Die schweigsame Frau (The Silent Woman), Op. 80, is a 1935 comic opera in three acts by Richard Strauss to a libretto by Stefan Zweig after Ben Jonson's 1609 comedy Epicœne, or The Silent Woman.
Composition history Since Elektra and Der Rosenkavalier, with only the exception of Intermezzo, all previous operas by Strauss were based on libretti by Hugo von Hofmannsthal, who died in 1929. Stefan Zweig, who was then a celebrated author, had never met Strauss, who was his senior by 17 years. In his autobiography The World of Yesterday, Zweig describes how Strauss got in touch with him after Hofmannsthal's death to ask him to write a libretto for a new opera. Zweig chose a theme from Ben Jonson.
Politics of the opera
Strauss was seen as an important icon of German music by the Nazis, who had seized power in Germany in April 1933. Strauss himself co-operated with the Nazis and became the president of the in November 1933. Zweig knew Strauss well through their collaboration and later wrote:
to be co-operative with the national socialists was furthermore of vital interest to him, because in the national socialist sense he was very much in the red. His son had married a Jewess and thus he feared that his grandchildren, whom he loved above all else, would be excluded as scum from the schools; his earlier operas tainted through the half-Jew Hugo von Hofmannsthal; his publisher was a Jew. Therefore, to him it seemed more and more imperative to create support and security for himself, and he did it most perseveringly.
The fact that Zweig was a Jew was causing potential problems for the performance of the opera: in the summer of 1934 the Nazi press began to attack Strauss on this issue. Zweig recounts in his autobiography that Strauss refused to withdraw the opera and even insisted that Zweig's authorship of the libretto be credited; the first performance in Dresden was authorized by Hitler himself. Subsequent research has shown that Zweig's account is largely correct.Michael Walter, "Strauss and the Third Reich", chapter 14, The Cambridge Companion to Richard Strauss, (ed. Charles Youmans), Cambridge University Press, 2010 Pamela Potter, "Strauss and the National Socialists: the Debate and Its Relevance", pp. 93–115 in Richard Strauss: New Perspectives on the Composer and His Work, (ed. Bryan Gilliam), Durham, North Carolina and London: Duke University Press, 1992. We now know that there was an internal power struggle going on within the Nazi government. Joseph Goebbels wanted to use Strauss's international reputation and was willing to relax the rule against works with non-Aryan artists. However, Alfred Rosenberg was more critical of Strauss's unsoundness on the "Jewish question" and wanted to remove Strauss from his position and replace him with party member Peter Raabe. Goebbels took the matter to Hitler, who initially ruled in his favour. However, the Gestapo had been intercepting the correspondence between Strauss and Zweig, in which Strauss had been candid about his critical views of the Nazi regime and his role in it. This letter was shown to Hitler, who then changed his mind. The opera was allowed to run for three performances and then banned. On 6 July 1935, Strauss was visited at his home by a Nazi official sent by Goebbels and told to resign from his position as president of the on grounds of "ill health", less than two years after he had taken up the post. He was replaced by Peter Raabe, who remained in place until the fall of the Nazi regime. Although banned in Germany, the opera was performed a few times abroad, including in Milan, Graz, Prague and Zürich. This would not be the first time one of his operas had been banned: Kaiser Wilhelm had banned Feuersnot in 1902. Indeed, the propensity of totalitarian regimes to ban operas was not limited to Germany: a few months later in early 1936 Dmitri Shostakovich's opera Lady Macbeth of Mtsensk was banned by the Soviet regime. Zweig and Strauss continued to work together secretly (with Joseph Gregor), mainly on the libretto for the opera Friedenstag which was premiered in 1938. The story was almost wholly Zweig's, but the ideal of pacifism which it embodied was dear to both.
Strauss outlived the Nazi regime by four years and was happy when the opera was revived shortly after the end of the war. He wrote to Joseph Keilberth, the director of the Dresden Opera House where the opera was first revived: "Now, after ten years, the honorable Sir Morosus has been liberated from the concentration camp of the Reichstheaterkammer and has returned to his native town, where twelve years ago I had a lot of trouble to get the name of the librettist on the program".Ernst Krauss, Die schweigsame Frau, program notes to the Dresden 1977 recording (conductor Marek Janowski). Translated to English by C. P. H. Linnemann. Stefan Zweig never heard the opera performed. He had moved from his native Austria to England in 1934 after the Nazis came to power in Germany (although he did visit Austria until the Anschluss in 1938). In 1940, soon after the outbreak of war, he moved to the US and then to Brazil. Depressed by the growth of intolerance, authoritarianism, and Nazism, feeling hopeless for the future for humanity, he committed suicide on 23 February 1942.
Performance history It was first performed at the Dresden Semperoper on 24 June 1935, conducted by Karl Böhm. After the fall of the Nazi regime, the opera was revived in Dresden (1946) followed by Berlin, Munich and Wiesbaden.
Outside Germany, the work was produced in February 1936 at Graz in Austria (attended by his son and daughter-in-law, Franz and Alice), in Prague on 8 June conducted by George Szell and in Zürich in October 1942 (with Strauss attending the performance on 18 October). The work had its United States premiere at the New York City Opera on 7 October 1958. It was performed at the Santa Fe Opera in 1987 and 1991,"Opera Archives" on santafeopera.org. Retrieved 8 April 2014 and also at Garsington Opera in 2003."Past Operas", on garsingtonopera.org. Retrieved 8 April 2014 In Britain, the Royal Opera House, London, presented the work in English with the UK premiere on 20 November 1961"Royal Opera House Collections Online" with cast listing on rohcollections.org.uk. Retrieved 8 April 2014 and the opera formed part of the Glyndebourne festival in 1977 and 1979.Database, Glyndebourne Festival Opera. Retrieved 16 November 2014 More recently, there were productions at the Dresden Semperoper in 2010Music in Dresden, retrieved 16 December 2014 and the Bavarian State Opera, Munich, in 2010, 2014, 2015, and 2017. On 22–24 July 2016 Pittsburgh Festival Opera put on two performances sung in English. In July 2022, the Richard B. Fisher Center for the Performing Arts at Bard College presented five performances in the original German, Leon Botstein conducting the American Symphony Orchestra.
Roles +RoleVoice typePremiere, 24 June 1935Conductor: Karl BöhmSir Morosus, a retired admiralbassFriedrich PlaschkeWidow Zimmerlein, his housekeepercontraltoHelene JungSchneidebart, a barberhigh baritoneMathieu AhlersmeyerHenry Morosus, nephew of the admiralhigh tenorMartin KremerAminta, his wifecoloratura sopranoMaria CebotariIsotta, opera singercoloratura sopranoErna SackCarlotta, opera singermezzo-sopranoMaria HundtMorbio, opera singerbaritoneRudolf SchmalnauerVanuzzi, opera singerbasso profondoKurt BöhmeFarfallo, opera singerbasso profondoLudwig ErmoldThe parrotspokenOther actors, neighbors
Synopsis
Setting: a room in Sir Morosus' house in a London suburb, around 1760.
Act 1
Retired naval captain Sir John Morosus is very intolerant of noise after having survived an explosion on his ship. For some years he has been retired and living with his housekeeper who looks after him well, although he finds her chatter annoying. His barber arrives and after an argument with the housekeeper that disturbs Morosus, tries to calm down the Captain. He tells Captain Morosus that he should take a quiet young woman. At first Morosus is skeptical: is not a quiet woman like sea without salt? The barber assures him that he knows a dozen "quiet doves" who would want to marry an honorable man like him. Morosus starts to warm to the idea, when suddenly his long-lost nephew Henry appears. He is warmly welcomed: Morosus dismisses the idea of marriage and makes Henry his "son and heir". However, when Henry reveals that he, his wife Aminta and his friends are an opera troupe, Morosus reacts in horror particularly to the idea that Aminta is an opera singer. The captain throws the opera troupe out of his house and disinherits Henry. He instructs the barber to seek a silent woman for him to be his wife the very next day and then retires to bed. The barber reveals to the troupe how rich Morosus is ("sixty, seventy thousand pounds"). Aminta says that she will not come between Henry and his inheritance and offers to leave Henry. Henry tells Aminta that he cannot live without her even if it means losing his inheritance. The Barber has an idea. What if the opera troupe acts out a drama in which the ladies of the troupe have the roles of the prospective brides and they enact a sham marriage? The Bride will then become very noisy and they will act out the divorce. Henry likes the idea: his uncle has insulted the troupe, so they will show him their abilities "and who is the fool shall be fooled". The scene ends with a glorious celebration of the wonderful plan.
Act 2
The housekeeper helps Morosus put on his finest dress-jacket. The Barber arrives and reassures the captain that he has arranged all of the details for the marriage ceremony. He then introduces the three potential brides. Carlotta stands forward acting as "Katherine" a simple country girl. Morosus is not keen: she has spent too much time with calves and become one herself. The Barber next introduces Isotta, playing the role of noble lady educated in a wide range of subjects. Morosus is not impressed by this and is suspicious of her ability to play the lute. Lastly, the Barber introduces Aminta acting as the modest and shy "Timidia". Morosus is quite captivated by "Timidia" and tells the barber "she is the one" and orders him to get the priest and notary for the marriage ceremony. Vanuzzi and Morbio act out the roles of parson and notary and the sham marriage takes place. Farfallo arrives with the rest of the troupe playing sailors who have come to celebrate the marriage, making a lot of noise. Morosus is driven mad by the noise and ejects them from the house. Aminta has become quite touched by the genuine love of Morosus, who wants to know why she seems troubled. Eventually, she has to carry out the barber’s plan and starts shouting at Morosus in feigned anger. She wreaks havoc in the house pulling down the curtains and throws some of the captains most precious possessions onto the floor ("away with this junk"). Then Henry arrives to save the day. He forcefully deals with Timidia, and assures his uncle that he will deal with everything. A grateful Morosus thanks Henry: he has survived many sea battles and hurricanes, but would not stand a chance against someone like Timidia. Henry sends the captain off to bed, where he dozes off. Now alone, Aminta and Henry then sing of their love for each other. Morosus awakes and calls down: "is everything all right?" "Yes", says Henry. Morosus falls back asleep with a deep sigh which counterpoints with Aminta’s sighs of love as the scene closes.
Act 3