By 1918, when Strauss wrote this triptych of Ophelia's songs from
Hamlet (in a German translation by Karl Joseph Simrock), he was a highly accomplished opera composer.
Guntram,
Feuersnot,
Salome,
Elektra,
Der Rosenkavalier, both versions of
Ariadne auf Naxos and
Die Frau ohne Schatten were all under Strauss's belt. These songs, inseparable, so included here together, are like an operatic
scena in their own right, as indeed in the original play. Ophelia's delirium is described by nigh-atonal, nigh-formless meanderings in 'Wie erkenn' ich mein Treulieb?', nonetheless clinging on to the semblance of songs long sung. Motivic recollections do not so much seek to bind here, but underline just how much Ophelia's mind and heart have broken. The second song, 'Guten Morgen, 's ist Sankt Valentinstag', is a contrastingly manic display of formality, though the vocal line is anything but predictable. Death is palpably nigh in the final part of the triptych, with the flowing accompaniment suggestive of the watery grave to which Ophelia will eventually tend. Occasionally there is a shadowy recollection of a waltz – could this be a hint of Salome and Elektra's own dances of destiny? – though the closing moments are disarmingly, tragically muted.
Click here to listen to a performance by Elisabeth Schwarzkopf and Glenn Gould.
The painting is 'Die Wahrheit' by Ferdinand Hodler.
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