Sarah Kirkland Snider
text after Hildegard von Bingen
HILDEGARD
Act I
Full Score
From the G. Schirmer Rental Library
Date of Printing________________
Music Sales Corporation
New York, NY
Rights administered by G. Schirmer, Inc. New York, NY
Sarah Kirkland Snider
text after Hildegard von Bingen
HILDEGARD Act I
Full Score
Commissioned by Beth Morrison Projects and the Aspen Music Festival and School with additional commissioning support by William Kennedy
Developed and produced by Beth Morrison Projects
Music Sales Corporation
New York, NY
Rights administered by G. Schirmer, Inc. New York, NY
Instrumentation:
Flute
Clarinet in Bb
Bassoon
Harp
String Quintet
duration ca. 125’
Dramatis Personae:
Hildegard von Bingen, late 30s/early 40s. (soprano)
Richardis von Stade/Angel 3, 20s. (soprano)
Guda/Angel 1, 30s or younger. (soprano)
Clementia/Margravine von Stade/Angel 2, 40s. (mezzo-soprano)
Volmar, 40s. (tenor)
Mechtild, 20s/30s. (tenor)
Abbot Cuno, 40s/50s. (baritone)
Fourth Monk, 30s-50s. (baritone)
Faceless Woman: via projections
Synopsis:
Late 1147 into early 1148, at Disibodenberg Monastery in Rhineland-Palatinate, Germany
The year is 1147, and German Benedictine abbess Hildegard von Bingen has begun transcribing her visions of God to obtain Papal imprimatur, at grave risk of ex-communication. She enlists a young convalescent, Richardis von Stade, to help illustrate her visions, and the two women quickly develop a transformative partnership that awakens them creatively, spiritually, and – much to the internal conflict of both women – romantically. In the meantime, a dispute with Hildegard’s superior costs her and her novitiate daughters the right to make music, underscoring Hildegard’s fundamental lack of agency in the male-dominated monastic culture and jeopardizing her standing within the Church. As Hildegard anxiously awaits the Pope to declare her prophet or heretic, the love between Hildegard and Richardis becomes impossible to ignore, and an unforeseen crisis threatens both their hard-won accomplishments and the intimacy – in all its complexity and secrecy – that has become their salvation.
Immersive and intimate, Hildegard is a tale of two gifted women struggling to find their voices in a time and place where female voices weren’t meant to be heard. A story of love, faith, and enlightenment, the opera is about the desire for connection – to wisdom, to spirituality, to humanity – and the conflicts that compete therein.
Table of Contents:
Act I
Scene 1: 1
Scene 2: .................................................................................................. 32
Scene 3: .................................................................................................. 54
Scene 4: .................................................................................................. 97
Scene 5: 119
Scene 6: ................................................................................................ 160
Scene 7: ................................................................................................ 177
Scene 8: 191
Scene 9: ................................................................................................ 230
Act II
Entr’acte: 251
Scene 1: ................................................................................................ 258
Scene 2: ................................................................................................ 302
Scene 3: 343
Scene 4: 382
Scene 5: ................................................................................................ 403
Epilogue: ............................................................................................... 437
HILDEGARD ACT1,SCENE1
Soprano/ Hildegard
Soprano/ Richardis
Soprano/ Angel1
Mezzo-soprano/ Angel2
Tenor/ Volmar Tenor/ Mechtild
Cuno
VisionIHILDEGARDVONBINGEN,aloneinthedark,praysatherbedside Shenoticesatinyflickeroflightonthewall,andapproachesit,reachingoutslowlytotouchit
Fashingfulllights,abriefquasi-strobeeffect, revealtwoveiledangels--THEVOICESOFTHELIVINGLIGHT-inlongwhitetunics,standinginherroom,singingtoher
ACTI,SCENE2
clari --ty,andwarning. - Father... - Father, - Ibelieve - thempro-phetic. -
Brother, - whatareyousaying youdon't meantosuggest
Abitfasterq=60
Previoustempo q=52
Abitfasterq=60
(CUNOtakesthetranscriptfromVOLMAR, looksatitskeptically,walkstodeskto examineitmorecarefullyWeseseprojections ofhervisionoverhead)
Previoustempo q=52
™ ‰‰ bœ J ‰ bœ bœ J bœ œ™ œ J‰œ
ACT1,SCENE3
e=e pocorit.
(HILDEGARD,intheInfirmary,workingamortarandpestle, makinganherbalpasteGERTAandCLEMENTIAareassisting,and THEYdepartbeforeMECHTILDenters)
e=e q=60 pocorit.
(HILDEGARDrushestoMECHTILD; theycarryRICHARDIStoabed)
(MECHTILDsuddenlyappearsinthedoorway, carryingRICHARDIS,whoisbruised andbarelyconscious)
I mf(breathless,panting) foundthiswoman, - Ifoundheraloneinthewoods, distraught, - confused - Shesaidshe'sanovice - atSchonau, -
(HILDEGARDwalkstoadrawerofstones,rummagesthroughlookingforanemerald MECHTILDgoestogetapitcherofwaterfromacrosstheroomandplacesitat RICHARDIS'sbedsideHEthenstandsthere,staringatRICHARDIS,wholookstobeasleep)
soundslikethefalling - sickness - Fetchthewater -
(MECHTILDfallstohisknees,crosseshimself HILDEGARDrushesbacktoRICHARDIS’s bedsidewiththeemerald,placesitonthebedsidetable MECHTILDremainsonhisknees,cowering)
(MECHTILDscrurriesover,picksuptheemerald andawkwardlytriestoholdittoRICHARDIS's shakingchest)
(RICHARDISstopsseizingHILDEGARDreaches fortheemeraldandputsitintoRICHARDIS'shand, thenclaspsbothherhandsaroundRICHARDIS's handwiththestone,andrecitesaprayer)
(HILDEGARDbowsherheadasif inprayer;MECHTILDfollowssuit.)
Abitfasterq=80
(MECHTILDlooksawkwardlyat HILDEGARDandthenRICHARDIS, andbackagain,bowshisheadslightly, andleavesHILDEGARDthenpours RICHARDISacupofwaterandbegins applyingointmenttoRICHARDIS's foreheadwithafeather)
Thank
youMechtild, - youcan go
Abitfasterq=80
RICHARDISthenstirs,groans,andtheemerald fallsontothefloorHILDEGARDpicksitup andplacesitbackintoRICHARDIS’shand, thenstrokesRICHARDIS’shairgently
- Is thiswhatmadeyourun?
theybeat youfor yourEpi --lep-sy?
(RICHARDIScontinuestostare atthefloor,nodsweakly)
(RICHARDISremainsdazed)
(HILDEGARDhandsherawax tabletandstylusRichardislooks atherbriefly,andthenslowlybegins todraw)
Abitfasterq=63
(Musicandlightsshowthatthismomentis significant/chargedforRICHARDISShedrawsintensely)
Abitfasterq=63
(RICHARDISputsthetabletandstylusdown, looksupwithconcernHILDEGARDnotesthat sheisdrawingratherthanwritinghername)
Rudolf - vonStade, Margrave - oftheNordmark? -
PushingForwardq=76pocoaccel.
(RICHARDISnodsweakly,lookingatthefloor thensuddenlystirswithanxiety)
HILDEGARDstrokesRICHARDIS'shair,theneasesherback intobed,puttingthetabletandstylusbackonthebedwithher, whichRICHARDISpicksup;sheresumesdrawing
stoneofaswal-low,thesecureselude - me Air fire,andwater - Nobalance, - noharmo - -ny,
Snider-Hildegard
Leaningforwardq=80
Leaningforward
IfearGod,too,canmakemistakes, andI am one
Leaningbackslightly
Leaningforwardagain
Light perceives - yourheart andpulls you clos
thatyou create, - thecloser
-within - you: here, here,and here, it's al
p
(shakeshead regretfully)
Iwantyoutodraw andpaintev'ry - day No
mp p Is mp thatpermit - -tedforwomen? -
ALittleLessq=42
ACT1,SCENE4
HILDEGARDmeetswithABBOTCUNOinhisoffice CUNOisbehindadesk,facingher,organizingmanuscripts. Wecanhearthestrainsofmensingingchantoffstage.
Leaningforward
Cun
Leaningforwardq=60
thegirlto
CUNOturnshisbackonHILDEGARD, returnstoorganizingmanuscripts
Ho
Ho
Leaningbackabitq=56
(HILDEGARDnodsslightly, bows,andturnstoleave)
(RICHARDISiswalkingalonethrough thecloisterCUNOandOTTOpassher; SHElooksatthembuttheydonot lookatherRICHARDISturnsto lookbehindher,unsureofherlocation, tryingtoorientherself)
ACT1,SCENE5
(Uponturningbackaround,RICHARDIScollideswithMECHTILD,whodropsbookshewascarrying THEYlookateachother,anduponrecognition,RICHARDISrecoils,whileMECHTILDpretends hedoesn’trecognizeherHEpicksuphisbooksandkeepswalking)
(RICHARDISsteadiesherselfagainstabench,then pressesonward,enteringaroomintheCloister)
(AloneintheScriptorium,RICHARDIScautiouslywalksaround andexploreswithawethisroomwherewomenwerecustomarilynotallowed)
(Richardiscurtsy/bowsinsudden embarrassment/deference)
(VOLMARnodskindlyto RICHARDIS,whobows)
(HILDEGARDguidesRICHARDIS toadeskwithparchment,tablets, stylus,andpaints;gesturesfor hertosit)
scribing; - I'dlikeyoutodrawandpaint, helpmecapture - theimage, - andinthiswayIcanhelpyouconnect - withGod.
Abbot - Cunowillblessthiswork,hehasavested
shapedlikeakite, agolden - kite filled witheyes tosee ourjoyand pain p pp
Leaningforwardq=112
Leaningforwardq=112
bJ‰œJ‰œ bJ ‰œbJ‰ bœ J‰œbJ‰œbJ‰œJ‰œ bJ ‰ bœJœbJ‰œ b J‰œbœ b ‰ bœJœbJ‰bœœ b ‰ bœJ‰œJ‰ bœ J‰œbœ b ‰ œ J‰œbJœbJ‰œ b J‰œbœ b ‰ bœJ‰œ bJ
bœ ‰‰ bœJœJœ b ‰‰ œ J œ ‰‰ œ J œ ‰ bœ J œ Œ bœ ‰‰ bœJœ Œ œ bœ Œ ‰œbJœJ‰Œ ‰œ J œ ‰œJœ ‰œbJœJ‰Œ bœ Œ ‰œbJœJ‰Œ œ
(Sheholdsherhandout,reachesouttolightand movesapprehensivelytowardFACELESSWOMAN)
(Shewincesandstumblesforward, steadyingherselfonadesk)
(jumpinguptohelpher)
(VOLMARhelpsHILDEGARDtodoor.Ontheway, HILDEGARDpassesRICHARDISandsqueezesher shoulder,asiftosaythankyouRICHARDISnods once,graciouslyifuncertainlyHILDEGARDexits totheoutdoorspace)
(5/8patterncontinues)
(5/8patterncontinues)
(5/8patterncontinues)
(5/8patterncontinues)
(5/8patterncontinues)
(5/8patterncontinues)
(5/8patterncontinues)
(5/8patterncontinues)
ACT1,SCENE6
(HILDEGARD,RICHARDIS,CLEMENTIAANDGERTAarestandinginthecemetery CLEMENTIAhasawaxtabletandstylusinhand)
(CLEMENTIAnodsandshows HILDEGARDthewaxtabletHILDEGARD nods,gesturestothegraves)
(Thewomenbeginremovingthecrossesfromthegraves andlayingthemofftotheside,inapile)
Ahairbroaderq=63
What
isthis?! Iaskedyoutoex
Ahairbroaderq=63
R≈‰
oughtto o-bey God rath
-erthan Abitfasterq=66
(holdingupafinger,interrupting, snarlingwithwearinessandsarcasm)
(CUNOpausesandthenslowly walksaroundHILDEGARD,encirclingher.)
Leaningforwardq=69
Leaningforward
(HILDEGARD,RICHARDIS,CLEMENTIA,andGERTAaregathered inadarkChapelwithcandlestosingquietly,covertlyHILDEGARDholdsupafinger toherlipstoremindthewomentosingquietly,thenleadstheminachant)
lor so lis -
lor so lislor so lis -
(CLEMENTIAandGUDAdisperse,whileRICHARDIS sitsdown,cowering,hereyesonthefloorMECHTILD staresatherforamoment;RICHARDISbrieflylooksup, catcheshiseyes,andlooksbackdown)
MECHTILDthenlooksatHILDEGARD, whoisgatheringthemusicmanuscriptwithout acknowledginghim,andheexits
(HILDEGARDwalksovertoRICHARDIS, whoisstillcowering,andkneelsdownbyher)
(AnillustrationofHildegard’s VisionofTheFiveVirtues isshownoverhead)
Worldholdsthegreenest - branchtoremind - usthatsometimes - thedeep-estpractice - ofcompas-sion requi
thegreat-estact ofcom
(lettingherstudentlead,withencouragment)
(HILDEGARDtakesholdofRICHARDIS’shand; sheraiseshertoherfeetTHEYholdhandsandagazelingers)
ACTI,SCENE8
(VOLMARandRICHARDISareintheScriptorium, puttingRICHARDIS’Spaintingsoneaselsandother displaysaroundtheroomDozensofpaintingson parchment–ofHILDEGARD’SvisionsfromSCIVIAS–areinvariousstagesofcompletion,fillingtheroom)
(HILDEGARDentersand walksaroundforamoment, lookingcarefullyateach illustration,marveling)
(HILDEGARDthenapproachesRICHARDIS, takesherhandsinherown,andkissesthemonce,emphatically, asagestureofappreciation)
(RICHARDISblushes, smileshumbly.)
journey - istounfurl - thekite in-toa Tent, andmakea homeforWis dom -
Leaningforwardq=72
Leaningback
Leaningforward
Because
itgives you all
(gesturesaroundtheroom, atallofRICHARDIS'spaintings)
(HILDEGARDapproaches RICHARDISandgentlyplaces ahandtothesideofherface...
...ShesqueezesRICHARDIS’shandwith herfreehand,andwalksbacktowards anotherillustration.RICHARDISexits.)
dearVolmar? - Whatisit?
it'salove so pure,soholy
Leaningforwardahairq.=54
Leaningforwardahairq=54
Leaningbackahairq=52
(HILDEGARDsuddenlydropsaVaseanditshattersShecoversherface, intears,andcrouchesdownonherfeetVOLMARrushestoher, seekingtocomfortherHEcrouchesdownnexttoher,handonherback)
Abitfasterq=60
q=66
Previoustempo q=54 q=80 e=e
decade, - "atwofound - treasure" - theycalledthem, a
ACTI,SCENE9
(HILDEGARD,aloneinbedSheisawokenbythesoundsofmensingingchant ShearisesandlightsacandleThelumiaonthewallgrows,andamomentlater, theVOICESOFTHELIVINGLIGHTenter)
notunder - -stand Whois she? IsshenotWisdom?
Iloveher,it'salove
(q=84) Abitlessq=66
(Thelightssuddenlyflash,astrobe effectTheFACELESSWOMAN walksovertoHILDEGARD,takes bothofherhands,butHILDEGARD breaksawayinfear;turnsher backonher)
I loveherasPaullovedTimo-thy - Sheismydaughter; - I'mherMother - Thatis all
(Fourdemons/sylphs themendressedinblackdrapedgauze, facescovered enterthestage,slowly,creepily)
(q=84)Abitlessq=66
(Thesylphsperformasortofdansemacabrearoundthe FACELESSWOMAN,mockingandpushingheraroundbetweenthem)
(TheFACELESSWOMANfallstoherknees,faceinherhands. TheSYLPHSnowcomeforHILDEGARD,graduallyencirclingher.)
slipspastthesylphs, runstokneelbyherbed)
OMother, - IwishIcouldgo back I wishto