Dieu, fait qu’il redemande.
Mon Dieu, fait … 

(On sonne. Elle décroche)

On avait coupé.
J’étais en train de te dire que
si tu me mentais par bonté et que je m’en aperçoive,
je n’en aurais que plus de tendresse pour toi …
Bien sûr … Tu es fou!
Mon amour, mon cher amour.
Je sais bien qu’il le faut, mais c’est atroce.
Jamais je n’aurai ce courage …
Oui. On a l’illusion d’être l’un contre l’autre
et brusquement on met des caves,
des égouts, toute une ville entre soi.
J’ai le fil autour de mon cou.
J’ai ta voix autour de mon cou.
Ta voix autour de mon cou …
Il faudrait que le bureau
nous coupe par hasard …
Oh! Mon chéri! Comment peux-tu imaginer
que je pense une chose si laide?
Je sais bien que cette opération
est encore plus cruelle à faire de ton côté
que du mien … non … non … A Marseill’?
Écoute, chéri, puisque vous serez à Marseill’
après-demain soir, je voudrais … en fin j’aimerais …
j’aimerais que tu ne descendes pas à l’hôtel
où nous descendons d’habitude …
Tu n’es pas fâché? … Parce que les choses
que je n’imagine pas n’existent pas,
ou bien elles existent dans une espèce de lieu
très vague et qui fait moins de mal … tu comprends?
Merci … merci. Tu es bon. Je t’aime. 

(Elle se lève et va vers le lit avec l’appareil à la main)

Alors, voilà.
J’allais dire machinalement à tout de suite …
J’en doute. Oh! … C’est mieux.
Beaucoup mieux …

(Elle s’allonge sur le lit et elle prend le téléphone entre ses bras)

Mon chéri …
Mon beau chéri. Je suis forte …
Dépêche-toi … Vas-y.
Coupe! Coupe vite!
Je t’aime, je t’aime, je t’aime, je t’aime … t’aime. 

(Le récepteur tombe par terre)

Translation

Hello, hello … No, no, Madam. But this is a party line. Please hang up … But I was on the wire first … If you please, will you get off the line! … Operator, please … Oh no, this is not Dr Schmit … 08, not
07 … Hello! This is absurd … They keep ringing. I wonder why.

Hello! … But Madam, what do you want me to do! … What do you mean! Not at all! … Operator, please … Would you kindly tell this lady to hang up.

Hello, it’s you! … Yes … quite clearly … It was dreadful not to hear what you were saying because of all those people … Yes … yes … no … It just so happens … I came back a little while ago … Perhaps you called while I was out! … Ah! … no, no … I went out for dinner … with Martha … it must be a little past eleven … Are you at home! … Then take a look at the clock in the hallway … It’s just as I thought … Yes, yes, cheri … Last night!

Last night I thought I would go to bed early, but then I had trouble in falling asleep. I took a pill … No … only one … at nine o’clock … I did have a bit of headache, but then it went away. Martha came this morning, and we had breakfast together. I did some errands, and then I came directly home .. . I … What! … I'm trying … Oh I think I’ve lots of courage … And then! And then I got dressed for the evening, had a lovely time with Martha, came home around eleven. She’s really been an angel … She seems aloof, but she’s really not. Yes, you were completely right, as always … My red dress … My black hat … Yes, it’s the one you liked – I still have it on … And you! You went out! … Or did you stay at home tonight? … What lawsuit! Ah! Yes …

Hello, cheri … If we’re cut off, you must call me back right away …. Hello! No … I’m still here … The bag? Your letters and mine. Yes, you can send for it when you like … It’s not easy. I understand … Darling, you needn’t apologise. That’s not at all strange. It is I – I who am stupid … You are so nice … You are so nice … Nor did I. I didn’t think I had the courage …

Putting on an act? … Hello … Who … You think I’m putting on an act? Me! … You know me well. I am not the sort who would ever pretend … Not at all … I’m not angry … You will see … I said: You will see. Tell me, do I sound like a person who has something to hide? … No. I made up my mind that I would be brave, and I will . . . I got what I deserved. I was out to be reckless, I was taking a chance … Darling … please listen … Hello! … Cheri … please … hello … please let me talk. Do not blame yourself. It was all my fault. Yes, yes …

You remember that Sunday in Versailles when I sent that wire? … Ah! … You see! … It was I who said I wished to come. It was I who would not let you speak. It was I who behaved as if I did not care … No … no … now you are unfair … I … I remember – I called you first … A Tuesday … I’m quite sure. Tuesday, the twenty-seventh. You ought to realise that I know those dates by heart … Your mother! But why? … it is hardly worth the trouble … I honestly don’t know … Yes … perhaps … Oh no! Certainly not right away. And you …

Tomorrow! … I had no idea that it would be so soon … Well then, we’ll manage … it’s so simple … tomorrow morning I’ll leave the bag with the janitor. Joseph can come and pick it up tomorrow … Oh, I don’t know. Maybe I’ll stay awhile in the city. Or I may decide to go away for a couple of days in the country, at Martha’s … Yes, cheri … but of course, cheri …

Hello … What is wrong? … Dearest, I am speaking loud … And now, do you hear me … I said: and now do you hear me?

… It’s funny, I can hear you as plainly as if you were right here beside me … Hello! … hello! … Oh, it’s really absurd! Now I cannot hear a word … As if from afar, from afar … Now can you hear? It’s each of us in turn … No, quite clearly … I can hear you better than before, but there is a buzz in your phone. It doesn’t sound like your telephone at all … I can see you, oh yes …

What scarf? … You have on the red one … You have your sleeves rolled back a little … In your left hand! The receiver. And a fountain pen in your right. You are drawing on the blotter, hearts and profiles and stars. Ah, you smile! I have eyes tucked away inside my ears …

No, no! Cheri, oh, please don’t look at me now … Afraid! I am not afraid … it’s even worse … Oh darling, I’m no longer used to sleeping alone … Yes … yes … yes … I promise … I promise … You are so nice. I do not know. I try not to look at myself. I do not dare any more to tum on the light in my dressing room. Last night, there I was suddenly face to face with an old woman … No, no! An old woman with hair so white, and a face full of little wrinkles … You are too kind! But, cheri, a face that everyone envies – that is worst of all. That is for an actress … I preferred it when you said: 'Funny face! Where did you get that funny face?’ … Yes, my dear sir! … I was joking … Don’t be silly … How lucky that you are so awkward and that you love me. For if you did not love me and were not so awkward, this telephone could easily become a terrible weapon. A weapon that would leave no marks, nor make a noise … Me, naughty! … Hello! Hello! Cheri … Are you there? …

Hello, hello, operator. Hello. Someone cut us off. Hello, it’s you! … No, no, operator. I was cut off … I don’t know … I mean … yes … just a moment … Auteuil 047. Hello! … It’s busy … Operator, he’s trying to call me back … Alright.

Hello! Auteuil 047! Hello! It’s you … Joseph? … It’s Madam … Monsieur and I, we were disconnected … Not home? … Yes . .. yes … he’s not coming back tonight … How stupid of me! Monsieur must have telephoned me from outside. We were disconnected, so I called his number – my mistake. Excuse me, Joseph … I will … Thank you … Good night, Joseph …

Hello! Ah, cheri! It’s you? … They cut us off … No, no, I was waiting. Someone rang, I answered right away, but there was no-one … I suppose so … Of course … You are sleepy? … It was kind of you to call again … So kind …

No, I am here … What? … Forgive me … it’s too silly … Nothing … there’s nothing wrong … But I swear there’s nothing wrong … Nothing’s changed … Not at all. You’re mistaken . . . It is only that, all this talk, this talk …

My darling, listen. I have never told you lies … Yes, I know, I believe you. I’m sure of it, dear … No, it isn’t that … it’s only that I lied to you before … yes … on the telephone, just fifteen minutes ago. I know well that it’s too late for my luck to return. But a lie won’t bring me back my luck. Besides, I hate to tell you a lie. I cannot lie – I cannot lie to you, even for your own good … Oh, nothing serious, mon cheri … I lied in describing the dress that I was wearing, also when I said I had dinner with Martha … I’ve had no dinner, I’m not wearing my red dress, only a coat over my nightdress, because I was waiting all evening for you to call. And what with my staring at the phone, and sitting down, and jumping up, and pacing up and down the room, I was almost frantic! And so I put on my coat, I was going out to take a taxi, to wander underneath your window … stand there waiting … ah, yes, and waiting – I don’t even know what for … You are so right … Yes, I am listening … I shan’t be foolish … and I will keep my head, I promise … Right here … I didn’t eat a thing … I simply couldn’t …

Last night I meant to take a pill that would put me to sleep. I thought that if I took more than one, I’d sleep so much better. I thought that if I took them all I’d sleep without a dream and never wake – I’d sleep forever!

. . . And so I swallowed twelve … In hot water … All in a lump … Then – then I was dreaming. You were going away. And then when I awoke I felt so happy, because it was just a dream. But when I knew it was true, that I was alone, that my head was not against your shoulder, then I knew I could not go on living … My body felt cold and light, and my heart was no longer beating, and death was slow in coming. Since I was in terrible pain, after an hour I managed to phone Martha. I lacked the courage to die alone … Cheri … cheri …

It was four o’clock in the morning. Finally she came, and with her that doctor who lives in her house. I had a temperature of a hundred and two. The doctor wrote out a prescription, and Martha remained till tonight. I begged her to leave me alone, since you had promised to phone me as soon as you were free – I was afraid they would try to keep us apart … I’m all right … don’t you worry now …

… Hello! … I thought they had cut us off … You’re so kind, cheri . . My darling, whom I have hurt so very much … Yes, speak. Say anything at all … I have suffered enough to drive me mad; yet you have only to speak and I feel well again, and can close my eyes. You know, sometimes when we were in bed, and my head was resting in its usual place, pressed against your chest, I could hear your voice exactly as it sounds over the telephone tonight …

Hello! Why do I hear music? … I said: Why do I hear music? … Well then, you should knock on the wall and complain if your neighbours play their gramophone so late at night … It’s useless. Anyhow, Martha’s doctor is coming back tomorrow … Don’t you worry now … Of course … She will let you know what he said … What? … Oh yes! So much better. If you hadn’t called tonight I would have died …

… Forgive me, dear. I know you find this scene quite unbearable, and that you are being very patient. But if you knew what torture I suffer. This wire – the only bond that still connects me with us … Monday evening? I slept quite well. I went to bed with the telephone … No, no. In my bed … Yes, I know. I’m being silly. But I kept the telephone in my bed. In spite of all it is a link - something that connects us … Only because you are speaking. It’s five years now that I’ve lived through you, that I’ve spent my time waiting for you, thinking you were dead every time you were late – I could die at the thought – and reviving the moment you appeared; and when you were finally here, dying at the thought that you’d leave me.And now I can breathe because I hear your voice … But of course, my sweet darling, I slept. Oh indeed. I could sleep because it was only the first time … The first night you sleep … What is really hard to bear is the second night – last night; and then the third – tonight! And then day after day, doing what, dear God … And … even if I'm able to sleep I still have to face the horror of dreams, and awaking, and eating, and getting up, and getting dressed, to go out – to go out where? … Oh my darling, my sweet, all I’ve ever had to fill my life was you. Martha has organised her life … I’m alone.

The last two days he has not gone out of the hallway … I have tried to call him; I’ve tried to pet him. He won’t even let me touch him. In fact, he almost bit me … yes, me! He frightens me, I swear. He won’t eat a thing. He doesn’t move.

And when he turns his eyes on me, I get goose-flesh all over … How do you expect me to know? Maybe he thinks I have done you some harm … Poor little dog … I have no reason at all to hold it against him. I can understand him so well. He loves you, he doesn’t see you any more, and so he thinks it’s my fault … Oh yes, cheri. I understand. He’s not to blame.

In spite of his intelligence, he surely cannot guess the truth … I don’t really know, darling! How d’you expect me to know? I am not myself. Think of it: I tore up that package of photographs – ripped them – just like that! And didn’t even notice. Even for a man it would have been a feat …

Hello! Hello! Madam, will you hang up. But you cut into our line. Hello! Oh no, Madam … But, Madam, we’re not trying to be interesting, I can assure you … if you really find us so silly, why are you wasting your time instead of hanging up? … Oh! … Don’t be angry … At last! … No, no. She just hung up, after having been so terribly nasty … You sound upset … Yes, you are upset. I know your voice … But dearest, she must have been a very sick woman, and she doesn’t know you at all. Perhaps she believed you were just like the others … Oh no, cheri, it is not at all the same. People think it’s either love or hatred. Once an affair is over, it’s over. They know everything. You will never make them understand … You will never make them understand that things are not simple … It’s better to do the same as I: laugh at them all … and ignore them …

Oh! … Nothing. I could swear that we were talking just the same as always.All of a sudden I realised the truth …

… When we still saw one another, we could still lose our heads, forget a broken promise, and take such chances. Our love could conquer every doubt with a tender kiss, or with a wild embrace. Just a look could change everything. But what with this telephone between, what is done is done …

Don’t worry. No-one ever tries to kill himself twice …

I would hardly know where to buy a revolver … Can you see me buying a revolver! … Where would I find the strength to think up a lie at this moment, my poor darling? … I couldn’t … I would never have the courage. There are circumstances where a lie might be useful. If you had lied to me, to make our separation seem less painful … I did not say you were lying. I said: if you had lied and I knew about it. If, for example, you were not at home, and you were to tell me … No, no, cheri! Listen please … I believe you … Yes, your voice suddenly sounds angry. I meant only to say that if you told a lie out of kindness, and I had known that you did, it would only cause me to love you more …

Hello! … Hello! …

Dear God, make him call me back. Dear God, make …

… We were disconnected. I was saying that if you had lied out of the goodness of your heart, and I noticed you were lying, it would only cause me to love you more … Of course … You are mad! … Oh, my love … my dearest love …

… I know well that we must, but it is dreadful .. . I never could summon up the courage … Yes, I have the illusion that I’m right beside you. And all at once, the cellars and sewers, a whole city lies between us … I have wound the cord around my neck … I can feel your voice around my neck … your voice surrounding my neck … They could hardly cut us off, except by mistake … Oh cheri! Oh, how could you even imagine I’d think such an ugly thought! I am well aware that this thing is more difficult for you, more painful in every way than for me … no … no … To Marseilles! … Oh listen, cheri. Since you will be in Marseilles at least for a week, may I ask … I really would like … I would like it if you did not go to that little hotel where we always stayed together. You are not angry … Because the things I don’t have to imagine do not exist. Or let’s say that they exist in some very vague kind of place that does not hurt so much … You understand … Thank you … thank you. You are good. I love you …

So here we are … I was about to say, out of habit, ‘I’ll see you soon’ … I doubt it … Oh! … It’s better … Much better …

Oh darling … my sweet darling … I’ll be brave. Let’s make an end. Go on. Hang up! Hang up quickly! I love you, I love you, I love you … love you …

Translation by Joseph Mach © 1977 Editions Ricardi, Paris

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Fireworks of Passion

Thursday 20/3/25, 7.30pm
BBC Hoddinott Hall, Cardiff

Friday 21/3/25, 7.30pm
Brangwyn Hall, Swansea

Grace Williams Penillion
Bruch Violin Concerto No. 1
Rachmaninov Symphony No. 3

Tadaaki Otaka conductor
Eldbjørg Hemsing violin

FIERY | IMPASSIONED | RICH

Quasi-improvisatory melodies weave with rhythmic drive, reminiscent of harp-accompanied folk songs, in Grace William’s Penillion, forming the potent opener to a concert with BBC NOW’s much-loved Conductor Laureate Tadaaki Otaka.

Soaring melody and fiendishly tricky virtuosity combine in Bruch’s passionate First Violin Concerto. From soloistic fireworks to rich orchestral backdrop there’s little wonder this concerto remains a favourite with soloists and audiences alike; to perform we’re delighted to welcome back violin sensation Eldbjørg Hemsing. Rachmaninov’s Third Symphony is similarly passionate, striking climaxes giving way to soulful solos, forceful marches to thunderous celebration, all based on one musical motif skilfully transformed and developed throughout.

Songs of Destiny

BSL Interpretation

Friday 20/6/25, 7.30pm
BBC Hoddinott Hall, Cardiff

Brahms Serenade No. 2
Brahms Schicksalslied
Stravinsky Symphony of Psalms

Ryan Bancroft conductor
BBC National Chorus of Wales

EXQUISITE | FERVENT | PICTORIAL

If historically serenades were intended as music for entertainment, then Brahms has most definitely excelled in his Serenade No. 2. This early work oozes Brahmsian character from the outset with its lilting warmth, lively cross rhythms, and plenteous melody to charm the listener.

Similarly characteristic, but more brooding in nature is Brahms’s heady setting of the poem Schicksalslied by Friedrich Hölderlin. In two verses contrasting the lives of the eternally blissful with those subjected to cruel fate, Brahms moves between the light and airy versus the tempestuous. Stravinsky, by contrast, uses modes reminiscent of traditional Gregorian chant, paired with fugal writing and ecstatic dance motifs, to portray the text of psalms in a pure work of genius, his Symphony of Psalms! To conduct BBC National Orchestra and Chorus of Wales in their final concert of the Cardiff season we’re delighted to welcome back Principal Conductor, Ryan Bancroft.

Biographies

Jaime Martínconductor

Spanish conductor Jaime Martín is Chief Conductor of the Melbourne Symphony Orchestra, Music Director of the Los Angeles Chamber Orchestra and Principal Guest Conductor of the BBC National Orchestra of Wales. He was Chief Conductor of the National Symphony Orchestra of Ireland (2019–24), Principal Guest Conductor of the Spanish National Orchestra (2022–24) and Artistic Director and Principal Conductor of the Gävle Symphony Orchestra (2013–22). 

Recent highlights include acclaimed debuts with the Dallas and Indianapolis Symphony orchestras and the Dresden Philharmonic, a UK tour with the Gävle Symphony and his debut as a conductor at last year’s BBC Proms. Last season he made his debut with the Budapest Festival Orchestra and returned to the Royal Stockholm Philharmonic Orchestra, Castile and León, Colorado, Galicia and Queensland Symphony orchestras and BBC National Orchestra of Wales. 

Jaime Martín’s debut recording with the Melbourne Symphony Orchestra (songs by Debussy and Richard Strauss with Siobhan Stagg) was released earlier this year. He has recorded Mozart’s wind concertos with the London Symphony Orchestra, a series of Brahms recordings with the Gävle SO, a disc of choral works with the Eric Ericson Chamber Choir, as well as most recently works by Swedish composer Melcher Melchers.

Before turning to conducting full-time in 2013, he was principal flute of the Royal Philharmonic Orchestra, Chamber Orchestra of Europe, English National Opera and London Philharmonic Orchestra.

Danielle de Niesesoprano

Danielle de Niese is a multi-faceted artist and has gained wide recognition for her stagecraft, assured singing and her ability to communicate on every level. She regularly appears on the world’s most prestigious opera and concert stages and is a prolific recording artist, television personality and philanthropist.

Engagements this season include role debuts as Alice Ford (Falstaff) for Hamburg State Opera and the title-role in Carmen for Opera Australia. On the concert platform she sings Weill’s Seven Deadly Sins with the New World Symphony Orchestra, a double bill of Dido (Purcell’s Dido and Aeneas) and Seven Deadly Sins with the Danish National Symphony Orchestra and a recital in the Master Series at London’s Kings Place.

Last season’s highlights included Seven Deadly Sins with Edward Gardner and the London Philharmonic Orchestra; her role debut as Hanna Glawari (The Merry Widow) for Glyndebourne Festival; a recital at the Cumnock Tryst, giving the world premieres of two new works by Sir James MacMillan; a recital at the Brighton Dome Festival with pianist Matthew Fletcher; and her ‘Baroque to Broadway’ programme with the City of Birmingham Symphony Orchestra.

On the concert platform she has performed Stravinsky’s Perséphone with the Boston Symphony Orchestra; made her debut at the Edinburgh International Festival with Rodgers and Hammerstein’s A Grand Night for Singing; sung in Bernstein’s Wonderful Town with Sir Simon Rattle and the London Symphony Orchestra; participated in opera galas with the RTÉ National Symphony Orchestra; made several appearances at the BBC Proms; and sung at the Ravinia Festival, the Barbican and Snape Proms.

In the West End, she has performed Aldonza and Dulcinea in Man of La Mancha at the London Coliseum and recently starred alongside Michael Ball in a new production of Andrew Lloyd Webber’s Aspects of Love at the Lyric Theatre.

She is a prolific recording artist, and her debut recording of Handel arias won an ECHO Klassik award, as well as earning her a Classic BRIT nomination for Female Artist of the Year. This was followed by The Mozart Album, Diva and Beauty of the Baroque.

As a television and media personality, she won an Emmy at the age of 16 as host of a weekly art showcase for teenagers at a Los Angeles local television studio. She has also made the documentaries Diva Diaries, The Birth of an Opera and Unsung Heroines for the BBC.

Offstage, Danielle de Niese is passionate about music education, an advocate for children’s rights and has appeared on Marie Claire magazine’s list of ‘Women on Top’.

BBC National Orchestra of Wales

For over 90 years, the BBC National Orchestra of Wales, the only professional symphony orchestra in Wales, has played an integral part in the cultural landscape of the country, occupying a distinctive role as both a broadcast and national orchestra, and serving as an ambassador of Welsh culture, regularly performing music created in Wales and championing Welsh composers and artists.

Part of BBC Cymru Wales and supported by the Arts Council of Wales, BBC NOW performs a busy schedule of concerts and broadcasts, working with acclaimed conductors and soloists from across the world, including its Principal Conductor, the award-winning Ryan Bancroft.

The orchestra is committed to working in partnership with community groups and charities, taking music out of the concert hall and into settings such as schools and hospitals to enable others to experience and be empowered by music. It undertakes workshops, concerts and side-by-side performances to inspire and encourage the next generation of performers, composers and arts leaders, and welcomes thousands of young people and community members annually through its outreach and education projects.

BBC NOW performs annually at the BBC Proms and biennially at the BBC Cardiff Singer of the World competition, and its concerts can be heard regularly across the BBC – on Radio 3, Radio Wales and Radio Cymru. On screen, music performed by BBC NOW can be heard widely across the BBC and other global channels, including the soundtrack and theme tune for Doctor Who, Planet Earth III, Prehistoric Planet, The Pact and Children in Need.

Based at BBC Hoddinott Hall, Cardiff Bay, BBC NOW utilises a state-of-the-art recording studio with a camera system for livestreams and TV broadcasts to bring BBC NOW’s music to a broader audience across Wales and the world. For more information about BBC NOW please visit bbc.co.uk/now

Patron
HM King Charles III ^{KG KT PC GCB}
Principal Conductor
Ryan Bancroft
PrincipalGuest Conductor
Jaime Martín
Conductor Laureate
Tadaaki Otaka ^CBE
Composer-in-Association
Gavin Higgins

First Violins
Lesley Hatfield leader
Jens Lynen
Terry Porteus
Suzanne Casey
Ruth Heney **
Juan Gonzalez
Alejandro Trigo
Anna Cleworth
Kerry Gordon-Smith
Žanete Uškāne
Carmel Barber
Gary George-Veale
Zhivko Georgiev
Amy Fletcher

Second Violins
Anna Smith *
James Wicks († for Poulenc)
Ros Butler (Ravel only)
Sheila Smith +
Michael Topping
Beverley Wescott
Roussanka Karatchivieva
Katherine Miller (Ravel only)
Ilze Abola
Lydia Caines **
Joseph Williams
Vickie Ringguth

Violas
Rebecca Jones *
Alex Thorndike #
Tetsuumi Nagata
Peter Taylor
Lowri Taffinder
Robert Gibbons
Lydia Abell
Anna Growns
Catherine Palmer
Laura Sinnerton

Cellos
Leo Popplewell
Jessica Feaver
Sandy Bartai
Alistair Howes
Rachel Ford
Carolyn Hewitt
Keith Hewitt
Kathryn Graham

Double Basses
David Stark *
Fabian Galeana
Georgia Lloyd
Christopher Wescott
Richard Gibbons
Callum Duggan

Flutes
Matthew Featherstone *
John Hall †
Lindsey Ellis **

Piccolo
Lindsey Ellis †**

Oboes
Steve Hudson *
Amy McKean †

Cor anglais
Amy McKean †

Clarinets
Nicholas Carpenter *
Bethany Crouch
Lenny Sayers +**

Bass Clarinet
Lenny Sayers †+**

Bassoons
Jarosław Augustiniak *
Keane Lui
David Buckland

Contrabassoon
David Buckland † 

Horns
John Davy
Meilyr Hughes

Trumpets
Philippe Schartz *
Will Morley

Trombone
Donal Bannister *

Tuba
Daniel Trodden †**

Timpani
Steve Barnard *

Percussion
Phil Girling
Phil Hughes
Rhydian Griffiths
Max Ireland

Harp
Jean Kelly

Piano
Catherine Roe Williams

* Section Principal
† Principal
‡ Guest Principal
# Assistant String Principal

The list of players was correct at the time of publication

Director Lisa Tregale
Orchestra Manager Liz Williams
Assistant Orchestra Manager Nick Olsen **
Orchestra Personnel ManagerKevin Myers
Business Coordinator Georgia Dandy **
Orchestra Administrator Eleanor Hall +**
Head of Artistic Planning and ProductionMatthew Wood
Artists and Projects Manager Victoria Massocchi **
Orchestra Librarian Naomi Roberts **
Producer Mike Sims
Broadcast Assistant Emily Preston
Head of Marketing and Audiences Sassy Hicks
Marketing Coordinator Amy Campbell-Nichols +
Digital Producer vacancy
Social Media Coordinator Harriet Baugh
Education Producers Beatrice Carey, Rachel Naylor maternity cover
Audio Supervisors Simon Smith, Andrew Smillie
Production Business Manager Lisa Blofeld
Stage and Technical Manager Steven Brown
Assistant Stage and Technical Manager Josh Mead +

+ Green Team member
** Diversity & Inclusion Forum