Sy. 5617 - Giacomo Meyerbeer - Ein Feldlager in Schlesien (Akt 1)

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Singspiel in drei Akten in Lebensbildern aus der Zeit Friedrichs des Großen

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Giacomo Meyerbeer Ein Feldlager in Schlesien

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Text von Ludwig Rellstab nach einem Entwurf von Eugène Scribe

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Zum ersten Mal herausgegeben

Partitur für die Aufführungen an der Oper Bonn Erster Akt

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von Volker Tosta

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Version 3.0, 1. September 2021

Copyright 2019-2021 by G. Ricordi & Co. Bühnen- und Musikverlag GmbH, Berlin Alle Rechte vorbehalten All rights reserved / Tutti i diritti riservati

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Revisionsbericht

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Der vorliegenden Ausgabe des Singspiels Ein Feldlager in Schlesien liegen folgende Quellen aus den Beständen der Staatsbibliothek Stiftung Preußischer Kulturbesitz in Berlin zugrunde: 1. Partitur-Abschrift: Signatur: N.Mus.ms 10 115

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2. Partitur-Abschrift, dritter Akt: Signatur: Mus.Mb.833(3)

3. Libretto-Abschriften mit autographen Eintragungen Meyerbeers: Signaturen: N.Mus.N.Mus.Nachl.97,R/18

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und N.Mus.N.Mus.Nachl.97,R/22

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4. Arien und Gesänge aus: Ein Feldlager in Schlesien, Berlin [1844]

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Eine genaue Zuordnung der Quelle für die einzelnen Zeilen des vorliegenden Librettos bleibt der kritischwissenschaftlichen Edition der Oper überlassen. Eine gute Näherung ergibt sich aber durch folgende Zuordnung: a. Für die Akte 1 und 2, sowie für den dritten Akt ohne die Traumbilder wurden die gesungenen Textzeilen der Quelle [1] entnommen. Gleiches gilt auch für die während der Musik gesprochenen Texte (Melodram).

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b. Für den dritten Akt mit den Traumbildern wurden die gesungenen Textzeilen der Quelle [2] entnommen. Gleiches gilt auch für die während der Musik gesprochenen Texte (Melodram) und die Rezitationen der Borussia zu den Traumbildern.

c. Die gesprochenen Dialoge wurden der Quelle [3] entnommen, wobei die in der Quelle sichtbaren Striche

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berücksichtigt wurden, d.h. hier nicht wiedergegeben sind.

Ein Feldlager in Schlesien

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Bass Sopran Sopran Tenor Bass Tenor Bass Tenor Bass Bass Tenor Tenor Tenor

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Saldorf, Hauptmann außer Diensten Vielka, seine Pflegetochter Therese, seine Nichte Conrad, sein Pflegesohn Tronk, Anführer einer Truppe ungarischer Reiter ein ungarischer Reiter ein preußischer Soldat ein Zietenscher Husar ein Grenadier-Unteroffizier ein Artillerist ein schwarzer Husar ein Husar Steffen, ein alter Landmann

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Solo-Gesangsrollen:

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Ungarische Reiter, preußische Soldaten aller Waffengattungen, Marketenderinnen, Landleute, Pagen, Diener Sprechrollen:

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Nanette, Thereses Freundin zwei preußische Soldaten Borussia (im Epilog)

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Schlesien, Potsdam gegen Ende des Siebenjährigen Krieges (1756 - 1763)

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Ein Feldlager in Schlesien

Verzeichnis der Musiknummern

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Ein Feldlager in Schlesien

Inhaltsangabe

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1. Akt, Zimmer in einem Landhaus in Schlesien:

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In dem Landhaus lebt der pensionierte preußische Hauptmann Saldorf mit seiner Nichte Therese, dem Pflegesohn Conrad und der Pflegetochter Vielka, einer Zigeunerin. Zur Familie gehört auch Leopold, der Geliebte Thereses, ebenfalls ein Neffe Saldorfs. Er dient als Leutnant in der preußischen Armee, die nicht weit von Saldorfs Haus gelagert ist. Conrad, der zwar als Flötist musikalisches Talent zeigt, nun aber zur Ausbildung für einen bürgerlichen Beruf zu einem Kaufmann nach Berlin geschickt werden soll, bereitet sich zur Abreise vor. Am liebsten würde er jedoch daheim bleiben und an der Seite seiner geliebten Vielka leben. Die Familie ist besorgt um Conrads Reise, denn es ist Krieg und die feindlichen Heere sind in der Gegend im Aufmarsch begriffen. Conrad fürchtet sich, ungarischen Panduren in die Hände zu fallen. Vielka, die von ihrer Mutter das Talent zum Wahrsagen geerbt hat, prophezeit Conrad, dass er heute noch einen bedeutenden Menschen treffen wird. Nach langem Abschied verlässt Conrad das Haus.

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Therese hat einen Brief von Leopold erhalten, den dieser nach der letzten Schlacht und gegen die Anordnung bei Nacht und Kerzenlicht geschrieben hat. Er bittet Therese, bei Saldorf die Einwilligung zur Hochzeit mit ihr zu erwirken, was Saldorf aber ablehnt.

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Zur gleichen Zeit wird König Friedrich II. während eines Ausritts aus seinem Feldlager von einem Trupp ungarischer Reiter überrascht. Er kann gerade noch unter einer Brücke Zuflucht nehmen, wo er den sich ebenfalls verbergenden Conrad trifft und sich von diesem in das Haus Saldorfs führen lässt. Der zurückkehrende Conrad erzählt seiner Familie von seinem Erlebnis. Er hält den Fremden für einen Offizier, aber Saldorf erkennt in ihm den König, als er ihn in seinem Gästezimmer aufsucht und teilt Vielka und Therese, nicht jedoch Conrad, seine Entdeckung mit. Man berät einen Plan zu Rettung Friedrichs. Als die Verfolger eintreffen, bringt Vielka die ungarischen Soldaten und deren Anführer Tronk durch Wein, heimatlichen Gesang und Tanz davon ab, das Haus zu plündern.

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Saldorf erfährt von Tronk, dass ein Leutnant Saldorf wegen nächtlichen Feuermachens vor ein Kriegsgericht gestellt werden soll. Das hätten ihm preußische Gefangene berichtet. Die verzweifelte Therese tröstet Tronk damit, dass Leopold selbst unter den Gefangenen ist. Er bietet Saldorf an, Leopold freizulassen, wenn dieser ihm hilft, den König zu fangen, von dem er weiß, dass er sich in der Nähe aufhalten muss. Saldorf hält Tronk mit dem Versprechen hin, ihm bei der Suche nach dem König zu helfen, verlangt dafür aber einen Freipass nach Berlin, ausgestellt auf den Namen seines Pflegesohns Conrad. Das Dokument lässt er mit Conrads Kleidern und Reiseutensilien, darunter dessen Flöte, von Vielka heimlich dem König übergeben, so dass dieser inkognito sein Versteck verlassen kann. Zwar wird er bald darauf von einem argwöhnischen Posten festgenommen, jedoch sogleich wieder freigelassen, nachdem er sich durch ein von Tronk gefordertes Probespiel auf der Flöte anscheinend zweifelsfrei als Besitzer des Instruments und damit als Saldorfs Pflegesohn legitimieren kann. Conrad hingegen muss gegen seinen Willen die Rolle Friedrichs spielen und wird im Mantel des Königs von Tronk und den Soldaten abgeführt.

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2. Akt, preußisches Feldlager, im Hintergrund das Riesengebirge mit der Schneekoppe:

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Fröhliches Lagerleben mit Wein und Tanz. Kavallerie, Infanterie und Artillerie preisen sich selbst und die Vorzüge ihrer Waffengattung. Darüber geraten sie in Streit, den der Auftritt eines alten Landmannes beendet. Dieser erinnert an die Pflichten von Soldaten und Bauern für den preußischen Staat. Gegen die Belehrungen des Alten bietet der Auftritt tanzender Marketenderinnen eine willkommene Abwechslung.

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Unter den Soldaten löst die Nachricht von der angeblichen Gefangennahme des Königs große Unruhe aus. Da bekannt wird, dass der König offenbar in Saldorfs Haus verhaftet wurde, verdächtigt die Menge diesen, den König verraten zu haben, um sich an ihm wegen der drohenden Exekution seines Neffen Leopold zu rächen. Bevor Saldorf der aufgebrachten Menge zum Opfer fällt, verbreitet sich die Nachricht von der Rettung des Königs durch Saldorf und seine Familie. Der rehabilitierte Saldorf reißt die Soldaten aus ihrer Verzagtheit und begeistert sie zu neuen Taten. Alle ziehen in die Schlacht. 3. Akt, Vorsaal zum Audienzzimmer im Schloss Sanssouci:

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Nach der für Preußen siegreich verlaufenen Schlacht wird Saldorf mit seiner Familie vom König nach Sanssouci bestellt. Hier will er endlich Klarheit über das Schicksal seines Neffen Leopold erhalten. Obwohl dieser sich aus österreichischer Gefangenschaft selbst befreit und in der Schlacht zum preußischen Sieg wesentlich beigetragen hat, ist das Todesurteil wegen seines Disziplinarvergehens unverändert gültig. Conrad erscheint, erzählt von seinen Abenteuern als falscher König und hat die Absicht, sich auf eine Stelle in der Hofkapelle Friedrichs zu bewerben. Vielka ermuntert ihn, sein bereits im ersten Akt erklungenes Flötensolo hören zu lassen, worauf ihm der König aus seinem Zimmer, ebenfalls auf der Flöte, antwortet. Das Musizieren bringt Tronk auf den Plan, der inzwischen eine Anstellung am Hofe Friedrichs gefunden hat. Er schickt Conrad zur Bestrafung für die Ruhestörung in das Zimmer Friedrichs. Dieser gewährt Conrad einen Wunsch für die bei seiner Flucht geleisteten Dienste. Conrad ist sich nicht sicher, was er sich wünschen soll und bespricht sich mit Vielka und Therese, die ihn, zu seinem Frust, dazu bringen, um das Leben von Leopold zu bitten. Voller Furcht geht Vielka mit der niedergeschriebenen Bitte zum König. Doch dieser lässt nicht nur Gnade walten, sondern bezeugt darüber hinaus seine Dankbarkeit, indem er Leopold zum Kapitän befördert. Als auch noch Conrad, der zuvor seine Virtuosität auf der Flöte bewiesen hat, zum Mitglied der Hofkapelle ernannt wird, ist das Glück Saldorfs und der beiden Paare vollkommen. Visionär prophezeit Vielka dem Königshaus und dem Land eine Zukunft voller Glück und Ruhm.

Epilog: In der Ursprungsversion zeigt der Schluss der Oper noch neun tableaux vivants (Traumbilder) aus der Geschichte Preußens als Träume des schlafenden Friedrich. Vor und während der Bilder erklärt und deutet die Schutzgöttin Preußens, Borussia, das Gezeigte: 1. Die Schlacht; Allegorie des Krieges

3. Das alte Opernhaus; mit einer Arie aus der Oper "Britannico" von Carl Heinrich Graun 4. Das Brandenburger Tor; Bau und Einweihung des Wahrzeichen Berlins unter König Friedrich Wilhelm II.

6. Des Friedens Einzug; Sieg der Preußen und ihrer Alliierten über Napoleon, Allegorie des Eisernen Kreuzes

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5. Die Bewaffnung der freiwilligen Jäger; Aufbruch der preußischen Freiwilligen 1813 in den Kampf gegen Napoleon

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2. Der Frieden;

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7. Das Monument am Kreuzberg; Bau und Einweihung des Denkmals zur Erinnerung an die Befreiungskriege im Berliner Viktoria Park, Beschwörung der deutschen Einheit 8. Der Brand des Opernhauses; Zerstörung der Lindenoper durch ein Feuer im Jahr 1843

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9. Das neue Opernhaus; Wiedereröffnung der Oper 1844 (unmittelbarer Anlass für die Aufführung des Singspiels), Schlusschor

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Ein Feldlager in Schlesien

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