Exploring the Intricacies of Richard Strauss’s “Die Frau Ohne Schatten” with Three Accomplished Sopranos
Combining Enchanting Fairy Tale Elements with Profound Psychodrama, Richard Strauss’s Magnum Opus, “Die Frau Ohne Schatten” (The Woman Without a Shadow), Calls for the Unmatched Talents of Three Powerful Sopranos to Tackle its Demanding and Complex Score.
Recognized as a Rare Gem in the Opera Repertoire since its 1919 Premiere, “Die Frau Ohne Schatten” Now Receives a Long-Awaited Revival at the San Francisco Opera after a 34-Year Hiatus. The Staging Boasts a Stellar Cast, Encompassing Three Leading Wagner and Strauss Singers: Nina Stemme as the Dyer’s Wife, Camilla Nylund as the Empress, and Linda Watson as the Nurse.
One of the Many Challenges Posed by this Masterwork Lies in Hugo Hofmannsthal’s Intricate Libretto, which Seamlessly Weaves Together Fantastical Events and Profound Psychological Insights.
In this Extraordinary Tale, the Empress, Hailing from the Spirit World, Must Obtain a Shadow—Essential for Her to Conceive Children—Before Her Human Husband Transforms into Stone within Three Days. Together with Her Nurse, They Attempt to Persuade the Unhappy Wife of Barak the Dyer to Sacrifice Her Shadow and Thus Embrace a Childless Life of Opulence. However, as the Plot Unfolds, the Empress Begins to Grasp the Value of Humanity, Leading to a Change of Heart, While the Dyer’s Wife Resists the Temptation to Surrender Her Shadow. Ultimately, the Two Couples Find Happiness and Fulfillment in Their Lives.
The Day After the Recent Opening of this Striking Production on June 4 (with Performances Continuing until June 28), the Associated Press Sat Down with the Three Extraordinary Sopranos to Delve into the Complexities and Rewards of Portraying Their Respective Roles. Presented Below Are Edited Excerpts from the Captivating Conversation:
AP: The Storyline of “Die Frau Ohne Schatten” is Infused with Complexity and Symbolism, Often Puzzling Even Ardent Admirers. How Do You Explain the Essence of this Opera When Approached by Someone Eager to Understand It?
NYLUND (the Empress): It Is a Fairy Tale for Grown-Ups. Hofmannsthal and Strauss Were Deeply Influenced by the Plight of Women in Their Society, Particularly the Empresses of Europe. These Women Were Obligated to Marry and Bear Children—It Was Their Duty. This Theme Still Resonates Today for Women: the Decision to Have or Not Have Children and the Impact It Has on One’s Position and Life.
WATSON (the Nurse): It’s a Profoundly Complex Work. I Often Advise People to Read the Synopsis Multiple Times and Then Simply Experience the Opera in Person. After Performing this Piece for Over Two Decades, Someone Approached Me Last Night and Said, “Okay, We Understand Most of It, but How Did the Empress Actually Acquire a Shadow?” And Honestly, I Don’t Know.
STEMME (the Dyer’s Wife): Hofmannsthal and Strauss Deliberately Left Such Questions Open. Who Is “Die Frau”? At the Start, the Empress Lacks a Shadow, and the Dyer’s Wife Temporarily Loses Hers. Does It Hold Significance? No, Because I Believe the Opera Is Primarily about Relationships. Personally, I Find It Fascinating that My Character Is Based on Strauss’s Own Wife. However, Conveying the Story
Continuing the narrative, conveying the story in its entirety is an elusive task.
AP: How do the dynamics between each married couple unfold throughout the opera?
WATSON: It’s a portrayal of the miscommunication that can occur within any marriage or relationship. Despite sharing common goals, they often clash due to misunderstandings.
NYLUND: When the opera commences, the Empress and the Emperor have no means of communication. Only towards the end, she realizes that she must save him through her newfound strength and personal growth. She evolves into a compassionate human being, understanding the essence of empathy and love.
STEMME: I believe the Dyer’s Wife aspires to elevate her status through her marriage, yearning for more. She strives to make her husband comprehend that she will leave him unless he changes and truly sees her. However, she fails to perceive his struggles and who he truly is until she goes too far, pushing him to the point of attempting to harm her. This extreme reaction finally elicits a response from Barak, one that she had never received before, leading her to understand him on a deeper level.
NYLUND: It’s truly remarkable that two men could write an opera that delves so deeply into the female psyche and captures the essence of how women think and act. It’s an incredibly special aspect of this work.
AP: The vocal demands of your roles are notoriously challenging. What were the initial obstacles you encountered when tackling these characters?
STEMME: I was captivated by the character, but not initially by the music. The role spans a range of 2½ octaves, making it an arduous journey to learn. The vocal score is intricate, mirroring the complexity of the character herself. I understand why Strauss composed it this way—to explore the multifaceted nature of her personality and to highlight her own lack of self-understanding.
WATSON: It is excruciating. I had previously sung the role of the Dyer’s Wife, and when I decided to switch, I thought it would be one step easier since it was a mezzo role and lower in range. However, that turned out to be a misconception. Is it a mezzo role? It is and it isn’t. It demands both high and low notes, reaching down to a low E-flat. Without the proper technique, you risk straining your voice. Otherwise, you’ll be yodeling through the entire piece.
NYLUND: When I began studying my role, I thought, “Oh my God, what is he doing here?” It requires starting with light coloratura passages, soaring to a high D, and then necessitates a powerful voice to handle the complexities of the role. It is undeniably challenging.
AP: How do you envision the fate of your character after the opera’s conclusion?
WATSON: Personally, I believe she meets her demise. The Empress rejects her, casting her away to live among “mankind,” which she despises. In essence, it signifies death for her.
NYLUND: I envision her living happily ever after. The Emperor finally acknowledges their equality, recognizing what she has done for him. They can now communicate on the same level.
STEMME: Perhaps not a fairy tale ending, but Barak and his wife will begin to engage in genuine conversation and communication. They have discovered each other’s humanity.
As the conversation concluded, the three sopranos provided a fascinating glimpse into the complexities of their roles, the profound themes explored in Strauss’s opera, and the artistic challenges they embraced. The triumphant revival of “Die Frau Ohne Schatten” at the San Francisco Opera marks a significant milestone in bringing this masterpiece to modern audiences, inviting them to immerse themselves in its enchanting and thought.