Cia de Ópera do Espírito Santo

Ethel Smyth

Fête Galante
A Dance Dream in One Act

Libretto de Ethel Smyth e Edward Shanks

Baseado no conto de Maurice Baring
ÍNDICE

Scene 01

Ouverture Sarabande 01
Musette 01

Fanfare 02
Puppet Quartett 03

Now see! The Blossom 06

Sir, we are not alone 07

Oh! It is sweet to be alone 10

Madrigal a capella 11

Lover's duet 12

Trio. Lovers in bliss 14

Elsewhere, Madam 17

So Columbine has draw her knife 18

I too bid you speak 19

You will speak? O hear me 20

Dance and chorus 22

Chorus: Hushed is the world 24
 01
Scene

A moon-lit Watteau garden; running right across the stage, about 2/3 back, a formal
hedge, with gaps and vases; as drop-scene the Castle, with lighted windows. On
the spectator's left. Well forward, a small temple, partly closed at the back but open
towards the audience; round it a balustrade and steps. On the right, farther back, a
slightlyraised knoll on which the puppet-drama takes place. In the right wing, well
forward, bushes; along the hedge marble seats.
Torchbearers move on and off according to the action; the lighting to vary accordingly.
The guests are arrayed in the gorgeous costumes of the period; some wear masks
and dominos.
When the curtain rises the dancers have already taken up their positions for the
ensuing Sarabande, which must be so planned that the King and Queen, who are
unmasked and dancing together, shall be easy to identify. Before it begins, at the
point ⊕, the dancers should make a sweeping reverence in the direction of their royal
hosts.

Sarabande

Musette

The guests now fall back, and leave the space clear for special dancers, who execute
slow, swaying movements, both languid and voluptuous. The guests sing, very softly,
the vocal part. Meanwhile the following action takes place. The Queen is standing
somewhat apart, near the footlights, fanning herself, and accidentally drops her
handkerchief. A tall man in a domino and masked, darts forward, picks it up, and
whispers a few words. The Queen starts violently, but instantly recovers herself. The
mask bows low, and mingles with the company.
 02
Chorus:
Hushed is the world, faded the light,
O magic hour, hour of delight
Heart against raptured heart beating!
Down through the branches the moonrains greeting
Sighing of lovers, warm lips meeting,
whispered vows in the night!
Ah! (sighing)

The former dance prepare to resume the Sarabande

The following Fanfare ushers in 4 Pierrot Players, Columbine, Harlequin, Pantaloon

and Pierrot, and 4 singers dressed like puppets. The puppet-drama (which the
words illustrate) is played on a slightly raised bit of ground left half back. The
singers use appropriate and dramatic puppet-like gestures.

During the puppet-drama some of the guests seat themselves on the marble
benches and on the steps of the temple; others stand; others move about in the
background.
 03

Puppet Quartett

Soprano/alto:
Since in deceit there is much pleasure,

Tenor/bass:
And since the world is all a cheat,

Soprano/alto:
spare, o dancers a moment's leisure,

Tenor/bass:
Watch our pointed brief deceit.

Tutti:
Stay, stay, stay,
these are but dolls, as you are in the play!

Soprano/alto:
The world turns at its usual pace

Tenor/bass:
While Harlequin to Columbine

Soprano/alto:
Laments her forfeit smiling face

Tenor/bass:
and in his sorrow seems divine,

Tutti:
while with a nod old Pantaloon
leads in the embroiling god

Bass:
Who were despoiled if Pierrot then

Tenor:
Still in his garden lounged,

Alto:
And dreamed himself the happiest of men
 04
Soprano:
And all the future what it seemed?

Tutti:
Ah! Woe betide the world, if ev'ry bridegroom knew his bride!

Alto:
But Pierrot, seeing draws a knife

Soprano:
and leaps on unarmed Harlequin

Tenor:
To let the saw dust of his life

Soprano:
In vengeance of the mimic sin

Bass:
And Columbine half swooning,

Tenor:
swooning at the fell design.

Soprano/alto:
Swooning

Tenor/bass:
Swooning

Alto:
Ah! what a doll can suffer, see!

Soprano:
Ah! (sighing)

Tenor:
What bravery in a puppet’s part!

Bass:
Now Pierrot in his charity
 05
Tenor:
The knife hath stuck in his own heart!

Tutti:
for love he dies, for love he dies,
and only half in pain his mistress cries.

Soprano/alto:
Now, Harlequin has got his bride,

Tenor/bass:
And Pantaloon has had his fun,

Soprano/alto:
and love will never be denied,

Tenor/bass:
and, gracious folk, the show is done.

Tutti:
No longer stay
these are, like you,
but puppets in a play.

Columbine leaves her companions and dances in and out gracefully between the
spectators.

Columbine subsides in a graceful curtsey at the feet of the King.

 06
The guests break up into groups and couples, and pass to and fro through the gaps.

King: (to Columbine)

Now see! the blossom from the bough is fallen,
and steppeth lightly, lightly on the grass,
blown by the evening wind hither and thither!
My pretty Columbine, say,
can you dance on earth as lithely as lately on the tree?
Do you but answer yes,
I claim you for the second dance,
the second dance.

Columbine: (with stiff but not ungraceful puppet - gestures)

My gracious Lord,
you honour me far above desert!
we are but puppets who tax our springs to serve you

Harlequin and Columbine:

Puppets who tax our springs to serve you
on earth or on the stage.

Columbine and Harlequin wander off together

Queen: (To pierrot)

I am amazed that Columbine could be so light,
that she could turn from such a handsome, melancholy lover for any other.
Be assured, be assured 'twas but in mockery
but in mockery and in the play.

extends her hand: he kisses it humbly

King: (apart to the Queen)

All other men your graces feel,
and all the world may hope to know your kindness,
to see your smile! For me alone,
there's nothing! (spoken ad lib)
 07

Queen: (apart to King)

Sir, we are not alone, (coldly)
nor are we 'prentice and his lass at fairing booth on holiday.

turns her back on him

Queen:
Page, my cloak! My Lord, your arm. (to a courtier)

The Queen and the Courtier pass through a gap; most of the company have followed
the torchbearers off the stage; the King goes away by himself. Pierrot is in a trance;
Columbine runs up to him.

Columbine:
Pierrot! Did you hear what the King said?

Pierrot pays no attention

Columbine: (insistently)
Pierrot! Did you hear what the King said?

Pierrot, lost in his dream, ignores her

Columbine: (cajolingly)
Pierrot wake!
Pierrot wake, the play is done,
and now we are ourselves again!
Come and dance, come Pierrot.
We shall forget in dancing
that in the play you lost me...
I love you! I love you (tenderly)
as I always did.

Pierrot looks at her and almost shrugs his shoulders

Columbine dances a step or two, then turns away

 08
Columbine: (aside, with anguish)
(See how a doll can suffer!
Ah! What bravery in a puppet's part!)

Harlequin: (behind)
Columbine! Columbine!
The dance is just beginning!
Come and dance the round with me!
Come and dance with me!

Columbine: (trying to charm him)

(Pierrot wake,
Pierrot wake the play is done
and now we are ourselves again!)

enter Harlequin in usual style

Harlequin:
Columbine,
Columbine you are mine!
'Twas in the play,
'twas in the play!

Columbine:
(I love you as I always did!)

Pierrot moves away from Columbine

Harlequin:
Columbine you are mine
remember the play,
remember the play! (with emphasis)

Behind the hedge music strikes up; it suddenly becomes light: all hearken

Harlequin:
Hark the music is beginning!
Come and dance!

he dances across the stage

 09
Columbine: (again approaches Pierrot)
(Pierrot awake, awake!)

Harlequin:
Columbine,
Columbine the music is beginning,
come dance with me

Columbine: (tenderly)
(Pierrot,
Pierrot you are dreaming!
Wake)

Harlequin:
Columbine,
Columbine the music is beginning
come and dance,
And dance with me

she opens her arms: he ignores her

Columbine:
(My lover come, come.)

Harlequin seizes Columbine and whirls her round in the air; she tears free and
advances furiously on Pierrot.

Columbine: (threateningly):
(Then the play goes on,
and Harlequin shall dance with me!)

Columbine and Harlequin dance out together madly

Pierrot Stretches himself wearily

 10

Pierrot:
Oh! It is sweet to be alone!
All the weary jokes are made,
caper and contortion done,
it is sweet to be alone in this quiet glade.
Love is throned in laughter's place,
that is not so sad a folly,
yet a fool am I to chase now a joke from place to place,
now dear melancholy.

he sits down on the steps of the temple

Pierrot:
a fool am I!

flute behind the scenes

Pierrot:
Far away the music rings;
Love and laughter both I find sad and heart despairing things!
both have heavy draggled wings,
both ah!
both unkind!

he gets and gradually crosses to left

Pierrot:
But in this Love's kind to me,
lightly came he and unbidden,
came without command or fee!
Love into my heart came free
in my heart
in my heart lies hidden!

Pierrot wraps himself in his black domino, and lies down, as if to sleep, his face
buried in his arms, under the bushes at the right side of the stage. The stage is empty.
During the first verse of the following Madrigal (which is sung behind the scenes,
giving the effect of distance) now and then a couple might stroll in, and out again.
 11

Madrigal a capella

Chorus:
Soul's joy, now I am gone,
and you alone, which cannot be,
since I must leave myself with thee
and carry thee with me.
Yet when unto our eyes
absence denies each other's sight,
and makes to us a constant night
makes to us a constant night
when others change to light,
O give way to no grief,
give way to no grief
but let belief of mutual love this wonder to the vulgar prove,
our bodies not we move,
our bodies not we move.

orchestra

Chorus:
Let not thy wit beweep,
beweep words but sense deep,
for when we miss by distance
our hope's joining bliss,
even then our souls shall kiss.
Fools have no means to meet,
no means to meet but by their feet;
why should our clay
 12
over our spirits so much sway
to tie us in that way!
O give way to no grief
give way to no grief,
but let belief of mutual love
this wonder to the vulgar prove
our bodies not we move
our bodies not we move.

During the second verse the tall mask (the lover) has been visible once or twice. The
Queen, in mask and domino, now appears and looks about her furtively.

the lover steps forward

Queen:
Ah! What madness! Mad was I to bid you,
you were madder to obey!
think you disguise will serve you?
The park is full of eyes and tongues
that peep from ev'ry bank,
and whisper in ev'ry tree.
Go beloved,
lest ought befall you go!

Lover:
You called,
or was it but the night that feigned your voice with winds and leaves?

Queen:
Not winds or leaves
but my own breath was sighed to slay you!

Lover:
It was your voice,
I came!
 13
Queen:
Love give me strength against you!

Lover:
What more to say but that?

Queen:
Go my beloved go!

Lover:
Nay, if I am doomed to live in exile
because I love you, how shall I choose
t'wixt death and this unfriendly, empty world!

Queen:
O madness!
My own breath was sighed to slay you!

Lover:
Death or exile! Let fate decide between them!

Queen:
Leave me and live!

Lover:
What do you ask me, sweet!

Queen:
Leave me,
leave me and live!

Lover:
What!
Shall I sell this moment
Against an age of weary life?
I will not go! (whispers)

Queen:
Then let me see your face!

She draws him towards the temple

Queen:
My strength is weakness
unmask!
 14
Lover:
Unmask!

they enter the temple, remove their masks, and gaze each other

Queen:
Ah! (sighing)

Lover:
Ah! (sighing)

They embrace; Pierrot raises his head and sees the lovers, but without recognising
them.

Pierrot:
Lovers in bliss!
Ah! Till the close of day
say not that the day is sweet!

Queen:
Hark! The music is like our love

Lover:
like our love

Queen:
lilting and soft, lilting and soft

Lover:
lilting and soft

Queen:
But with an undercurrent of sorrow and bitterness to come.
 15
Lover:
Sorrow and bitterness fade like a dream!
An age of weary life
against an hour like this!

Queen and Lover:

An hour like this!

Lover:
Let us the years to come roll in a ball

Queen:
Let us the years to come roll in a ball

The lovers raise their voices; Pierrot, roused his sleep, looks up: a ray of moonshine
suddenly strikes the temple.

Lover:
as in your hand you crush sweet scented leaves and flow'rs
To have the perfume sharper

Queen:
as in your hand you crush sweet flow'rs
to have the perfume sharper

Pierrot:
My God! the Queen!

Queen:
leave me beloved!
tonight my strength is weak

Lover:
Kiss me again
again.

The lover's domino falls: he is in a Pierrot costume

Pierrot:
When such a couple meet the fool were best away!

Pierrot, wrapped in his domino, begins stealthily crawling away

 16
Lover:
Shall I sell this hour against an age of weary life!
in your kiss live I more than my father's years!

Queen:
Kiss me my strength is weak
leave me,
leave me and live and live!

Pierrot:
till the close of day
Lovers say not that the day is sweet!

Columbine appears in the gap; the Lover's back in towards her, but the moon clearly
illumines the Queen's face. Pierrot sees her coming and conceals himself

Columbine: (aside)
Pierrot betrays me,
with the Queen!

Exit columbine; the Queen frees herself hastily from the Lover's embrace

Queen: (startled)
What cry was that?

the Lover again enfolds her

Lover:
Again... again!

Queen:
O madness!
Love give me strength against you!
Leave me!

In order to warn the Lovers Pierrot steps forward, throwing aside his domino, and
sings, as if recalling part of the puppet-music. The lover seizes his mask and domino
and vanishes.
 17
Pierrot:
We are but puppets in a play,
only puppets
and yet...

During these couplets the Queen steps slowly out of the temple, while the King and
Columbine appear in the gap.

Pierrot:
And yet in mumming as in life
there is still a plot to hear;
Fickleness, betrayal, strife,
the hempen cord, the bowl, the knife,
treacherous tale, (spoken at Columbine)
treacherous tale to jealous ear!

Columbine turns to go; the King stops her imperatively

King: (aside to Columbine)

Question him!
He loves you,
to you he will speak the truth.

he walks up to the Queen ceremoniously

King:
Elsewhere, Madam,
our guests expect you,
will you return with me!

Exit King and Queen

Columbine: (defiantly)
Yes! I did it...
t'was I who stayed the King in dancing and brought him hither...
Always, since first we played to the Court,
you loved the Queen...
 18
Pierrot glances at her

Columbine:
Yes, I know,
I was your mistress,
it was I your lips and hands caressed,
but round her lips your thoughts and glances hovered
not, not round mine!
And when at last she stooped for a night's whimsy, (scornfully)
when I saw you and her embracing...

Pierrot (aside, amazed)

(The Queen and I!)

Columbine:
Pierrot
I betrayed you!

Pierrot has turned his back to her; one sees that he now understands her mistake

Columbine:
Be not so dumb,
so still!
it is cruel...
speak to me!

He advances on Columbine

Pierrot: (with intense scornful irony)

So Columbine has drawn her knife!
Brave O brave in a puppet's part,
to let the sawdust of a life in vengeance for a fancied smart!
Woe, woe betide if ev'ry bride groom knew his bride!
 19
Columbine: (passionately)
Answer me, Pierrot,
say that what I saw was but a jest!
I too jested when I left you for Harlequin!
Now our jests recoil on us!
I know your manners
speak before the time is past! (menacingly)

Pierrot shrugs his shoulders and executes a few steps; the King reappears in the
background

Columbine:
Then it is no Jest!
You love, and are beloved!
And I...
I am avenged!

She rushes away

The King comes slowly forward

King:
I too bid you speak...
since you spurn the claims of love,
This is now the King's command.
I am not deceived;
the Pierrot Columbine saw

Pierrot starts

King:
was not Pierrot my servant!
Now speak what you know!

Uncertain what to say Pierrot makes a conventional deprecating gesture

King:
I know you are not guilty,
 20
Save as those who see unseen
the comedies their betters act,
But guiltless though you be, (with agitation)
yet penance must be done for hiding where you hid,
For seeing what you saw… (threateningly but anguished)

he recovers himself

King:
to tell me all be that penance
be the story what it may I must hear it! (sternly)
The truth is all I ask! Tell me all, and all shall be forgiven! (gently)

Pierrot: (lightly)
Lovers pursue and maidens fly,
ghosts that chase a phantom bliss,
Ask a wiser fool than I where the truth is,
Where the lie in a stolen kiss!

King: (angrily)
You do not know,
I think, how long the play is ended!
Speak while I have my temper still!

Pierrot, his eyes on the ground, is silent

King:
You will not speak?
O hear me,
forget I am a King,
which I am fast forgetting...
Pierrot!
I command no more,
I only ask...
We are man and man
I cannot live in doubt in torture!
Who was with the Queen? (spoken, whispered)
 21
A few guests come strolling in, and regard the King and Pierrot with discreet curiosity;
Pierrot's attitude is now one of utter submission

Pierrot: (with bowed head)

Fooling's a grim and dangerous trade!
If too high my folly soared,
Think how lightly jokes are made,
think how poorly we are paid (he kneels)
and pardon, Lord!

The King, noticing that others are present, resumes his usual manner

King:
You have spoken wittily,
but there are jokes too ill placed for pardon,
when the reckless joker bounds o'erstepping,
privilege abusing,
must, to teach others, learn a lesson!

He gives a sign; two guards seize Pierrot

King: (to the guests)

Friends, this sight is hardly worth the seeing!
This trifle must not disturb our pleasure!

he whispers rapid orders to the guards; one goes away

King:
Let the mad rout begin!

Claps his hands: enter Satyrs, Bachantes and Guests

King:
Across the moonswept grass,
mid moonburnished silver trunks lead us in a maze
to ever wilder revelry. (at first on the stage)
 22
Dance and Chorus

Tenors/bass:
Heigho, heigho,
Heigh, ho, ho, ho!

Soprano/alto:
Heigho, heigho,
Heigh, ho, ho, ho!

The dancers. moving in and out, gradually dance off the stage, followed by the
torchbearers

Tenors/bass:
Heigho, heigho,
Heigh, ho, ho, ho!

Soprano/alto:
Heigho, heigho,
Heigh, ho, ho, ho!

The effect of increasing distance depending on the size, etc, of the stage, the vocal
parts are not marked here

Tenors (behind)
Hey nonny!
Hey nonny no!
 23
Only the King, the Queen, Pierrot and his guard are left on the stage: the Queen
makes a gesture as if interceding for pierrot; the King sternly waves her off the stage
and follows her

Sopranos (behind):
Hey nonny!
Hey nonny no!

the voices get farther and farther away; by degrees the stage darkens

Tenors/bass:
Hey nonny,
Hey nonny no
Hey nonny,
Hey nonny no

Soprano/alto:
Hey nonny,
Hey nonny no
Hey nonny,
Hey nonny no

the stage is invisible

a piercing scream is heard

the stage gets slowly lighter

In the moonlight Pierrot is seen hanging from a beam in the temple: on the steps
Columbine lies swooning; presently the Queen appears hurriedly; she stands
transfixed in the gap
 24

Distant voices: (women/men)

Hushed is the world, faded the light,
O magic hour, hour of delight,
heat against raptured heart beating!