Auden, Wystan Hugh: Brief an Henze, Hans Werner. Kirchstetten (Westbahn), Samstag, 29. August 1964
author: Auden, Wystan Hugh
language: en
availability: Creative Commons Attribution 4.0 International (CC BY 4.0) Copyright by the Estate of W. H. Auden. By courtesy of the Estate of W. H. Auden. (http://creativecommons.org/licenses/by/4.0/)

August 29th. (64) [Date in brackets, handwritten with a different blue pen than the one used to write the letter, was probably added later by Henze himself.]
Dearest Hans:

Many thanks for your letter. Chester .and I are not absolutely convinced that any prologue is necessary.[^1] Norse [This word is not clearly legible, but from the context it can be assumed with some certainty that it is the adjective norse.] mythology is far less well-known than Greek, but Wagner expected audiences follow The Ring without explanations. However if you really feel you want one, the only possible solution we can see is as follows.

[^1: An earlier letter from Henze, in which the composer probably requested a prologue for The Bassarids, has not been located. This letter and the archival materials of the opera confirm that The Bassarids was initially going to open with a prologue featuring Dionysus, as in Euripides’ tragedy The Bacchae , in which he presents himself as a god and states his intention to punish those who did not follow him. However, the fully composed prologue, which Henze most likely wrote subsequent to this letter and whose 18-page manuscript is kept at the Paul Sacher Foundation, was finally eliminated from the score. Instead of the Prologue of Dionysus, Auden and Kallman open the story at the beginning of the opera with the chorus of the people of Thebes.]

- 1) Dionysus must appear before the curtain in tails and (+ maybe opera-hat and black cloak). To let him appear in either of his stage-costumes would ruin his entries.
- 2) He must speak about himself in contemporary terms as in contemporary prose, addressing a contemporary opera audience. He will tell them the Greek myth of his birth in a tone of voice which makes it clear that he doesn’t believe it to be true any more than a modern audience does. You may account for me, he will say, as you like, but, as you see, I exist as a power to be reckoned with. What happens to Agave, Pentheus, etc when they tried to ignore or defy him, you will presently see. Let it be a warning, let something equally horrid happen to you, which, I can assure you, it certainly will etc etc. The speech must be suave, contemptuous ironic and menacing: the audience must be scared themselves.

What do you think?

We were puzzled and distressed to hear that you intend to write no more operas [After The Bassarids Henze would write eight more operas.], because, according to the accounts, the Living Theatre had shown you the light. Really, dear, what balls is this.

I wish you would give me more exact details, about your health. Lack of knowledge exaggerates fears

much love from us both
Wystan

P.S. I have been asked to give the Fest-Rede at Salzburg next year[^2]. Hope to get in some nasty cracks. Any complaints you have, I shall welcome.

[^2: Auden only gave the opening keynote at the Salzburger Festspiele in 1968. His address was titled Worte und Noten. In 1965, the year Auden refers to in this letter, the address was given by Gabriel Marcel]