highly flattering echo of Poulenc’s once referring to Benjamin Britten as his‘brother across the Channel’. From the start Rosine and her wonderful husbandJean were staunch admirers of ‘la grande anglaise’, Felicity (who by now hadconquered the French nation’s musical hearts), but the one work they neverheard us perform together was La Voix Humaine (by this time Felicity had sungthe work on stage of course). Poulenc had written that he did not want the workperformed with piano – and this despite the fact that he often did so himselfwith the soprano Denise Duval. Perhaps he believed that the availability of thiseasier option would deny the work the opportunity to be performed in itsoriginal version with orchestra. Over the years Felicity and I scrupulouslyrespected Rosine’s embargo on the piano-version, although in practical termsthere was little that the composer’s executors could do to prevent myriadbreaches of this ruling by singers around the world.

A recording with piano is another matter of course; in this case copyrightconsiderations have to be taken more seriously. We are grateful that the Poulencestate have permitted this recording in view of our long association with thecomposer and a friendship with the family that goes back so many years. Thatthis permission was a long time coming (and we would never have undertakenthe task without it, even if we could have ‘got away’ with it) was perhaps ablessing in disguise – because what you will see in this performance is adistillation of a life-long affiliation with Poulenc’s songs. It was worth the wait:the singer’s understanding of this role, and of the musical style behind it, hasdeepened over the years; age and experience heighten the vulnerability thatmakes ‘Elle’ the character she is. Felicity Lott remains for me the quintessentialPoulenc singer, there has certainly been none better in the last forty years, and Isuspect that Poulenc himself, had he been around, would have heartily agreed –at the same time as elbowing me from the piano bench. Naturally he would wishto savour for himself some of the joy I have known in accompanying Flott – andwho could blame him? His incomparable music has been so much part of that joythat I might, just might, have ceded him my place.

Graham Johnson

Felicity Lott and I discovered the music of FrancisPoulenc together when we were fellow students atthe Royal Academy of Music. We attendedmasterclasses with the composer’s greatinterpreter, Pierre Bernac, and later worked withhim on the Poulenc cycles. This is the kind ofmusic with which one falls instantly in love. Wegrew up as recitalists with Poulenc’s benevolentpresence as a constant blessing; we owe some ofour most precious memories of music-making tothe sheer joy of feeling this music resonate and

glow in the voice and under the fingers. We made a BBC film together at Noizay,Poulenc’s exquisite little château near Tours, where performing songs in his musicroom, and playing on his piano, were unforgettable experiences.

There have been very many evenings of Poulenc mélodies in Paris, including acomplete recital of his songs at the Théâtre des Champs Elysées on the occasionof the centenary of the composer’s birth. This was at the invitation of Les Amisde Francis Poulenc, a remarkable organization that was run, until very recently,by the composer’s niece and executor, Rosine Seringe (and is now in the capablehands of her grandson, Benoît Seringe). We first met Rosine in March 1979 whenBernac organised a recital for us, together with the baritone Richard Jackson, atthe beautiful little Théâtre Le Ranelagh. The party afterwards at the Seringeapartment now seems a moment of history: Bernac was there of course (he wasto die shortly afterwards) but also Suzanne Peignot (for whom Poulenc wrote theAirs chantés), Geneviève Touraine (who first performed Fiançailles pour rire),Henri Hell (the composer’s first biographer), Yvonne Gouverné (the choralconductor for whom a number of Poulenc’s great religious works were written)and Madeleine Milhaud, remarkable widow of Darius.

That wonderful apartment, full of Poulenc’s books and memorabilia, became myhome away from home whenever I was performing in Paris, and Rosine styledherself ‘Ma mère d’Outre-Manche’ – my mother across the Channel – for me a

FOREWORD

Belgian actress Berthe Bovy at the Comédie-Française. The play is still celebratedas a tour de force for an actress, who not only has to deliver her role and conveythe disparity between what she says about herself and her actual emotional state,but also has to convey fairly precisely the emotional roller-coaster she isundergoing as she hears her former lover’s side of the conversation, quite unheardby the audience. Adding to her anguish are the idiosyncrasies of the unreliableFrench phone system of that period, resulting in interruptions by another womanon the party line, or the line going dead without warning (a peril reintroduced inour time by the uncertain signal of mobile phones!).

There was a perhaps unexpected link between Poulenc’s final opera and hispreceding Dialogues des Carmélites, since both were effectively composed at theinstigation of the Italian publisher, Ricordi editions. Hervé Dugardin, who workedin the Paris branch of Ricordi, had first suggested that Poulenc should make LaVoix Humaine – recently revived by the Comédie-Française in 1953 – into anoperatic vehicle for the great singer-actress Maria Callas. Having witnessed Callasacknowledging applause after a La Scala performance, Dugardin had written toPoulenc: ‘You ought to set for her is La Voix Humaine, since it’s written for justone woman, and then she could have all the applause.’

Dugardin was presumably quite unaware that Poulenc actually heartily disliked thetelephone as a means of ‘artistic’ communication, preferring either face-to-faceconversation or writing letters. But this perhaps added even greater piquancy to ascenario where ‘Elle’ (the play’s protagonist, whose name we never learn) isreduced to talking to her lover through such an unreliable and unsympatheticmedium; as she herself says, when someone is reduced through the telephone toonly ‘a human voice’, any cruelty is possible.

Thus on 25 September 1957, Poulenc wrote to Guido Valcarenghi, director ofRicordi editions: ‘Now…let’s speak about the future… I definitely believe that Iam going to write La voix humaine!!!! Henze [the German composer] hasrelinquished it. I see this as a providential sign… I hope to be ready for 58-59.Cocteau accepts to create the décor and mise en scène for the Paris premiere.Given her qualities as an actress and her experience with my music, it isunderstood that [Denise] Duval will create this “Voix” if it comes out of me.’

Poulenc knew the soprano Denise Duval since she created the title role of LesMamelles de Tirésias at its first production in 1947. She was then a young sopranowho, having previously worked at the Folies Bergère, now worked at the Opéra-Comique. Poulenc had quickly become very fond of Duval, writing to his friend

Francis Poulenc, born in Paris in 1899, lived most of his life in material comfort.He purchased in his late twenties a 16th-century mansion in Noizay – Le GrandCoteau – where from 1927 he lived and composed most of his music. Yet there wasa price to Poulenc’s happiness. His early acquired wealth was due to both hisparents dying when he was in his teens. His mother, an accomplished pianist whoshared her love of Mozart, Chopin and the ‘adorable bad music’ of Grieg and AntonRubinstein as she gave Poulenc his earliest lessons, died when he was 16, and hisfather, joint owner of the famous manufacturer of industrial chemicals, died justtwo years later. Orphaned when so young, Poulenc relied more than most on theapprobation and support of his friends, of whom he had many; the death of anyfriend or colleague hit Poulenc particularly hard, even before 1936 when herediscovered his Catholic faith following the violent demise of fellow-composerPierre-Octave Ferroud in a car accident.

It is the pain of loss or threatened loss which fuels the powerful emotions of hisfinal opera, La Voix Humaine. Poulenc was never a conventional opera composer: ofhis two previous operas, the first, Les Mamelles de Tirésias, is a surrealist drama inwhich the heroine renounces her femininity, dispenses with her breasts and growsa beard; while the second, Dialogues des Carmélites, is based on a never-filmedscreenplay about a doomed convent of nuns which, Poulenc wryly observed, ‘lackedany love intrigue’. La Voix Humaine is no less unconventional, being one side of aphone conversation held by a woman who is devastated by the revelation that herlover of five years is leaving her for another. Yet such was Poulenc’s identificationwith her predicament and sense of devastation at her imminent abandonment thathe wrote the opera at exceptional speed and with utter emotional conviction.

La Voix Humaine is based on a stage play by Jean Cocteau, mentor of the group ofFrench composers Les Six of which Poulenc was a member. Significantly, Cocteauhad also suffered early bereavement, his father having committed suicide when hewas only nine years old (resulting in the young Jean becoming antagonistictowards his mother); this sense of loss was compounded when in 1923 his closefriend, the prodigiously talented writer Raymond Radiguet – whom somebiographers believe was Cocteau’s lover – died of typhoid fever. It was a blowCocteau never recovered from; the following year he developed a life-longaddiction to opium, which he originally took to alleviate his grief over Radiguet’sdeath.

Cocteau wrote his 40-minute monologue La Voix Humaine in 1927, the same yearas his libretto for Stravinsky’s Oedipus Rex; it was first staged in 1930 by the

LA VOIX HUMAINE: POULENC’S FINAL OPERA

Portugal. While there, Poulenc played a portion of La Voix for Yvonne, Marquise deCasa Fuerte, and a friend, both of whom he reported afterwards were reduced totears, adding that the opera was being eagerly awaited by several opera houses.

Back in Noizay, Poulenc worked hard to complete the opera, and at the beginningof June cabled Dugardin that La Voix was finished. In recognition of HervéDugardin’s instigation of this opera, Poulenc dedicated it to him and his wifeDaisy. He also wrote to Rose Lambiotte, telling her: ‘It is the saddest opera, themost heartrending, the most moving… that one could hear. Prepare a pile ofhandkerchiefs for the premiere.’

The result is perhaps the most nakedly emotional of Poulenc’s works. Compared toCocteau’s original play, the drama is communicated all the more surely andpowerfully since the music which complements Elle (whether played by orchestra orby piano) tells us more about the unheard half of the conversation than even thebest actress could convey, while also effectively presenting Elle’s cause – hergenuine tenderness and feelings for her lover – she who otherwise could so easilyseem overly obsessive and unsympathetically manipulative in her desperate ploysto keep her departing lover, if only on the telephone. It was a work which meantmuch to Poulenc himself: towards the end of his life, he confessed that he wouldtrade all of Dialogues for La Voix Humaine.

Although Poulenc conceived the opera from the start with its luscious and richlyexpressive orchestra, it has been often performed successfully with pianoaccompaniment, including by Poulenc and Duval who several times performed thecomplete opera or excerpts in concert. Poulenc had planned the opera to be drivenvery much by the soprano, who as an actress has some freedom in choosing hertempos and when to take pauses. It therefore seems a natural and idealrelationship to have the work performed in so intimate a partnership as singer andpianist. Felicity Lott has performed the role of Elle several times, both on stageand in concert, but this is the first visual record of her in the role (she haspreviously recorded La Voix Humaine with orchestra conducted by Armin Jordan);here she is joined by Graham Johnson, who together have built a strong artisticrelationship over three decades, not least in performing Poulenc’s music.

Daniel Jaffé

Rose Lambiotte: ‘If Thérèse loses her breasts, me, I have lost my head for myinterpreter who is as beautiful as the day, the most “chic” on earth, [has] a goldenvoice etc…’ And immediately after the premiere of Les Mamelles he wrote: ‘I havean unbelievable Thérèse who is stunning Paris with her beauty, her gifts as anactress, and her voice.’ He subsequently wrote for her the role of Blanche inDialogues des Carmélites, and it was her talents as a singer-actress that he had inmind when he created both the role of Elle in La Voix Humaine, and the monologueLa Dame de Monte-Carlo (text by Cocteau again, and another work Felicity Lott hasmade her own).

Shortly after returning from Milan in February 1958 Poulenc told Hervé Dugardin:‘They are waiting for La voix. We will have Callas in Milan and Glyndebourne,[Denise] Duval in Paris.’ As Poulenc composed the opera at great speed, he wasconscious not only of his own emotional vulnerability, fearing as he did that hislatest lover, the 29-year-old infantry sergeant Louis Gautier, would sooner or latertire of him and forsake him; he was also fully aware of Duval’s own tempestuouslove life. She admitted afterwards that the opera ‘was an astonishing experiencefor me because I saw Francis Poulenc write it page by page, bar by bar, for me,with his flesh, but also with my heart wounds: we were then both in the midst ofsentimental drama, we were crying, and this Voix humaine has been like a diary ofour tears.’

Poulenc was soon writing to Dugardin: ‘I found, and this is the secret, all mythemes. Two are extravagantly erotic… They smell of sperm, of between thethighs. When Elle notices that he is calling from some “ox on the roof” [bar] thereis a whiff of incredible 1920s Parisian jazz. The theme of the lie (“If you werelying out of kindness”) is horrible (that weighs a ton). Fundamental: I found allthe end, coming from a distance, when they no longer have anything to say toeach other, before and after (“I have the cord around my neck”). Everything willbe ready to write when I leave Cannes. I think I will compose it very quickly atNoizay in May. Blanche [in Carmélites] was me, and Elle is me again, and… Louis[Gautier], by anticipation, because life will take him from me in one way oranother, that angel. I am writing to you from his sheepfold while he prunes hisolive trees. He is charming to me and (except at certain moments!) a tender,polite, and deferential son.’

In April 1958 Poulenc was again ‘on the road’ because of Dialogues des Carmélites,travelling to attend the opera’s performance at the San Carlo Theatre in Lisbon,

Last night I thought I would go to bed early, but then I had trouble infalling asleep. I took a pill ... No ... only one ... at nine o’clock ... I didhave a bit of headache, but then it went away. Martha came thismorning, and we had breakfast together. I did some errands, and then Icame directly home ... I ... What? ... I’m trying ... Oh I think I’ve lots ofcourage ... And then? And then I got dressed for the evening, had a lovelytime 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, asalways ... My red dress ... My black hat ... Yes, it’s the one you liked – Istill have it on ... And you? You went out? ... Or did you stay at hometonight? ... What lawsuit? Ah! Yes ...

Allô chéri ... Si on coupe, redemande-moi tout de suite ... Allô! Non ... Je suis là... Le sac? ... Tes lettres et les miennes. Tu peux les faire prendre quand tu veux ...Un peu dur ... Je comprends ... Oh! Mon chéri, ne t’excuse pas, c’est très naturel etc’est moi qui suis stupide ... Tu es gentil ... Tu es gentil ... Moi non plus, je ne mecroyais pas si forte ...

Hello, che�ri ... 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 forit when you like ... It’s not easy. I understand ... Darling, you needn’tapologise. That’s not at all strange. It is I – I who am stupid ... You are sonice ... You are so nice ... Nor did I. I didn’t think I had the courage ...

Quelle comédie? ... Allô! ... Qui? ... Que je te joue la comédie, moi! ... Tu meconnais, je suis incapable de prendre sur moi ... Pas du tout ... Pas du tout ... Trèscalme ... Tu l’entendrais ... Je dis: Tu l’entendrais. Je n’ai pas la voix d’unepersonne qui cache quelque chose ... Non. J’ai décidé d’avoir du courage et j’enaurai ... J’ai ce que je mérite. J’ai voulu être folle et avoir un bonheur fou ... Cheri,écoute ... Allô! ... Cheri ... Laisse ... Allô! ... Laisse-moi parler. Ne t’accuse pas.Tout est ma faute. Si, si ...

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 upmy mind that I would be brave, and I will ... I got what I deserved. I wasout to be reckless, I was taking a chance ... Darling ... please listen ...Hello! ... Che�ri ... please ... hello ... please let me talk. Do not blameyourself. It was all my fault. Yes, yes ...

Allô, allô ... Mais non, Madame, nous sommes plusieurs sur la ligne, raccrochez ...Vous êtes avec une abonnee ... Mais, Madame, raccrochez vous-même ... Allô,Mademoiselle ... Mais non, ce n’est pas le docteur Schmidt ... Zero huit, pas zerosept ... allô! C’est ridicule ... On me demande; je ne sais pas.

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 Schmidt ... 08, not 07 ... Hello!This is absurd ... They keep ringing. I wonder why.

Allô! ... Mais, Madame, que voulez-vous que j’y fasse? ... Comment, ma faute? ...Pas du tout ... Allô, Mademoiselle ... Dites à cette dame de se retirer.

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

Allô, c’est toi? ... Oui ... Très bien ... C'était un vrai supplice de t’entendre à traverstout ce monde ... Oui ... Oui ... Non ... C’est une chance ... je rentre il y a dixminutes ... Tu n’avais pas encore appelé? ... Ah! ... Non, non ... J’ai dîné dehors ...Chez Marthe ... Il doit être onze heures un quart ... Tu es chez toi? ... Alors,regarde la pendule électrique ... C’est ce que je pensais ... Oui, oui, mon chéri ...Hier soir?

Hello, it’s you? ... Yes ... quite clearly ... It was dreadful not to hear whatyou were saying because of all those people ... Yes ... yes ... no ... It justso happens ... I came back a little while ago ... Perhaps you called while Iwas out? ... Ah! ... no, no ... I went out for dinner ... with Martha ... itmust be a little past eleven ... Are you at home? ... Then take a look atthe clock in the hallway ... It’s just as I thought ... Yes, yes, che�ri ... Lastnight?

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 ... A neuf heures ... J’avais un peu mal à latête, mais je me suis secouée. Marthe est venue. Elle a déjeuné avec moi. J’ai faitdes courses. Je suis rentree à la maison. J’ai ... Quoi? ... Très forte ... J’aibeaucoup, beaucoup de courage ... Après? Après je me suis habillée, Marthe estvenue me prendre ... Je rentre de chez elle. Elle a été parfaite ... Elle a cet air,mais elle ne l’est pas. Tu avais raison, comme toujours ... Ma robe rose ... Monchapeau noir ... Oui, j’ai encore mon chapeau sur la tête ... Et toi, tu rentres? ...Tu es resté à la maison? ... Quel procès? ... Ah! Oui ...

LA VOIX HUMAINE: TEXT & TRANSLATION

... As if from afar, from far ... Now can you hear? It’s each of us in turn

... No, quite clearly ... I can hear you better than before, but there is abuzz in your phone. It doesn’t sound like your telephone at all ... I cansee you, oh yes ...

Quel foulard? ... Le foulard rouge ... Tu as des manches retroussées ... Ta maingauche? 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 ...

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

Oh! Non, mon chéri, surtout ne me regarde pas ... Peur? ... Non, je n’aurai paspeur ... C’est pire ... Enfin je n’ai plus l’habitude de dormir seule ... Oui ... Oui ...Oui ... Je te promets ... Je te promets ... Tu es gentil ... Je ne sais pas. J’evite deme regarder. Je n’ose plus allumer dans le cabinet de toilette. Hier, je me suistrouve nez à nez avec une vieille dame ... Non, non! Une vieille dame avec descheveux 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 mieuxquand tu disais: Regardez-moi cette vilaine petite gueule! ... Oui, cher Monsieur!... Je plaisantais ... Tu es bête ... Heureusement que tu es maladroit et que tum’aimes. Si tu ne m’aimais pas et si tu etais adroit, le telephone deviendrait unearme effrayante. Une arme qui ne laisse pas de traces, qui ne fait pis de bruit ...Moi, méchante? ... Allô ... Allô, chéri ... Où es-tu? ...

No, no! Che�ri, 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 notknow. I try not to look at myself. I do not dare any more to turn on thelight in my dressing room. Last night, there I was suddenly face to facewith an old woman ... No, no! An old woman with hair so white, and aface full of little wrinkles ... You are too kind! But, che�ri, a face thateveryone envies – that is worst of all. That is for an actress ... I preferredit 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 youare so awkward and that you love me. For if you did not love me andwere not so awkward, this telephone could easily become a terrible

Souviens-toi du dimanche de Versailles et du pneumatique ... Ah! ... Alors! ... C’estmoi qui ai voulu venir, c’est moi qui t’ai fermé la bouche, c’est moi qui t’ai dit quetout m’était égal ... Non ... Non ... Là, tu es injuste ... J’ai téléphoné la première... Un mardi ... J’en suis sûre. Un mardi vingt-sept. Tu penses bien que je connaisces dates par coeur ... Ta mère? Pourquoi? ... Ce n’est vraiment pas la peine ... Jene sais pas encore ... Oui ... Peut-être ... Oh! Non, sûrement pas tout de suite, ettoi? ...

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 notlet 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 thatI know those dates by heart ... Your mother? But why? ... it is hardlyworth the trouble ... I honestly don’t know ... Yes ... perhaps ... Oh no!Certainly not right away. And you? ...

Demain? Je ne savais pas que c’etait 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’aillepasser quelques jours à la campagne, chez Marthe ... Oui, mon chéri ... Mais oui,mon chéri ...

Tomorrow? ... I had no idea that it would be so soon ... Well then, we’llmanage ... it’s so simple ... tomorrow morning I’ll leave the bag with thejanitor. 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 coupleof days in the country, at Martha’s ... Yes, che�ri ... but of course, che�ri ...

Allô ... Et comme ca? ... Pourtant je parle très fort ... Et là, tu m’entends? ... Jedis: Et là, tu m’entends? ... C’est drole parce que moi je t’entends comme si tuetais dans la chambre ... Allô! ... Allô! ... Allons, bon! Maintenant c’est moi qui net’entends plus ... Si, mais très loin, très loin ... Toi, tu m’entends? C’est chacunson tour ... Non, très bien ... J’entends même mieux que tout à l’heure, mais tonappareil résonne. On dirait que ce n’est pas ton appareil ... Je te vois, tu sais ...

Hello ... What is wrong? ... Dearest, I am speaking loud ... And now, doyou 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 besideme ... Hello! ... hello! ... Oh, it’s really absurd! Now I cannot hear a word

weapon. A weapon that would leave no marks, nor make a noise ... Me,naughty? ... Hello! Hello! Che�ri ... Are you there? ... Hello, hello, operator.

Allô, Mademoiselle, on coupe.

Hello. Someone cut us off.

Allô, c’est toi ? ... Mais non, Mademoiselle. On m’a coupée ... Je ne sais pas ... C’est à dire ... Si ...Attendez ... Auteuil 04 virgule 7. Allô! ... Paslibre? ... Allô, Mademoiselle, il me redemande ... Bien.

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.

Allô! Auteuil 04 virgule 7? Allô! Cest vous, Joseph? ... C’est Madame ... On nous acoupés 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 redemandeson numéro ... Excusez-moi, Joseph ... Merci ... Merci ... Bonsoir, Joseph ...

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

Allô! Ah! Cheri! C’est toi? ... On avait coupé ... Non, non. J’attendais. On sonnait, jedécrochais et il n’y avait personne ... Sans doute ... Bien sûr ... Tu as sommeil? ... Tues bon d’avoir téléphoné ... Très bon ...

Hello! Ah, che�ri! 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 ... Sokind ...

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

No, I am here ... What? ... Forgive me ... it’s too silly ... Nothing ... there’snothing 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 ...

Ecoute, mon amour. Je ne t’ai jamais menti ... Oui, je sais, je sais, je te crois, j’ensuis convaincue ... Non, ce n’est pas ça ... C’est parce que je viens de te mentir ...Là ... Au telephone, depuis un quart d’heure, je te mens. Je sais bien que je n’aiplus aucune chance à attendre, mais mentir ne porte pas la chance et puis jen’aime pas te mentir, je ne peux pas, je ne veux pas te mentir, même pour tonbien ... Oh! Rien de grave, mon chéri ... Seulement je mentais en te décrivant marobe et en te disant que j’avais dîné chez Marthe ... je n’ai pas dîné, je n’ai pas marobe rose. J’ai un manteau sur ma chemise, parce qu’à force d’attendre tontelephone, à force de regarder l’appareil, de m’asseoir, de me lever, de marcher delong en large, je devenais folle! Alors j’ai mis un manteau et j’allais sortir, prendreun taxi, me faire mener sous tes fenêtres, pour attendre ... Eh bien!

My darling, listen. I have never told you lies ... Yes, I know, I believeyou. I’m sure of it, dear ... No, it isn’t that ... it’s only that I lied to youbefore ... yes ... on the telephone, just fifteen minutes ago. I know wellthat it’s too late for my luck to return. But a lie won’t bring me back myluck. 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 che�ri ... I lied indescribing the dress that I was wearing, also when I said I had dinnerwith Martha ... I’ve had no dinner, I’m not wearing my red dress, only acoat over my nightdress, because I was waiting all evening for you tocall. And what with my staring at the phone, and sitting down, andjumping 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 wanderunderneath your window ... stand there waiting ... ah, yes!

Attendre, attendre je ne sais quoi ... Tu as raison ... Si, je t’écoute ... Je seraisage, je répondrai à tout, je te jure ... Ici ... Je n’ai rien mangé ... Je ne pouvaispas ... J’ai été très malade ...

Stand waiting – I don’t even know what for ... You are so right ... Yes, Iam 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 ...

Hier soir, j’ai voulu prendre un comprimé pour dormir; je me suis dit que si j’enprenais plus, je dormirais mieux et que si je les prenais tous, je dormirais sansrêve, sans reveil, je serais morte ...

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

against your chest, I could hear your voice exactly as it sounds over thetelephone tonight ...

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

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 theirgramophone so late at night ... It’s useless. Anyhow, Martha’s doctor iscoming back tomorrow ... Don’t you worry now ... Of course ... She will letyou know what he said ... What? ... Oh yes! So much better. If you hadn’tcalled tonight I would have died ...

Pardonne-moi. Je sais que cette scène est intolérable et que tu as bien de lapatience, mais comprends-moi, je souffre, je souffre. Ce fil, c’est le dernier qui merattache encore à nous ...

... Forgive me, dear. I know you find this scene quite unbearable, and thatyou are being very patient. But if you knew what torture I suffer. Thiswire – the only bond that still connects me with us ...

Avant-hier soir? J’ai dormi. Je m’étais couchée avec le telephone ... Non, non. Dansmon lit ... Oui. Je sais. Je suis très ridicule, mais j’avais le telephone dans mon litet malgré tout, on est relié par le telephone ... Parce que tu me parles. Voilà cinqans que je vis de toi, que tu es mon seul air respirable, que je passe mon temps àt’attendre, à te croire mort si tu es en retard, à mourir de te croire mort, à revivrequand tu entres et quand tu es là, enfin, à mourir de peur que tu partes.Maintenant j’ai de l’air parce que tu me parles ... C’est entendu, mon amour; j’aidormi. J’ai dormi parce que c’etait la première fois ... Le premier soir on dort ... Cequ’on ne supporte pas, c’est la seconde nuit, hier, et la troisième, demain, et desjours et des jours à faire quoi, mon Dieu? ... Et ... et en admettant que je dorme,apres le sommeil il y a les reves et le réveil et manger et se lever et se laver etsortir et aller où? ... Mais, mon pauvre chéri, je n’ai jamais eu rien d’autre à faireque toi ... Marthe a sa vie organisée ... Seule ...

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 telephonein my bed. In spite of all it is a link – something that connects us ... Onlybecause you are speaking. It’s five years now that I’ve lived through you,

J’en ai avalé douze ... Dans de l’eau chaude ... Comme une masse. Et j’ai eu unrêve. J’ai rêvé ce qui est. Je me suis réveillée toute contente parce que c’etait unrêve, et quand j’ai su que c’etait vrai, que j’etais seule, que je n’avais pas la têtesur ton cou, j’ai senti que je ne pouvais pas vivre ... Légère, légère et froide, et jene sentais plus mon coeur battre et la mort etait longue à venir et comme j’avaisune angoisse épouvantable, au bout d’une heure j’ai téléphoné à Marthe. Je n’avaispas le courage de mourir seule ... Cheri ... Cheri ...

... 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 feltso happy, because it was just a dream. But when I knew it was true, thatI was alone, that my head was not against your shoulder, then I knew Icould not go on living ... My body felt cold and light, and my heart wasno longer beating, and death was slow in coming. Since I was in terriblepain, after an hour I managed to phone Martha. I lacked the courage todie alone ... Che�ri ... che�ri ...

Il etait quatre heures du matin. Elle est arrivée avec le docteur qui habite sonimmeuble. J’avais plus de quarante. Le docteur a fait une ordonnance et Marthe estrestée jusqu’à ce soir. Je l’ai suppliée de partir parce que tu m’avais dit que tutéléphonerais et j’avais peur qu’on m’empêche de te parler ... Très, très bien ... Ne t’inquiète pas ...

It was four o’clock in the morning. Finally she came, and with her thatdoctor 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. Ibegged her to leave me alone, since you had promised to phone me assoon as you were free – I was afraid they would try to keep us apart ...I’m all right ... don’t you worry now ...

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

... Hello! ... I thought they had cut us off ... You’re so kind, che�ri ... Mydarling, whom I have hurt so very much ... Yes, speak. Say anything atall ... I have suffered enough to drive me mad; yet you have only tospeak and I feel well again, and can close my eyes. You know, sometimeswhen we were in bed, and my head was resting in its usual place, pressed

Allô, allô, Madame, retirez-vous. Vous êtes avec des abonnés. Allô! Mais non,Madame ... Mais, Madame, nous ne cherchons pas à être intéressants ... Si vousnous trouvez ridicules, pourquoi perdez-vous votre temps au lieu de raccrocher? ...Oh! ... Ne te fâche pas ... Enfin! ... Non, non. Elle a raccroché apres avoir dit cettechose 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. Elle croit quetu es comme les autres hommes ... Mais non, mon chéri, ce n’est pas du toutpareil. Pour les gens, on s’aime ou on se deteste. Les ruptures sont des ruptures.Ils regardent vite. Tu ne leur feras jamais comprendre certaines choses ... Le mieuxest de faire comme moi et de s’en moquer ... Complètement ...

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 canassure you ... if you really find us so silly, why are you wasting yourtime instead of hanging up? ... Oh! ... Don’t be angry ... At last! ... No,no. She just hung up, after having been so terribly nasty ... You soundupset ... Yes, you are upset. I know your voice ... But dearest, she musthave been a very sick woman, and she doesn’t know you at all. Perhapsshe believed you were just like the others ... Oh no, che�ri, it is not at allthe 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’sbetter to do the same as I: laugh at them all ... and ignore them ...

Oh! ... Rien. Je crois que nous parlons comme d’habitude et puis tout à coup lavérité me revient ...

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

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, ens’accrochant à eux. Un regard pouvait changer tout. Mais avec cet appareil, ce quiest fini est fini ...

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

that I’ve spent my time waiting for you, thinking you were dead everytime you were late – I could die at the thought – and reviving themoment you appeared; and when you were finally here, dying at thethought that you’d leave me. And now I can breathe because I hear yourvoice ... But of course, my sweet darling, I slept. Oh indeed. I could sleepbecause it was only the first time ... The first night you sleep ... What isreally 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 ifI’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 outwhere? ... Oh my darling, my sweet, all I’ve ever had to fill my life wasyou. Martha has organised her life ... I’m alone.

Voila deux jours qu’il ne quitte pas l’anti-chambre ... J’ai voulu l’appeler, lecaresser. Il refuse qu’on le touche. Un peu plus, il me mordrait ... Oui, moi! Je tejure qu’il m’effraye. Il ne mange plus. Il ne bouge plus. Et quand il me regarde ilme donne la chair de poule ... Comment veux-tu que je sache? Il croit peut-êtreque je t’ai fait du mal ... Pauvre bête! ... Je n’ai aucune raison de lui en vouloir. Jene le comprends que trop bien. Il t’aime. Il ne te voit plus rentrer. Il croit quec’est ma faute ... Oui, mon chéri. C’est entendu, mais c’est un chien ... Malgré sonintelligence, il ne peut pas le deviner ... Mais, je ne sais pas, mon chéri! Commentveux-tu que je sache? On n’est plus soi-même. Songe que j’ai déchiré tout lepaquet de mes photographies d’un seul coup, sans m’en apercevoir. Meme pour unhomme ce serait un tour de force ...

The last two days he has not gone out of the hallway ... I have tried tocall 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 athing. 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 havedone you some harm ... Poor little dog ... I have no reason at all to holdit against him. I can understand him so well. He loves you, he doesn’tsee you any more, and so he thinks it’s my fault ... Oh yes, che�ri. Iunderstand. He’s not to blame. In spite of his intelligence, he surelycannot guess the truth ... I don’t really know, darling! How d’you expectme to know? I am not myself. Think of it: I tore up that package ofphotographs – ripped them – just like that! And didn’t even notice. Evenfor a man it would have been a feat ...

par hasard ... Oh! Mon chéri! Comment peux-tu imaginer que je pense une chose silaide? Je sais bien que cette opération est encore plus cruelle à faire de ton côtéque du mien ... Non ... Non ... A Marseille? ... Ecoute, chéri, puisque vous serez àMarseille apres-demain soir, je voudrais ... Enfin, j’aimerais ... J’aimerais que tu nedescendes pas à l’hôtel où nous descendons d’habitude. Tu n’es pas fâché? ... Parceque les choses que je n’imagine pas n’existent pas, ou bien elles existent dans uneespece de lieu très vague et qui fait moins de mal ... Tu comprends? ...Merci ... Merci. Tu es bon. Je t’aime ...

... I know well that we must, but it is dreadful ... I never could summonup the courage ... Yes, I have the illusion that I’m right beside you. Andall at once, the cellars and sewers, a whole city lies between us ... I havewound the cord around my neck ... I can feel your voice around my neck... your voice surrounding my neck ... They could hardly cut us off, exceptby mistake ... Oh che�ri! Oh, how could you even imagine I’d think suchan ugly thought? I am well aware that this thing is more difficult foryou, more painful in every way than for me ... no ... no ... To Marseilles?... Oh listen, che�ri. 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 tothat 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 thatthey 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...

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

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

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

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 ...

Text by Jean Cocteau (1889–1963) g Editions Ricordi, ParisTranslation by Joseph Machlis g 1977 Editions Ricordi, Paris

Sois tranquille. On ne se suicide pas deux fois ... Je ne saurais pas acheter unrévolver ... Tu ne me vois pas achetant un révolver ... Où trouverais-je la force decombiner un mensonge, mon pauvre adoré? ... Aucune ... J’aurais dû avoir ducourage. Il y a des circonstances où le mensonge est utile. Toi, si tu me mentaispour rendre la séparation moins pénible ... Je ne dis pas que tu mentes. Je dis: Situ mentais et que je le sache. Si, par exemple, tu n’étais pas chez toi, et que tume dises ... Non, non, mon chéri! Ecoute ... Je te crois ... Si, tu prends une voixméchante. Je disais simplement que si tu me trompais par bonté d’âme et que jem’en aperçoive, je n’en aurais que plus de tendresse pour toi ... Allô! ... Allô! ...

Don’t worry. No-one ever tries to kill himself twice ... I would hardlyknow 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, mypoor darling? ... I couldn’t ... I would never have the courage. There arecircumstances where a lie might be useful. If you had lied to me, to makeour 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 athome, and you were to tell me ... No, no, che�ri! Listen please ... I believeyou ... Yes, your voice suddenly sounds angry. I meant only to say that ifyou told a lie out of kindness, and I had known that you did, it wouldonly cause me to love you more ... Hello! ... Hello! ...

Mon Dieu, faites qu’il redemande. Mon Dieu, faites ...

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

On avait coupé. J’étais en train de te dire que si tu me mentais par bonté et queje m’en aperçoive, je n’en aurais que plus de tendresse pour toi ... Biensûr ...Tu es fou! ... Mon amour ... Mon cher amour ...

... We were disconnected. I was saying that if you had lied out of thegoodness of your heart, and I noticed you were lying, it would only causeme to love you more ... Of course ... You are mad! ... Oh, my love ... mydearest love ...

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, deségouts, tout une ville entre soi ... J’ai le fil autour de mon cou. J’ai ta voix autourde mon cou ... Ta voix autour de mon cou ... Il faudrait que le bureau nous coupe

Graham Johnson is recognised as one of the world’s leading vocal accompanists. Bornin Rhodesia, he came to London to study in 1967. After leaving the Royal Academy ofMusic his teachers included Gerald Moore and Geoffrey Parsons. In 1972 he was theofficial pianist at Peter Pears’ first masterclasses at The Maltings, Snape, whichbrought him into contact with Benjamin Britten – a link which strengthened hisdetermination to accompany. In 1976 he formed the Songmakers’ Almanac to exploreneglected areas of piano-accompanied vocal music; the founder singers were DameFelicity Lott, Ann Murray DBE, Anthony Rolfe Johnson and Richard Jackson – artistswith whom he has established long and fruitful collaborations both on the concertplatform and the recording studio. Some 250 Songmakers’ programmes were presentedover the years. Graham Johnson has accompanied such distinguished singers as SirThomas Allen, Victoria de los Angeles, Elly Ameling, Arleen Auger, Ian Bostridge,Brigitte Fassbaender, Matthias Goerne, Thomas Hampson, Simon Keenlyside, AngelikaKirchschlager, Philip Langridge, Serge Leiferkus, Christopher Maltman, Edith Mathis,Lucia Popp, Christoph Pre�gardien, Dame Margaret Price, Thomas Quastoff, DorotheaRo�schmann, Kate Royal, Christine Schaefer, Peter Schreier, Dame Elisabeth Schwarzkopfand Sarah Walker.

His relationship with the Wigmore Hall is a special one. He devised and accompaniedconcerts in the hall’s re-opening series in 1992, and in its centenary celebrations in2001. He has been Chairman of the jury for the WigmoreHall Song Competition since its inception. He is SeniorProfessor of Accompaniment at the Guildhall School ofMusic and has led a biennial scheme for YoungSongmakers since 1985. He has had a long and fruitfullink with Hyperion Records, with both Ted Perry andSimon Perry, for whom he has devised and accompanied aset of complete Schubert Lieder on 37 discs, a milestonein the history of recording, and a complete Schumannseries. There is an ongoing French Song series where thecomplete songs of such composers as Chausson, Chabrierand Fauré� are either already available, or in preparation.All these discs are issued with Graham Johnson’s ownprogramme notes which set new standards for CDannotations. He has also recorded for Sony, BMG,Harmonia Mundi, Forlane, EMI and DGG. Awards includethe Gramophone solo vocal award in 1989 (with Dame Janet Baker), 1996 (Die schoneMu� llerin with Ian Bostridge), 1997 (for the inauguration of the Schumann series withChristine Scha�fer) and 2001 (with Magdalena Kozena). He was The Royal PhilharmonicSociety’s Instrumentalist of the Year in 1998; in June 2000 he was elected a memberof the Royal Swedish Academy of Music. He is author of The Songmakers’ Almanac;Twenty years of recitals in London, The French Song Companion for OUP (2000), TheVocal Music of Benjamin Britten (Guildhall 2003) and Gabriel Fauré� – the Songs andtheir Poets (2009).

He was made an OBE in the 1994 Queen’s Birthday Honours list and in 2002 he wascreated Chevalier in the Ordre des Arts et Lettres by the French Government. He wasalso made an Honorary Member of the Royal Philharmonic Society in February 2010.

GRAHAM JOHNSON - PIANO

Felicity Lott was born andeducated in Cheltenham, readFrench at Royal HollowayCollege, of which she is now anHonorary Fellow, and singing atthe Royal Academy of Music, ofwhich she is a Fellow and aVisiting Professor. Her operaticrepertoire ranges from Handel toStravinsky, but she has above allbuilt up her formidableinternational reputation as aninterpreter of the great roles ofMozart and Strauss. At the RoyalOpera House she has sung AnneTrulove, Blanche, Ellen Orford,Eva, Countess Almaviva andunder Mackerras, Tate, Davis andHaitink, the Marschallin. At theGlyndebourne Festival her rolesinclude Anne Trulove, Pamina,Donna Elvira, Oktavian, Christine(Intermezzo), CountessMadeleine (Capriccio) and thetitle role in Arabella. Her rolesat the Bavarian State Opera,Munich include Christine,Countess Almaviva, Countess Madeleine and the Marschallin. For the Vienna StateOpera her roles include the Marschallin under Kleiber which she has sung both inVienna and Japan. In Paris, at the Opé�ra Bastille, Ope�ra Comique, Châtelet andPalais Garnier she has sung Cleopatra, Fiordiligi, Countess Madeleine, the Marschallinand the title roles in La Belle He�le�ne and La Grande-Duchesse de Ge�rolstein. At theMetropolitan Opera, New York, she sang the Marschallin under Carlos Kleiber andCountess Almaviva under James Levine. She recently sang Poulenc’s heroine instaged performances of La Voix Humaine at the Teatro de La Zarzuela, Madrid, theMaison de la Culture de Grenoble and the Opé�ra National de Lyon.

She has sung with the Vienna Philharmonic and Chicago Symphony orchestras underSolti, the Munich Philharmonic under Mehta, the London Philharmonic underHaitink, Welser-Moest and Masur, the Concertgebouworkest under Masur, the SuisseRomande and Tonhalle orchestras under Armin Jordan, the Boston Symphony underPrevin, the New York Philharmonic under Previn and Masur, the BBC SymphonyOrchestra with Sir Andrew Davis in London, Sydney and New York, and the ClevelandOrchestra under Welser-Moest in Cleveland and Carnegie Hall. In Berlin she has sungwith the Berlin Philharmonic under Solti and Rattle and the Deutsche Staatskapelleunder Philippe Jordan.

DAME FELICITY LOTT - SOPRANO