Von heute auf morgen

"Von heute auf morgen" ("From Today to Tomorrow") is a one act opera composed by Arnold Schoenberg, to a German libretto by "Max Blonda," the pseudonym of Gertrud Schoenberg, the composer's wife. It is the composer's opus 32.

The opera was composed at the end of 1928, and was premiered at Frankfurt, on February 1 1930, with William Steinberg conducting Herbert Graf's production. It was the first twelve-tone opera, and Schoenberg's only comedy. The libretto may indeed be a contemporary comedy of manners, but the music is incredibly complex, the angular vocal-lines and large orchestra creating a frightening whirlwind of fury. In fact, the composer described his music in this opera: "The music is ugly, as always in my compositions; it corresponds with my artistic and spiritual disposition."

However, Schoenberg also wrote "I have proved in my operas "Von Heute auf Morgen" and "Moses und Aron" that every expression and characterization can be produced with the style of free dissonance" (in contrast to Alban Berg, who believed that a contrast with tonal elements needed to be introduced for certain reasons, and did so in his opera Wozzeck.) [cite book|last=Schoenberg|first=Arnold|coauthors=Stein, Leonard, ed.; Black, Leo, translator|title=Style and Idea|date=1984 edition|pages=244-5
publisher=University of California Press|location=Berkeley, California
isbn=0-520-05294-3
url=http://books.google.com/books?id=K9lMP5oqKEgC&pg=PA455&dq=isbn:0520052943&ei=-8XgSN3OAoLeyASsseiJAw&sig=ACfU3U0VPxWRjCs8xF5nMC9DOBAkX2GSBA#PPA245,M1]

Roles

* The Husband (baritone), Benno Ziegler
* The Wife (soprano), Else Gentner-Fischer
* The Singer (tenor), Anton Maria Topitz
* The Friend (soprano), Elisabeth Friedrich
* The Child (speaking role)

Synopsis

The argument takes place in a modern living room/bedroom. The husband and wife have returned from an evening abroad, recalling the earlier flirtations of the night. During the conversation, the wife gradually changes into a lovely negligee. Their small child interrupts, and is put back to bed. The singer, from earlier in the evening, telephones, making the husband jealous. The wife changes into a cocktail dress, then back into the simple house-dress of the start of the opera.

By now, it is morning, and the singer and the friend arrive for an early visit, and are served coffee. They champion all the latest trends in society. When they depart, the husband and wife realize, over breakfast, that their own relationship is based on love, not the mere latest fashion.

Instrumentation

The score calls for: 2 flutes, 2 oboes, 4 clarinets, 2 bassoons, 3 saxophones, 2 horns, 2 trumpets, 3 trombones, tuba, percussion, mandolin, guitar, harp, piano, celesta, strings

Studio discography

* E. Schmidt, Harper, Schachtschneider, Olsen; Craft, 1964 (Columbia Records)
* Whittlesay, Barainsky, Karczykowski, Salter; Gielen, 1996 (cpo)

Film version

The 1996 recording was the basis for a film version ("Du jour au lendemain") directed by the French filmmaking duo of Daniele Huillet and Jean-Marie Straub. Photographed on a stage in black-and-white (with a pre-credits sequence showing the orchestra tuning up), the film was one of three films by Straub and Huillet based on Schoenberg works. Earlier, they had directed a film version of his unfinished opera "Moses und Aron".

References

ources

*cite web|title=Page about Von heute auf morgen at schoenberg.at|url=http://www.schoenberg.at/6_archiv/music/works/op/compositions_op32_e.htm|accessdate=2008-09-29
*"Von heute auf morgen" by O W Neighbour, in 'The New Grove Dictionary of Opera', ed. Stanley Sadie (London, 1992) ISBN 0-333-73432-7