Taverner (opera)

{{Infobox opera

| name = Taverner

| composer = {{nowrap|Peter Maxwell Davies}}

| image = Peter Maxwell Davies.jpg

| caption = The composer in 2012

| librettist = Peter Maxwell Davies

| language =

| based_on =

| premiere_date = {{Start date|1972|07|12|df=y}}

| premiere_location = Royal Opera House, London

}}

Taverner is an opera with music and libretto by Peter Maxwell Davies. It is based on the life of the 16th-century English composer John Taverner, but in what Davies himself acknowledged was a non-realistic treatment.Davies, Peter Maxwell, "Taverner: Synopsis and Documentation" (1972). Tempo (New Series), 101: pp. 4–11. The gestation for the opera dated as far back as 1956 during Davies's years in Manchester, and continued when he went to Princeton University in 1962. Davies produced several instrumental works related to the opera during this gestation period, including the Points and Dances from 'Taverner and the Second Fantasia on John Taverner's "In Nomine".Swan, Peter, "Recordings: Peter Maxwell Davies" (June 1973). Tempo (New Series), 105': pp. 32–37. Davies had completed the opera in 1968, but lost parts of the score in a fire at his Dorset cottage in 1969, which necessitated recomposition.Walsh, Stephen, Interview with Peter Maxwell Davies on Taverner (July 1972). The Musical Times, vol. 113, no. 1553. (July 1972), pp. 653–655. Davies completed the opera in 1970.

Davies employs a theme from the 'Benedictus' of Taverner's Mass Gloria Tibi Trinitas as a recurring motif throughout the work. This theme, taken from the section beginning 'in nomine [Domini]', gained popularity among later composers of the English renaissance in the form of the instrumental In Nomine. Stephen Arnold has written a detailed analysis of the music of the opera and of Davies's use of parody.Arnold, Stephen, "The Music of Taverner" (1972). Tempo (New Series), 101: pp. 20–39. The American composer John Harbison has published an analysis of the opera (working from the vocal score), contemporary with its first performances.Harbison, John, "Colloquy and Review: Peter Maxwell Davies' Taverner" (Autumn–Winter, 1972). Perspectives of New Music, 11 (1): pp. 233–240. Gabriel Josipovici has commented on the historical events that inspired the opera and on the libretto itself.Josipovici, Gabriel, "Taverner: Thoughts on the Libretto" (1972). Tempo (New Series), 101: pp. 12–19.

Instrumentation

In additional to regular symphony orchestra, Taverner calls for the following period instruments:

Sopranino recorder
Soprano recorder
Alto recorder
Tenor recorder
Bass recorder
2 soprano shawms (or soprano Schreierpfeifen)
Alto shawm (or alto Schreierpfeife)
Bass shawm (or 2 serpents)
Cornetto in C (or sopranino shawm)
2 "Bach" piccolo trumpets in F
Alto trombone (or sackbut)
Lute
Positive organ
Regal
2 treble viols
2 tenor viols
4 bass viols
Violone
Nakers (A, C)
12 soldiers' drums (tenor drum-style tabors)
Side drum
Handbells
Small church bell (D just below the treble clef)
Large church bell (B-flat, second line of the bass clef)

Performance history

The opera was first performed at Covent Garden, London, on 12 July 1972, with Edward Downes conducting, Michael Geliot as director and Ralph Koltai as designer.{{cite magazine | url=http://www.time.com/time/magazine/article/0,9171,877953,00.html?iid=chix-sphere | archive-url=https://web.archive.org/web/20121020060730/http://www.time.com/time/magazine/article/0,9171,877953,00.html?iid=chix-sphere | url-status=dead | archive-date=October 20, 2012 | title=Morality Opera |magazine=Time| date=31 July 1972 | access-date=2007-09-02}}

The U.S. premiere was in April 1985 at the Opera Company of Boston, under the direction of Sarah Caldwell.Schott, Howard, "Reports" (July 1986). The Musical Times, 127 (1720): pp. 400–402.

Roles

class="wikitable"

|+{{sronly|Roles, voice types, premiere cast}}

!Role

!Voice type

!Premiere cast, 12 July 1972Dean, Winton, "Music in London: Opera – Taverner" (September 1972). The Musical Times, 113 (1555): pp. 879, 881.
Conductor: Edward Downes

Rose Parrowe

Death

Abbot

|bass

|Noel Mangin

|tenor

Priest

Choirboy

|David Pearl

Synopsis

=Act 1=

Scene 1

Taverner is put on trial before the White Abbot on charges of heresy. Testimony comes from his father and his mistress, as well as a priest and a choirboy. Taverner is found guilty, but the Cardinal pardons him, noting the composer's usefulness and naiveté.

Scene 2

Taverner's fate is mirrored in the chorus of monks as he ponders his conscience.

Scene 3

The King{{efn|1=Patently King Henry VIII, but not named as such in the libretto.}} discusses his intended divorce with the Cardinal,{{efn|1=Cardinal Wolsey, but again not identified as such in the libretto.}} with interruptions from the jester.

Scene 4

The court jester proves to be Death in disguise. A metaphorical battle for Taverner's soul then occurs, with his father and mistress in opposition to the jester/Death. The jester/Death prevails, and Taverner has become a religious fanatic.

=Act 2=

Scene 1

Taverner has become an instrument of royal religious policy, having abandoned his earlier Catholic faith for the new Protestant religion, in the wake of the Reformation. He presides over the conviction of the White Abbot on charges of heresy, with the same witnesses as in act 1, scene 1.

Scene 2

Discussion of the break with the Catholic Church and the founding of the Church of England takes place between the King, the Archbishop of Canterbury (formerly the Cardinal),{{efn|1=Thomas Cranmer, played by the same soloist as Wolsey.}} and the jester/Death. The King speaks of his plan to annex the monasteries.

Scene 3

The monks are at their devotions. Soldiers, under orders from Taverner, take the monks prisoner.

Scene 4

The people praise Taverner and his brutal methods of justice. The White Abbot goes to his execution, under escort from Taverner.

----

Recordings

NMC D157 (2 CDs). Cast includes Martyn Hill (John Taverner) and David Wilson-Johnson (Jester). BBC Symphony Orchestra, Fretwork, His Majesty's Sagbutts and Cornetts, and London Voices, conducted by Oliver Knussen. Taken from a 1996 BBC studio recording.