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1964 production photo from Daphne

Daphne 1964

July 29 - 31, 1964

A chaste beauty flees Apollo’s advances…

…escaping at last in a transfiguring moment of immortality – one of the greatest final scenes and one of the most hypnotic scores in opera.

Music By
Richard Strauss
Libretto By
Joseph Gregor
Engish Version By
Maria Massey Pelikan

Synopsis

As the opera begins, four shepherds are discussing the forthcoming celebration which is the observance of the feast of Dionysus, traditionally the time for the mating of young couples. In a lengthy monologue, Daphne reveals her love of nature, identifying herself with the trees and flowers around her; the prospect of the festival gives her no pleasure.

Leukippos, her playmate since childhood, wishes her to accompany him to the celebration and tries to embrace her. She refuses his overtures, characterizing her affection for him as sisterly. Gaea overhears part of the conversation and warns Daphne that the time will come when she will learn to love. Daphne refuses to wear the dress that her mother has brought her. Two maidens, hearing the sound of Leukippos’ lamentations, at first try to distract him, but then determine to help him win Daphne’s love. They dress him in the clothing that Daphne has rejected.

Peneios prophesies that the day will come when the gods· will return to dwell among men. In spite of murmurs of protest from the shepherds, he affirms his belief that Apollo will come to them. A stranger appears, dressed as a herdsman, and greets the company. Gaea and the shepherds mock Peneios for this mundane realization of his prophecy. Peneios sends for Daphne to look after the stranger.

The mysterious herdsman is amazed at the beauty of Daphne. He likens her to Artemis and calls her “sister.” When she asks him his identity, he explains that he saw her from his chariot and repeats phrases from her opening monologue. She rejoices in his promise that she will never again be parted from the sun, but tears herself free when his advances become passionate.

A procession, led by Peneios and Gaea, approaches, and Daphne joins the women; the herdsman joins the men. The feast begins, and the disguised Leukippos invites Daphne to join in the dancing. Suddenly the stranger cries out that Peneios and his daughter are the victims of deception. Leukippos reveals himself as a suitor for Daphne’s hand. The herdsman reveals himself as Apollo, the sun, and in the dispute which follows, Apollo mortally wounds Leukippos.

Daphne blames herself for the death of the young man. Apollo, spellbound by her beauty, asks Dionysus to forgive him for having caused the death of one of his followers. He begs Zeus that he be given Daphne, not in mortal form, but as one of the trees she loves so well. From her branches, men in the future will cut the wreaths reserved for the best and bravest. Gradually, Daphne is transformed into a laurel tree and her voice is heard celebrating her immortal form.

Artists

Sylvia Stahlman

Soprano

Daphne

George Shirley

Tenor

Apollo

Glade Peterson

Tenor

Leukippos (July 29)

David Sundquist

Tenor

Leukippos (July 31)/ Kleontes

Lillian Garabedian

Mezzo-soprano

Gaea

Donald Gramm

Bass-baritone

Peneios

William Metcalf

Baritone

Adrast

David Hatfield

Bass

Klitos

Michael Devlin

Michael Devlin

Bass-baritone

Fourth Shepherd

Catherine Christensen

Soprano

First Maiden

Martha Randall

Soprano

Second Maiden

John Crosby headshot

John Crosby

Conductor

Vera Zorina

Director and Actress

Choreographer

Henry Heymann

Designer

Scenery & Costumes

Georg Schreiber

Lighting Designer

John Moriarty

Chorus Master